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N O W AVA IL A BL E O N I PA D • 2 0 M A RC H 2 013 • 1619 • F R E E .au


triple j, Street Press Australia and Fasterlouder PRESENT

THE BEACH TOUR With very Special Guests Millions and Chaos Chaos (USA) THURSDAY 16 MAY KINGS BEACH TAVERN, CALOUNDRA QLD Tickets available from | 1300 762 545 | All Oztix outlets


Tickets available from | 1300 762 545 | All Oztix outlets

SATURDAY 18 MAY COOLANGATTA HOTEL, COOLANGATTA QLD Tickets available from | 1300 762 545 | All Oztix outlets

SUNDAY 19 MAY ALHAMBRA LOUNGE, BRISBANE QLD (U18 AFTERNOON SHOW) Tickets available from | 1300 762 545 | All Oztix outlets

WEDNESDAY 22 MAY THE NORTHERN, BYRON BAY NSW Tickets available from | 1300 762 545 | All Oztix outlets San Cisco Album out now




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


“...turns grumpiness into an art form” THE EVENING STANDARD

“ comedy gig” +++++ THE TELEGRAPH


18-24 MARCH POWERHOUSE Book at Brisbane Powerhouse Box Office 3358 8600







THE RA CI ST “Slick, intelligent, blissfully funny... this is insightful, warm, classy comedy” +++++ TIME OUT







GIVEAWAYS Hell on Wheels continues its epic story of post-Civil War America, focusing on Cullen Bohannon (Anson Mount), a former confederate soldier, and his dramatic journey west as he struggles to leave his past behind. Thanks to Hopscotch Entertainment we have five copies of season two on DVD up for grabs! Directed by Roger Michell, Hyde Park on Hudson focuses on the famous weekend in June 1939 when the President of the United States hosted the King and Queen of England at his home in upstate New York. Thanks to Icon Films we have ten double in-season passes to give away to the film which stars Bill Murray and Laura Linney. In cinemas Thursday 28 March. The Doug Anthony All Stars (DAAS) escape into the void. Alien assassins and psychos attack. DAAS Kapital features original songs and bizarre comedy. After a long legal battle, the series that rocked Japan

is out! Thanks to Roadshow Entertainment we have five copies up for grabs of DAAS Kapital series one and two on DVD! After slaying Australian audiences and critics alike last year, Mutemath are heading back to Australia to road test songs for their next album. They’re heading to The Hi-Fi Saturday 23 March and we have got three double passes to give away! Entrants must be 18+. From author Stephenie Meyer (The Twilight Saga), comes a story set in the near future where our planet has never been more perfect. Greed and violence have been eliminated, and peace and kindness are practiced by all. But perfection comes at a price, as an alien race of pure ‘souls’ has invaded earth, using humans as their hosts. Thanks to Hoyts Distribution we have ten double passes to a preview screening of The Host on Wednesday 27 March, 7pm at Event Cinemas Indooroopilly to give away! Thanks to the Caxton Street Seafood and Wine Festival we have five double passes to give away to the festival that’s happening Sunday 5 May! Along with good food and wine there will also be performances by Mental As Anything, The Choirboys, Ash Grunwald and many more!




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ISSUE 1619

W E D N E S D AY 2 0 M A R C H 2 0 1 3

TIME OFF Foreword Line – news, opinions, tours, Backlash, Frontlash The new record for our cover stars Northlane is product born from pressure For PVT, taking the road less travelled is the only way The boys of Mutemath are eager to use Australian audiences as their guinea pig US folk stars The Lumineers discovered how one song can change your life The Mark Of Cain are back to inflict some pain Get ready for the Counting Crows to soar back into your hearts Age shall not weary them; Iggy & The Stooges stand the test of time Hard work is paying off for Ireland’s Damien Dempsey Hang on to your balls, it’s the Mad Caddies! Being a legend who’s still relevant is a virtue Wanda Jackson is thankful for Gold Coast rockers Electric Horse discover light and shade The music keeps a comin’ from Chris Smither Brisbane’s Kingfisha are excited about their future moves Local troubadour Dave Di Marco talks to us about continual evolution Melbourne songwriter Courtney Barnett tells us some truths On The Record has the latest, greatest and

