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DINOSAUR JR

GRINSPOON

THIS WILL DESTROY YOU

LUCY DURACK

OPETH GUNS N’ ROSES ICEAGE GREENTHIEF

N O W AVA IL A BL E O N I PA D • 13 M A RC H 2 013 • 1618 • F R E E

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GIVEAWAYS Are you ready for the upcoming Joe Satriani workshops? Riff Axelerator is a downloadable speed building tool that gets faster while you simply play along. We have five of their Joe Satriani packs to give away, which will teach you ten ‘satch style’ licks in a refreshingly innovative way that helps you play better with less effort. Try out the free online demo on riffaxelerator.com.

T A E V LI

violent, hilarious film that retains the deft writing and comically twisted creativity about moralistic criminals that made In Bruges a cult classic. Thanks to Hopscotch Entertainment we have five copies of the DVD up for grabs!

Direct from China, the custodians of this 5,000-year tradition, The Legend Of Kung-Fu is set to captivate audiences with its high-octane kung-fu mastery that showcases China’s most accomplished kung-fu performers. We have one double pass to give away to the only performance of The Legend Of Kung-Fu in the Brisbane region when these amazing kung-fu masters perform at Redland Performing Arts Centre, Cleveland on Saturday 23 March, 7.30pm. From the team who created In Bruges, comes Seven Psychopaths, an inventive,

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They may be furry, they may be feathered, they may be feral, but scratch their hairy surfaces and they’re just a group of messed-up little creatures struggling with life, love, dreams, and what happens when you discover you’re only the latest in a long line of pedigree pets. Thanks to Roadshow Entertainment we have five copies of the multi-award winning adult puppet comedy, Mongrels: Series 1 to give away!

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Brisbane’s bass-heavy roof raisers Kingfisha will hit the road for the first time in 2013 in support of their new single, Digging For Fire. They play at The Hi-Fi on Friday 22 March and we have two double passes up for grabs. Each winner will also receive a copy of the album. Entrants must be 18+.

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Foreword Line – news, opinions, tours, Backlash, Frontlash 8 Get deep with our cover stars Dick Diver 12 For Dinosaur Jr., happiness is an open stage 13 Grinspoon don’t call this a comeback 14 Let This Will Destroy You put you under their spell 14 Dispelling the Guns N’ Roses illusions 15 For Sweden’s Opeth, no screaming is no problem 16 Danish garage upstarts Iceage keep us on our toes 17 Ensiferum are enjoying the currently calm seas 18 Brisbane rockers Greenthief chat on the eve of their European tilt 18 Rock’n’rollers Redd Kross stay true to their roots 18 We get comfortable with Zoe Keating 18 For Nine Sons Of Dan, fun is the name of the game 19 The always howling rock beast that is DeWolff 19 In Mike Cooper’s world, anything goes 19 Talking all that jazz with Rickie Lee Jones 19 On The Record has the latest, greatest and the not so greatest new musical releases 20

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Chris Yates spotlights the best (and worst) tracks for the week in Singled Out 20

FRONT ROW Check out what’s happening This Week In Arts We chat with the star of Legally Blonde: The Musical, Lucy Durack Filmmaker Kim Nguyen discusses his recent African adventure We review some choice shows from the BCF, talk Girls and Game Of Thrones Your weekly dose of arts opinion in The Looking Glass and Cultural Cringe

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Get the drum on all the coolest happenings in local music last week, this week and beyond in Live 25 Dan Condon gets the dirt on the blues scene from the Roots Down 28 Lochlan Watt gives you brutal metal news in Adamantium Wolf 28 Adam Curley cuts sick with another musical pop culture rant in The Breakdown 28 Cyclone has the wide urban world covered with some OG Flavas 28 Muso – industry news and the latest equipment, by musos, for musos 36

Laing, Tom Hersey, Jazmine O’Sullivan, Tom Noyes, Samantha Armatys, Shaun Mac Front Row: Baz McAlister, Mandy McAlister, Helen Stringer, Matt O’Neill, Guy Davis, Samuel Hobson, Danielle O’Donohue, Dave Drayton, Anthony Carew 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. ©

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FOREWORD LINE

NEWS FROM THE FRONT

THE ROCKING WORLD AROUND US Sighted as one of the most important Americans of the 20th century by LIFE Magazine, Afrika Bambaataa is a real icon, the musical trailblazer playing a massive part in putting urban music on the map. From DJs and MCs to graffiti artists and break dancers, the influence of the 55-yearold can be seen everywhere; heck, he even coined the term hip hop. So, yeah, he’s played a pretty big part in the evolution of popular music. Now, to celebrate the 30th anniversary of his classic Planet Rock album, Bambaataa is returning to Australia. Experience a New York block party in your own backyard when the DJ performs Friday 17 May at The Hi-Fi. Tickets can be picked up through the venue website now.

IN BRIEF

IT WAS THE BEST OF TIMES... It was The Blurst Of Times Festival! If you’re not heading down to Bluesfest then you’ve got your fun fix covered on Sunday 31 March. Across three venues (Coniston Lane, Alhambra Lounge, Black Bear Lodge) you get a veritable feast of rockin’ bands, featuring Violent Soho, pictured, Velociraptor, Scott & Charlene’s Wedding, Gung Ho, Bored Nothing, The Cairos, Sures, Bitch Prefect, Witch Hats, Terrible Truths, Drunk Mums, Keep On Dancin’s, Tiny Migrants, Circular Keys, Major Leagues and Pirates Alive. One ticket gives you entry to all three rooms, with early bird tickets available now from Oztix for just $25+BF. Proudly presented by Time Off.

Paul Kelly and Neil Finn’s final sold-out Sydney Opera House date will be live streamed on YouTube, Monday 18 March, 9pm AEDT. To watch two of our greatest live on stage without having to leave your couch simply head to www.youtube. com/liveatthehouse. In an interview with Inpress magazine, Mötley Crüe bassist Nicki Sixx has ardently stated that the LA rockers will split following a final studio album and tour. In other Crüe news, during the band’s second Sydney show frontman Vince Neil was rushed to hospital mid-set due to internal pain. Burn is the electric first track to emerge from the forthcoming Iggy & The Stooges’ record, Ready To Die, which will be released Friday 26 April. The song, which appeared online last week, is the first new music from the group in 40 years.

FUCK THE SYSTEM Fanning the flames of discontent, Jello Biafra has been questioning the system since the late-‘70s and is still as volatile, colourful and stirring as ever. The former Dead Kennedys frontman will be bringing his latest musical project, The Guantanamo School Of Medicine, to Australia for a limited run of dates, performing Thursday 16 May, The Hi-Fi and Friday 17, Coolangatta Hotel, Gold Coast, with support coming from revered Aussie punks, The Celibate Rifles. Tickets for both dates go on sale next Monday, 18 March, through Oztix.

Sydney pop punks Heroes For Hire have unceremoniously parted ways with their frontman Brad Smith, the five-piece trimming down to a foursome with guitarist Duane Hazell stepping up on vocal duties.

BATTLE OF THE PARTS Watching the development of Emma Louise over the past few years has been something else. Getting more comfortable in her own skin with every show, Louise has come leaps and bounds as an artist, a fact that her debut album Vs Head Vs Heart all but attests to. To launch this debut full-length, the Brisbane-cum-Cairns songstress will be leading her crack band around the country: catch Emma Louise on Thursday 23 May, Woombye Pub, Sunshine Coast; Friday 24, The Hi-Fi; Saturday 25, Paradise Room, The Arts Centre, Gold Coast: and Sunday 26, The Northern, Byron Bay. Tickets through Oztix or from the venue direct. Proudly presented by Street Press Australia.

After being charged with manslaughter last year following the death of a fan at a show, Lamb Of God vocalist Randy Blythe has been cleared by a Prague court. Blythe pushed Daniel Nosek from the stage at a 2010 club gig in the city, with head injuries suffered from the fall proving fatal for the 19-year-old.

YOU KNOW YOU WANT TO BE Due to the fervent demand following the announcement of his initial run of dates, Passenger, aka Mike Rosenberg, will be performing a second and final show in Brisbane next month. Things have been going rather cray for the solo artist since the release of his 2012 LP, All The Little Lights, with single Let Her Go topping charts right across Europe, resulting in a recent 26-date tour across the continent. In addition to his sold-out gig in our city, Wednesday 3 April, Rosenberg will also hit the stage at the Conservatorium Theatre, Griffith University, Tuesday 2. Tickets for this date are on sale now through Qtix, so get in quick! No one deserves disappointment.

BOW DOWN TO THE MASTERS Taking the chanting mantras of Asian and Middle Eastern cultures and pitting them against down-tuned guitars and a sludgy, doom aesthetic, US pairing OM have continued to challenge listeners with their brand of spiritual drone. Celebrating ten years making music, founding member Al Cisneros and Emil Amos will be touring their most recent LP, the engulfing Advaitic Songs, with capital city dates around the country. You can catch the pair when they hit Brisbane Wednesday 8 May, playing The Hi-Fi. Tickets for the show are $36+BF and can be purchased through Oztix and Life Is Noise.

THAT EVIL POTION The Hits and Pits Festival is all ready to throw some knockout blows on Sunday 24 March at The Hi-Fi. But if you can’t make it to that big day of punk rock (or you’re simply looking for a little more action) then make sure you’re deep in the pit when Voodoo Glow Skulls take over Crowbar, Tuesday 26 March for an 18+ show with special guests. With the five original band members (including the founding Casillas brothers) all still plugging in, this show will surely be tighter than a Bear Grylls kamikaze knot. Purchase your tickets now through Oztix for $40+BF.

SUBMERGE YOURSELF That big, funky ship of party, Dubmarine, are coming back on our radar once more, and the ninepiece are putting Beat In Control in our hands, the thrilling first taste of their sophomore release, due to arrive in the tail-end of the year. Before they depart on an OS adventure that will take them to South Africa and across Europe, the band will partner up with fellow Brisbanites Kingfisha and Chocolate Strings for a few local dates, playing The Hi-Fi, Friday 22 March; Solbar, Maroochydore, Friday 19 April (Kingfisher not appearing); and The Northern, Byron Bay, Saturday 11 May.

KING OF THESE PARTS The prolific Kaki King returned last year with her sixth studio album, Glow, an LP that treated the senses while showcasing the dazzling skills of the 33-year-old American across a range of varied styles. A regular festival visitor to our shores in the past, the Atlanta, Georgia native will this time be giving her fans the intimate experience they’ve so very been craving. She kicks off her tour in our neck of the woods, starting her three-week lap around the country at the Brisbane Powerhouse, Saturday 11 May, before travelling down south to play Mullumbimby Civic Hall, Sunday 12. Purchase your tickets through the respective venue websites.

ON THE STRAIGHT AND NARROW A Thin Line is the forthcoming record from Blackchords, with the Melbourne trio coming up our way to launch the release next month. Currently showing their wares over in Texas at SxSW, you’ll be able to catch the rocking threesome when they hit the stage at The Hideaway, Saturday 20 April.

THE PANIC WILL BE BROADCAST

TWO STEPS TWICE What a big ol’ mutual love in the relationship between Australia and Foals has become. After two defining albums and a consistent amount of touring down our way, the band topped the ARIA charts with their third record, Holy Fire. Now they’re returning later this year for a headline run of dates, and be warned, these shows will fill up in an instant, so make sure you’re clicking on the Ticketek website when tickets for their Wednesday 2 October show at The Tivoli go on sale Monday 18 March at 9am. Proudly presented by Street Press Australia.

8 • For more news/announcements go to themusic.com.au/news

Swedish death metal masters Soilwork are returning for another Australian assault later this year, bringing their brutally melodic strains to capital cities around the country. Constantly pushing boundaries, the sixpiece have just released their ninth studio record, The Living Infinite, the first death metal double album ever crafted, and will be showcasing the expansive body of work alongside their much loved classics when they play The Hi-Fi, Wednesday 2 October. Tickets are on sale through Metropolis Touring this Friday, 15 March, for $59+BF, with exclusive meet and greet packages also available for the show.


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JONSON STREET BYRON BAY Friday 15 March

BAREFOOT ALLEY, 3 CORNERED SQUARE & KIT BRAY Saturday 16 March

DEAD BEAT BAND, TSUN & HUCKLEBERRY Friday 22 March

A LITTLE PROVINCE, WANDERING EYES & ELEGANT SHIVA Saturday 23 March

MY BYRON BAY RIOT w/ FAIT ACCOMPLI, CHITTICKS & PRO VITA Thursday 28 March

DE WOLFF, CHARLIE CHARLES & THE CHERRYPICKERS Saturday 30 March

PILOTS & WAXHEAD Thursday 4 April

SONICANIMATION Friday 5 April

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Melbourne’s Dick Diver have ably avoided the ‘difficult second album syndrome’ with their accomplished second effort, Calendar Days. Co-frontman Rupert Edwards talks to Steve Bell about accentuating the sadness and not being scared to sound like being where they come from. elbourne indie quartet Dick Diver have possibly flown under the radar to a degree outside of their home ground in the Victorian capital. They don’t tour all that often – their debut album launch show with Royal Headache at Woodland in November of 2011 was their last Brisbane foray – and they’re a relatively unassuming bunch. What they do deliver in spades, however, is cruisy and distinctive music – an intoxicating amalgam of ‘90s indie sounds and punk ideals, all with a distinctly Australian edge to proceedings. It’s laidback but clearly intelligent, somehow seeming edgy despite there being nothing manifestly challenging in either content or delivery. It’s a unique and at times peculiar aesthetic but one which works incredibly well for the burgeoning band, and which has quickly found them a growing following abroad as well as in their own backyard.

M

And that global acclaim is only going to get louder and more unrelenting with the impending release of their second long-player, Calendar Days. A consummate and beguiling

album, it builds on the undeniable promise of 2011 debut New Start Again and shows a real growth in both songwriting and musicianship, as well as an expansion on the group dynamics so integral to the Dick Diver charm. To record the album they decamped to the nearby retreat of Phillip Island – the Victorian hamlet usually better known for its penguins and penchant for motorsport – and under the watchful eye of long-time cohort Mikey Young (of Eddy Current Suppression Ring fame and current ‘go-to producer’ for the Australian rock underground) went to work on their newest opus. “We’re really happy with it,” offers guitarist/vocalist Rupert Edwards of Calendar Days. “It was heaps of fun to make, and listening to it now – we got the test pressing back yesterday – reminds me of recording it, because that was heaps of fun. “We kind of enjoy leaving Melbourne to be able to relax for a few days while we record, so that was nice. One of [bassist] Al Montfort’s bandmates from Straitjacket Nation, her parents have a house down there, and Mikey Young who recorded it just took down his laptop and microphones that he uses and set up there. It wasn’t a house that you’d look at and think that it was going to be good for recording, but somehow we made it work, I don’t know how. I think that’s down to Mikey – he’s pretty amazing these days. I don’t know how he got it to sound that good. I couldn’t tell the difference between this and if it was done in a studio, so it sounds good to me.” Young has worked on everything that Dick Diver have ever released – from 2009 EP Arks Up to the new album – so it’s hardly surprising that everyone was on the same page this time around. “Yeah, pretty much everything we’ve recorded has been done with him, so it’s been a good relationship,” Edwards continues. “I was talking to [fellow guitarist/vocalist] Al McKay last night about it and we were talking about when we recorded with [Mikey] for the first time, and Al Montfort had already known him for a few years and I think Steph [Hughes – drums] had known him, but me and Al were really nervous because we’re fans of Eddy Current and everything, and the band didn’t really know each other that well back then. But now I guess we’re used to having Mikey around and he’s more of a friend now, so it’s really easy to record with him and he’s really good at what he does.” Surprisingly, given the critical acclaim afforded New Start Again, Edwards claims that he didn’t feel any additional weight of expectation when time came

to construct album number two. “Funnily enough not, and I would have thought that I’d definitely be feeling some pressure,” he muses. “But at the same time it’s not like the first record sold millions of copies or anything – it did well in its own way, which is really nice, but I didn’t really think about it at all and I’m a pretty self-conscious person. I don’t know how I pulled that off. Maybe we were just drunk the whole time.” Dick Diver began as just a joint project between Edwards and McKay. Since being joined by Montfort and Hughes, the undeniable chemistry amongst the foursome has been one of the band’s biggest assets, and this is even more to the fore throughout Calendar Days, which finds all four members writing tracks and even laying vocals on songs they didn’t write. “Yeah, definitely,” Edwards agrees. “I guess we’ve got to know each other more over the years, and recording the album itself was heaps of fun – we have a lot of fun together. It’s sort of just developed very naturally, and I think that probably comes through in

the recording. I can’t be objective about it obviously, but I imagine it comes out in some way. I think it’s just a happy accident – it’s really nice – and we’re kind of all on the same page. We don’t really argue much about what we’re doing, we just all do it and usually talk about something else altogether.” Calendar Days comes across entirely like the result of a shared vision – did the band articulate what they wanted it to sound like before the recording session? “A little bit,” Edwards ponders. “I had this idea about six months before we recorded it of making a pretty sad record – I think everyone in the band likes sad records. So we talked a bit about that, and I think to me we achieved that. I understand that other people think that it sounds like party rock or something, but it sounds kind of sad to me, and I’m happy with that. I like that we made a sad record. I don’t mean wrist-slashing or anything, but a bit more... I don’t want to say ‘adult contemporary’, but just a bit more reflective and a bit more

grown up maybe than New Start Again. Songs which are a bit melancholy and sad are usually my favourite type of songs.” Edwards believes that this feel is best attained through a combination of music and lyrics (rather than one specifically), although it seems that the words have more import at the end of the day. “For me, all of my songs I concentrate on the music first and I try really hard to get that to something that I’m really happy with, and then I spend ages and ages trying to figure out some lyrics that will go with that and won’t be shithouse,” he smiles. “I guess I think about the lyrics a lot, because it’s one of the few things that I’m really happy to do something different with – our music itself isn’t super groundbreaking or anything, but I think if I put some time into the lyrics I can make the music different somehow. Lots of bands just write shitty lyrics, and I try not to be one of those bands.” Dick Diver have been getting a lot of traction overseas – blogs have picked them up voraciously, and they’re soon releasing a track as part of the new Singles Club by esteemed US indie Matador Records – but overseas kudos aren’t a big focus for the band themselves. “It’s nice, but it’s not something that I aim for at all,” Edwards admits. “I’m kind of surprised. I thought maybe sometimes we’d sound perhaps a bit too exotic or something to American ears. It’s definitely not something that we’re that ambitious about at all, we just try to please ourselves.” As are a lot of Australian bands in the thriving indie underground at the moment. Dick Diver share a label with Twerps and stages with bands like Royal Headache, Bitch Prefect and Boomgates (of whom Hughes is also a member) – do they feel part of a new Aussie scene in that regard? “Yes and no,” Edwards muses. “These things only exist in so far as they’re written about enough to make people conscious of it. There are a few records that have come out with similar sensibilities, so I guess I feel a little bit like we’re a part of it, but at the same time I almost feel like an imposter or that we have nothing to do with it – it’s weird. It’s not something that I think about a lot, although in the last few years it’s pretty ridiculous how many good records have come out of Australia.

GROWING PAEANS “But we definitely don’t feel isolated at all [from any scene] which is nice. Maybe we’re a bit spoilt because it’s been this way since I’ve been playing music really so I don’t know much different at all. Maybe when it’s all gone we’ll feel really nostalgic and be sitting at the pub being assholes about how good it was in the old days.”

WHO: Dick Diver

WHAT: Calendar Days (Chapter Music)

AUSTRALIAN DRAWL A lot was made when New Start Again came out about how ‘Australian sounding’ Dick Diver are, and that perception will continue with Calendar Days, primarily due to a combination of their distinct Australian accents and tendency to use Aussie jargon and casually namecheck local institutions. “I’m conscious of it because it doesn’t have to be in there, but it’s not anything as contrived as trying to mimic conversations or conversation styles that any of us have, but at the same time that’s just the kinds of terms of reference that we’d use anyway in a conversation or whatever, and I don’t see why we should obscure that or cover that up by not mentioning any of those things,” Edwards reflects. “It’s kind of funny, if it was any other country – like if we were American – it wouldn’t even raise an eyelid if we mentioned Hollywood Boulevard in a song, that’s just very natural for an American. But it seems like you’re forced to be more conscious of it if you’re Australian, which is interesting. It is thought about and I’m very self-aware of it, but it’s just there. I do question it.” Some Australian bands seem overtly keen to sound like they’re from anywhere but here, which is why you can associate with acts like The Drones or Paul Kelly when they drop Australian references into their powerful songs. “I guess it can be a bit dangerous as well – there are a few assumptions about the whole thing that I try to dig out and not have in the music, like assuming that singing about a desert is automatically a pathway to singing about Australiana or something,” Edwards continues. “Again, years ago when me and Al McKay were about 20, and we’d be jamming on some horrible American song and it’s just really easy and natural to start singing in an American accent and you kind of wonder why that is. There are a lot of strange assumptions that go into that as well, which I try to dig out and look at sometimes.”


FAMILY REUNION Eight years since one of the unlikeliest reformations ever witnessed, Dinosaur Jr refuse to take the foot off the pedal. And as Brendan Telford discovers, Lou Barlow couldn’t be happier. inosaur Jr are relentless, and always have been. From crafting an impossibly loud brand of laconic guitar pop, to finding melody amidst the madness, flirting with commercial success and critical apotheosis, the core trio of J Mascis, Lou Barlow and Emmett ‘Murph’ Murphy flagrantly threw convention to the wall and indelibly hewed a new path through the American underground. But just as unyielding as their music was, so were the inner tensions between Mascis and Barlow. This chapter of the band’s history is either lionised or vehemently derided – yet the fact that it fails to be the conclusion to the band’s story is potentially the most relentless aspect of all. With Barlow rejoining the fold in 2005, the trio have crafted three albums in Beyond, Farm and I Bet On Sky that not only bolster their reputation/notoriety, but rival anything that they have ever committed to tape. It might seem like a hokily poetic Hollywood story cliché, if it wasn’t Dinosaur Jr.

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“None of this seems very likely, does it?” Barlow laughs. “Ten years ago, I would have said no (to the idea). When we put out some reissues in 2005, it seemed like a logistical or realistic notion to get the band back together. For me, I tried not to take it personally because I had spent so much time investing all this negative energy into my memories of Dinosaur Jr that it was an opportunity to change that. I thought it might be necessary, that it was something I should try to do; to put things right in my own head. It works for me, that’s for sure.”

When I’m with Sebadoh, the band is so much more affected by the atmosphere, there is so much more communication with the audience, there is more factors involved. Whereas with Dinosaur we just show up, set up the amps and bam! Yet you do one for enough time and you miss the other – the risk from night to night, the communication with my band members, and the lack of confidence, it can be that it’s like I miss that too. I like the confidence; I like being vulnerable – that give and take.” WHO: Dinosaur Jr WHAT: I Bet On Sky (Liberator) WHEN & WHERE: Thursday 14 March, The Hi-Fi; Friday 15, Coolangatta Hotel, Gold Coast

The oft-quoted band-as-family dynamic wouldn’t appear to apply to Dinosaur Jr, yet Barlow insists that such viewpoints not only undermine the band, they underline the concept of family also. “Families are always different,” he says. “It’s quite common to fight, or have brothers who haven’t spoken in years. It depends on what your association with family is. When some people say family they immediately think of dysfunctionality, whilst others will be like, ‘Oh, family!’ as if it’s this great thing where everyone is welcome. Then with Murph, his role is really unique – he is kind of like the glue that keeps it all together. He’s the guy who talks to both J and I, we are both really close to him in our own way. J has worked out his own way of communicating with him, and what is needed with the drums, and he respects J and what he has to say immensely. But Murph and me, he’s lived at my house for periods of time; he knows my family really well. With J and I, we are in our own little worlds, we’re socially different people, and Murph is the social butterfly, the backbeat of it all.” The success of the original line-up, although not wiping the slate clean, allows the band – and Barlow himself – to exorcise some bad blood while expanding on Dinosaur Jr’s musical legacy. True to form, there has been no public ‘burying the hatchet’ moment between Mascis and Barlow – the music heals all wounds. “It’s almost exactly the same as it was when I started out in the band,” Barlow admits. “The songwriting and creative things were never a problem for me; I never struggled against how the band put music together. J’s always had a real specific idea – it starts with the drums and we work on that; sometimes he writes bass parts, although now I mostly write my own. Every time it comes to record I have to figure ways to make J and Murph interested in my ideas, which is a unique challenge. It’s so similar, which is why our sound is so similar to what it was before, and why people allow us to keep making music, or come to see us play, or are excited when we put out new records. There was no need to alter that formula too much.”