CREDITS EDITORIAL Group Managing Editor: Andrew Mast Editor: Steve Bell Contributing Editors: Dan Condon, Benny Doyle Front Row Editor: Cassandra Fumi Interns: Keagan Elder, Sophia De Marco ADVERTISING Advertising Account Executives: Alex Iveson, Corey Herekiuha DESIGN & LAYOUT Cover Design/Designer: Matt Davis ACCOUNTS & ADMINISTRATION Administration: Leanne Simpson CONTRIBUTORS: Time Off: Ben Preece, Dan Condon, Daniel Johnson, Chris Yates, Matt O’Neill, Adam Curley, Lochlan Watt, Tyler McLoughlan, Mitch Knox, Sam Hobson, Rachel Tinney, Tony McMahon, Benny Doyle, Jake Sun, Brendan Telford, Cyclone, Siobhain McDonnell, Sky Kirkham, Bradley Armstrong, Carley Hall, Eleanor Houghton, Madeleine

8 • To check out the mags online go to

10 14 15 16 16 17 18 19 20 20 20 20 21 21 21 21

the not so greatest new musical releases 22 Chris Yates spotlights the best (and worst) tracks for the week in Singled Out 22

FRONT ROW Check out what’s happening This Week in Arts 24 Julia Loktev reveals The Loneliest Planet 24 Burlesque star Imogen Eales keeps things glamorous 24 Reviews including comedian Damian Callinan and TV show Girls 25 Garage Gamer coordinator Susan Kukucka talks about Brisbane’s high score scene 25 Your weekly dose of arts opinion in The Looking Glass and Cultural Cringe 25

BACK TO TIME OFF! Get the drum on all the coolest happenings in local music last week, this week and beyond in Live 27 Dan Condon gets the dirt on the blues scene from the Roots Down 30 Lochlan Watt gives you brutal metal news in Adamantium Wolf 30 Adam Curley cuts sick with another musical pop culture rant in The Breakdown 30 Cyclone has the wide urban world covered with some OG Flavas 30 Muso – industry news and the latest equipment, by musos, for musos 40

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. © PUBLISHER: Street Press Australia Pty Ltd Suite 11/354 Brunswick Street Fortitude Valley QLD 4006 POSTAL: Locked Bag 4300 Fortitude Valley QLD 4006 Phone: 07 3252 9666 Email: PRINTED BY: Rural Press















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He’s been part of The Middle East and produced some of our finest emerging songwriters including Emma Louise and Tim Hart (Boy & Bear), but now Mark Myers is making the spotlight his own with new project The Starry Field. A feel good, distinctly Australian shake of the pop formula, funas-hell first single All Of My Love was a revelation when it landed earlier this year. Now, Myers has completed his debut album, so expect the sky to light up when north Queensland visionary heads out on the road to launch Back On The Milks. Catch him Wednesday 3 April at Beetle Bar.

Dates for the 2013 instalment of Splendour In The Grass have been pencilled in, with the three-day event taking place Friday 26 to Sunday 28 July. This year will mark the first time the festival has been held at its new home at North Byron Parklands.

PITTING OUT The Hits And Pits festival freaking love Brisbane – that’s why they’re treating us to one additional sideshow pulled from the punk festival’s line-up! In a unique double headline show, A Wilhelm Scream will run through their celebrated debut Mute Print, while fellow visitors from the States The Flatliners will deliver their Cavalcade record cover to cover. With the addition of Aussie supports Beaver and Friends With The Enemy, we’ve gifted with a genuinely huge night of loud. Be part of the action when the four bands perform Monday 25 March at the Crowbar. Get your tickets through Big Cartel for $43+BF.

GRINDING IT OUT Following on from ARIA chart success that saw their Hate record land in the Top 40, Thy Art Is Murder inked a deal with icon genre label Nuclear Blast and have been hard at work spreading shrapnel worldwide. But now the Australian deathcore crew are bringing the pain back home, and have just announced a punishing national tour with San Diego grind proponents Cattle Decapitation. Rounding out this bumper bill for fans of the extremely heavy variety are Melbourne’s King Parrot and Brisbane sextet Aversions Crown. The four acts play two Queensland shows, plugging in for an 18+ at The Rev, Thursday 6 June, with an all ages gig at Expressive Ground, Gold Coast Friday 7. Tickets on sale this Friday, 22 March through Oztix and Destroy All Lines.

TEMPERATURE RISING Get ready to bow down in the temple of rock when The Reverend Horton Heat stand before the sweaty, liquored up congresses right around the country. Having honed their craft for almost thirty years, you can be certain that the Texas psychobilly maniacs will be putting the pedal to the steel when they bring their live show Down Under in a few months and remind us just why rock’n’roll is the most dangerous drug of all. You can catch the group when they perform Sunday 26 May at The Hi-Fi. Get your tickets through the venue website from tomorrow (Thursday 21 March).