There’s more to this story on the iPad There are some nuances present on I Bet On Sky that allude to benefits from Mascis’s first true foray into solo territory after he released Several Shades Of Why, essentially broadening the sonic palette while staying true to the band’s lauded idiosyncrasies that are prevalent on their past releases. Barlow is adamant that while there is room to stretch their creative wings, they will never stray far from what makes Dinosaur Jr iconic in the first place. “Whenever I go into a project I am prepared for a particular dynamic – for Sebadoh I know where I stand, with Dinosaur I’m entering J & Murph World, and I’m into that, too,” Barlow continues. “It doesn’t hurt to go off and do your own thing, but I think staying the same is kinda important. When I think about it in terms of being a music fan: did I like the Black Sabbath records where they started adding all these different things? No I did not! I like the Black Sabbath records that sound like Black Sabbath. Do I like In Through The Out Door by Led Zeppelin or do I like Led Zeppelin III? I like the Ramones, but do I like End Of The Century or do I like Rocket To Russia? When a band actually has a sound, where you have three or four idiots in a room and they make this sound that can’t be replicated, and they do it without really knowing it, that’s the real magic. And Murph, J and I are fortunate enough that we create what isn’t really easily replicated. So whilst I like some of the new things (on I Bet On Sky) – J added some keyboards and that sounds cool – there is also a lot of simplicity on the record, too.” Barlow has seen a resurgence in his writing and playing. Last year saw two of Barlow’s tracks make I Bet On Sky (Rude, Recognition) and the emergence of the first new material from Sebadoh in over a decade, with the promise of an album later this year. To see Barlow finding a happy and productive co-existence with Dinosaur Jr and the band he formed after the bitter split is another unthinkable reality, and bodes well for the foreseeable future. “For me, playing in those bands is different sides of the same coin,” Barlow states. “There is a certain confidence that Dinosaur Jr has, because we have such a unique sound, it’s like you are behind an object, and it gives me something that I don’t normally have.

For more interviews go to themusic.com.au/interviews • 13


RABBIT ON One of the most reliable prospects in Australian rock, Grinspoon are still proving themselves to be vital after almost two decades. Frontman Phil Jamieson talks candidly about the highs and lows with Benny Doyle. nder a fuck you summer sun in January this year, Phil Jamieson and his Grinspoon buddies returned to the Big Day Out main stage once more. It was beautiful thing. The 35-year-old, looking sharp in a pineapple print button-up, hair carefully parted to one side, commanded the absolutely massive crowd, the setlist delivered showcasing a band that had nothing left to prove but everything still to offer.

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“It was a very flattering and a very nice feeling to have that main stage crowd in Sydney and in the Gold Coast,” says the singer, calling in on a rainy day from his Port Macquarie home. “In Sydney it was a 46°c day and the main arena was essentially empty before we played, and we came on and it was absolutely huge so... it was nice. We didn’t know what to expect, we hadn’t played for a long time in Australia, and not an event like that on main for a long time. And if there were any critics we kind of answered them. I think the people there had a good time – we had a ball.” Since Guide To Better Living started blasting through the Discmans of every high schooler with a pulse back in the late-‘90s, Grinspoon have maintained a constant presence on the Australian rock’n’roll landscape. And although they’ve preserved the general foundation of their sound, each record since that 1997 debut has given the Lismore four-piece a new spin, if ever so slightly. Cue Black Rabbits. Put together in Los Angeles with David Schiffman, a producer that Jamieson was originally drawn to through his work on records like Bronx (II) – “I love The Bronx; who doesn’t?” says the vocalist – Black Rabbits could actually be sighted as the quartet’s most accessible work. Sure, you get knocked around by some choice Pat Davern riffs, and the rhythm section of Joe Hansen (bass) and Kristian Hopes (drums) is, as expected, solid as a concrete slab; however, this seventh release sees the band embracing melody more than ever before. A reflection of the good place Grinspoon find themselves in right now? Jamieson doesn’t think it runs so deep. “Well... I don’t know? I guess so. It’s quite funny to be self-reflective isn’t it?” he says quizzically. “The verses needed the choruses, it’s just one of

those things. The songs kind of leant themselves to bigger type melodic choruses, it wasn’t anything pre-planned and/or how my meditation was going that day, that’s just how it was. I wish I could be more succinct when I’m appropriating stuff about songwriting, but I’ve been legendary terrible at it for a long time. I just think that a lot of stuff happens in my subconscious, and also my unconscious, but it’s the kind of vibe that sometimes dictates even my own brain with what this song’s about, and often later on, it might be four years until I figure out what a song’s about. It can sometimes take that long. “So I guess I might be happy and [whatever], but really the verses leant themselves to...” his voice suddenly rises up in volume like he’s screaming from a cliff top, “the verses are so fucking good they needed a fucking place to go to, yo!” Composing himself, he assures us that he’s yanking the chain. “I think that the verses set themselves up to have those choruses written and that’s just the way it works for me.” Still, after speaking with Jamieson and watching Grinspoon take it to the hoop back in January, it’s clear that life in the band right now is peachy fucking creamy. It’s a stark contrast to where the frontman found himself six years ago. ‘Ice Hell’ was the headline that got thrown around the media. Sensationalised, yes, but from the outside looking in things didn’t exactly seem healthy. Which makes the title of their latest outing all the more intriguing. Black Rabbits is rhyming slang for bad habits after all...

Jamieson lived, learned and moved on. It’s that focus on the present which has made sure there’s always been a future, with himself, the band and otherwise.

“Well according to Patrick it is,” Jamieson says, his voice full of scepticism. “And I’m like, ‘Buddy, last time I checked, black doesn’t rhyme with bad’. So, according to Pat it’s rhyming slang, but he’s a guitarist so throw him under a bus. The bio was based around that a bit, but it’s kinda a bit Da Vinci Code to me. Is it really? I think it’s pretty funny.”

“I think each record is a new chapter personally and creatively, whether there’s substance abuse issues or not,” he reasons. “I think each album, considering they’re called records/albums, are always going to [hold something] – creatively yes, and personally yes. But you can say that about the first four or five or six leading up to these last two. I think they’ve all been different chapters personally and emotionally, and artistically, yeah. But I wouldn’t necessarily put it down to a newfound awakening since ’07; you either sort your shit out your dead!” he hoots. “Basically it’s that simple, so you have to get your shit together at some point or you just won’t function so it was quite a simple thing for me, I just had to get my shit together. Unfortunately – or fortunately – I did it very publically. But it’s just about getting your shit together, really.”

That’s not to dismiss the fact, though, that Jamieson has clearly cleaned up his act since those ‘all day’ sessions of old. However, that famous Andrew Denton interview on Enough Rope was not the point a page turned – it was simply a period of life – and with it

For this Black Rabbits headline tour, it’s been billed that Grinspoon will be delivering the longest sets they’ve ever played. Sounds grand and epic, huh? Some real E Street Band shit right there. Unsurprisingly, in keeping with the entertaining trend of our interview, Jamieson

simply cackles at the hyperbole delivered from the PR machine. But with their seventh release still fresh and the six before it offering a plethora of classics, it’s no surprise they’re looking to extend their stage time, dig into their canon and even rearrange a few things. Jamieson is nonplussed about those elements though. He’s simply roaring to get back under the spotlights and shake his bad thing for our good selves. “We’re going to be playing longer at The Tivoli, which is number one, the first time we’ve ever played [there] and we’re fucking so excited! And it’s our first show of the tour so I just encourage people to come down and watch me dance because I’ve got some excellent dance moves, and my new outfit is fucking amazing! I’m taking the piss! I haven’t got my outfit yet, but I’m sure it will be.” WHO: Grinspoon WHAT: Black Rabbits (Independent/Universal) WHEN & WHERE: Friday 15 March, The Tivoli; Saturday 20 April, The Big Pineapple Music Festival, Sunshine Coast; Sunday 21, Coolangatta Hotel, Gold Coast

LIVE AND LET DIE Ahead of their maiden tour of Australia, Jeremy Galindo, guitarist for Texas post-rockers This Will Destroy You, sits down with Tom Hersey to discuss getting lost in the hypnosis of the band’s live show and how everything’s going with their next record. hings are currently very exciting in the camp of Texan post/doom/ambient rock quartet This Will Destroy You. When we talk, guitarist Jeremy Galindo is taking a break from tinkering with some new material. On top of that, the band’s soon to jump on a plane and make the voyage down to the our side of the equator for their first ever run of Australian shows. But wait, there’s more…

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That’s what we did with Tunnel Blanket, we had quite a few different versions of songs going, but when we wrote one there, Communal Blood, we all really liked that so we built an album around it. So I think we’re going to do something similar this time… [And] I think that we’re getting very close to finding that next sound. And then once we have it, it will hopefully be a fairly quick process in regards to writing the rest of the album.”

“Right now we have a live album’s that’s about to come out,” Galindo explains. “We’ll have a release date for that in a couple of weeks, and then outside of that we’re working on a new full-length that we hope to have done by the end of the year.”

Further discussing the band’s creative process, Galindo explains what they’ve been working on so far for the next record. “We’ve been experimenting with more piano, and kind of bringing back more forefront melodies. Unlike Tunnel Blanket, where there’s still a lot of melody there but it’s kind of washed out with a lot of reverb and delay. We’ll still be doing stuff like that but we definitely want to bring back melodies in a way so they’re a bit more apparent. We’ve been messing around a lot also with recording to tape and a bunch of different production things. It’s been interesting.”

A live album? Really? Do bands even release those anymore? Hell, even Galindo himself seems to think the whole ‘live album’ thing is a bit outdated, “I’m actually not one to go out and buy live albums from bands I like. But I’m really proud of how this one came out. Y’know, people might actually enjoy it. Especially to hear all the songs with the new lineup and to hear that fresh take on the material. “It wasn’t anything planned, it just kind of happened. We played a show in Iceland and they just happened to multi-track the show. And they sent us those tracks and they sounded really good and we thought, ‘Why the hell not? Let’s mix it and see how it comes out.’ And we’re all really happy with what it’s kind of evolved into and hoping that people dig it.” Even with a live record soon to drop, This Will Destroy You are primarily focused on getting together the material for their third studio record, the follow-up to the surprise critical and commercial hit that was 2011’s Tunnel Blanket. The band don’t make it easy on themselves when it’s time to do a new record, either. Galindo describes how the bulk of the band’s creative work comes early on in the piece. “Right now we’re working on a whole bunch of songs, and we’re trying to decide which song we’re going to build an album around. All the stuff we’re working with is pretty different right now and we definitely are just trying to find the next sound to attach ourselves to.

14 • For more interviews go to themusic.com.au/interviews

Finding that song which This Will Destroy You will then proceed to craft the album around is something that’s no easy feat. But thankfully for the band, and fans who have been waiting with bated breath to see what the quartet would do to follow up Tunnel Blanket, it’s a pretty straightforward process that arrives after the band puts in the time and effort before sitting down to decide things democratically. Luckily for them, it’s not a maddeningly psychedelic trip a la Vince Noir and Howard Moon from The Mighty Boosh. “We just need to find that one song that resonates with each and every one of us. For example, there have been some songs that we’ve worked on that maybe two guys are really into but the other two aren’t really feeling, so once we find that sound that we can all really agree on then we know what the album is going to sound like. We’re almost there with one song right now, and it’s almost to that point where we need to be. Where the four of us are completely in sync and have the same expectations about what we want to build.” Talking about where This Will Destroy You are looking to go causes the axe-slinger to reflect on the band’s progression thus far; one that has encompassed

everything from almost delicate shoegaze to facemelting doom metal. Such a diverse catalogue has got to be hell to put all together in a set when the band’s heading out on the road, right? “We’ve gotten more in the groove of mixing the emotions behind the Tunnel Blanket material with that of the older stuff. I guess we’ve found a middle ground where our sets can sound like one big song. There’s a drastic difference between playing songs from Young Mountain and playing a track like Black Realm off Tunnel Blanket, so finding a way to make all of that flow and fit so it’s all a part of one movement is mostly what we’ve been working on, and every single time we write a new set it seems like we’re getting better at it.” By tinkering with material, and improvising the passages between the live cuts, the band manage to create something powerful and captivating with their live performance. “We’re not thinking about it like, ‘Do we need to have certain crescendos in this song?’ or ‘What do we need to do to this heavy song?’ We’re just trying to use a natural approach where things can just flow into other songs. So it’s going to be like one long movement, but in that movement there’s going to be a good mix of material. We’re not just doing all new songs.”

As for what, experientially, This Will Destroy You offer up to their fans in a live arena, Galindo suggests, “We try to make it as hypnotic as we can. And really give people the opportunity to lose themselves not just in the sound they’re hearing but with the feel of it. We experiment a lot with sub-frequencies and making sure we’re physically moving the people as well as mentally or emotionally… We just try to make it as intense and hypnotic an experience we can.” Galindo concedes that the intense and hypnotic experience can often catch the band members out, no matter how many times they’ve played these songs. “There’s times where we all get completely lost in it. Luckily we’ve been playing these songs for so long that we don’t usually get lost in them, but it is a problem. But it can be just as emotionally draining for us as it can for the crowd because we get really involved in it. Oh well, y’know,” the guitarist says with a laugh. WHO: This Will Destroy You WHAT: Tunnel Blanket (Hobbledehoy) WHEN & WHERE: Tuesday 19 March, The Zoo


REMINDERS OF CHILDHOOD MEMORIES It’s probably safe to say that for all their line-up changes and media scandals, Guns N’ Roses have been one of the most controversial rock bands of all time. Multi-instrumentalist Dizzy Reed tells Lochlan Watt where his music is at in 2013. aving performed with Gunners as a keyboardist, percussionist, and backup vocalist for the LA legends since 1990, Reed is the longest serving member of the band, second only to the quite colourful, historically outspoken and dramatic vocalist Axl Rose, who has been there since the start in 1985. After that, you have members that have been with the now eight-piece group since 1998, 2002, 2006 and even 2009. It could be said that while the turnover of members is high, the frequency of their releases has certainly dropped back.

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Reed seems to be a little reserved himself – not necessarily clipped on his words, but gently spoken, polite, and never raising anything that could at all be deemed unnecessary. He even immediately admits to “exaggerating just a bit” after commenting that in terms of their tour schedule that “I usually find out about stuff the same way everyone else does: on the internet.” Perhaps that is part of the secret to his longevity in the band. “I think there’s no doubt that this is the strongest line-up we’ve ever had. You can just feel it,” he comments on the band’s current creative juices. They’ve been slowly but surely building the stockpiles of riffs and croons for the follow up to 2008’s massively overdue sixth album Chinese Democracy. So far he has contributed “more songs than I can count”, further adding that writing tunes is “pretty much all I do”.

Reed confirms that he “wrote almost all the music – did all the keys, all the percussion, and all the vocals. Because I don’t really play guitar, and I have a lot of friends who do play very well, they did all the guitar stuff.” In terms of Australian stuff he’s looking forward to, there’s the typical rock’n’roll glory of seeing Bon Scott’s grave, “a mecca for me.” Reed further comments that Australia has “produced some of the greatest rock bands in the world.” WHO: Guns N’ Roses WHEN & WHERE: Wednesday 20 March, Brisbane Entertainment Centre

“Everyone’s been sending some stuff back and forth. There’s a lot of stuff in the can. At some point I’m pretty sure we’re all going to get together and start jamming and seeing what sticks on the wall. It’s more in seeing what the moment dictates, and we’ll see what happens.” There’s no doubt that the band must be feeling some pressure to deliver an amazing record. After all, we’re talking about the name that gave the world 1987’s Appetite For Destruction. Chinese Democracy received a mixture of positive and negative reviews (Metacritic rates it at a 64 per cent average), and while still sold quite well, performed well below the commercial expectations of the music industry. One could say that a lot had changed in the world since their last release in 1993, a covers album entitled The Spaghetti Incident?. With this in mind, is this latest version of Gunners aiming for some new twists, or to deliver what is expected of them? “There always seem to be tricks up someone’s sleeve, sometimes that I don’t even know about,” Reed offers. “Honestly, I think that with the band we have now, and we’ve been together now for three years, things are just going along so good. We’re tight, it’s a well oiled machine. It’s still a rock band. It’s Guns N’ Roses man. I guess you could call it a classic vibe, but I think that’s what we do.” Apart from a one off show in Beverly Hills earlier this year, the band’s Australian tour will be their first major activity of the year, however. “I’m always trying to stay busy, I went and did some shows of my own in the frozen, midwestern, northeastern United States, and then I just went to Vegas and did a few shows there,” speaks Reed of his 2013 so far. “And then I had a nice little twoday vacation with my parents, doing some golfing, and then I’m back to play a show and then get ready to come to Australia. I always try to stay busy, and always try to keep rocking.” In April 2012 the band’s classic line-up was invited to join The Rock and Roll Hall of Fame. Both Axl and Reed declined to attend the ceremony. “There’s quite a few reasons why I didn’t attend,” Reed reflects. “I personally didn’t think it was right to not invite the new band – the current members of Guns N’ Roses. I didn’t think that was cool at all. Also, I was only allowed one guest, and the rest of my family would have had to pay full price for tickets, and I was like, ‘Where does that money go anyway?’ So the whole thing was just kind of... the concept, and the fact that I was considered, is very honourable. As far as the whole process, I just didn’t understand where that was coming from.” Despite his feelings on the matter, it hasn’t stopped countless fans from begging for an original Guns N’ Roses reunion – mainly revolving around estranged guitarist Slash, who has since found great success with his solo career. Former bassist Duff McKagan has joined the band on stage a few times in recent years, further fuelling the rumour factory. Despite admitting that it’s “always great for us and the fans” to be joined by Duff, he doesn’t see “any reason” for the band to ever bother with getting the original team back on board. He comments that “the band we have now is amazing” and “as far as a full blown reunion, I don’t see it ever happening.” The 49-year-old has recently been touring with his solo band, and reveals that an album is mostly in the can. “I have twelve tracks that I’ve recorded,” Reed confirms. “I’m kind of waiting to have enough free time, and the right time, to get them all mixed properly, and then put them out. When you do that, you’ve gotta tour to support it. I go out and play when I can, and the feedback on all the songs has been great. People are always asking where they can get them. I think that’s a good sign. It’s exciting – the tracks are great, but I just want to make sure it’s done right, and that we put it out at the right time. “It’s just pure rock’n’roll,” he describes. “We made a point to go in and track everything old school, and capture live tracks, live performances, and turn them into good songs. It’s me singing everything, and I can tell you right now, I’m nowhere near the level of Axl as far as singing goes, but I try. I think a lot of the songs will translate very well to Guns N’ Roses fans.”

For more interviews go to themusic.com.au/interviews • 15


FIRST AND FOREMOST Who would have thought that Opeth putting the death growls on the shelf would anger fans so much that one would challenge Mikael Åkerfeldt to a duel? Brendan Crabb is ready, blade in hand, to defend the honour of the Swedish prog-metal maestros’ main man. ’ve seen it all, man, I’ve seen it all,” Mikael Åkerfeldt, frontman of Swedish progressive metallers Opeth, recalls. “It feels like, what are we? You take away the screams and we’re nothing to some people. Which makes me question, why do they like us at all? Do they just kind of go out to have a fucking beer during ballads? There’s so many other bands out there who deliver the screams in every song; just go watch them instead. Opeth is not one of those bands. We try to do a little bit of everything. Heritage was our last record, we want to promote it. You don’t like it, that’s fine, but don’t be a cunt.”

progressive music and classic death metal. Strongly rooted in psychedelic-drenched ‘70s prog-rock, its ambient, otherworldly sounds flirted with jazz, folk and classic rock. Little could really be considered “metal”. The aforementioned comments are in response to a discussion about their previous Australian visit following the record’s release, during which they only performed songs featuring clean vocals. Certain attendees subsequently cried out for “fucking death metal” or growled during the shows’ more serene moments.

Heritage, released in 2011 and Opeth’s tenth full-length (or “observation”), polarised a fanbase accustomed to a bridging of

Åkerfeldt’s seemingly not bothered much by such reactions – except when they are blatantly untrue. “I think it’s unfair to say it’s not Opeth, it’s just that they don’t like it,” he says, of particularly venomous feedback. “That’s fine, I don’t expect everyone to like everything that we do. But to say it’s not Opeth, it’s not right. It’s wrong, because it is Opeth,” he laughs. “If it says Opeth on the record and a song is on there, then it’s Opeth.

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It was, frankly, disappointing to witness, especially when said performances were still wildly dynamic and crushingly heavy. When venturing outside afterwards, several punters loudly proclaimed how this equated to a betrayal. Obviously the bipolar vocal approach is an Opeth hallmark, but as this scribe suggests, surely the majority of fans could be open-minded enough to at least give such an approach a fair shake, especially live.

“I care about the fans, but if they don’t like something, it’s not like, ‘Guys, we have to go back to the working desk now and see what we did wrong’. We stand behind every one of our records, 200%. Our fans, we love them, but it’s not like if a portion of the fans don’t like what we do, it won’t change what we do. It won’t have us custom write a record in order to please someone. All our records, even the popular ones that everybody likes, are based on what we like. So that’s our recipe for whatever success we’ve had, we’re just doing what we want to hear, basically. Heritage is no exception.” These comments remind this scribe of a conversation with Porcupine Tree’s Steven Wilson, a long-time friend/collaborator of Åkerfeldt’s. He remarked that when musicians seek to sate others at the expense of pleasing themselves, they’ve crossed that line from artist to entertainer. The Opeth mainstay can get on board with this line of thinking. “People are going to have their opinions, it doesn’t matter what we do. If we would have tried to repeat a previous record, I’m not sure that would have worked either. I don’t like to see ourselves as a product. I don’t like to see ourselves catering to anyone’s needs other than our own. “When we put out a record like Heritage or [2003’s] Damnation, even [2008’s] Watershed – which I thought was the ultimate kind of extreme Opeth record – I didn’t feel like we could do anything better than that and [2005’s] Ghost Reveries, too. But those records were also hated by some fans, who thought they were shit, which is fine. There are people out there who don’t think that One Flew Over The Cuckoo’s Nest is a very good film. Some people think that Dumb & Dumber is a masterpiece. People have different tastes and there’s nothing you can do about that. It’s impossible to cater to someone when it comes to expressing an art form.” Was some of the live audiences’ behaviour frustrating though? “I’ve got a thick skin,” he says. “Sometimes I get affected and sometimes I’m not like the most confident person in the world. Obviously, I want people to like me, to like us. But we’ve done close to 200 shows for the Heritage record, and I’ve had people, like, challenge me to duel. I remember there was a guy, wherever it was in America... He was like, ‘Mike, I challenge you to duel’. I’m like, ‘Okay, draw, bitch’,” he deadpans, using that trademark dry sense of humour. “But it seems to be provocative to some people that we did Heritage and that we were consistent in trying to promote that record. “I remember the Sydney show and there was some people yelling out things, which doesn’t make me happy, but there was a bigger percentage of the crowd that seemed to like the show. It’s not a change in that sense, that all of a sudden we’re turning our backs on what we’ve done. The next time we come to Australia we’re going to do some of the heavier stuff. It was just in those initial stages when the album was new; obviously, we wanted to promote it. We played a lot of new stuff and played old songs which fit together with those new songs. “But people seem to be provoked by the fact that I didn’t scream. Which I think is a bit silly. Some people, it’s almost like we’re challenging them by delivering our music in a different way than they expected or wanted. Then it’s like we’re cheating them… There’s nothing I can do about it, we’re still going to do what we want and I never want this band to be in a situation where we don’t have control of what we do, and that we’re just playing for someone else. We’re always gonna try and make ourselves happy first and foremost, and it’s just a nice side effect that some people like what we do.” Many Australian devotees will be relieved to hear that. Taking a break from writing the next Opeth record (“One song is a strong, kind of melodic, sad song, the other one is a crazy, schizophrenic Queen metal song,” the frontman reveals of the progress) they’ll return with fellow Swedes Katatonia in tow. “Heritage is not new anymore. Now it’s just another album in our discography and we’ve been touring for such a long time for it. Now it’s settled in and we’re doing more songs from the back catalogue and doing some of the screaming songs. It was never the idea that we were never going to play those songs again; it was just promoting a new album, which is a bit different. But yeah, there’s gonna be screams,” he laughs. WHO: Opeth WHEN & WHERE: Saturday 16 March, The Tivoli

16 • For more interviews go to themusic.com.au/interviews


COLD CALLING Danish post-punks Iceage don’t seem to like much; other bands, people discussing their band, even taking interviews. But as guitarist Johan Surrballe Wieth rightly points out to Tom Hersey, that’s what you should expect of a band who title their second record You’re Nothing. e’ve been quite busy. Yes, that’s true,” Iceage guitarist Johan Surballe Wieth says of the run of activity that followed the band’s 2011 break-out debut long player New Brigade. The guitarist speaks slowly and without enthusiasm as he says this, it feels as though he’s converting Danish into English as you talk with him. But in spite of this, Johan’s dire tone and tendency towards understatement doesn’t really feel like a language barrier-thing. This is, after all, one quarter of the band that should have been flying high after getting their debut album released around the world to a great deal of critical acclaim but instead wrote a record like You’re Nothing.

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As teenagers Johan, vocalist/guitarist Elias Bender Rønnenfelt, drummer Dan Kjær Nielsen and bassist Jakob Tvilling Pless experienced the penultimate dream of most people who have ever picked up a guitar – they got to tour the world and play full-time in a band. But the experience wasn’t all that great for the four, as Johan explains, “it’s very hard to live that way. Not having some kind of thing to grasp onto that seems familiar. But then sometimes that is very nice,” and when it came time to sit down and write You’re Nothing, it seemed like living the dream hadn’t blunted the sense of frustration that pulsed through New Brigade. “When we did …Brigade we were very excited that we had just made a record. At the time that was just the biggest thing we wanted to do. So we had no expectation of what was to happen or the sudden excitement and interest. That was strange in a way. It was a test of our friendship, and I think we passed with an A+. Definitely. And of course, the traveling that we have done, in such an excessive amount, did things that were very good, and in some ways very bad.”

to even put it out on a bigger label, we were not aware of what we wanted to do. And then we went another direction and that didn’t work out and I guess Matador seemed to see us for what we are and not some potential, that we weren’t a diamond in the rough but something that’s finished, and yeah… We can’t really say if it was a good idea because the record’s only just come out. I’ve never really knew any of the music they put out, I don’t know anything about the label, I don’t think we feel as part of some Matador family.” WHO: Iceage WHAT: You’re Nothing (Matador/Remote Control)

Life is Noise presents

The sounds of trouble in paradise are heard all over You’re Nothing. From frontman Rønnenfelt’s repeated scream of “Pressure!” in disco-leaning opener Ecstasy and the gnashing guitar tones on It Might Hit First, the album pulses with the band’s uneasiness and scorn, perhaps even more so than New Brigade. “We did this record over a very long period of time,” Johan reluctantly offers on Iceage’s development between the two records. “We did some of the songs just days after we finished doing the first album, and then we did some of the songs just days before entering the recording studio. It’s been a very long time, but those songs we wrote just after the first record have changed, there’s been some back and forth, that’s shifted what they ended up sounding like… I think in a quite natural direction. Well, I think it’s natural in just the way that it happened. And this time when we were recording we knew we were so much better musicians than we were the last time. Time passes and we had played on the good side of 300 shows together, we got to know each other better as musicians and that helped to shape the second recording. Plus when we were recording we were definitely more aware of how to do what we wanted to do. We had better tools for shaping what we had in mind than the first time. “New Brigade represented our creative vision perfectly at the time when we made it. Because it shows what we could do and what we couldn’t do and how we took what we wanted to do and turned it into a record. And I think the same thing happened with this, and now because we’re in another place the two records represent very well where we were at the time. But that changes quickly I guess.” The changes between the two records run both deep and superficial. At their core, numbers like the title track and Burning Hand from You’re Nothing represent the stratospheric development of Iceage as songwriters, they capture a dynamism and understanding of melody while retaining the confrontational nature of the harsh, atonal tracks on New Brigade. Yet espite the development of Iceage as songwriters, most people would rather talk about the fact that a track from the new album features the band playing (gasp) piano. “I think that discussion is ridiculous,” Johan says, “and I think that people put too much into things like that. It’s dangerous in a way, like we’ve been put in a box and somehow people have an idea so that when we put piano on a song it surprises people this much. It feels somewhat ridiculous. So I think because of this we don’t really pay attention to anything that’s said about our band. It does not influence the way we write stuff. “I think in a way, with time, we lost some invisible boundaries about what one can do and one can’t do. So there was no need to argue about whether there should be piano on Morals or not, because that just seemed like the only thing to do.” The guitarist is adamant that losing those invisible boundaries was an effort that Iceage undertook very organically. In fact, they weren’t at all inspired by any other bands they saw on their massive world tour in support of New Briagde. “I don’t think something new that we hadn’t thought about came of seeing all the other bands play. We saw a lot of good bands and some poor ones in between. But it wasn’t an eye-opener either way where we got turned onto anything new. I don’t think we learned anything and if we did we were in no way conscious of it” Cynics have commented that some of the more musically adventurous, mature, nuances of You’re Nothing are symptomatic of Iceage signing on to American powerhouse indie label Matador. Even if such a reductive criticism didn’t overlook the caustic ethos at the heart of their second record, Johan’s response to the question, ‘Were you stoked to sign on to Matador?’ certainly dispels any notion of a band seeking commercial success.

Wednesday May 8 The Hi-Fi Brisbane Tickets from lifeisnoise.com, oztix.com.au and the venue

“Ummm… Not really,” the guitarist ponders. “I guess it was kind of a weird decision because we had been approached by some bigger record labels and I think we were kind of confused whether

For more interviews go to themusic.com.au/interviews • 17


NOT SO NEW NOW Pop rockers Nine Sons Of Dan are slowly but surely breaking out of the Gold Coast, with one fun song at a time. Frontman Jay Bainbridge jumps on the phone to Ben Preece to tell all.

They might have the classic Doors line-up of guitar, Hammond organ and drums, but Dutch bluesrock trio DeWolff’s allegiances are far more heavily slanted to classic UK blues-based hard rock, as Michael Smith discovers from Pablo van de Poel.

f you had to, you could almost use Fun (La Da Da Da Da) – the latest single from Gold Coast fivepiece Nine Sons of Dan – as a textbook example of what the band is all about: energetic, hard-rocking and, funnily enough, a whole lot of fun. The song has been lifted from their second EP – The New Kids – and as frontman Jay Bainbridge tells it, it was one of the easiest to have emerged from the sessions.

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“Basically, lyrically it was about stepping back from working really hard and having some fun,” he confesses. “I’m in the studio a lot so a lot of it’s serious work, especially when you’re recording an EP that you’re expecting to do big things with – it can get pretty stressful. That one we actually wrote in the studio, it came together really quickly one night – we were just drinking and having some fun and it just came together in a matter of minutes, it was just ridiculous. It just sounds really hooky and infectious and relaxed and fun, no pun intended.” Released in June under the dual production team of J.R. McNeally (Anberlin, Paramore) and Forrester Savell (Karnivool, The Butterfly Effect, Dead Letter Circus), the EP has already been garnering attention all over the world, with 170 radio stations in North America alone adding the tracks to playlists. “Like anything,” Bainbridge exclaims, “it just takes time, learning how to do the live show thing right and we’re still learning every day. I love watching other bands that we play with and just see how they get the audience hyped up. I don’t know, it’s pretty cool that every band has their own thing – we’re just still trying to find our own thing. The interesting thing about our band is we kind of don’t fit anywhere – triple j, I guess, think we’re too polished and too poppy and all the other stations probably think we’re a bit too rough for them, we’re not dance music. We’re in a hard place for that, but I think that’s one thing that everyone can agree on and likes is our live show. I think that

no matter who it is, like, we’ve had different triple j bands like our band and then see us live and be like, ‘Oh, they’re actually a really good band’ – so that’s pretty cool and definitely our strongest side, for sure.” Bainbridge is adamant about keeping his outfit real, not succumbing necessarily to any trends and continuing to build their live following in the most organic way possible. “I think with all the trends – I don’t want to, like, bag out triple j – but I guess what we like to do is honestly just do what we like to do in a room with the band and if people enjoy that with us, then that’s what’s going to happen. A lot of the bands we play with on the Gold Coast are trying to do that really indie triple j thing and it can work but, really, that trend is going to die out eventually. I think you have to stay true to what you’re good at and what you love playing. “We’re a hard hitting, really exciting band. We’re not trying to make dance pop music but we are trying to make stuff that people will like live, it’s not like serious musicians sitting in the corner stroking our moustaches thinking that we can reinvent the wheel. We just like playing fun, hard hitting rock music and that’s what we’re going to stick to, that’s just what we want to do. It’s good.” WHO: Nine Sons Of Dan WHEN & WHERE: Thursday 14 March, The Zoo; Saturday 16, The Hive (all ages)

Mike Cooper’s been kicking around since the ‘50s. Ahead of the launch of his new album White Shadows Of The South Seas with The Necks’ Chris Abrahams, Matt O’Neill tries to make sense of an artist who started his career playing acoustic blues guitar – but played a drum’n’bass gig in Adelaide last month.

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“So, I thought I’d go out and do what I normally do – but with drum’n’bass beats,” the 70-year-old guitarist says casually. “You know, just improvise over some loops and beats that I’d made at home. So, yeah, I do that on occasion. That’s something I like to do. I can’t think of any styles I’m opposed to trying. I’m sure there’s some out there but nothing’s springing to mind at the moment.” You can’t sum up Mike Cooper. You just can’t. You are Wile E Coyote, he is Roadrunner. Whenever you start getting close, he’ll just quietly tear off in some other direction. In broad terms, one would sketch out his career as a British experimental, improv-heavy guitarist who began in blues but has since broadened his palette – and that doesn’t even begin to cover it. It started in the ‘50s. Out of work, he and his friends opened music clubs and booked each other. Originally, he simply played blues and country standards. Since then, he’s written and released original material in styles ranging from free jazz, punk and exotica to folk and drum’n’bass. Room40 founder and frequent collaborator Lawrence English has jokingly dubbed him a ‘post-everything‘ musician. “I didn’t have any specific ambitions when I started out. I just played music for fun. I didn’t have any intentions of being famous or anything like that. As

ormed in a town in Geleen in The Netherlands in 2007, when the three members – singer and guitarist Pablo van de Poel, younger brother Luka van de Poel and Robin Piso – were just 16, 14 and 17 respectively, DeWolff are channelling the kind of music that first exploded out of the UK in 1968. From Cream to Deep Purple to Led Zeppelin, it’s always a heady, potent mix that every few years seems to find new life, whether in Canada through The Tea Party or here through Wolfmother.

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WITHOUT RULES

h yeah, that. I did that just the other week, actually,” Cooper chuckles. “I had this gig in The Exeter and it’s not exactly a genteel place. I’d played there a couple of times when the music was in the back-room and then they moved it out into the actual bar. Of course, the volume level changed dramatically and I got buried. So, when I knew I’d be playing there again, I figured I’d have to be prepared to give people something a little louder.

YOUNG BLOODS

“A lot of our songs tend to lean more towards the English vintage rock sound than the American rock sound,” Pablo admits, on the line between sessions recording bands in his own studio in Holland. “But right now, for the last year, I think, I’ve been listening to American music only – southern rock, Lynyrd Skynyrd, bands like that – so the next record’s gonna be more vintage American,” he laughs. At school, Pablo found himself something of a loner, only able to share his musical passions with a couple of other guys. “What I love about this music is that it is so pure – it’s heavy but it’s still pure. You know, 90% of the heavy rock bands nowadays put out a record which sounds like a bunch of computers playing heavy metal. What I love about music is the human touch, in all kinds of music; in old soul music, old rock music, old country music – I just love the human aspect of it. It sounds like a bunch of guys sitting together; that’s what I love so much about it. Zeppelin albums, they really sound like four guys playing together in a room and that’s, in my opinion, what music should sound like. I don’t know – I just like raw music.” There’s inevitably a touch of the Silverchairs in the DeWolff story: releasing an EP within a year of forming; critically acclaimed television performances before releasing a debut album, 2009’s Strange Fruits & Undiscovered Plants; having chalked up more than 100 performances; European tours; playing

to 10,000-plus at Europe’s oldest music festival, Pinkpop, in 2010; a second album, Orchards/Lupine, in 2011 – they’ve even had a documentary made about them. As it happens, Pablo, who wrote his first, admittedly “not very good”, song aged 11, started playing guitar in a grunge band when he was nine. “I was listening a lot to Metallica and after that I listened to Nirvana and The Smashing Pumpkins – I was really into them. The first song I wrote was kind of Nirvana style. And then I discovered Hendrix, at the age of 11, 12. Then came Led Zeppelin, The Doors and all that stuff – and now I’m listening to Leon Russell! No, sorry, at the moment Lynyrd Skynyrd,” he laughs again. DeWolff are hitting the country just as not only their third album, mischievously titled DeWolff IV in deference to Led Zeppelin’s IV, is being released locally, but also their back catalogue in a special Australiaonly double album package. “When we had our first DeWolff rehearsal, jamming,” van de Poel recalls, “it felt so good, everybody was on top of it – Robin was playing his keys like a mad man, he was giving everything he had, and so were my brother Luka and I – it was insane. Everybody was doing their very best to create such a cool sound, for me it was like, ‘Wow, this is it’. We were really ‘doing it’, giving everything we had, and it’s never changed since then.” WHO: DeWolff WHAT: DeWolff IV (GoSet/MGM) WHEN & WHERE: Saturday 16 March, The Joynt; Thursday 28, The Northern, Byron Bay

SOMETHING BORROWED Dubbed the Duchess of Coolsville by Time Magazine, Rickie Lee Jones tells Tyler McLoughlan about complementing her own rich musical explorations with the material of other songwriters. unique voice in a time when disco and new wave was on trend and female singer-songwriters were defined largely by the folk genre, Rickie Lee Jones introduced herself to the world with the casual jazz flair of Chuck E’s In Love from her 1979 Grammy award winning self-titled debut album. Though Jones’ enchanting, genre-blending style never allowed her early commercial success to be replicated, a restless creative spirit, often dedicated to the reinterpretation of standards and classics, has ensured she’s remained an important and enduring presence.

A opposed to how I feel a lot of musicians start out today,” he says. “My first release was a four-track, seven-inch thing. I played two blues standards, a song from a friend and a song I’d written. I’d consider that the start of my ‘professional‘ career – in that I was out of work and had nothing to do.” The shock of Cooper’s career still comes in its scope. Not just stylistically, but chronologically. His career predates The Beatles. He’ll speak candidly about Tim Buckley inspiring him to use jazz musicians – and you have to remind yourself that he was actually his contemporary. To think of a musician of such an era still playing and experimenting with contemporary vanguardists like The Necks‘ Chris Abrahams is staggering. “I love playing with Chris. Last year, when we played for ABC Radio, I actually decided to sing with Chris. That actually opened up a whole other arena for me,” the guitarist says of his current touring partner. “I actually started off as a vocalist rather than a guitar player and it’s something that I’m focusing on a lot more now. I improvise my vocals but I don’t improvise them in a standard improvised vocal way, if you get my meaning. “I like working with text and lyrics, in other words,” he clarifies. “You know, I’ve been working on a song cycle for the past couple of years. All the lyrics are drawn from Thomas Pynchon novels and I’ve kind of chopped them up and re-arranged them. Same words, different order.” WHO: Mike Cooper WHAT: White Shadows Of The South Seas (Room40) WHEN & WHERE: Wednesday 13 March, The Box

In 2012, Jones translated classic rock of the likes of Neil Young, Van Morrison and The Rolling Stones on The Devil You Know album, with likeminded genrebender Ben Harper on production duties. Her regular use of covers including the collections Pop Pop (1991) and It’s Like This (2000) have always been met with mixed response, though she explains why they were particularly significant in her early days. “Those records were made ten years apart, more or less, and now ten years [has passed] again [with The Devil You Know] so the process is bound to be different depending on where I live and who is in my immediate surround,” Jones admits. “The first difference is that working at my age, in this phase of my life, I’m a lot more casual, I guess. Pop Pop was the first record of covers after a ten-year career. Its meaning, if you will, was to shape the idea of me to include jazz; I had always done jazz live and in fact had probably ushered in a renewed interest in jazz standards [for] a rock pop crowd that didn’t know Lush Life from Street Life and didn’t want to know. I did [Billy Barnes’] Something Cool as the opening song in my very first tour, walked out onto the stage – a rooftop – and sang this ballad,” she says, proud of popularising the practice of covering jazz standards many years before Linda Ronstadt and Donna Summer took it mainstream. With such an esteemed career to showcase in her intimate run of Australian shows alongside

multi-instrumentalist Jeff Pevar and cellist Ed Willett, fans will be treated to an eclectic setlist dependent on Jones’ mood each evening. “I try to educate the players quickly so that we can do whatever I – we – feel on any given night. [It] depends on what I feel that night; I feel the crowd, sometimes I feel them before they arrive… Sometimes I forget to do songs like [The Last Chance] Texaco or Chuck E[‘s In Love] – I forget. Other times I remember obscure tunes and pull them out. I just do what I feel like as long as I am sure I will remember the whole thing.” Jones’ memory is firmly intact as she recalls the favourite moment of her Australian travels dating back to her very first visit when a fan followed her car to find out where she was staying. “She caught me at the elevator. [For her it was] one of those moments you hope for then when you get there you don’t know what to say. And she said, ‘Why do you wear those pants?’ Which characterises the Australian to me; not rude, just you know, plain speaking. I said, ‘Well I saw Janis Joplin in these pants on the back of an album once and decided someday I would get a pair of pants just like them’. I loved that moment,” she declares, remembering a pair of wide, flaired crepe pants, “first because she didn’t try to hurt me… and second because she treated me like a proper rock star and I love the memory. I didn’t expect that enthusiasm; it was nice.” WHO: Rickie Lee Jones WHEN & WHERE: Wednesday 13 March, The Old Museum

For more interviews go to themusic.com.au/interviews • 19


SINGLED OUT WITH CHRIS YATES

ON THE RECORD

UNDERGROUND LOVERS Au Pair Rubber Records

You can understand the dudes wanting to make some new music to legitimise the fact they are playing shows all around the place again, quite a few years after the initial excitement of their first round of reunions or whatever you want to call them happened. Burn is not really loud guitar riff heavy Stooges excitement, more like a plodding shadow of their former selves rewriting Gimme Danger complete with the fingerpicking bit but minus the threatening menace and anger/ passion. Iggy’s voice is inexplicably double tracked which sounds horrible and removes the interesting delicacy of his quiet vocals.

TRAIN Mermaid Sony It’s always a sombre reminder that this sort of music exists when it arrives in your inbox. It’s like when you get really sick and you’re reminded how nice it is to feel healthy. There’s a horror lurking out there which you’re really much better off not knowing about it, but with the realisation comes also a ‘be thankful for what you’ve got’ kind of feeling. Lyrically, with its references to Johnny Depp and confusion about whether the mermaid is actually an angel or perhaps the ocean’s daughter are ambiguous and stupid beyond belief.

HOW TO DESTROY ANGELS

Chapter Music

XL/Remote Control

Welcome Oblivion

Melbourne indie darlings Dick Diver have seemingly been able to do no wrong of late, and they continue their golden run with assured sophomore longplayer, Calendar Days. Their 2011 debut New Start Again showed a new melancholy side to the quartet – mining more country territory than the fuzzed out rock of their early forays – and this vibe is expanded upon over Calendar Days, a restrained and at times wistful album that’s rife with melodic hooks, lyrical inventiveness and welcoming tones.

With band members including Thom Yorke, Nigel Godrich and Flea, the debut LP from Atoms For Peace was always going to cause one hell of a storm. However, Amok doesn’t sound like music from a new group. Instead, the future-addled soundscapes pick up right where The Eraser, Yorke’s solo record of 2006, left off: fractured, vulnerable and claustrophobically haunting.

Sony

One thing that’s undeniable is how Dick Diver have grown as a band, as distinct from a group of talented individuals – all four members bring songs to the table, and their offerings complement each other perfectly throughout. The way that the voices of guitarist/vocalist Rupert Edwards and drummer Steph Hughes entwine in the gorgeous title track, or the way that guitarist/ vocalist Alastair McKay and Hughes share the laidback narrative to Two Year Lease, speak of a band at the top of their game, while bassist Al Montfort brings some levity to proceedings at the halfway mark with the inscrutable Boys. The sound is perfect throughout (thanks again to Mikey Young) and they show a willingness to experiment with the form, the fade-in to the excellent Lime Green Shirt (and the pedal steel on the same track) a welcome change up. Singles Alice and Water Damage are requisitely strong, as is the acoustic lament Gap Life, while the album closes on a high with the somewhat irreverent Languages Of Love. Not a massive departure, but still an exceptional set of songs from one of the bands at the vanguard of Australia’s thriving indie guitar underground. ★★★★½

Steve Bell

Weaving live instrumentation and electronica, the record makes creepiness and desolation feel attractive and warm. This is in large part to one of our generation’s most arresting voices, but also it’s a credit to Godrich’s programming and production. Amok causes your outlook on the world to change in a flash; negatives bleed into positives and the whole experience of life wraps itself into one. Listening to this record on headphones while walking alone in a city is an overwhelming experience.

While unsurprisingly dressed in Reznor’s characteristic

it’s only precedent within the NIN catalogue is VDstyle, 2008’s instrumental Ghosts. However, it owes far more

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Welcome Oblivion, the debut album of Trent Reznor’s LIVE post-Nine Inch Nails project with longterm collaborators Atticus Ross and Rob Sheridan and spouse Mariqueen Maandig, Welcome Oblivion has already earned considerable criticism as a substandard NIN album marred by Maandig. All at once, that is chauvinistic bullshit, fanboy nonsense and distantly accurate.

Away from his flawless vocal verses, the guitar work of Yorke is stunning. He’ll find a little groove, what seems to be an inconsequential riff, and ruminate on it until you’re completely caught within its clutches. Reverse Running showcases this perfectly, with simple notes bending around in the background, Yorke’s voice hypnotic, while percussion crackles around your ears like Pop Rocks candy. Flea’s bass lines tend to follow a similar path (Stuck Together Pieces, Judge, Jury & Executioner) while drumming is used sparingly, never stepping over the line to become something showy.

to Reznor and Ross’s work on The Social Network OST. If Nine Inch Nails were a pop act bathed in abstract noise, Welcome Oblivion sounds the opposite: abstract noise reluctantly sculpted into poppier architecture. Maandig is the weak point, however, she is not a weak performer. It’s clear that the band are simply developing. Where their eponymous debut EP found Maandig singing Reznor-lite melodies, singles like Ice Age and How Long show her developing her own style. Reznor, Ross and Sheridan still haven’t quite figured out how to consistently meet her halfway, though, and that means she occasionally sounds a little lost in the debris.

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Fat Possum

Amok

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Burn

ATOMS FOR PEACE

Calendar Days

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IGGY & THE STOOGES

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DICK DIVER

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The seventh album from Underground Lovers is due for release at the start of April. This is exciting news. One of the most consistently engaging bands Australia has ever produced, their genre-defying, ever mutating sound has always been timeless, especially as musical trends and cycles go round and round – they never seem out of place. Au Pair is a rocking, fast party tune, with a sense of foreboding and uneasiness gurgling under the surface, bursting through in the choruses while the title is screamed in an angsty throwback. I can’t even imagine that the whole album will sound like this, but I can’t wait to hear what is going on.

Although it feels like the continuation of an existing musical conversation rather than the beginning of a new one, Amok still has the power to direct your thoughts, provoke your senses and, most importantly, keep you guessing again and again.

However, Welcome Oblivion is not substandard. It’s some of the best production of Reznor’s career and is the furthest he’s advanced his sound since 1999’s The Fragile. The songs themselves, meanwhile, are consistently engaging. When the band truly comes together (On The Wing for example), they’re stunning. One just hopes Reznor doesn’t ditch the project once NIN are back in action. Their next album could be astounding.

★★★★

★★★½

Benny Doyle

Matt O’Neill

LOON LAKE On Fire Independent There’s something really cool that Loon Lake do to heaps of their songs where they manage to take really interesting and often quite twisted sounds and merge them in with what would otherwise be pretty straightforward pop rock. In doing so, they really separate themselves from other bands that try and remove any of this weirdness and end up just sounding flat and boring. That they can include such a bizarre guitar riff in this rock song and make it actually work to the extent that it becomes another hook is a success in itself.

K-OS Nyce 2 Know You EMI The problem with R&B becoming cool is that it gets harder for people to tell what is good and what stuff slides under the radar because it has similar aesthetic qualities to something that is actually good. k-os (stylised in no-caps as he prefers) employs a really basic pop song over a slow beat with some strings and falls way flat of being dark or anything nice at all really. He’s Canadian, so maybe he should be cut a bit of slack except that Drake is also Canadian and is way better. Actually, I probably wouldn’t be so harsh if the PR for this didn’t make ridiculous claims comparing it to Frank Ocean, Kanye, The Weeknd, etc. because all of that is drawing a very long, unrealistic bow.

HUNGRY KIDS OF HUNGARY

JOSEPH TAWADROS

KATIE NOONAN

Chameleons Of The White Shadow

Songbook

You’re A Shadow

ABC Classics & Jazz

Kin Music

StopStart/EMI

Jarringly highfalutin name aside, Chameleons Of The White Shadow deserves better than the reception it will inevitably receive. The latest album by Egyptian-Australian musician Joseph Tawadros, Chameleons… will almost certainly be embraced by jazz and world music listeners alike as a masterful piece of work. Unfortunately, it will almost as certainly be ignored by everyone not immediately concerned with those genres. Which is unfortunate.

Brisbane’s got some serious claims when it comes to producing musical talent, both historically and at this moment in time with gifted young bands fronting up almost every day it seems. While not quite an international household name like, say, Powderfinger, angelic-voiced songstress Katie Noonan has fronted a small handful of these acts over the years and has forged herself a dignified and undeniable place among our very best female vocal powerhouses. It’s only natural and inevitable that she sees fit to revisit her catalogue and cast a new light on her personal choices for Songbook.

You’re A Shadow is a significantly better record than its predecessor. Highly (and deservedly) praised upon its 2010 release, Hungry Kids Of Hungary’s debut album Escapades nevertheless looks somewhat immature in retrospect. A series of excellent songs written by a band of gifted songwriters unsure of their direction. You’re A Shadow is different. It’s precise, considered and, in its own way, heartbreaking. Producer Wayne Connolly has gifted the band with a stellar sound and, in doing so, appears to have graced them with sufficient confidence to fully tease out their own aesthetic: a bittersweet haze of psychedelic harmony, tangled counter-melodies and unnervingly taut songcraft. Songs like Wasting Away are infinitely simpler in orchestration than cuts like Scattered Diamonds – but proportionately sharper and more sophisticated in construction. Somebody Else’s Fool, for example, oscillates around a classically simple hook but surrounds its central premise with fleeting bursts of guitar scree, swooping vocal harmonies and all manner of subtle instrumental detail. There are fewer components to the songs on You’re A Shadow, but those components are sculpted with precision. The heartbreak of the LP comes from its lyrics. Whereas previous Hungry Kids’ releases seemed to prioritise storytelling and abstraction, You’re A Shadow is heavier and more personal. Wasting Away, Do Or Die, When Yesterday’s Gone – it’s not a depressing record, but a sad one. Reflective, selfeffacing and nostalgic. But, really, that heft is actually what makes it the band’s best release to date. ★★★★½

20 • For more reviews go to themusic.com.au/reviews

James Barlow

Not because jazz and world music are deserving of a broader audience, either. Simply because Chameleons Of The White Shadow is a truly excellent album, regardless of genre. Tawadros has surrounded himself with an intriguing line-up of world-class instrumentalists from an assortment of styles (including banjo legend Bela Fleck), presented a surfeit of exquisite melodies and combined the two with monumental verve and electricity. Musicianship is a key component of the album’s appeal. Tawadros‘ compositions and playing is unbelievably kinetic. Opener White Shadow is a spectacular six-minute mess of sprinting, spiraling melodies and worldly percussive breakdowns. Even discounting musicianship, it’s a joy listening to the interplay of Tawadros‘ bizarre line-up – banjos and accordions dueling with Oud and Arabian percussion. It’s the songcraft that sticks, though. Tawadros and players have packed their album with melodies both memorable and evocative, and their work remains compelling by virtue of its beauty. Nothing is ever boring. There’s an edge that ensures Chameleons Of The White Shadow never fades into easy listening. It’s fiery and exciting – closer to some crazy gypsy Battles record than any Kenny G cast-off. ★★★★

Matt O’Neill

Taking a retrospective walk among tracks from George, Elixer, her work with The Captains, and her solo output, Noonan has employed a host of symphonic players to accompany her. Some tracks delight in their new setting, while others come off sounding oddly hamstrung by some of the orchestration that, really, should augment them to greater heights, and it’s particularly and sadly true of the older hits. For instance, the George inclusions like Special Ones, Breathe In Now and Spawn lack that edgy, feisty attitude they debuted with. But the dramatic strings that haunt Quiet Day and Bluebird fit extremely well beside Katie’s piano and pitch-perfect vocal, all the better for now being framed with the reference points of love, marriage and family to call on. There are also five never-before-released songs to dig into. The liner notes are definitely worth a flick through; here Katie is able to vocalise the reasons why these songs were chosen, their meanings and intents, which are at times used for therapeutic purposes as a way of acknowledging both sad and joyous events in her life. ★★★

Carley Hall


KING GIZZARD & THE LIZARD WIZARD

SUUNS

THE MEN

CO-PILGRIM

Images Du Futur

New Moon

A Fairer Sea

Eyes Like The Sky

Secretly Canadian/Inertia

Spunk/Co-Operative

Battle Worldwide

Flightless/Fuse

It’s always difficult to maintain focus when lauded with acclaim. Montreal’s Suuns released their debut Zeroes QC in 2010 and within 12 months were touted for great things from the likes of NME, Clash and Pitchfork. Their confidence, drive and precision proved a powerhouse combination on the stage. Yet the follow up Images Du Futur, while exciting, highlights a band unable to shake off their latent influences.

Brooklyn’s The Men have been workhorses, tirelessly touring while churning out a record a year. Their latest album is New Moon, and despite the brilliantly executed shift in tone and musical approach that occurred on last year’s Open Your Heart, opening track Open The Door is bound to throw most fans, starting with a slightly honkytonk piano a la pastoral Neil Young (also the name New Moon could point to the new direction for the band, or a tip of the hat to Young himself). The hardcore aggression from years past is all but gone leaving a two-pronged personality – the part that electrified audiences with their brazen brand of hard-edged punk underlined with an economical, no-frills approach to making noise (and still do); and the earnest songwriters, using the generic tropes of popular song structure to expand on what is and should be expected of any band, let alone The Men.

Co-Pilgrim stands as the aural alter-ego of Mike Gale, who formed Black Neilson, moved to Melbourne from the Mother Country and had a few hits. However, for A Fairer Sea, Co-Pilgrim’s second long-player, Gale, now back in England, has immersed himself in a pastoral amalgam of lush, maudlin instrumentation and Beach Boys harmonies, overseen by Ride’s own Mark Gardener. Yet even though Gale has a way with words and knows his way around a melody, A Fairer Sea remains a fairly frustrating listen.

Seven-headed garage psych collective King Gizzard & the Lizard Wizard released an excellent debut LP last year, 12 Bar Bruise. In amongst the beer-swilling, hair-flailing hedonism, there was Sam Cherry’s Last Shot, a track that mirrored a love of Westerns and their inimitable scores, narrated by band member Ambrose Kenny-Smith’s father Broderick (of The Dingoes fame). This seemingly one-off quirk excursion sowed the seeds for this very unconventional sophomore LP Eyes Like The Sky, which is essentially a Western audiobook with an amazing, lovingly-rendered soundtrack made by a band who clearly worships the tropes of the genre. Again narrated (and this time written) by Smith, this episodic descent into the life of Miguel O’Brien, and the circumstances that lead to him transforming into the titular ‘hero’, is a tale ripped from the pages of the dark and violent Wild West, while the narration sounds like it’s been captured straight off a wireless. The songs themselves are incredible – the title track the perfect precursor to the morally ambiguous tale to follow; the percussive intensity and distorted harmonica of Drum Run a feverish counterpoint to O’Brien’s tortured self-discovery. The swagger and choral sighs of Evil Man evokes the malevolence of the Americans coming into Native American land, “led by a man with a leather book with a cross stamped on it”. The album runs through the plot at a click of rates to the climax of Dust In The Wind, and the resolute conclusion of Guns And Horses. A brave yet incredibly exciting effort. ★★★★

Brendan Telford

Things start strongly with the intense Powers Of Ten, laden with incessant guitar screeches, squalls and groans, precise drums (and cowbell) and Ben Shemie’s hissing vocals through gritted teeth – he sounds remarkably like Clinic’s Ade Blackburn. Yet on the synthetic throb of 2020, the haunting lullaby of Edie’s Dream and the sterile motorik of Sunspot, the entire aesthetic shifts into Clinic territory to the point that it may be necessary to check that this isn’t a pseudonym. And while other elements come into play throughout, they aren’t original – latter day Liars lurks in the sterile electronics of Minor Work (although that riff still sounds like it’s echoing out of Jonathan Hartley’s speakers). But the weird thing is, despite the apparent lifts from other acts scattered throughout the record, it comes off as quite effective and, due to the choice of “influences”, nowhere near as derivative as it probably should. The dub drive that infuses the rhythm section’s groove on Bambi is near revelatory, a cold beat that’s built to keep warm as much as it is to fill a dancefloor, while the pulsating beats on closer Music Won’t Save You interweaves with crowd laughter and a dour undertone for a rather poignant outro. Moral of the story? Steal intelligently. ★★★½

I Saw Her Face is possibly the best example of this – a Neil Young/Crazy Horse countrified dirge, with fantasy/ reality lyrics and a wonky, can-fall-apart-at-any-time distorted guitar sound while Mark Perro warbles along with the high timbre that mirrors the cagey, crackedgenius Canuck. It’s an excellent song, and despite the second half steering closer to past hardcore/garage glories and concepts (The Brass, Electric, the excellent noise wigout closer Supermoon) it’s becoming clearer than ever that The Men are growing into themselves nicely. There is no pretention here – the band is finally embracing all of their influences, and in doing so is redefining themselves, and possibly a whole sound. Country as the new punk? That’s what true country has always been. ★★★★

Brendan Telford

ADRIAN BOHM BY ARRANGEMENT WITH LISA THOMAS MANAGEMENT PRESENTS

“Has the audience simultaneously weeping with laughter and nodding in agreement.” – HERALD SUN

Brendan Telford

ADRIAN BOHM PRESENTS

“Slick, intelligent, blissfully funny...this is insightful, warm, classy comedy”  TIME OUT

THE RAC IST

18-24 MARCH POWERHOUSE DANNYBHOY.COM ABPRESENTS.COM. AU

It’s lush and often beautiful, but A Fairer Sea suffers mainly by a crisis in faith. The hybridisation of folk and country into a bucolic pop pastiche undulates throughout A Fairer Sea without enough respite, too often threatening to drift into the background. Thus the best tracks are the low, melancholic numbers that wallow in a fog of doubt and despair (especially No Man Or Mountain (Dyana Gray)), yet are broken up with sunnier numbers that don’t feel as earnest or real, thus dulling the gravity of what’s come before. Next time there might be a true middle ground for Co-Pilgrim to rise from, but for now A Fairer Sea, like much of its narrative, remains lost in the wilderness. ★★½

Brendan Telford

Book at Brisbane Powerhouse Box Office 3358 8600 brisbanepowerhouse.org

The lyricism is poignant and at times stirring. Opener 22, the title track and Roslindale are wrapped up in the tangled and melancholy tale of a long-distance relationship that never quite gets the chance to bloom. There’s a sense of loss all the way through the album – of identity (No Guiding Light), of belonging (Trapeza), and of place (I’m Going To The Country).

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MARGARETCHO.COM | ABPRESENTS.COM.AU For more reviews go to themusic.com.au/reviews • 21


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

THIS WEEK IN

ARTS Legally Blonde: The Musical’s leading lady Lucy Durack tells Danielle O’Donohue about slipping into her latest role.

By Gregory Crewdson

WEDNESDAY 13 Material Murmurings – an exhibition of Brooke Zeligman’s PhD thesis, these works are made of glass and other materials and look at the materiality of glass and the human body. Strong themes include family, child bearing and loss of tradition. Spectrum Project Space, exhibiting to Friday 22 March. Hannah Gadsby: Happiness Is A Bedside Table – Hannah Gadsby has a unique, drier-than-dry-whitewine humour. If you have never seen a Hannah Gadsby show it is something you simply must do. Contains imagined nudity and metaphorical nakedness. Part of the Brisbane Comedy Festival, Brisbane Powerhouse: Visy Theatre, 7.15pm, to Sunday 17 March.

THURSDAY 14 Miles Allen: Measuring Fruit And Vegetables – an exhibition of works using recycled European fruit and vegetable boxes, wooden rulers and other measuring devices. These unique works enhances commonly functional objects that are often let unnoticed and discarded. Last day, Bleeding Heart Gallery. Delta Of Venus Life Drawing Club – a weekly life-drawing event, this week’s theme is 1950s beach pin-up with the model styled in 1950s Australian beach culture. Think umbrellas, high-waisted bikinis and sun-kissed cheeks. South Side Tea Room, 7pm.

FRIDAY 15 Chalkboard – the late night comedy festival club a melting pot for comedies post-gig and punters post-laughter, line-up to be announced. Part of the

Brisbane Comedy Festival, Powerhouse: Turbine Studio, 10pm, to Saturday 23 March.

SATURDAY 16 Bike Week 2013 – organised by Bicycle Queensland, this week of bike related festivities is to help encourage people to get on their bikes and out of their cars. There’s a huge range of events including a movie night, bike orienteering, speed dating and the Scody Ride to Work Day. Various locations, to Sunday 24 March. Escape From The Break Up Forest – a play that follows Josh, who has been dumped by his girlfriend and starts to live in “the break-up forest”, living off cereal and acting out at work. This play includes a hand puppet spirit guide and plenty of laughs. Opening night, Judith Wright Centre of Contemporary Arts, 7.30pm, to Tuesday 19 March. Foundation’s Edge: Artists And Technology – an exhibition of works that look at the use of technology in art. These artists have focused more on obsolete and retro technology devices. Featuring artists Michael Candy, Lawrence English, Benjamin Forster and Caitlin Franzmann. Opening, QUT Art Museum, 6pm, exhibiting to Sunday 26 May. In A Lonely Place – an exhibition of large scaled staged photographs of a surreal view of middle America. This American photographer’s work has been compared to the paintings of Edward Hopper and gothic filmmaker David Lynch. Opening, IMA, 5pm, exhibiting to Saturday 25 May.

UP SHIT CREEK

Jenny Wynter’s Wonderland Featuring Betty & The Betties – local musical comedienne along with a capella singers Betty & The Betties, this is a musical comedy show receiving great reviews. Part of the Brisbane Comedy Festival, Brisbane Powerhouse: Turbine Studio, 7.15pm.

Singin’ In The Rain – classic film starring Gene Kelly and Debbie Reynolds. Set in 1927, Don and Lina are a famous on-screen couple, they struggle when Lina mistakes their on screen romance for real love and their latest film is transformed into a musical. Dendy Cinema, 10am and 7pm.

22 • To check out the mags online go to themusic.com.au/mags

Durack had plenty of practice while she was playing Glinda the Good Witch in the smash hit musical Wicked, but it’s in her current Woods, the charming role of Elle W cheerleader-type that goes to cheerleader college in LLegally Blonde, where she has rea really had to hone her skills. “I’m quite fo fortunate that I have the world’s gre greatest wig person and the world’s greatest dresser,” she says. “Both of them are actually my friends. I worked with them on Wickedd so we’ve already got a working rel relationship and I think that helps. Espe Especially at the start when there’s no ttime to get it down pat. Nobody rea really warned us with Legally Blonde. I ha have eighteen costume changes and over half of them are quicker than any costume change I’ve ever done in any show, ever.” Not that Durack is complaining. After performing the show in Sydney, it’s obvious Durack has a lot of time for her character and she’s happy to admit she shares quite a few characteristics with the ambitious Elle. “I’m not going to lie, I do love pink,” she says. “I do have a little dog of my own, I did start a law degree, and I do try to see the good in people and not judge people. I think Elle does a very good job of that. There are those similarities. I didn’t grow up with that kind of wealth. I grew up in

SUNDAY 17

MONDAY 18

Hannah G

BLONDE AMBITION

These days most performers study quite intensely to end up on the stage, but out of all the tools in a musical theatre performer’s belt, there’s one thing that can’t really be learnt until you’re there in a theatre doing your very first show: the art of the costume change. “That is quite a skill [of] its own,” Lucy Durack says, laughing.

Kim Nguyen

Kim Nguyen’s filmmaking foray into deepest Africa started out as a small-time thing. As Anthony Carew discovers, in the best ways possible, things rapidly spiralled out of his control.

“It feels completely surreal!” laughs Kim Nguyen, the Québécois filmmaker who’s just taken his Best Foreign Language-nominated film War Witch, and its 15-yearold Congolese leading-lady Rachel Mwanza, to the Academy Awards. “If I pitched this to a producer they’d tell me it sounds too farfetched, like a cheap version of Argo: a girl from the streets of Kinshasa meets a Canadian film crew, they cast her in this film, she goes to Berlin and gets an award from the hands of Jake Gyllenhaal, yadda yadda yadda, and at the end she walks the red carpet at the Oscars. A producer would

say: ‘C’mon, man, are you stupid?’ But that’s what has happened to Rachel! It’s pretty cool.” Nguyen, 39, is in a cab in Montréal, fresh off a plane back from Los Angeles. Both places are a world away from the Congo, where his vérité tale of child soldiers and rag-tag rebel militias was shot. “Tired of making films” requiring vast investment, Nguyen conceived War Witch as a film that could be shot on-the-cheap. “The plan was just to go down there with a crew of like five people, do it guerrilla style, shoot as if we were hunting,” he offers. “But it didn’t work out that way; it turned out to be another kind of guerrilla style. At one point, going from one location to another, we had to pass through a bad neighbourhood, and I looked behind me and there was about 34 vehicles, and in front of me there was an armed convoy, guiding us, and guarding us.” Nguyen took inspiration from films “about going up the river: Fitzcarraldo, Apocalypse Now, Hearts Of Darkness”, and War Witch trails along the Congo River, inhabiting its locations completely; including a memorable scene in the ruined palace of Joseph Mobutu in Gbadolite. “It was abandoned, filled with creepers, just totally desolate and eerie and powerful; it was something you could have never imagined in a script, you had to be there to believe it,” Nguyen recalls. Coming in as foreigners, the crew were met with initial – understandable – scepticism.

a comfortable suburban home in Perth so that’s where the similarities end.” While Durack’s last show, Wicked, had a very dramatic, sad thread running through it, Legally Blonde is colourful and funny. And much to the audience’s delight, every night Durack and co-star Helen Dallimore, who plays the hilarious beauty salon manicurist Paulette, get to work with Quincy, Sparrow and Luca, the dogs who play Elle’s chihuahua Bruiser and Paulette’s bulldog Rufus. “Luca, who plays Paulette’s dog, is just delightful. I think [fellow cast member] Rob Mills has actually lost his heart to Luca. He had Luca the bulldog’s face as his profile picture on Facebook for a good few months,” Durack says. But working with animals does present challenges. “There’s been no toilet issues, which has been a big relief to me,” Durack says cheerfully. “There was one show where they’d cleaned the stage with something different. It was like the dogs were ice-skating or something. They couldn’t handle it. By the end of the show everyone was like, ‘Oh my god’. The second the show was over the guys cleaned the stage of whatever it was and they were like, ‘We won’t use that again’.” And of course there’s always the regular challenge of performing a comedy live every night. “It’s really hard not to giggle onstage from time to time. And nothing seems to help. The more you think, ‘Stop it, you’re unprofessional’, the more everything seems ridiculous.” WHAT: Legally Blonde: The Musical WHEN & WHERE: From Sunday 10 March, Lyric Theatre “People there are really guarded about what your motivations are,” says Nguyen. “There have been so many films where a white person from North America – an aid worker or a journalist or a general – comes in and saves sub-Saharan Africa. I accepted the fact that people were going to be judgmental because of that.” Instead, they were welcomed by locals, and the resulting picture is the opposite of the condescending ‘white knight’ movie; even its local crew saying they made an “African tale that the world hadn’t seen before”. War Witch has, thus, thrown Nguyen to the frontlines of the “global dialogue” on Africa, and he’s plenty forthcoming about it. “Humanitarian organisations in Africa are corporations, and so they naturally function in a way that benefits the self-propagation of the corporation,” Nguyen says. “Finding money is easier for them in an emergency, so you realise that, subconsciously, those corporations almost want things to stay in the emergency mode, to not get better. Development is not marketable in a humanitarian way, so they’re not interested in, for example, financing higher education, and developing an educated population who can undertake not just peace-solving issues, but the pragmatic rebuilding and restructuring of society on a literal level.” WHAT: War Witch In cinemas Thursday 14 March


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

REVIEWS SAMMY J & RANDY: THE ARENA SPECTACULAR COMEDY Sammy J and Randy are becoming regular visitors to Brisbane, each time playing a larger venue, and it’s a delight to see them play to an audience of more than 500 in the Powerhouse Theatre. The Arena Spectacular isn’t a tightlyscripted narrative show like the Melbourne-based skinny man and purple puppet usually bring up north; instead it’s more of a ‘best of’, a collection of their songs from other shows. The segues come courtesy of a mean line in whipsmart banter between the pair, the kind of lightning-fast repartee that

WAT C H I N G

THE LOOKING

would be difficult to achieve at the best of times – let alone when one member of the duo, Heath McIvor, is down behind a screen operating Randy. The laughs come thick and fast and the highlights include Subwoofer and the duo’s epic song Aussie Music Saved My Life!, written for Ausmusic Month, in which they pay homage to (and pay out on) a who’s who of Australian musicians. A particularly lippy and persistent pun-loving heckler is given a serve in improvised song form, which brings the house down. Even just bouncing off each other and riffing like this, the pair have a comic energy few can match.

WITH HELEN STRINGER

Baz McAlister Brisbane Comedy Festival, Powerhouse (finished)

GIRLS

ON ALL FOURS E9, S2 This Week On Girls? While writing her e-book, Hannah goes too far with a Q-tip and ends up in the emergency room. Adam and his new girlfriend Natalia attend her friend’s engagement party where he seems uncomfortable. In a random occurrence, he bumps into Hannah on the street who is retuning for the ER. As he re-enters the party he heads straight to the bar for a drink. Marnie attends Charlie’s Forbid party with Shoshanna and Ray, who’s hostile to Charlie in the face of his success. Marnie does a cringe worthy performance of Kanye West’s Stronger and Shosh avoids her BF at the party. Ray addresses Shosh’s strange behaviour who semi-confesses to her infidelity, (Ray is amused and hugs her). Post-performance Charlie and Marnie end up having sex on the desk.

GAME OF THRONES SEASON 2 DVD/BLU RAY If you’re into Game Of Thrones (and why wouldn’t you be?), there’s a good chance you’ve already drunk deep of the compelling drama’s second season, either by way of its pay TV run or, uh, other means. But this is, of course, a show that stands up to repeated viewings, and with the third season set to premiere at the end of this month, why not refresh your memory with a return to Westeros? The Season 2 set on DVD and Blu-ray enables you to get a load of Tyrion regularly being awesome, Joffrey constantly reaching new heights of loathsomeness and Arya Stark being a pint-sized badass, as well as the pulse-pounding episode, Blackwater, featuring some of the

GLASS

A now drunk Adam takes Natalia back to his loft for the first time and reverts back to the aggressive and degrading sex (we saw him having with Hannah S1). Tonight leads us into the season finale – it does so controversially – leaving many viewers disgusted. Girl Talk Of The Week? Ray: “Why are you avoiding me?” Shoshanna: “I am not. I am socialising. I am working my social butterfly-ness.” Girl On Top? Marnie, because she sings and isn’t scared of being judged, she also refuses to be pitied by Charlie. It seems this girl is done playing the victim and that defiantly makes you on top. What We Learnt: Ray dabbles in Mac creative products (in particularly Garage Band). Cassandra Fumi Screening every Monday night, 8.30pm, Showcase

most tremendous carnage ever created for the small screen. But it’s the extra features that really distinguish this set, from the exceptionally informative commentary tracks (featuring cast members, directors, showrunners David Benioff and D.B. Weiss and saga creator George R.R. Martin) to the interactive guide to the various houses and characters appearing in the series. Vying for top honours is an in-depth look at the making of the aforementioned Blackwater and an animated series of background stories that provide insight into the Game Of Thrones mythology. It’s everything that’s needed to bring us up to speed before we plunge once again into the sexy, bloody world of this masterful series.

Forget dodgy Indian take-away and Star Trek re-runs, the clever folk over in North Korea have thought of a better way to entertain yourself on those long and lonely weekday nights: threaten nuclear war. In response to joint South Korean-US military exercises, Pyongyang released a statement assuring the West that these imaginary incursions will force the lonely State to exercise their entirely made-up “right” to pre-emptive nuclear attack. Cynics among us might suggest that North Korea deliberately forced illiterate peasants to set off a thermonuclear weapon by hand in order to provoke the US-backed South into upping their military preparedness. We might even suggest that this action was undertaken precisely to give their Supreme Command an excuse to make hyperbolic threats against America, thereby providing NK with the leverage to trade cash for apocalypse. You say ‘bribery’; North Korean Supreme Leader Kim Jung-un says, “Build me a Disneyland or die, motherfuckers!” Even if North Korea has absolutely no viable means of deploying a missile with long-range capability and would, frankly, have more likelihood of successfully attacking the Southern peninsular with a nuclear-armed sling-shot than with its amazingly advanced armoury, this is a threat to be taken seriously. The international community is certainly not taking these promises of nuclear attacks by a basketball-loving, Cognacswigging, Disney princess-obsessed Communist superstar lightly. The Bulletin of Atomic Scientists is so convinced by the big bad in the North that they’re in talks to move the big hand a tiny bit closer to

C U LT U R A L

CRINGE

WITH BAZ MCALISTER

Guy Davis Warner/HBO Home Entertainment

STEVE HUGHES: BIG ISSUES COMEDY The quietly-spoken Steve Hughes could probably lazily be described as the ‘thinking person’s comic’, but it’s more than that. His obvious passion for playing with ideas and meticulously dissecting them shines through in his act, as does his love of wordplay and vocabulary. “Come and see the convict wizard talk about the apocalypse,” he says, imagining himself drumming up business for his show – and it’s a perfect self-assessment. The expat Aussie and one-time metal drummer, now based in the UK, does indeed talk about ‘big issues’ such as the relentless onslaught of human stupidity,

but he always goes deeper than other comics might, takes the material further. Sure, we’re losing our common sense. Sure, we’re being nannied more than at any time in history. But who might benefit from that, and why? This is the kind of territory where Hughes is comfortable, and he’s a master of comic structure. One beautifully-written bit about hotel rooms contains a babushka-doll set of callbacks within callbacks and is a joy to witness. He’s meant to do an hour but is having such a good time he adds on another thirty beer-fuelled minutes – and it’s certainly not as if anyone’s got time between laughs to check their watch. Baz McAlister Brisbane Comedy Festival, Powerhouse (finished)

midnight on the Doomsday Clock they’ve been running since 1947. Until now that minor Cuban nuclear fuck-up in 1962 has maintained its winning place as the closest humanity has ever come to an anthropogenic apocalypse. But desperate entreaties by Supreme Leader – who’s said to have sent the organisation a custom-made video of him performing a rousing interpretation of Blondie classic, Atomic – has led scientists to change their consensus on the North Korea nuclear threat from an unanimous ‘meh’ to a more promising ‘meh?’. While it would be ostensibly easy to dismiss North Korea’s flaccid and mid-air explosion-prone missiles, the US has warned that it would be unwise to underestimate the North’s determination. According to their reliable intelligence sources North Korea intends to maximise its comparatively primitive military in its imminent attack on Western targets. Their strategy is to send 10,000 North Korean slave soldiers in nuclear-armed rowboats to paddle their way through the South Korean Sea and across the Pacific Ocean. The journey will be arduous. It will be long. And approximately half of the fearless, indentured warriors will suffer death by radiological poisoning. But what a mighty force that flotilla will be. The US has stated that its only hope now is to spend the next six months training civilian populations on the West Coast to exhale simultaneously with such force that they blow the rowboats away from the shore. It may, however, simply be too late to avert catastrophe. And that is North Korea’s inaugural ‘Thermonuclear Thursday’. Next week: Iran announces ‘WMD Wednesday’.

Unlike all these bandwagon-jumping Johnny-come-latelies professing an instant devotion to Game Of Thrones, I’ve been reading George RR Martin’s source books since the mid-’90s. It’s good to be able to lord it over newbies who still can’t get over Ned Stark’s head getting chopped off – firstly, it’s Sean Bean. You didn’t expect him to live, did you? And secondly, if you think that was a shocker, you ain’t seen nothing yet. It’s a double-edged sword, sometimes, being into the books; you can spot the subtle ways the TV writers alter things to make them work flawlessly in a new medium, and it’s a thing of beauty; but it’s sometimes a bitch knowing everything that’s going to happen. That’s why I try to stay away from Game Of Thrones gossip as much as I can, but I’m heading for GoT overload at the moment. Over the past week I’ve become cruelly addicted to a Facebook browser game called Game Of Thrones: Ascent. Look it up. Or rather, don’t. It will sap hours from your day. Plus, I’ve had to endure my friend Iain from Belfast’s torrent of gloating emails about doing a week on set as a Stark guardsman extra. We grew up together in Northern Ireland, where they shoot the show. And knowing the location and the scene he’s in, I can only be described as ‘totes jelly’. “Spent all day yesterday being slaughtered by two-timing [REDACTED SPOILER],” he wrote to me. “The stuntmen and fight coordinators are twisted psychopaths, and the slaughter is truly dreadful. Oh, what

an experience! The scenes are going to be awesome, especially my sword duel in front of camera! Pity I had to die.” He’s right – it’s going to be the most significant scene of the season and I can’t wait to see my old hairy mate get a good stabbing. And with the third season just weeks away I spotted a little bit of gossip that made my heart leap. The producers have hired Brooklyn band The Hold Steady to record one of the songs from the world of Westeros, The Bear And The Maiden Fair. It’s a bawdy drinking song that suits the group to a tee. This is good news and it’s exciting to think it might happen more. Being set in a medieval fantasy realm, it wouldn’t be right to slot in a guitar-led track from the commercial band of the moment, but it makes sense to recruit bands and make them part of the show’s world. Last season, likewise Brooklyn-based The National were hired on to record a version of The Rains Of Castamere, a mournful dirge about a noble family that were wiped out after giving the Lannisters a bit too much lip. It was sheer class. Even the trailers for the show have been clever with their tunes, backing them with tracks that are both lyrically and musically appropriate. Season 2’s trailer used Florence & The Machine’s stunning Seven Devils to great effect, and the Season 3 one uses “chillwave/glitch-pop/gloom rock” outfit Ms Mr’s haunting track Bones. And where are Ms Mr from? You guessed it: Brooklyn. I never thought, when reading the books all those years ago, that Westeros’s minstrels would turn out to be Noo Yoik hipsters, but I guess truth is stranger than fiction.

For more reviews go to themusic.com.au/reviews • 23


24


UPSIZE Member answering/role:

What part do you think Brisbane plays in the music you make?

Martin Duffy, guitar

It makes you work hard, it makes you want to grab any opportunity and strive for success. Our music and lyrics represent the feeling you get on a hot, humid Brisbane summer day.

How long have you been together? We have been together in this format since 2003.

How did you all meet? We initially met back at uni years ago. In 2003 we thought it would be a great time to get together and try to see how our songwriting chemistry would go. It clicked straight away and we have been gigging, writing and recording ever since.

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? It would have to be Paul Kelly and The Rolling Stones.

Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? Definitely a busted, down and out Hank Williams type. At least we would all have the blues and write some sad heartbroken ballad. I don’t ever want to appear in the Some Kind Of Monster DVD genre, looking bloated and angry.

Is your band responsible for more make-outs or break-ups? Why? Most definitely make-outs which ultimately lead to ugly breakups.

What reality TV show would you enter as a band and why? Big Brother so we could all be together in a large house with our guitars so we could write and record a double album (Neil Young style) without any interruptions.

If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? Lawn bowls: lots of easy walking and lots of bourbons in between ends.

What’s in the pipeline for the band in the short term? To write and record an acoustic album then head back to the studio to put down another electric album. And to have a tonne of fun along the way.

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

Upsize launch Hit The Lights (Independent) at The Tempo Hotel on Friday 15 March and play Redcliffe Festival Of Sails on Friday 29 March and The Palace Hotel, Woody Point on Friday 3 May.

Rollerball, The Saints and the sweet melodies of The Go-Betweens.

Photo by TERRY SOO.


With the whole crowd accompanying Ballew through the opening lines of the record – Kitty’s “Meow, meow, meow, meow, meow, meow”, The Presidents Of The United States Of America kick off the debut album part of the show in fine form. All the big hits are present and accounted for, and to the Presidents’ credit they never feel tired or stale, no small feat considering the mid-late ‘90s ubiquity of cuts like Lump and Peaches. Ballew and his crew just seem to be having fun on stage, to be able to play these goofy, ultra-catchy rock songs seems to tickle them. And yet despite the simplicity of tracks like Dune Buggy and Boll Weevil, The Presidents manage to fill the room with sound. The trade off between Ballew and McKreag’s two and three stringed guitars booms from the PA while Finn’s drums sound incredibly punchy. Even if their encore fails to hold the crowd’s attention after stellar numbers like Naked And Famous, The Presidents Of The United States Of America’s set is a resounding triumph. Tom Hersey

BLOC PARTY, WORLD’S END PRESS BRISBANE RIVERSTAGE: 05/03/13 Entering the Riverstage grounds, the muddy grass beneath our feet reminds us of the absolute sodden mess Brisbane has become during the past few weeks. On this evening, though, the clouds are shakily holding out above us, meaning there’s no excuse for it but to get down with Melbourne support act du jour World’s End Press, the foursome’s brand of bass-fuelled indie sounds robust and throbbing as it rises up the hill. Curly flametop John Parkinson is a prize frontman, his vocal range giving tracks like Second Day Uptown loads of scope. His presence is polite but constant – a pleasure to watch. However, it’s pretty goddamn hard to take your eyes off bespectacled bassist Sashi Dharann as he whips his head around, shuffles and even delivers a flawless on-the-spot running man, all while providing hip-shaking lines that take these songs to another level. Nick Cave @ Brisbane Riverstage pic by Stephen Booth

NICK CAVE & THE BAD SEEDS, MARK LANEGAN BRISBANE RIVERSTAGE: 08/03/13 While the threat of rain is imminent, it doesn’t stop a sizable crowd assembling for Mark Lanegan. It’s a great-sounding set, with the gravel-throated rocker and his band hitting highs on No Easy Action, Creeping Coastline Of Lights and The Gravedigger’s Song, yet it doesn’t quite get the masses moving. That said, Lanegan has never pretended to be an energetic frontman, his stand-and-deliver, take-it-or-leave-it delivery par for the course, yet he barely registers the audience, thus leaving his enigmatic status intact. The stage is overflowing as the Queensland Symphony Orchestra and a children’s choir from Annerley emerge – there are no screens or other pyrotechnics of any kind – but there is more than enough room for the hedonistic Nick Cave & The Bad Seeds. The first few songs, all off new album Push The Sky Away, are standard Bad Seeds fare (We No Who U R, Wide Lovely Eyes), with the added “flavour” doing little to accentuate things. The atmospheric Jubilee Street changes the momentum, however, with the strings and choir coming to the fore, and a typically possessed Cave whipping his band into a tumultuous crescendo with his demonic flails and thrusts, an overtly melodramatic Mephistopheles. We Real Cool holds up well, but is instantly dwarfed by the excellent rant Higgs Boson Blues, the children’s choir in particular coming to the fore and casting Cave’s evocative howls with an ominous edge of innocence among the chaos. Warren Ellis’s ever-growing presence is really noticed, as his turns on flute, guitar, violin and piano are often driving forces throughout. He even gets up to maniacally “conduct” the orchestra as the Bad Seeds slip into the back catalogue with a brilliant rendition of From Her To Eternity. Red Right Hand is played sparsely, offering a form of muzak version except for the sudden spikes of operatic noise; O Children is ominous and perfectly augmented by the young choir. The Ship Song follows, after which the choir “are off to bed” as Cave admonishes. But it just serves to fire him up, as they immediately launch into a typically raucous Deanna. It’s sad not seeing Mick Harvey among the rabble, but “new” addition Ed Kuepper is the best possible replacement as he proves on Papa Won’t Leave You, Henry. Cave

26 • For more reviews go to themusic.com.au/reviews

takes to the piano for an arresting Love Letter with the orchestra chiming in. Your Funeral My Trial, a Mark Lanegan duet on The Weeping Song and a typically damaging The Mercy Seat round out the set, before The Bad Seeds return to tear a hole in the sky with the devilish Stagger Lee. Brilliant. Brendan Telford

THE PRESIDENTS OF THE UNITED STATES OF AMERICA, HEY GERONIMO, LILLY ROUGE THE COOLANGATTA HOTEL: 09/03/13 With the frustrating abundance of shows in Brisbane on Friday, Time Off heads south to catch the ‘90s most unlikely success story, The Presidents Of The United States Of America revisit their somewhat-seminal debut album. Upon walking into the venue, we’re greeted with the guitar crunch of Gold Coast rockers Lilly Rouge. With the home ground advantage, the band quickly have the crowd whipped into a weird hybrid of club style dancing and moshing before Brisbane’s Hey Geronimo take over. Embracing the evening’s good time spirit with a cover of Talking Heads’ Burning Down The House, the band’s pop quirks set the stage for a decidedly quirky pop band. The Presidents Of The United States Of America are truly a silly band. But no one here tonight is questioning the pointlessness of songs about insects, malevolent postal workers or vengeful Hawaiian tikis; they accept the inherent absurdism of it all, immerse themselves in it. The Presidents Of The United States Of America never were a logical thing, but a band that at its heart was about pure, unadulterated fun. It doesn’t seem any more incongruous when Chris Ballew, Jason Finn and Andrew McKeag start singing songs about hotted-up roadsters (Mach 5) or an all-encompassing love for humankind (Love Everybody). The band hits these post-self-titled cuts with unyielding enthusiasm and the crowd responds with broad smiles and a surprising degree of animation – this isn’t another one of those shut up and play the hits show. Then, seemingly out of nowhere, Ballew announces that the band hasn’t played a single song off their debut record, and that the band should correct the ‘drastic oversight’ by playing it from start to finish.

If that doesn’t remove the Tuesday blues, then Bloc Party certainly does the trick, the London quartet nothing short of magnificent. A cornrowed Kele Okereke leads his troops out on stage brimming with confidence, exuding charisma from the outset. The visual set-up mimics the coloured ring cover of their latest record, Four, with a chunk of that album getting an airing tonight, including So He Begins To Lie, Team A and Coliseum. These new tracks showcase the band’s revitalised love for loud guitars, and sit comfortably with other riffcentric classics plucked from their back catalogue such as Hunting For Witches and Like Eating Glass. A shirtless, jort-wearing Matt Tong gives his kit an absolute pummelling during Song For Clay (Disappear Here), with the segue from that track into Banquet getting massive cheers from the remarkably still dry crowd; in fact, it’s not until the main part of the set’s almost concluded that we hear anything dance-heavy, One More Chance the first rave moment of the night, amplified by the striking lasers cutting through the skyward night. With plenty of time still to play with before curfew, Bloc Party really go to work on us during two encores. Unreleased track, Montreal, and big-time banger, Flux, keeps hands firmly high, while This Modern Love is delivered with fistfuls of romance. Ares then spirals violently before Truth and Helicopter bring it all home, the guitars of Okereke and Russell Lissack enjoying one last duel as Gordon Moakes’ back-ups trail out. Given that the four-piece literally flew across the country and back to play this show, they could have been excused for showing some fatigue during the set. But for them to come out firing and deliver perhaps their finest performance in our city is abso-fucking-lutely incredible. Hats off, lads. Benny Doyle

NEIL YOUNG & CRAZY HORSE, HUSKY BRISBANE ENTERTAINMENT CENTRE: 07/03/13 It’s a slightly odd pairing having Melbourne indie outfit Husky opening proceedings tonight, but the four-piece do a solid job in the circumstances and definitely win some new admirers over the course of their relatively brief set. It’s fair to say that Neil Young has nothing left to prove. His career has spanned more than half a century, he’s penned some of the most memorable songs of all time, he’s recorded some forty albums – as a solo artist, with Crosby, Stills and Nash, with

the Bluenotes, the Shocking Pinks, and of course, with Crazy Horse. He’s a behemoth, and so he’s earned the right to basically do whatever the hell he wants, and tonight he does exactly that. In a set that lasts a touch over two hours, Young and The Horse play only four ‘hits’ – Cinnamon Girl, Heart Of Gold, Powderfinger and Hey Hey My My. Filling the gaps were a number of cuts from new album Psychedelic Pill, a couple of brand new songs, and a few so obscure it fair boggled the mind. Young knows he’s got nothing to prove so he plays just what he wants, and the result? An absolutely stunning set. They set the scene early – opening with Love And Only Love, Young and guitarist Frank ‘Poncho’ Sampedro immediately clicking into the groove they inhabit so well, a seven-minute jam opening proceedings with squalls and wails, a wall of feedback which barely abates, followed by song after song of extended guitar-fed exploration, a veritable cacophony to which there often seems no end. Powderfinger, Born In Ontario and Walk Like A Giant all got the same treatment, the latter descending into a maelstrom of chunky feedback, thunderstorm-esque complete with lightning flashes, and eventually, rain, before they bring it down with relatively calm new track Hole In The Sky. He’s in solo acoustic mode for Heart Of Gold (by far the crowd favourite), then at the piano for another new one, Singer Without A Song. An extended Fuckin’ Up begins as some solid riffing, yet another prolonged electric sojourn into the depths of the Horse’s collective mind, before a bit of call and response with the crowd falls a bit flat. They offer Hey Hey My My to close, before encoring with Opera Star and Roll Another Number, two very odd choices on which to finish, and then they’re done. Young takes the (almost bemused) accolades with a smile on his face that basically says, ‘I’m Neil Young, cop that’. And we do, and goddamn, it’s good. A lot of people don’t dig on what Neil and The Horse lay down tonight, but it was always going to be like that, and it’s epic. Samuel J Fell

BOB MOULD, SCREAMFEEDER THE ZOO: 08/03/13 The place is chockers, full of the excitement generated by people who don’t get out that much anymore but who used to live for it back in the day. Pretty apt for local icons Screamfeeder, dusting off their gear after a lengthy hiatus, not that you’d know it given the way that they smash into opener Explode Your Friends like they’ve never been away. Static is powerful, Bunny seems to rock harder than ever and the three Feeders seem to be having a blast – drummer Dean Shwereb in particular a dynamo behind the kit – and the racket they make is noisy but joyous, sweeping the crowd along with them. They play the requisite hits (Dart, Hi Cs) and some lesser known tracks (Stopless, Broken Ladder) but it all works wonderfully, and when they clinch the deal with a killer Bruises, it’s hard to imagine that they were ever away at all. Strangely, tonight is the first time that Bob Mould has ever been here with a band – he’s played acoustically and using backing tracks – and he wastes no time atoning for this oversight, the opening salvo being the first five tracks from Sugar’s legendary Copper Blue album – The Act We Act, A Good Idea, Changes, Helpless, Hoover Dam – all sounding tight and punchy, Mould’s distinctive voice cutting through the sweat-thick air like a knife. There’s little fanfare, the trio – rounded out by Jason Narducy on bass and Superchunk’s irrepressible Jon Wurster on drums – just getting on with the business while Mould throws himself around the stage with youthful abandon. It’s not all a nostalgia fest though, a small break to introduce the band ushering in a suite of songs from Mould’s 2012 solo album Silver Age and the drop in intensity and quality is negligible, songs such as Star Machine and Round The City Square sounding incredibly vital. A couple more Sugar songs are thrown into the mix – Beaster’s Come Around and the title track from Your Favorite Thing – before the real highlight unfolds, Mould pulling out a trio of Hüsker Dü gems, the crowd whipped into a dervish as they finally get to hear Could You Be The One?, I Apologize and Chartered Trips in anger. The band march off but return quickly for an encore, hitting the enraptured mob with a frenetic take on Sugar classic If I Can’t Change Your Mind and Hüsker’s Celebrated Summer, before returning for a second encore and smashing all and sundry into oblivion with Flip Your Wig, Hate Paper Doll and the epic Makes No Sense At All. The scene of mass adulation as the band exits attests that this is far more than a mere walk down memory lane – this is rock’n’roll at its pinnacle. Steve Bell


CAT POWER, MICK TURNER THE TIVOLI: 05/03/13 Seated among a host of pedals and loops, a bespectacled Mick Turner, furrowed in concentration as he performs understated, experimental rock, goes largely unnoticed early. It’s as though no one recognises him as the legendary Australian guitarist of Dirty Three fame, nor sometime Cat Power collaborator who played on her Melbourne recorded 1998 magnum opus Moon Pix. To be fair on the rude-as-fuck yappers though, Turner does make for an odd opening choice. Pushing an hour, the wait for Chan Marshall, aka the predictably unpredictable Cat Power, finally gives way to Bob Dylan’s Shelter From The Storm, a walk-on song that doesn’t produce the desired effect. Individually Marshall’s new band – a trio of ladies with long-time collaborator Gregg Foreman – take to the stage; they’re well into the introduction of The Honeydrippers’ Sea Of Love before Marshall rolls in, forgetting words, already offering the mic to the crowd and eyeing guitarist/keyboardist Foreman when anything doesn’t quite sound right. Fleecing a punter of a cigarette, Marshall detours Rowland S Howard’s Shivers into INXS’ Never Tear Us Apart, before a languid arrangement of The Greatest has her crouching on the edge of the stage, close to tears. She’s incredibly real – raw and emotional to the point where it’s sometimes difficult to watch for fear of meeting her crowd-prowling eyes. Navigating through a set largely devoted to her latest record Sun, Marshall smiles quickly and often, winking and scrunching her expressive face, relying heavily on an expert band communicating through well-honed looks and body language. Through a sweetly clean vocal, she complements the keys and blips of Manhattan with hisses and howls, and literally apes the close of 3, 6, 9 as guitarist Adeline Fargier busies herself with soaring, looped backing vocals. Adding chants and percussive accents, Nico Turner could be Andrew Stockdale’s female dopplegager, though most importantly the multiinstrumentalist adds further layers to Marshall’s beautifully impulsive vocal that often drops expertly behind the beat. From her Perspex enclosed kit,

ARE YOU LOCAL? BRISBANE SINGLES AND EPS BY CHRIS YATES CHRIS@TIMEOFF.COM.AU

are making which has resulted in a crisp but dirty sounding indie pop production that does the band a lot of favours. Instrumentally, the arrangements are fantastic – as are the performances. The drums are frantic and washy, heaps of cymbals and clever fills. The guitars all mingle with each other in a noodling post-rocky fashion, building up and breaking down when they need to.

THE BLACKWATER FEVER Don’t Fuck With Joe Independent

GRAVEL SAMWIDGE Ferris Wheel Long Gone Records

Cat Power @ The Tivoli pic by Stephen Booth drummer Alianna Kalaba prepares for the defining moment of the set with a wash of cymbals, giving way to the sensual, backlit glow of Marshall’s silhouette wrenching every moment of feeling from the Spanish language Jukebox bonus track Angelitos Negros with vitality and class. The drive of Ruin’s quick-fire, confident lyricism is a crowd favourite, helped by lashings of gifted roses from an overwhelmed Marshall before the piercing, eastern riff and chugging rhythm of Sun closer Peace And Love concludes an affecting, roller-coaster of a set from a resplendent vocalist and performer all too willing to share herself tonight. As the house lights and music usher away her band, Marshall holds court with a clutch of cigarette-wielding fans long after most leave, tickled by her parting words, “Fucking Brisbane… I love you motherfuckers.”

For a second there I was, like, ‘Oh, no! Some idiots have called themselves Gravel Samwidge without knowing about the legendary Queenslanders who used to scare children and adults alike with their messy, droney, heavy shit’. Then I was like, ‘Oh wait, they spelled it the same as well!’ And then the reality of the fact that this is indeed a new Gravel Samwidge song by the OG(S)’s themselves. Amazing! Surely they must have gone folk country or something by now right? Not so! Heavy, barely-formed riffs battle it out with slow drums and a lazy drawl of an excuse for vocals remind us all how good this shit was the first time around and how timely and thoroughly modern and weird it sounds now. I believe it’s the title track of a collection about to be released on the equally modern format of cassette on Brisbane’s Long Gone Records, all very good fucking news.

HOPE SPRINGS On The Boat Independent On their new single On The Boat, Sunshine Coasters Hope Springs make a lot of very good sonic decisions. The first good decision was getting Jamie Hutchings from Bluebottle Kiss to record the sounds they

Joe doesn’t really seem that badass. Even though he kicks around in the video clip with a giant meat cleaver, he still doesn’t look like he would do anything too bad with it. He chases a skinny dude for a while and then does a bit of a dance with it – kind of like a butcher’s cheerleader. Roots rockers The Blackwater Fever have borrowed all the elements from Tom Waits’ version of The Wire theme song and turned it into this little bush ballad about Joe and why we shouldn’t fuck with him. The production is superb and the storytelling element doesn’t try to tell a new story, rather it conjures up a mood and does so quite well.

THE OYSTER MURDERS Lost To The Birds Independent Really running with the dream pop soundscapes and massive choruses, The Oyster Murders have refined their sound considerably over the years and this track really sums up where they have so far arrived. They cram the hooks in and throw in liberal amounts of ‘oh oh oh ohs’ for even extra catchiness. I really like this band when they strip back further, but the bombastic production is so over the top that it has to be respected on that level – Lachlan Magoo has really embellished the sounds with as many effects and things to make everything sound otherworldly and as massive as possible.

Tyler McLoughlan

For more reviews go to themusic.com.au/reviews • 27


ROOTS DOWN

OG FLAVAS

ADAMANTIUM WOLF

BLUES ‘N’ ROOTS WITH DAN CONDON ROOTS@TIMEOFF.COM.AU

URBAN AND R&B NEWS BY CYCLONE

METAL, HARDCORE AND PUNK WITH LOCHLAN WATT

Bilal

Arthur Lee & Love Look, this is kind of a bizarre column and perhaps a little self-indulgent, but I’ve been listening to a lot of Iggy & The Stooges’ Raw Power lately, in preparation for their forthcoming tour, and that got me thinking about great records that are unappreciated at first and then snowball into something far greater than their creators ever could have dreamt of. Raw Power was one of those records, the 1973 LP selling precisely fuck all copies upon its release but going on to be credited as one of the most influential rock’n’roll records of all time. Here are a couple more from around the same time that had a similar fate; if you don’t know them I suggest at least listening to them and preferably buying them. They all have had fairly decent remastering jobs done in recent years. Love – Forever Changes The infamous summer of love that hit San Francisco in 1967 gave birth to some really, truly incredible music. Even those who are most averse to the hippie culture ought to be able to relish its prettiness and its grandiosity, as well as the dark premonitions that songwriter Arthur Lee saw coming for the movement in the near future. The record is widely considered to be Lee and his band Love’s masterpiece, but was by far their worst performing record upon its release, hitting a peak of #168 on the Billboard charts in 1968. One of the most thrilling things about the record is that, even 45 years on, it just sounds so fresh and so vital.

The ‘90s neo-soul movement brought us Lauryn Hill, D’Angelo and Maxwell but, excepting Erykah Badu, the less publicised artists have had the most sustained careers. And recently they’ve visited Australia. First came Dwele, then Eric Benét and Musiq Soulchild. Now Philadelphia’s Bilal Oliver is touring with his band in May, hitting Sydney and Melbourne. The Soul Sista singer is reportedly fantastic live. In a fortunate coincidence, he’s just dropped the gorgeous album A Love Surreal. Incredibly, it’s only his third to surface officially. Oliver’s love of music originated when he attended his mother’s church. Graduating from a performing arts school, he headed to New York to study jazz, ironically leaving behind the boho urban underground in Philly that spawned Jill Scott. Signing to Interscope, Oliver debuted with 2001’s 1st Born Second, among its producers Dr Dre, J Dilla and Raphael Saadiq. Alas, his label shelved the follow-up, Love For Sale, which leaked online. Oliver didn’t release another album for nearly a decade. He then offered the darkly socially-conscious – and experimental – Airtight’s Revenge via the IDM indie Plug Research. It was neo-soul for Flying Lotus fans. Nonetheless, the cult fave has always cameoed widely. In contrast to Airtight’s..., A Love Surreal is accessible – even if its title is derived from Oliver’s fascination with Salvador Dalí. The loosely conceptual album charts the ups and downs of a relationship. It’s also embedded in ‘90s neo-soul, the intro Baduesque space jazz. Back To Love is a slinky hip hop soul single. West Side Girl has a taut yet squelchy funky groove that is a bit Stevie Wonder, circa Innervisions, a bit A Tribe Called Quest. Never Be The Same is R&B acoustica. Butterfly is a delicate

piano piece featuring Oliver’s college pal Robert Glasper, the jazz fusionist who scored a Grammy for 2012’s Black Radio. Elsewhere, he holds his own against ‘progressive’ R&B merchants like Frank Ocean. Longing And Waiting has illwave synths, and The Flow that psych indie-rock latent in The Weeknd and inc. Slipping Away is an Ocean-y epic ballad with climatic Princely guitar. Commendably, too, Oliver is heavily involved in the production. As for neo-soul’s biggest recluses? There’s still no sign of the long-awaited sequel to 1998’s The Miseducation Of Lauryn Hill – which won the former Fugees diva five Grammys, including ‘Album of the Year’. By the early 2000s Hill was obviously disdainful of fame – and the music industry. The New Ark collective, with whom she’d collaborated on The Miseducation..., sued her over songwriting and production credits. She felt “deeply betrayed”. In 2001, an increasingly devout Hill unleashed the sprawling MTV Unplugged No. 2.0, huskily performing all-new songs over rudimentary acoustic guitar. “Fantasy is what people want, but reality is what they need”, she preached. Despite her contempt for celebrity, the soulstress demanded that she be addressed as “Ms Hill”. Hill, who headlined Australia’s 2010 Raggamuffin festival, has aired few tracks in later years, one the spoken word Black Rage. Last year the mother of six, no longer with Bob Marley’s entrepreneurial son Rohan, faced tax evasion charges. A concerned judge ordered her to seek counselling. Mind, Hill’s ‘crazy’ railing at the Catholic Church over its child sex abuse cover-up during a 2003 Vatican Christmas concert now seems prescient. Hill has been cast as a tragic, embittered and erratic figure by (male) colleagues, but she did just tour with Nas. Happily, the troubled D’Angelo’s comeback is imminent. D’Angelo issued Voodoo in 2000, five years after Brown Sugar, but he has since cut the avant-garde song Glass Mountain Trust with Mark Ronson – and gigged. In January his cohort ?uestlove reliably told Billboard that the (informally entitled) James River is “99 percent done”. The Roots drummer compared it to Sly And The Family Stone’s There’s A Riot Goin’ On: “It’s potent. It’s funky... Totally brilliant.” Great expectations, indeed.

Gene Clark – No Other Famously one of the most extravagant flops in the history of recorded music, Gene Clark of The Byrds’ fourth solo album was to be the bane of his existence after its release. The 1974 record reportedly cost over $100,000 to make – the value of which 40 years ago is obviously astronomical – and when Clark presented it to his label, Geffen Records, they were incensed at the uncommercial nature of the songs they had spent so much money on and barely promoted its release. It stalled at number #144 on the US charts. But the songs that Clark wrote, put together with the ambitious and intricate production of Thomas Jefferson Kaye, stand up today as some of the most illustrious slices of folk-pop of any era. The Velvet Underground & Nico – The Velvet Underground & Nico Without wanting to teach you how to suck eggs, this album simply must be included on a list such as this. The 1967 classic – as it is now heralded – entered the US charts at number #199 and peaked at #171 a couple of months later. Even critics stayed away from it at the time, very few reviews of the record written before the mid-late 1970s exist. Of course the influence of the record barely even needs to be mentioned; just about every selfrespecting rock band has lifted something from this brilliant LP, from the cute chime of opener, Sunday Morning, the stomping I’m Waiting For The Man and the stoned squalling of Run Run Run, it’s hard to believe this record was so utterly unsuccessful. Dr John – Gris Gris Forget about poor chart performance, this thing didn’t even get a look in on its release in 1968. Dr John’s debut album didn’t really get praise from anyone and Ahmet Ertegun, his label boss at Atlantic Records, is reported to have called it “boogaloo crap” and had serious reservations about ever releasing the record. Now, it is hailed as one of the truly defining moments in blues, funk, jazz and, most notably, psychedelic music and – like the other albums mentioned here – still holds up to this day. Other Dr John records sold more copies, but none had quite the effect on future music – and one would imagine it will continue to do so – as Gris Gris.

28 • For more opinion go to themusic.com.au/blog

THE BREAKDOWN POP CULTURE THERAPY WITH ADAM CURLEY

Popstrangers So the news in with the release of the debut album from Chelsea Light Moving is that it is possible to have something of a wee midlife crisis even if you’ve spent your life sticking to your liberal anti-guns. The band, led by Sonic Youth’s Thurston Moore, recently turned up to the birthday party of a fan to play in what looks, in well-shot YouTube videos, to be the man’s garage. That followed a pledge in the band’s press bio to “detonate any birthday party, wedding or hullabaloo in any country, planet or stratosphere that doesn’t support right wing extremist NRA sucking bozo-ology.” In one of the clips of the show, the recently divorced Moore dedicates the song Empires Of Time, from the group’s new self-titled album (Matador/Remote Control), to Roky Erickson. He’d made the dedication earlier, too, when the song was posted online last July, calling Erickson “a maestro of American psychedelic rock’n’roll of the highest order.” The band itself is named after a moving company started by Philip Glass. The evidence in brief: new-rock-banding, rogue homegigging, hero-worshipping. (Also: commenting on Brooklyn Vegan posts, perhaps the most damning evidence.) But none of this tells of a decisive revisiting of a man’s youth quite like the record itself. Take the second track, Sleeping Where I Fall, which finds Moore groaning cat-sat-hat rhymes pseudo-petulantly over the kind of three-chord guitar progression any 14-year-old with a copy of Washing Machine could conjure. And groaning about not quite making it to the bed. That isn’t intended as a slight: throughout the record, Moore leads the band in a wilfully naïve rockband rumpus, managing as only Moore could to make it an act of earnest fun. It also falls flat constantly – Empires Of Time is actually an awful, awful attempt at third-eye rock that overlooks the sins of Wolfmother.

To say that Moore was enacting something like a performance piece with the band would be an insult to the trials of Sonic Youth, but whether it’s intentionally juvenile is beside the point. The album is a reminder that a lot of the guitar sounds we’re hearing again from younger bands reaching back to the late ‘80s and ‘90s were created in the great spirit of trial and error, in the spirit of allowing the gangly thrusts of rock instruments to pull a band unrestrained. One of those younger band is Auckland’s Popstrangers. The trio appear to have it made like few others: their debut album, Antipodes, is out through Carpark Records (Beach House, Memory Tapes) in the States and Spunk in Aus/NZ. Following their run of gigs here last week they’re relocating to the UK to take advantage of tour offers. Of course that suggests some business savvy at work, but it also suggests that they’re onto something labels and promoters – and by extension audiences – want. What Antipodes is, in essence, is an electrified cage for pop songs. Its bars are fuzzed out, distorted guitars through which we can hear mumbled, reverberating hopes and regrets playing like perfect radio hits from a shitty transceiver. Like many of the bands they’ve been compared to – the early Flying Nun roster as well as Pixies and Smashing Pumpkins – they frown their songs out, bowing the notes, bending their knees at the end of a musical phrase. Singer/guitarist Joel Flyger crows and coos on mid-album track What Else Could They Do. It’s an incredibly enjoyable album, excellently produced and performed, but what makes it exciting is that Flyger and his team aren’t working to a formula, or are at least fighting against one. Popstrangers may have set out to write, as their name makes stupidly obvious, pop songs with a twist, but they’re also interested in exploring the potential of their instruments. On many occasions Antipodes drops into a found rhythm, wanders into awkward playing, falls into a pit of noise. Popstrangers play outside the boundaries of the songs, and guitars and drums are wielded as powerful weapons. They’re a band looking for sounds and songs through trial and error, looking for the places where rock music can be exciting again.

Cattle Decapitation are making their way to Australia for the first time this June. The groundbreaking American deathgrinders will be playing in direct support of Sydney/Brisbane’s Thy Art Is Murder, with Brisbane’s Aversions Crown and Melbourne’s King Parrot rounding out the epic bill. The bands will play at The Rev on 6 June, as well as an all ages show at Expressive Grounds on The Gold Coast on 7 June. Tickets go on sale 22 March. Swedish melodic metal group Soilwork can’t get enough of Australia, and will be back again for some shows in October. The band just released their new double album The Living Infinite through Riot!/Nuclear Blast Records. With 30 ‘VIP meet and greet’ tickets available for “only” $165, you can see them on 2 October at The Hi-Fi, and even get three items signed as well as a photo with the band for that price. Normal tickets are going to cost you $65. Sydney hardcore band Relentless have been added to the forthcoming tour from Welsh emos Funeral For A Friend. The headliners released their sixth album Conduit in January, with Relentless releasing their second album Turn The Curse in the same month. You can catch this odd yet ambitious pairing at The Rev on 8 May, and at Surfers Paradise Beergarden on 9 May. Big news for House Vs Hurricane – the Melbourne metalcore group have signed a new record deal with US label Equal Vision Records. To celebrate, they’ve premiered a new video for 40 Deep over at the Alternative Press website and announced a tour of the same name. Catch them with national supports Prepared Like A Bride, Storm The Sky and Brooklyn at Tall Poppy Studios on 18 April. Defamer have been confirmed as the local support for Dying Fetus and Putrid Pile. Catch the brutality on 21 April at the Beetle Bar. Queensland ex-pat and longstanding Devolved drummer John Sankey has been confirmed as the drummer for Howard Jones’ new band. Jones, a vocalist who departed his former group Killswitch Engage last year, has recently got back on the wagon. All Shall Perish guitarist Francesco Artusato is also reported to be involved. Byron Bay hardcore band The Dead Ends have a new 7” release about to drop. Featuring members of Toy Boats and Postblue, and recorded at Brisbane’s Sun Distortion Studios, the band will launch a stream and pre-orders of the self-titled effort through telltalerecords.net this week. Local prog metallers Arcane have announced that writing is complete, and they will soon begin recording their third album. Bassist Brendon Blanchard has been “reluctantly but unanimously” ejected from the group, with the bass players from Ne Obliviscaris and Dead Letter Opener set to share session duties for the effort. Any players interested in taking on the position are encouraged to get in touch with the band.

GIGS OF THE WEEK: Wednesday: Tragedy (USA), Last Chaos, Shackles, Shortlife – Crowbar. Thursday: The Construct, A Breach Of Silence, Ambitions, Asleep In The Light – X&Y Bar. Friday: The Wrath, In Ashes We Lie, The Final Fall, Always Yesterday – Crowbar. First Failure, Deadlift, Deathgrip, It Runs Deep – The Waiting Room. Saturday: Aversions Crown, Endworld, The Lane Cove, I Shall Devour, Avenger, Wanderer, Winteress – Tall Poppy Studios. Ripped Off, Idle Minds, Aids, Hailgun, Something For The Mrs, Vile Specimen – Fat Louie’s. Road To Ransome, Shorelines, Hand of The Architect, Draw First Blood, Countdown To Armageddon, Bayharbour, We The Relentless, Illicit, Azreal, Board Stiff, In The Shadows, Winteress – Scream Ahead Studios. Sunday: Ensiferum (FIN), Bane of Isildur, Lagerstein – Coniston Lane. Psycroptic, Ne Obliviscaris, Lynchmada, As Silence Breaks, Down Royale, The Schoenberg Automaton, Alice Through The Windshield Glass, Absolution, A Breach Of Silence, 4 Dead in 5 Seconds, Kyzer Soze, Medusa’s Mirror, I Shall Devour – The Hi-Fi.


CROWBIRD

ALICE THROUGH THE WINDSHIELD GLASS The record in question is Brutalis Australis, an uncompromising body of work full of guttural growls, abrasive guitar rumbles and the sort of rhythmic blasting that could substitute machine gun fire in the Middle East.

our music to a new group of people. That’s exactly what you’re looking for as a band.” What about the connections between rock‘n’roll and wrestling? McCrow is eloquent on the subject. “The music will rock and the wrestlers will roll. A high impact sport needs high impact music to go with it. Hard rock and wrestling all the way! At Rockocalypse this will be a great mix, especially with the line-up of cool bands playing and the wrestle matches that will be battled out.”

Greg McCrow, frontman with late night whiskey punk rockers Crowbird, tells Tony McMahon all about the connection between music and wrestling ahead of the huge charity event Rockocalypse. “We’re all looking forward to playing at Rockocalypse,” says McCrow. “It’s always a very rewarding experience when you get to be part of such a big charity event. All proceedings will be going to Crime Stoppers. There will be so much entertainment including live music, AWA wrestling and a Miss Pin Up Pageant... so there really is something for everybody. We’re hyped and ready to rock and hope that you are too and hope to see you there. Playing at an event like this also gives us the opportunity to play to a wider audience and expose

As well as body slams, it seems punters at Rockocalypse can also expect some serious musical shenanigans. And, as opposed (maybe) to the wrestling, there’s nothing fake about it. “Our music can be described as late night whiskey punk rock with classic guitar solos, loud screaming, chunky bass riffs and solid drum beats. When we recorded our debut album we went for a very ‘real’ sound, which means what you hear on the radio will be what you’ll hear live with additional/extended guitar and drum solos depending on the night. We guarantee that you will be tapping your foot along to the beats and will have a good time.” WHEN & WHERE: Saturday 16 March, Rockocalypse, Redcliffe High Gymnasium

SUPER MAGIC HATS

After an 18-month creation process, Super Magic Hats is ready to reveal himself. On the cusp of his first Queensland show, the man beneath the moniker, Rob Masterton, discusses future sounds with Benny Doyle. “I just hope people will enjoy the music, get loose and have a good time.” Simple wishes from a gentleman currently delivering some of the most emotionally connecting electronic music in Australia. Masterton, the bespectacled Melbourne beat-maker, has been finetuning his work for well over a year. But with an eponymous six-track EP about to drop, the potential seen since his 2011 introductory cut, Happy Jazz, is all about to be realised. Super Magic Hats has succeeded in the improbable: giving technology a heart and soul.

“The songs really do well live as this is the direction we’ve been working on reaching for the band for a few years now, says Sahid. “Our favourites – as will be the Brisbane audiences – are Brutalis Australis and Painful Awakening. The crowd is in for an energetic, heavy show.”

On the eve of the band’s maiden Queensland voyage, Alice Through The Windshield Glass guitarist Adrian Sahid talks rebirth and fighting the good fight with Benny Doyle.

Alice Through The Windscreen Glass arrive in the Sunshine State as part of the Bloodline Festival, a metal event helping to raise money for Autism Queensland. Sahid informs with a smile that it gives the trip north from Sydney more meaning, especially knowing that the band’s music is directly benefiting others.

The loss of a vital band member in 2011 placed the future of Alice Through The Windshield Glass into turmoil. But now, with the full crew back together, the band are inflicting the pain once again.

“When we were offered a spot on the bill, we jumped at the chance,” he informs. “As a band, playing benefit shows such as this are really a driving force, and if it’s within our ability, we will do our utmost to play it! Autism is also a very worthy cause, it’s about time there is some focus on the issue.”

“Having lost Dave [Stanton – vocals] for nine months really threw the band in the air, and we weren’t sure whether it would survive,” the 27-year-old admits. “One thing led to another, however, and we were able to rejoin with Dave and complete the album. To have it out, and really to be brandishing such a polished effort, we are ecstatic to call it our debut album.”

WHAT: Brutalis Australis (Independent) WHEN & WHERE: Sunday 17 March, Bloodline Festival, The Hi-Fi

THE WRATH “Sometimes I think I have found something that will sound amazing, and when I chop it up and play around with it, it sounds awful,” he says, discussing his perpetual chase for textural fulfilment. “Other times, one note can leap out and work perfectly, and this can make a track sound complete. So there’s a lot of trial and error, really, lots of experimentation and lots of mistakes. It can be very frustrating at times, because you can be chasing an idea for hours before it becomes apparent that it’s not right, but at the same time, it’s a great feeling when things do fall into place. “There’s music that influences me on a lot of levels,” he continues, “guys like James Holden and the KLF whose whole approach to music is something that I try to learn from, guys like Gold Panda and Taquwami whose sound I love, but it’s not like I think, ‘James Holden’ and go write a track. When I am [crafting a song] I’m trying to express something like a feeling or a memory. I love to travel and I love to see new things, to try new experiences, and for me [that’s] probably more of an inspiration.” WHAT: Super Magic Hats (Independent) WHEN & WHERE: Saturday 16 March, Southside Tea Room

DANIEL KUHLE

Talking of getting the ball rolling, it appears that a new record from The Wrath will be on offer soon, although Creeper is slightly circumspect about exactly when, and indicates that the writing of it is the main priority. “This year we’re more looking at playing a lot more, visiting some places we haven’t played in a while, releasing a few singles and just knuckling down with writing a heap of songs for an album down the track – probably.” In the meantime, though, there is the opportunity to see the band live. For those who may have heard their recorded work but never been to a gig, Creeper says that the main difference between the two experiences is all about energy, something he would like his band’s next record to reflect.

It’s been a little quiet lately for Gold Coast metal outfit The Wrath, but frontman Tommy Creeper tells Tony McMahon that’s all about to change, and then some. “I guess we’d gotten to the point where we needed to step away from what we were doing with The Wrath and do something else for a little bit,” says Creeper, talking about his group’s hiatus. “We’d lost the fun factor and weren’t being creative. We could of been racking up all the km’s touring around, but in the last year or so we’ve written a bunch of songs and played a handful of shows, really just having fun with it, so we’re all hungry to get the ball rolling again.”

“banga”, and says that Midnight Sun’s long build-up has caused recent crowds to lose their collective shit. Indeed, the youngsters are taking on the responsibility of maintaining Australia’s pub rock legacy with gusto.

“I really think it would be a shame to not immortalise these songs and put them on CD. That’s why I started going solo; there was art going to waste, I guess. Not that I call myself an ‘artist’ as such, but I’m incredibly DIY (sometimes stubbornly so) and as cheesy as it sounds, I just want to release something that is completely, one hundred per cent me.” In describing one of his solo shows, Kuhle explains that the main thing punters might feel is, well, surprise.

“It’s a matter of a song pouring out of my head/fingers and then having to make an executive decision as to whether it suits my band or if I should use it in my solo show,” says Kuhle, talking about the process of choosing which of his music to use in the different platforms. “I guess you could say that my solo show content is mostly comprised of my ‘red-headed stepchild’ songs that just don’t work in my band/s. I’m really not a prolific songwriter, so my solo set is the culmination of 16 years of stuff that has never really fit the mould.”

WHEN & WHERE: Friday 15 March, Crowbar; Thursday 28, Surfers Paradise Beergarden

THE DEEP END And Kuhle is thinking about a record for his solo work, which strikes Time Off as extraordinarily exciting.

Ironside frontman Daniel Kuhle discourses with Tony McMahon on solo versus band voices and not wasting perfectly good art.

“Personally, I think the energy level that we punch out live far outweighs what we’ve recorded in the past. Although we’ve recorded a lot we’ve obviously played live lots more. That’s why we’ve decided to spend more time this year writing and recording everything we do to try and bring our songwriting and ability in the studio up to par with what we do live.”

“Certainly very different to any bands I’ve been in and you could call it my somewhat more sensitive side. Some songs have folk and pop elements; some songs have elements of romantic love ballads. I also throw in a few Ironside songs that translate quite well to the solo platform, and the occasional quirky cover, anywhere from E.L.O. to Cyndi Lauper. My delightful partner, Kim Davies, also joins me occasionally on harmonica and accordion accompaniment, so it’s a set full of variety. I think the most common feedback I get though is, ‘I had no idea you could sing like that’.” WHEN & WHERE: Friday 15 March, The Hideaway

“We try to keep that [Aussie] sound alive: AC/DC, The Angels, the Tatts. It’s that over-driven riff rock that sounds like a punch in the face. We just try to put our own spin on it and throw in [things] you wouldn’t typically hear from a pub rock band.” And with their debut out, there’s no stopping the Melbourne quintet. Australia now, New Zealand next. Europe in the distance. Global domination? Don’t put it past them.

Cop This is the apt title for The Deep End’s debut “punch in the face” And as Jazz Morrice tells Benny Doyle,”...we’ve busted our arse to get to the point we are at now. There’s no way we are turning back.” “I think we really just wanted to make a good rock’n’roll album,” explains Morrice, the 25-year-old “old man of the group”. “The key thing going through my head [when recording] was something MD our producer said: you want to be able to stick it on in ten years, crack a beer and still feel proud of what is coming out of the speakers. Short term [success] is great, [but] you have to be true to what you feel is good rock’n’roll music.” Listening to Cop This, it’s clear that these songs will have some kick live. The guitarist calls Knife Fight a

“We’re all really excited about the whole deal. The plan basically is to continue to tour our arses off. We’re a completely self-funded, self-managed band. It’s basically five blokes scamming days off work so we can tour the country and play rock’n’roll. We love doing this, even though it’s at times expensive, infuriating, mind numbing – we still love it.” WHAT: Cop This (Independent) WHEN & WHERE: Thursday 14 March, Surfers Paradise Beergarden, Gold Coast; Friday 15, Prince Of Wales; Saturday 16, Racecourse Hotel, Ipswich

To check out the mags online go to themusic.com.au/mags • 29


BRISBANE BOUND

HITTING THE BIG TIME

SINGLES ONLY

On Saturday 16 March, head to Grand Central Hotel in the city where triple j fancied indie locals Major Leagues, Thee Hugs and Caroline will be giving their all for the Trainspotters crowd. As far as free weekend music in the CBD is concerned, this is the duck’s.

VIVA LA DEATH

PUGSLEY BUZZARD

After an extended sabbatical, A Secret Death are returning to their Queensland stomping ground to remind us just why we were falling all over their dynamic brand of metal a few years ago. Tying in with the vinyl release of their self-titled record, the new look five-piece will take the stage with US headliners Norma Jean, fellow Yanks Vanna and local crews Safe Hands and Hand Of The Architect. Tickets are still available for the show, happening Thursday 2 May, The Hi-Fi, from Oztix.

HIS MERRY MEN

Member/role: Pugsley Buzzard – Hoodooman.

Member/role: Megan – vocalist

Home ground: Melbourne

Name of single: Pillow

FULL VOICE EXPERIENCE

Describe your live music/performance style as succinctly as possible. Rollicking boogie, blazing stride style piano. Dark and dirty hoodoo blues. Big scary blues howling vocals.

Experimental Melbourne vocal trio Aluka have been on a legitimate recording bent, wrapping around Victoria to make sounds in swimming pools, WWII bunkers, cars and a whole bunch of other weird and wonderful locations. The end result is Space, a record that offers the listener a multidimensional experience that moves through every inch of one’s body. Now, they bring this daring musical hybrid to the stage, playing Black Bear Lodge on Wednesday 17 April. Treat yourself to a night less ordinary.

Is this your first foray to Brisbane? If not how many times have you performed in our midst? Many, many times. Please relate your impressions of performing in our fair city. You have the best and biggest cockroaches of any city I’ve ever been too. What can we expect different this time around? I have a swag of new material. I will be performing in solo, duo and trio format. Has anything exciting been happening in your world of late? I toured recently in the USA. I’m about to launch a crowd funding campaign for my next album that I’m recording in New Orleans in May. I have just released a couple of singles on iTunes. Pugsley Buzzard plays Lock’n’Load on Thursday 14 March, Brisbane Jazz Club on Friday 15 March (with band) and Café Le Monde, Noosa Heads on Sunday 17 March.

SINGLES ONLY

STORMCHASERS Member/role: Beau Jorgensen – drummer Name of single: Someone Else

DDOUBLE DUTCHING A dead set rock rock serving is coming our way with Doubleblack visiting Queensland for the first time. Featuring former Living End drummer Travis Demsey and ex-Fireball member Matt Black, the guys will scorch the Logan Tattoo Show, Acacia Ridge Hotel, Saturday 16 March, before returning for the infamous 633 Ann St Rock’n’Roll BBQ, Sunday 7 April. Both dates will feature The Von Ehrics.

DROWNED BY SOUND Their rough and tumble brand of Aussie pub rock has sold out the Revolver Bandroom down in Melbourne, and now The Deep End are ready to adjust faces up Queensland way. If you like the volume at eleven then prepare for relentless horn throwing when the rowdy quintet bring their Cop This record to the Surfers Paradise Beergarden, Gold Coast, Thursday 14 March; Prince Of Wales, Nundah, Friday 15; and Racehorse Hotel, Ipswich, Saturday 16.

HIGH SCHOOL BANDS TO BATTLE IT OUT! If you’re still at high school but you know how to rock, then grab your gear and get along to The Rockschool Challenge. The battle of the bands competition, happening each Wednesday from the 1st to the 29th May, takes place at Southbank Institute of Technology, E Block Level 4 Gig Studio. To be in the running for thousands of dollars worth of great prizes, head to the event website now and get your entries in: applications close Thursday 28 March.

ON TIME OFF STEREO Cruise Your Illusion MILK MUSIC Pale Green Ghosts JOHN GRANT Chelsea Light Moving CHELSEA LIGHT MOVING Dormarion TELEKINESIS

PVT’S BOY ELROY

Specter At The Feast BLACK REBEL MOTORCYCLE CLUB

Leftfield local lad Elroy 4.0 has been announced as the hand-picked local support for PVT’s Brisbane show on their much anticipated Homosapien tour, happening Friday 22 March at The Zoo, with national support coming from post-dub pair Collarbones. Tickets are still available for the gig and can be picked up through Oztix, with prices starting at $30+BF. Proudly presented by Time Off.

Singles Vol. 1 & 2 THEE OH SEES

Stand-alone release or precursor to something more substantial? Pillow is the third single from our debut album Kind Of Loud. The thirteen-track album is available on iTunes and from JB Hi-Fi. Pillow is the first track and just a cool visual concept for our first tour of 2013. We had great fun in the photo shoot with feathers, bedding and inappropriate stripping. How does the single differ from previous work? This single really shows off the spirit of our live set with a heavy groove, raucous horn lines and a ballsy saxophone solo. While we tried to keep that live touch we also took advantage of the incredible studio and engineer we were working with and, among other things, really had fun with some messed up effects in the solo. What do you have planned for the launch? The launch is a tri-state tour through Brisbane, Maroochydore, Sydney and Melbourne. We’ve limited the tour to four shows only so make sure you book your tickets online so as not to miss out! We’ll be playing a lot of old favourites as well as exciting new tunes and fresh takes on some classics. Where to from here? After the launch we’ve got a handful of festivals like Live It Up Music Festival, Caxton Street Seafood Festival and Queensland Popular Culture Week. After that we’re jumping back into the studio and doing the whole process again. There’s nothing we love more than writing/recording tunes then playing a whole bunch of shows to celebrate. His Merry Men launch Pillow (Independent) at Solbar, Maroochydore on Friday 15 March and Beetle Bar on Saturday 16 March, plus play Live It Up Festival at RNA Showgrounds on Saturday 13 April and Caxton St Seafood And Wine Festival on Sunday 5 May.

Be Your Own King CONCRETE KNIVES Anything In Return TORO Y MOI vs Head vs Heart EMMA LOUISE Shrines PURITY RING

Stand-alone release or precursor to something more substantial? Someone Else is a precursor to our first fulllength album – will be included on the album. How does the single differ from previous work? Someone Else was written with a distinctive soul feel in mind, which is really the first time we’ve approached a song with a genre already in mind. We’re really pleased with the results and this song is a good indication of what’s to come from us.

TRUE TO HER ROOTS After a near death gardening experience which inspired her latest single, Avant Gardener, Courtney Barnett is sticking to what she knows: writing awesome songs and generally kicking arse onstage. She’s landed some great supports recently, but as one of the bright musical lights emerging on the domestic scene she’s more than capable as a headline act. Cue tour dates! Catch the 23-year-old with her band, the suitably titled, “The Courtney Barnetts”, when they perform Thursday 21 March, Black Bear Lodge with Grand Atlantic and Dom Miller. Tickets $14+BF through Oztix.

What do you have planned for the launch? We’ve got local funk legend (also our producer, coincidentally) Peter G and his band Golden Sound on the bill, along with Tassie boys The Mornings and our good friend Matthew Barker with his project The Bucketseats. Only two of the bands on the bill are from Brisbane, so it should make for a varied crowd to what we normally enjoy at our shows. Where to from here? After touring we are straight back into the studio – we have a lot of work to be done before our bassist leaves the country on holiday. During his absence we’ll have a bit of a break, but once he returns it’s straight back to business with our album to be released shortly after, and another (larger) tour to follow! StormChasers launch Someone Else (Independent) at Solbar, Maroochydore on Saturday 16 March and The Zoo on Thursday 21 March.

JUST OUR LARK PRIZE MINERAL If there’s a harder working band in the country than stomping blues trio Transvaal Diamond Syndicate, then show yourself, because right now no one is clocking up more kilometres than these road warriors. To promote latest single Blackwater and a limited-edition tour EP, the guys have been running the line feverishly since the start of the year. Finally, the tour makes its way home. Take a deep breath: Saturday 4 May, The Northern, Byron Bay; Friday 10, The Spotted Cow, Toowoomba; Sunday 12, Sundowner Hotel, Ipswich (noon, free); Thursday 23, Friday 24 and Sunday 26, Blues on Broadbeach, Gold Coast; and Saturday 25, Royal Mail Hotel, Goodna. And, unbelievably, stay tuned for more to be announced!

30 • For more news/announcements go to themusic.com.au/news

In a 2012 interview with Time Off, Simon ‘Berkfinger’ Berckelman (Feelings, Philadelphia Grand Jury) couldn’t sing high enough praise for Tom Lark, a young New Zealand lad with a supposed Midas touch when it came to garage jams. And sure enough, arriving in Australia he delivered every time he stepped on stage. Now, after crisscrossing around the globe whetting appetites for a debut record, Lark gives us another opportunity to get in his corner, playing Alhambra Lounge, Thursday 21 March. Tickets are $15 on the door.


EXTENDED PLAY-TIME

FRUITY DELIGHTS

ALL ARE WELCOME!

DESTROY SUPPORTS

Dreaming Of A Night Mango. We are definitely not sure what the hell that means, however, we can assure you that this curiously-titled fourth record from Melbourne songwriter Tim Guy is a genuine belter. Raw, intimate and full of wistful charm, get to know these new Guy gems when he plays a few free shows next month. Catch him Thursday 4 April, Lock’n’Load; Friday 5, Solbar, Maroochydore; and Saturday 6, Gov’s Espresso, Gold Coast.

Get along to The Hideaway, Thursday 4 April, as local alt-folk trio Elbury are skewing away from the norm and expanding their brood with a few guests on the evening. Having just cut their debut EP, the band will be showcasing these new tracks, delivering the enveloping harmonies and fine musicianship we’ve come to expect from the three-piece. Tickets for the show are $6 on the night, with support coming from The Gruitmen.

Unforgiving US post-rockers This Will Destroy You are arriving in Australia for their first ever dates Down Under next week, and supports for the dates have just been announced, with Perth’s Tangled Thoughts Of Leaving and locals Arrows fattening up this bumper bill. Tickets for the show, happening Tuesday 19 March at The Zoo, are still available – Oztix, $42+BF.

GOD LOVES YOU DANCING

BRAND NEW DAY LADI ABUNDANCE PROJECT Name of EP: Slice You Up Label: Nettar Nectar How many tracks: Four Tell us a little bit about the release: Well the project has been two years in the making, the line-up has changed a few times and the sound has been in formation. All musicians are jazz trained, and as I am completing my jazz degree, I find that the influence has become more evident. This EP displays a selection of tunes from our 2O-plus song repertoire. I tried to choose tracks for the EP that showcase the different styles offered by Ladi Abundance Project such as dancehall, soul, funk, hip hop and a capella. What do you have planned for the launch? The night will be supported by Rob Ratten’s electronic project Velvet 11. Rob is also the producer of the Slice You Up EP. Also supporting on the night is fellow female fronted funk band Bosscats and special guest vocalists from chick-hop group Indigo Rising who will feature in the Ladi Abundance set. What’s on the horizon for the band? To tour regionally and to far North Queensland in June/July. LAP hopes to cause a stir at some of the bigger festivals such as Woodford Folk Festival. Really, to tour around Australia and then tackle the world from there! No limits! I also really love the idea of showcasing and featuring guests up onstage with LAP (such as the ladies from Indigo Rising) particularly talented females, this has always been the vision for this project; for me to tell my stories, but also to create a platform for other females to express themselves and be seen. Ladi Abundance Project launch Slice You Up (Nettar Nectar) at The Joynt on Friday 15 March and play Lock’n’Load on Friday 5 April and Saturday 4 May.

PACK IT IN LADS Fusing the disparate worlds of glam rock and hardcore punk, Scrumfeeder were in a league of their own when they were tearing rooms a new one back in the ‘90s. Now, after a 15-year hiatus from the bright lights, the boys are well and truly back in town, so if you never got your fix pre-millennium then now’s your chance. Catch them at one of their three free shows, happening Friday 5 April, Dolphins Hotel, Tweed Heads; Saturday 6, Murrays Pub, Murwillumbah; Sunday 7, 633 Ann St.

Make sure you’re at Alloneword, Friday 19 April, when up-and-coming Sydney songwriter Jake Nauta takes to the stage to play tracks from his forthcoming EP, Dawn. Having more fun with his songwriting than ever before, expect these positive vibes to sing out through the venue when Nauta and his twopiece backing band arrive next month.

HOOKED ON A FEELING

JOT THESE DATES DOWN

Equally as comfortable on a guitar and bass as a piano and violin, former Brisbane now Melbournebased songwriter Dru Chen is returning to his old stomping grounds to launch the Intentions EP, a collection of uplifting, soulful tracks that evoke the Motown vibe of old. Check him out when he plays The Box, Thursday 6 June.

Promising Sydney rock quartet Creo are generating all sorts of buzz on the back of their debut EP The Memo, recorded with ARIA award-winning producer Jimi Maroudas. Get a taste of their melodic alternative sound and potential discover your new favourite band when the foursome play Friday 29 March, The Brewery, Byron Bay and Saturday 30, Ric’s Bar. Proudly presented by Street Press Australia.

SINGLES ONLY

Good Friday doesn’t have to be all about death, closed pubs and eating fish. Sonic Masala is hosting another show at the Waiting Room on March 29, and it’s an absolute corker, with Black Vacation (fresh off supporting Wild Nothing), Gazar Strips (having just released their Happy Valley EP), Roku Music and Barbiturates rounding out the bill. $10 on the door and BYO so stock up the night before and be at the only party in town.

BOSSING IT After the roaring success the Boss Sounds Vinyl Revolution exhibition last month, the crew behind all the wax righteousness will now be taking it to the needle, putting on a DJ night at Black Bear Lodge, Saturday 16 March. It’s free entry from 9pm and with tunes spun touching on Northern soul, reggae, 2 Tone, punk, mod and more there’ll be ample opportunities to get your bad ass down.

CUB SCOUTS Member/role: Tim – vocals/keys Name of single: Pool! Stand-alone release or precursor to something more substantial? It will be on our next release! How does the single differ from previous work? Zoe sings more than usual and I think it’s our first song with a keychange… What do you have planned for the launch? We’re playing at Black Bear Lodge on 28 March with Major Leagues and Rodeo! Where to from here? After the launch shows, we’re heading to the UK to play some shows over there, then we’re doing some stuff in Asia on our way home, should be fun. Cub Scouts launch Pool! (Independent) at Alhambra Lounge on Sunday 17 Match (under 18s) and at Black Bear Lodge on Thursday 28 March.

WOODEN WONDERMENT It was just meant to be a jam; three friends, a few beers. From those unassuming beginnings, Good Oak has formed, an Americana-tinged trio featuring Stephen Ryan, Brett Gibson and Tom Busby (he of Busby Marou fame). The band have put together their first EP which they’ll be launching at Black Bear Lodge, Wednesday 10 April with Mr Cassidy. Tickets are available through Oztix for $10+BF.

OUT NOW ORDER NOW FROM THEMUSIC.COM.AU For more news/announcements go to themusic.com.au/news • 31


TOUR GUIDE

RODRIGUEZ: The Tivoli Apr 1 SOJA: The Zoo Apr 3

PRESENTS

INTERNATIONAL RICKIE LEE JONES: Old Museum Mar 13 DINOSAUR JR, REDD KROSS The Hi-Fi Mar 14, Coolangatta Hotel Mar 15 BRUCE SPRINGSTEEN AND THE E STREET BAND: BEC Mar 14, 16 OPETH, KATATONIA: The Tivoli Mar 16 DEWOLFF: The Joynt Mar 16 ENSIFERUM: Coniston Lane Mar 17 ONEOHTRIX POINT NEVER: IMA Mar 18 ZOE KEATING: Brisbane Powerhouse Mar 18, Byron Bay Community Centre Mar 20 THIS WILL DESTROY YOU: The Zoo Mar 19 ZZ TOP: Southport RSL Mar 19 GUNS N’ ROSES, ZZ TOP: BEC Mar 20 TIM HECKER, POLE: IMA Gallery Mar 21 CHRIS SMITHER: South Leagues Club Mar 21, Woombye Hotel, Mar 22 MUTEMATH: The Hi-Fi Mar 23 THE JACKSONS: Brisbane Riverstage Mar 24 ROBERT CRAY, TAJ MAHAL, SHUGGIE OTIS: The Tivoli Mar 26 VOODOO GLOW SKULLS: Crowbar Mar 26 JOAN ARMATRADING: The Tivoli Mar 27 CRAIG DAVID: GCCEC Mar 27 WANDA JACKSON: Old Museum Mar 27 JAKE SHIMABUKURO: Brisbane Powerhouse Mar 27 DAMIEN DEMPSEY: Old Museum Mar 28 THE BLIND BOYS OF ALABAMA: The Tivoli Mar 28 JON ANDERSON: Brisbane Powerhouse Mar 28 SANTANA, STEVE MILLER BAND: BEC Mar 28 ROGER HODGSON: The Tivoli Mar 30 THE LUMINEERS: The Hi-Fi Mar 30 RODRIGUEZ: The Tivoli Apr 1 NEWTON FAULKNER: The Tivoli Apr 2 BIRDY: The Tivoli Apr 3 (AA) SOJA: The Zoo Apr 3, Coolangatta Hotel Apr 4 PASSENGER: Conservatorium Theatre Apr 2, 3 THE DARKNESS, JOAN JETT AND THE BLACKHEARTS: Brisbane Riverstage Apr 4 BLACK BREATH: Crowbar Apr 5 PENNYWISE: The Tivoli Apr 6, Coolangatta Hotel, Apr 7 CHRIS ISAAK: Caloundra Events Centre Apr 7 THE SCRIPT: BEC Apr 9 PUBLIC IMAGE LIMITED: The Hi-Fi Apr 9 DAMON & NAOMI: Brisbane Powerhouse Apr 10 MIDGE URE: Kedron Wavell Services Club Apr 18 THE BLACK SEEDS: Coolangatta Hotel Apr 19 DJ KRUSH: Coniston Lane Apr 19 BUZZCOCKS: The Zoo Apr 20 KING TUFF: The Primitive Room Apr 26 BRYAN ADAMS: BEC Apr 27 FIREWIND: Beetle Bar Apr 28 BLACK SABBATH: BEC Apr 25 OTEP: The Hi-Fi Apr 27 DEATHSTARS: The Zoo May 1 AEROSMITH: BEC May 1 NORMA JEAN: The Hi-Fi May 2 FRIGHTENED RABBIT: The Zoo May 2 SIX60: The Tivoli May 4 ADRIAN EDMONSON & THE BAD

DINOSAUR JR: The Hi-Fi Mar 14, Coolangatta Hotel Mar 15 GRINSPOON: The Tivoli Mar 15, Coolangatta Hotel Apr 21 THIS WILL DESTROY YOU: The Zoo Mar 19 THE MARK OF CAIN: The Hi-Fi Mar 21 PVT: The Zoo Mar 22 JOAN ARMATRADING: The Tivoli Mar 27 WANDA JACKSON: Old Museum Mar 27 JAKE SHIMABUKURO: Brisbane Powerhouse Mar 27 CREO: Ric’s Bar Mar 30 BLUESFEST 2013: Tyagarah Tea Tree Farm Mar 28-Apr 1 BLURST OF TIMES FESTIVAL: Fortitude Valley Mar 31 BLIND BOYS OF ALABAMA: The Tivoli Mar 28 JON ANDERSON: Brisbane Powerhouse Mar 28 ROGER HODGSON: The Tivoli Mar 30 THE LUMINEERS: The Hi-Fi Mar 30 STRANGE TALK: Alhambra Lounge Mar 30.

WED 13 MARCH 2013 Rainy Day Women, Oceanics, Ben Fahey: Black Bear Lodge Rascal Flatts, The Band Perry: Brisbane Convention and Exhibition Centre Tragedy, Last Chaos, Shackles, Short Life: Crowbar The Strums: Grand Central Hotel Locky: Irish Murphy’s Scat: Limes Hotel Strings For Ammo, Open Mic: Mick O’Malley’s Rickie Lee Jones: Old Museum Mark Sheils: Royal George Chris Abrahams, Mike Cooper: The Box Open Mic Night: The Loft, Gold Coast Cachaca Groove, Benny Williams: The Sunroom Tempo Acoustic Sessions feat. Various Artists: The Tempo Hotel Pyre & Ice, Silence The Sun, Of Three Minds: The Zoo

THU 14 MARCH 2013 The Angels: Acacia Ridge Hotel

32 • To check out the mags online go to themusic.com.au/mags

Fushia, Calais, Skin & Bones, Wolver: Beetle Bar Thelma Plum, The Phonecurves: Black Bear Lodge Layla Klinkert: Brew Bruce Springsteen & the E-Street Band: Brisbane Entertainment Centre Adrian Cunningham: Brisbane Jazz Club Non Cents feat. Sam Cahill, Chris Miller: Elsewhere, Gold Coast Jabba: Irish Murphy’s Pugsley Buzzard: Lock’n’Load Bistro High Noon: Logan Diggers Club, Logan Central Ballad Boy: Loving Hut Dennis Hogan Fundraiser feat. Tullamore Tree: Mick O’Malley’s Pigeon: Oh Hello! Thirteen Seventy, Slow Riots, DJ Valdis: Ric’s Songwriters Circle feat. Pat Tierney, Ziggy Alberts, Josh Rennie: Solbar, Maroochydore Redstarborn, The Deep End, Breakaway, Maiden Tonne, Boy Cry Wolf: Surfers Paradise Beer Garden, Gold Coast Lucie Thorne: The Court House Hotel, Mullumbimby Dinosaur Jr, Redd Kross: The Hi-Fi Greg Cathcart, Little Planes Land: The Hideaway Kindread: The Joynt

BEN HOWARD: The Hi-Fi Apr 5 THE SNOWDROPPERS: The Zoo Apr 12 BOB EVANS: The Zoo Apr 13 HUNGRY KIDS OF HUNGARY: The Hi-Fi Apr 19, Alhambra Apr 21 (U18) TRACK & FIELD: The Rev & Electric Playground Apr 26 TEGAN AND SARA: The Tivoli Apr 30 HAPPY MONDAYS: The Tivoli May 3 GROOVIN’ THE MOO: Townsville Cricket Grounds May 5 CAXTON STREET SEAFOOD & WINE FESTIVAL: Caxton St, May 5 THE KOOKS: The Tivoli May 7 & 8 MATT & KIM: The Zoo May 9 MELBOURNE SKA ORCHESTRA: The Tivoli May 11 SOMETHING FOR KATE: The Hi-Fi May 18 EMMA LOUISE: The Hi-Fi May 24 THE BEARDS: The Hi-Fi Jun 21 FOALS: The Tivoli Oct 2

Essie, Double Lined Minority, Timber Bones: The Loft, Gold Coast Mick Danby + More: The Tempo Hotel Nine Sons Of Dan, Call The Shots, Starlight Theatre: The Zoo Hits & Pieces: Twin Towns, Tweed Heads

FRI 15 MARCH 2013 Electric Samurai: Albany Creek Tavern Cheated Hearts feat. DJ Jane Doe, DJ Frankie Trouble, DJ Mikey, Dotwav: Alloneword Smallpeople, Scott Walker, Rikki Newton, Percy Miracles, Le Hoots: Barsoma Hits, Ultra Bullitt, Pastel Blaze, Main Street Brats, The Dirty F Holes: Beetle Bar The Hunting Hour: Black Bear Lodge (afternoon) Hip Hop Night feat. Various DJs: Bowler Bar Pugsley Buzzard + Band: Brisbane Jazz Club Dinosaur Jr, Redd Kross + Special Guests: Coolangatta Hotel, Gold Coast The Wrath, In Ashes We Lie, The Final Fall, Always Yesterday: Crowbar The Angels: Eatons Hill Hotel

Taras & DJ Femme, Benibee, Tooshoes, Morgan Baker: Eatons Hill Hotel David Bentley Duo: Ecco Bar New Navy, Young Men Dead: Elsewhere, Gold Coast Fresh Friday feat. Various DJs: Fitzy’s Loganholme Peter Cupples: Gazebo Restaurant, Hotel Urban Jabba: Irish Murphy’s Motion feat. Various DJs: Irish Murphy’s (upstairs) Body & Soul feat. Sandy Beyon & Sean Mullen: J’s Restaurant & Bar MooMooPappa: Lock’n’Load Bistro One Sound: Logan Diggers Club, Logan Central Ironbird, Black Diamond, Smoking Martha, 1929indian: Miami Tavern (Shark Bar), Gold Coast Mark Lockyer & Daniel Gowen, The Barleyshakes: Mick O’Malley’s Rod Christensen Jazz & Latin Duo: Noosa Harbour Wine Bar, Tewantin The Deep End, Shotgun Halo, Red Star Born, The Stonehavens, Hobo Magic: Prince of Wales Hotel, Nundah Tim Gaze: Royal Mail Hotel, Goodna Jon J Bradley: Saltbar, South Kingscliff

His Merry Men, The Bon Scotts, Captain Dreamboat: Solbar, Maroochydore Daniel Kuhle, The Steady As She Goes: The Hideaway Lady Abundance Project, Velvet Eleven, Boss Cats: The Joynt Patrick James, The Altais, Jordan Lawrence: The Loft, Gold Coast Apocalypto, Andy, Pete Smith, DJ Nick Galea, Scotty R, Mr Sparkles: The Met Barefoot Alley, 3 Cornered Square, Kit Bray: The Northern, Byron Bay Le Groove: The Sunroom Say Do Now, Pretty Fingers, Upsize, The Deported: The Tempo Hotel Grinspoon, Kingswood, Emperors: The Tivoli First Failure, Deadlift, Deathgrip, It Runs Deep: The Waiting Room Therein, Danger At The Door, Micropsia: The Zoo Hits & Pieces: Twin Towns, Tweed Heads

Boss Sounds Ska & Soul DJ Night: Black Bear Lodge The Hunting Hour: Black Bear Lodge (afternoon) Bowler Bar DJs: Bowler Bar Bruce Springsteen & the E-Street Band: Brisbane Entertainment Centre Trent Bryson-Dean: Brisbane Jazz Club Harmonic 313: Coniston Lane The Cavalcade, Burning Brooklyn, Hey Denise, We Set Signals Official, Lets Jump Ship: Crowbar Lee Kernaghan, The Wolfe Brothers: Eatons Hill Hotel Tiafau, Giv: Elsewhere, Gold Coast Grumpy Old Men: Fishermans Wharf Tavern, Gold Coast Trainspotters feat. Major Leagues, Thee Hugs, Caroline: Grand Central Hote Berst: Irish Murphy’s Motion feat. Various DJs: Irish Murphy’s (upstairs)

THE ANGELS: Friday 15 March, Eatons Hill Hotel

A Journey Through Motown feat. Spectrum: Twin Towns, Tweed Heads (showroom)

SAT 16 MARCH 2013 Double Black, Texan Cowpunks, The Von Ehrics: Acacia Ridge Hotel Clint Boge + Special Guests: Albany Creek Tavern New Navy, Young Men Dead, The Kite String Tangle: Alhambra Lounge His Merry Men, The Bon Scotts, Inversity: Beetle Bar

Marshall Okell: Joe’s Waterhole, Eumundi Sounds of the Footpath: Lock’n’Load Bistro Champagne Jam: Logan Diggers Club, Logan Central Ger Fennelly: Mick O’Malley’s (afternoon) The Fun Addicts, The Auskas, Kingston Stompers: Prince of Wales Hotel, Nundah John McCutcheon, Women In Docs: Queensland Conservatorium (Ian Hanger Recital Hall) The Deep End: Racehorse Hotel, Booval Last Call, Faleepo Francisco, Crowbird: Redcliffe High Gymnasium


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LE PARTY SOUL WITH DJ REDBEARD FEATURING SUBSEA (10:30PM) + ERROL HOFFMAN (9:30PM) THURSDAY 14TH MARCH

THIRTEEN SEVENTY (10:30PM) + SLOW RIOT (9:30PM) + DJ VALDIS FRIDAY 15TH MARCH

DOWNSTAIRS – LISSY STANTON BAND (9PM) + FJ BLUES (8PM) + DJ VALDIS UPSTAIRS – DJ SIMON – 8PM–5AM SATURDAY 16TH MARCH

DOWNSTAIRS – TONE SONIC (9:30PM) + MAIN STREET BRATS (8:45PM) + THE STEADY SHE GOES (8PM) + DJ VALDIS UPSTAIRS – DJ CUTTS – 8PM–5AM SUNDAY 17TH MARCH

DOUBLE LINED MINORITY (9:30PM) + THE EVERSHOW (8:30PM) MONDAY 18TH MARCH

SILK ROAD (9:30PM) + JOSHUA COOK (8:30PM) TUESDAY 19TH MARCH

CONOR MACDONALD (9:30PM) + YOU (8:30PM)

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Sun 24 March ΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄΄ THE OLD MUSEUM 460 Gregory Terrace, Bowen Hills QLD 4225

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FRI 22 MARCH THE ZOO, BRISBANE

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TRIPLE J FEATURE ALBUM

FBI RADIO ALBUM OF THE WEEK

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THE NEW ALBUM HOMOSAPIEN OUT NOW ON CD / LP / DL SUPPORTED BY TRIPLE J, SPOTIFY, MESS+NOISE, BEAT, THE BRAG, XPRESS, TIME OFF, CREATE/CONTROL AND SPARK & OPUS

33


GIG OF THE WEEK

TOUR GUIDE THE GASLIGHT ANTHEM: Friday 10 May, The Tivoli

ONEOHTRIX POINT NEVER MONDAY 18 MARCH, INSTITUTE OF MODERN ART Coolsies of the world unite! Brooklyn’s Daniel Lopatin has been turning the heads that matter in recent times with his idiosyncratic music, comprising an array of lo-fi synthesisers from which he wrings his drone-laden, psychedelic offerings. Even the somewhat terrible performing moniker Oneohtrix Point Never hasn’t been able to slow down his rapid ascent, the man scoring massive kudos for last year’s sample-heavy Replica album, as well as for his sets at hipster gatherings such as Pitchfork Festival. Joining him on Monday night at the Institute Of Modern Art is Brisbane’s Laura Hill – aka the far more user-friendly Scraps – and there’s no bookings, just first in best dressed; most excitingly it’s completely free! Get those tents and sleeping bags out!

MAJOR LEAGUES: Saturday 16 March, Grand Central Hotel

Pete Denahy, Seleen McAlister: Redlands Modern Country Music Club, Thornlands Afternoon feat. The Brodie Graham Band, Bluesville Station: Royal Mail Hotel, Goodna Archie Rye: Saltbar, South Kingscliff Kindread, Storm Chasers, Adam Scriven: Solbar, Maroochydore The Angels: Southport RSL, Gold Coast Scraps, Super Magic Hats: Southside Tea Room Moriarty: The Hi-Fi The Deckchairs, Ahliya Kite: The Hideaway Nine Sons Of Dan, The Monster Goes Rawrr, A Sleepless Melody: The Hive Dewolff, Die Rude: The Joynt The Midnight Antics, The Mistaeks, Tari Peterson, Anika: The Loft, Gold Coast Katie Valentine, Mr Sparkles, Paul Bell, Mandy Onassis, Pete Smith, Scotty R, Sharif Ghalil, Stevie Z, Oscar feat. MC XY: The Met Dead Beat Band, Tsun, Huckleberry: The Northern, Byron Bay The Lounge Cats: The Sunroom

Unfreedy, Just Monday, Skinwalkers, Stellar Green, Alter Egos: The Tempo Hotel Opeth, Katatonia: The Tivoli Patrick James: The Waiting Room Greenthief, Sleep Parade, LaSuits, Superkaleida: The Zoo Hits & Pieces: Twin Towns, Tweed Heads Thriller feat. Heroes For Hire, Sunsets, The City Shake-Up, Atripwithsid: X&Y Bar

SUN 17 MARCH 2013 Millions, Cub Scouts: Alhambra Lounge New Navy, Young Men Dead, Sunday Safari DJs, Pilots: Beach Hotel, Byron Bay Wonderland Afterparty feat. Cuca Shop, Laleh Lilu, Shem Allen: Black Bear Lodge Max Ballie + Friends: Brisbane Jazz Club Live Spark feat. Texas Tea, The McMenamins: Brisbane Powerhouse

Pugsley Buzzard: Cafe Le Monde, Noosa Ensiferum + Special Guests: Coniston Lane Phil Smith, Seafarer: Dowse Bar (Iceworks) Royale Sundays feat. Sessionkatz, Stretch Paper Cranes : Elsewhere, Gold Coast Andrew Baxter: Lock’n’Load Bistro John McCutcheon, Women In Docs: Maleny Community Centre Live Jazz, Swing & Rock feat. Various Artists : Robina Bowls Club, Gold Coast

MON 18 MARCH 2013 Zoe Keating: Brisbane Powerhouse Oneohthrix Point Never, Scraps: Institute of Modern Art B-Rad: Irish Murphy’s Malcolm Wood & Friends: Southport Bowls Club, Gold Coast Mark Sheils: The Elephant Arms Rockaoke: The Tempo Hotel

NEW NAVY: Saturday 16 March, Alhambra Lounge

DJ Gavin Boyd: Stoke Bar Psycroptic, NeObliviscaris, Lynchmada, Devour The Martyr, As Silence Breaks, Down Royale, Alice Through Windshield Glass, Absolution, BerserkerfoX, A Breach Of Silence, Kyzer Soze, Medusa’s Mirror, 4 Dead In 5 Seconds, I Shall Devour: The Hi-Fi Sunday Sessions feat. Various Artists: The Tempo Hotel (afternoon) Hits & Pieces: Twin Towns, Tweed Heads

34 • To check out the mags online go to themusic.com.au/mags

TUE 19 MARCH 2013 Jazz Night feat. Various: Lock’n’Load Bistro Angharad Drake, The Rusty Datsuns: New Farm Bowls Club Mark Sheils: Samford Valley Hotel Angharad Drake, The Rusty Datsuns: The Bug Da Endorphine + Special Guests: The Hi-Fi Benny Williams: The Sunroom

SHEPHERDS: The Zoo May 5 TOOL: BEC May 6 THE BRONX: The Hi-Fi May 7 THEY MIGHT BE GIANTS: The Zoo May 8 FUNERAL FOR A FRIEND: The Rev May 8, Surfers Paradise Beergarden May 9 THE KOOKS: The Tivoli May 7, 8 OM: The Hi-Fi May 8 MATT & KIM: The Zoo May 9 TRUCKFIGHTERS: Beetle Bar May 9 EXAMPLE: The Tivoli May 9 CRADLE OF FILTH: The Hi-Fi May 9 TENACIOUS D: BCEC May 10 (AA) BETH ORTON: St John’s Cathedral May 10 THE GASLIGHT ANTHEM: The Tivoli May 10 UNIDA: The Zoo May 11 KAKI KING: Brisbane Powerhouse May 11, Mullumbimby Civic Centre May 12 DEFTONES, LETLIVE: The Tivoli May 14 JELLO BIAFRA: The Hi-Fi May 16, Coolangatta Hotel May 17 DJ AFRIKA BAMBAATAA: The Hi-Fi May 17 LOCAL NATIVES: The Zoo May 19 ELUVEITIE: The Zoo May 23 DRAGON: Eatons Hill Hotel May 25 THE GHOST INSIDE, EMMURE: The Hi-Fi Jun 1 (18+), Jun 2 (U18) MUNICIPAL WASTE: The Hi-Fi Jun 15 P!NK: BEC Jul 19, 20, 22, 23, Aug 27, 29, 30 AMANDA PALMER AND THE GRAND THEFT ORCHESTRA: The Tivoli Sep 12 FOALS: The Tivoli Oct 2 SOILWORK: The Hi-Fi Oct 2 ONE DIRECTION: BEC Oct 19, 20, 21

SONGS: Primitive Room Apr 12 ALLDAY: Bowler Bar Apr 12 SASKWATCH: Alhambra Lounge Apr 12, Solbar Apr 13 DEAD LETTER CIRCUS: The Tempo Hotel Apr 13 STICKY FINGERS: The Zoo Apr 18, The Northern Apr 19 HOUSE VS HURRICANE: Tall Poppy Studios Apr 18 (AA) HUNGRY KIDS OF HUNGARY: Kings Beach Tavern Apr 18, The Hi-Fi Apr 19, The Northern Apr 20, Alhambra Lounge Apr 21 (U18) MIDNIGHT JUGGERNAUTS: The Zoo Apr 19 BONJAH: The Loft Apr 19, Solbar Apr 20, Hotel Brunswick Apr 21 BLACKCHORDS: The Hideaway Apr 20 ALBARE: Judith Wright Centre Apr 20, The Byron Theatre Apr 21 DIAFRIX: Coniston Lane Apr 24, Spotted Cow Apr 25, The Northern Apr 26 THE RUBENS: Beach Hotel Apr 24, Coolangatta Hotel Apr 25, The Tivoli Apr 26, Spotted Cow Apr 27 JORDIE LANE: Jet Black Cat Music May 1, The End May 2, Coorabell Hall May 5 JIMMY BARNES, IAN MOSS, BABY ANIMALS, CHOCOLATE STARFISH, DRAGON: Harrigans Drift Inn, Jacobs Well May 5 FLUME, CHET FAKER: Brisbane Riverstage May 7 (AA) TAME IMPALA: BCEC May 8 (AA) EVERMORE: Noosa Surf Club May 8, Hamilton Hotel May 9, Coolangatta Hotel May 10, Spring Lakes Hotel May 11 DIESEL: Maleny Community Centre May 10, Villa Noosa Hotel May 11, Paddington Tavern May 12 MELBOURNE SKA ORCHESTRA: The Tivoli May 11

NATIONAL THE ANGELS (Dave Gleeson): Acacia Ridge Hotel Mar 14, Eatons Hill Hotel Mar 15, Southport RSL Mar 16 GRINSPOON: The Tivoli Mar 15, Coolangatta Hotel Apr 21 THE MARK OF CAIN: Coolangatta Hotel Mar 21, The Hi-Fi Mar 22 YACHT CLUB DJS: Alhambra Lounge Mar 22 PVT: The Zoo Mar 22 BIRDS OF TOKYO: The Tivoli Mar 21, 22, Coolangatta Hotel Mar 23 THE BAMBOOS: ADCO Amphitheatre Mar 24 STRANGE TALK: Alhambra Lounge Mar 30 SPIT SYNDICATE: Spotted Cow Apr 4, Coolangatta Hotel Apr 5, The Zoo Apr 6 NANTES: Black Bear Lodge Apr 4, The Loft Apr 5 DZ DEATHRAYS: Alhambra Lounge Apr 4 SONICANIMATION: The Northern Apr 4, The Zoo Apr 5, Solbar Apr 6 BRITISH INDIA: Surfers Paradise Beergarden Apr 5, The Hi-Fi Apr 6 BEN LEE: Byron Bay Community Centre Apr 5, 6 KATIE NOONAN: Old Museum Apr 6, Flinders Performance Centre Apr 27 BOB EVANS: Woombye Pub Apr 11, The Zoo Apr 13 THE DRONES: The Tivoli Apr 12 THE SNOWDROPPERS: The Zoo Apr 12, Woombye Pub Apr 13 GUY SEBASTIAN: BCEC Apr 12, Ipswich Civic Centre May 28, Caloundra Events Centre May 29, Empire Theatre Jun 7, Jupiters Theatre Jun 8

AINSLIE WILLS: Railway Friendly Bar May 11, Black Bear Lodge May 12 SOMETHING FOR KATE: Coolangatta Hotel May 16, Joe’s Waterhole May 17, The Hi-Fi May 18 EMMA LOUISE: Woombye Pub May 23, The Hi-Fi May 24, Paradise Room May 25, The Northern, May 26 DRAGON: Eatons Hill Hotel May 24 PSYCHOTIC TURNBUCKLES: Beetle Bar May 25 SETH SENTRY: The Hi-Fi May 25 THE BEARDS: The Hi-Fi Jun 21, The Northern Jun 22

FESTIVALS HITS AND PITS: The Hi-Fi Mar 24 BLUESFEST: Tyagarah Tea Tree Farm Mar 28-Apr 1 EASTERFEST: Queens Park Mar 29-31 THE BLURST OF TIMES FESTIVAL: Mar 31 LIVE IT UP: RNA Showgrounds Apr 13 DIG IT UP!: The Tivoli Apr 18, Twin Towns Apr 19 BIG PINEAPPLE MUSIC FESTIVAL: Big Pineapple Apr 20 TRACK & FIELD: The Rev/Electric Playground Apr 26 MOVEMENT: Brisbane Riverstage Apr 28 SUPAFEST: RNA Showgrounds Apr 28 GROOVIN’ THE MOO: Townsville Cricket Grounds May 5 CAXTON STREET SEAFOOD & WINE FESTIVAL: Caxton Street May 5 RED DEER MUSIC FESTIVAL: Samford Valley Sep 7


BEHIND THE LINES JMC GETS SSL The JMC Academy has set a new benchmark in music and audio education by becoming the only institution in Australia to acquire and install an SSL Duality console in its new purpose-built Ultimo campus in Sydney for the exclusive use of its students. The Duality is the leading large-format console for music production and is used by some of the most prestigious recording studios around the world.

RECORDING FOGERTY’S NINTH A mix of two new and a dozen revisited, reinterpreted (with guests, among them Keith Urban) songs from his back catalogue, John Fogerty has recorded Wrote A Song For Everyone, his ninth studio solo album since disbanding Creedence Clearwater Revival in 1972. Fogerty also recorded a new version of Fortunate Son with Foo Fighters at their 606 Studio using the legendary Neve recording console featured in the #1 iTunes documentary, Sound City.

SOUND BYTES Madrid’s surf’n’Western five-piece Los Coronas, out here for a tour in January, proudly recorded their new album, Adiós Sancho, “in the old style”, the band playing together in the studio, seeking that “first take magic”, using 2” tape rather than Pro-Tools and “copy and paste” techniques. The new Dillinger Escape Plan album, One Of Us Is The Killer, was recorded in southern California with long-time producer Steve Evetts (Glassjaw, The Cure, Suicide Silence), with additional production at guitarist/co-founder Ben Weinman’s studio. The Grove Studio’s Studio 1 up on the NSW Central Coast has been solidly booked this past month with Dan Maloney recording with engineer Josh Telford and Tumbleweed working away with producer Paul McKercher, both acts utilising the studio’s SSL console.

FAR FROM IDOL Guitar ace Steve Stevens begins a four city guitar synth clinic tour for Roland on March 21 in Brisbane. He’s back a month later to play for us in Kings of Chaos at the Stone Festival in Sydney. Muso’s Greg Phillips spoke to Steve prior to the clinic tour. illy Idol may have been the star attraction back in the ‘80s, but his guitarist Steve Stevens was always a huge part of the deal. The sneer alone would never have made such an impact on the charts without Stevens’ driving rock riffs and melodic lead licks. The pair recently reunited and are currently working on Idol’s new studio album, his first since 2005. In the meantime, Steve Stevens is heading to Australia twice within the next month or so, first for a series of guitar technology clinics for Roland and then later as part of the Kings of Chaos band, playing at the inaugural Stone festival.

B

A quick skim of Stevens’ discography will show that he’s a much in demand player, from his own band Atomic Playboys, to working with Michael Jackson on Bad, his prog rock outings with Tony Levin and Terry Bozzio and that award winning theme from the film Top Gun. Plus, there are a hundred other projects in between. Stevens has no real need to practice anymore, he’s playing so often he doesn’t need to. “I still have days where I think I’m total shit,” he laughs, explaining when he recognised he was onto something with the guitar. “I think it is when you are finally able to play one of your favourite songs,” he remembers. “You learn it and it actually sounds like the artist. You play to your friends and they go, ‘Wow, it sounds just like the record. That was probably when I was about thirteen or so. I’d finally got a guitar and it might have been Stairway to Heaven and I actually learned the solo.” It is the work with Billy Idol which really cemented Stevens place in the temple of renowned guitar gods. However, it wasn’t only his guitar playing but also Steve’s

songwriting and sequencing skills from which Billy reaped rewards, particularly on the Whiplash Smile album. “That was actually a really difficult record because when you work with live drums and live bass, it is easy to marry electric guitar with those elements,” recalls Stevens. “Whiplash Smile was a bit more experimental with drum machines and sequencers and things. I remember spending a lot of time with the guitar tracks trying to work with those elements. Billy and I always laugh now because now we are writing on computers and shifting time and moving notes around. Back then, you had to physically cut and match the tape and it would take hours to do what now takes a couple of minutes.” Stevens kicks off a four city clinic tour for Roland on March 21 in Brisbane, but don’t expect an in depth discussion on music theory. “I’m certainly not going to explain to them what a Lydian scale is,” Stevens states. “That’s not what I bring to the table, but I know a fair amount about Roland guitar synthesis, especially the V guitar. I have put together some music that I’ll be playing. I’ll also be showing some techniques that have helped me because I get emails from people who have seen my videos, and they’ll go out and buy the stuff I’m using and get frustrated with how thick the manual is and stuff, so hopefully they can take away some important tips about how to make all this stuff work.” The Roland association goes way back to 1982 when Steve first laid eyes on the prototype model of the GR707 guitar synth. “They took me up to a very secretive room at the Roland corporate office and showed me the GR707, which is that crazy looking guitar with the bar across the top,” he explains. “They showed me all of the sounds which were available. I said I’ll have to take this home with me. They said you cannot, this is not available in the United States yet. I cut them a deal. I said give me this and I will bring it back, we are shooting a video for Flesh for Fantasy. I said I will use that guitar exclusively in the video, so I literally took that guitar back with me.” Live on stage, Stevens uses a bunch of cool Les Paul guitars as well as another prototype instrument, his own signature model Knaggs guitar built by former PRS custom shop luthier Joe Knaggs. He plays through his

own signature amplifier. “It is made by the guy who put together my whole system who is Dave Friedman at Rack Systems,” says Steve. In regard to strings, he likes them slightly played in “There’s that period when you first put strings on where they don’t quite settle in, so I think strings that are a couple of days old are exactly right, but after a week or so they won’t hold their tune. I endorse Ernie Ball and I have been using these Cobalt strings, which are really good.” When he records his guitars, he sticks to what is tried and true. “I have pretty much got it down to a science of using a Shure 57 and a Royer 121 and that works for me.” After Steve’s series of Roland clinics, he flies home to begin rehearsals for an upcoming Billy Idol tour, then returns to Australia in mid April with Kings of Chaos to support Van Halen at the Stone Festival in Sydney with a possibility of sideshows. Previously called Rock n’ Roll Allstars, Kings of Chaos includes Joe Elliot (Def Leppard), Glenn Hughes (Deep Purple), Sebastian Bach (Skid Row), Matt Sorum and Duff McKagan (Guns N’ Roses). www.rolandcorp.com.au

GEAR REVIEWS

GR-D: V-GUITAR DISTORTION

PEAVEY AT-200 AUTO-TUNE GUITAR

www.rolandcorp.com.au

www.audioproducts.com.au

Roland’s GR-D is one of two new pedals designed to use with their GK technology. The other pedal is the GR-S V-Guitar Space. With the all-new V-Guitar pedals, guitarists can now enjoy the immense benefits of Roland’s GK processing, the powerful technology behind the GR-55 Guitar Synthesizer and VG-99 V-Guitar System, all in a pedalboard. The GR-D V-Guitar Distortion offers unique distortion and synth tones produced by independently processing each guitar string, giving the modern player an array of fresh, bold sounds for their sonic arsenal. Housed in the popular twin pedal format and equipped with connections for easy integration with amps, stomps, multi-effects and other V-Guitar devices, the GR-D delivers wide, heavy, high-clarity tones that can only be achieved with GK processing. The GR-D offers bold, high-clarity distortion and synth tones, made possible with Roland’s GK processing. You can sculpt your tones with ultra-responsive ‘gain’, ‘colour’, and ‘tone’ knobs and the Solo function provides an instant volume and presence boost for lead playing. The unit provides a 13-pin GK input; designed for use with the GC-1 GK-Ready Stratocaster, GK-3 Divided Pickup, and all GK-equipped guitars. Flexible connections are used for easy integration with amps, pedals, and multi-effects. The GR-D also offers four user memories, with remote selection from GK-equipped guitar. In regard to tone options, there’s VG-DIST 1, VG-DIST 2, POLY DIST, and SYNTH sounds, with real-time DSP for latency-free performance.

First seen at last year’s NAMM show and released midyear was Peavey’s innovative AT-200 guitar featuring Auto-Tune. Antares Audio Technologies, the creator of world-renowned Auto-Tune pitch-correction technology (yes the people responsible for the sound of ‘Glee’) partnered with Peavey Electronics to produce the guitar, which electronically self tunes and intonates continuously as you play. Traditionalists may not approve, however, with the simple push of a button on the Peavey AT-200, guitar players can create music in perfect tune and pitch. The Peavey AT-200 utilises Antares Auto-Tune for Guitar, a DSP technology that works behind the scenes to bring the clarity of perfect pitch to a quality instrument in an unobtrusive manner. No bulky, unattractive hardware weighs down the playing experience—the Peavey AT-200 looks, plays and sounds just like a conventional guitar, exactly the way it should. While using the AT-200, players don’t have to stop to retune during live performances. Producers and engineers also win with this guitar as there won’t be any precious time wasting – no more tuning and intonation issues during recording sessions. The Peavey AT-200 is also the gateway to a growing collection of powerful new Auto-Tune for Guitar features. With its built-in software upgrade capability, new features from Antares can be easily loaded into the AT-200 and controlled by any MIDI source, from MIDI foot switch controllers to iPad or iPhone devices running dedicated Auto-Tune control software.

36 • To check out the mags online go to themusic.com.au/mags

YORKVILLE YSM6 POWERED MONITOR www.dynamicmusic.com.au

http://maton.com.au

Designed from the ground up to deliver maximum performance, clarity and accuracy for home or project studios, the new Yorkville YSM Series’ powered monitors are priced to suit virtually any engineer’s budget.

It’s a given that when you purchase a Maton guitar that the best possible materials have been used and the utmost care has been taken in its production. The new Maton Messiah EM100C represents a total, no compromise approach. Flawless attention to detail guarantees your Messiah will be an instrument of pride and pleasure for many gigs, songwriting and recording sessions to come. The new Maton Messiah EM100C has been remodelled featuring a newly tuned, scalloped braced top and solid rosewood back and side sets. A new solid mahogany neck adds thickness to its deeper and richer tone and the Maton UV paint finishes this model with a finer and more refined quality. The Maton signature M MOP decal on the headstock is the finishing touch to a guitar that is worthy of any professional international musician. The EM100C is tonally flexible too, able to fulfill the needs of many genres including folk, pop, blues and jazz. The difference between a good guitar and a great one is that the latter makes you want to play and inspires you to write, the EM100C is certainly one of those instruments.

Contoured MDF baffle housing the high-quality custom soft dome tweeters and low frequency woofers used in the new YSM Series monitors are designed to minimise reflections improving phase response and providing a wider ‘sweet spot’ in the listening position. Front facing ports used in the YSM Series monitor design solve the issues of bass coupling with back walls and corners which generally cause false low frequency information in your mix, a common issue with competitive monitors that choose to use rear firing ports. Compatible with virtually any source Yorkville YSM Series monitors have a widely variable input trim control for the balanced XLR / 1/4-inch combi-jack input capable of handling level from everything from computer soundcard and mixer outs. Four position high and low frequency trim controls (at -2, -1, 0 and +1.5dB) allow user adjustable EQ contour to compensate for speaker placement in less than perfect listening spaces. Rock-solid 3/4-inch MDF cabinet construction with heavy internal bracing and ample internal dampening material reduces unwanted low frequency rumble ensures Yorkville YSM Series cabinets reproduce source material with near pinpoint accuracy and detail.

MATON MESSIAH EM100C


37


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SINGER WANTED for Sydney based progressive rock band. Looking for permanent male lead vocalist to complete 5 piece line-up. Not necessarily Ian Kenny, Mike Patton, Thom Yorke or Jeff Buckley required. Looking for a creative, professional and motivated individual. Originality is encouraged as the music is open to a range of vocal styles and expressions. To hear current demos and get contact details, goto: www. reverbnation.com/borahorza Feel free to email borahorzaband@hotmail.com iFlogID: 21194

Vocalist Needed! Prog Rock Band. Perth. Must have powerful voice, be easygoing & dedicated and be creative both vocally & lyrically. Call/Msg Brendon on 0435508833 if interested. iFlogID: 21416

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Time Off Issue 1618  

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