CATHEDRAL CHEMISTRY Already the Heavenly Sounds crew have given us tours from Julia Stone and Michael Kiwanuka this year, and the stunning voices keep coming with Kate Miller-Heidke the latest to sign up for the religious treatment. Showcasing her gorgeous album of 2012, Nightflight, these dates mark the first duo shows that KMH has carried out with long-time collaborator Keir Nuttall in over a year. Miller-Heidke will perform at St John’s Cathedral, Tuesday 28 May, with tickets available now through Ticketek for $62.50+BF. In addition, the local lass will also be conducting her first regional tour since 2009, playing Star Court Theatre, Lismore, Sunday 26; Empire Church Theatre, Toowoomba, Thursday 30; Gold Coast Arts Centre, Friday 31; and Caloundra RSL, Saturday 1 June. Tickets for these dates can be purchased through the respective venue websites.

LIVING FOR THE NOW Following the great response to the festival, Live It Up have announced another three acts to fatten up an already juicy bill. On the cusp of great things with their anticipated second album Singularity about to drop, this week’s Time Off cover stars Northlane, pictured, will no doubt get the pit heaving, while Bombs Away and Tom Piper will be making the speakers quiver with their big beats. These artists are in addition to already announced names like The Amity Affliction, Pez, The Getaway Plan and plenty more, with the under-18 event taking place at RNA Showgrounds, Saturday 13 April. Tickets can still be purchased through Oztix and Ticket Booth for $40+BF.


SHINING SEA NO SIGN OF THE TIMES Local indie rock favourites We All Want To continue to win over new fans with their lively brand of dissonant rock. Led by local legend Tim Steward, riffs are balanced with pop sensibilities to create an overall experience that’s impossible not to fall in love with. With their 2012 album Come Up Invisible finishing on plenty of end-of-year polls, the band continue to push the agenda, dropping new single No Signs and hitting the road once more. Check out We All Want To at the top and tail of their tour, the band kicking their east coast run of dates off Friday 19 April with a special performance at The Judith Wright Centre featuring a swag of special guests, before wrapping things up Friday 24 May, Spotted Cow, Toowoomba. Proudly presented by Time Off.

10 • For more news/announcements go to

With his Friday 26 April show selling out in a blink, American vocalist Josh Groban has announced a second and final Brisbane show at QPAC Concert Hall, Saturday 27. Don’t miss out on seeing Groban and his crack band of world-class musicians as they work through music from his six-album back catalogue. Tickets for the final date on his All That Echoes Australian tour are on sale now through Live Nation, with prices starting from $102.40+BF.


Although live music didn’t feature as strongly as certain stakeholders had originally hoped, the National Cultural Policy still looks to inject $235 million into the arts sector. The “ten-year vision” is designed to create an environment where local musicians can thrive as opposed to an immediate cash grab.

One of the most promising hip hop artists in the country, Chance Waters is looking to build on a huge 2012 which saw him chart in the Hottest 100 and get nominated for the triple j Unearthed Artist of the Year off the back of his sophomore release, Infinity. Now, with two festival appearances already scheduled for Saturday 13 April (Live It Up Festival) and Saturday 20 (The Big Pineapple Music Festival), Chance has decided to get comfortable next month and bring the party to Queensland during the week. He’ll play three headline shows: Wednesday 17, The Zoo; Thursday 18, Surfers Paradise Beergarden, Gold Coast; and Friday 19, The Spotted Cow, Toowoomba. Tickets for the GC show can be picked up through Ticketmaster, with the other two gigs through Oztix.

Clive Burr, the former drummer of Iron Maiden, has passed away in London, age 56, after suffering from multiple sclerosis. Burr joined the band in 1979 and played on three albums including defining records Killers and The Number Of The Beast.

We always hate to be the bearer of bad news, but unfortunately the scheduled rocktacular combining The Darkness and Joan Jett and the Blackhearts has had to be cancelled due to a recurring hip problem with Darkness drummer Ed Graham. If you had tickets to the show, which was scheduled to take place at the Brisbane Riverstage, Thursday 4 April, then please contact your point of purchase for a refund.

In a recent interview at the recent NME Awards in London, drummer Matt Helders has suggest that the Arctic Monkeys will release a fifth studio record sometime this year. Guns N’ Roses fan Darren Wright is seeking $5,000 in damages from Axl Rose after the controversial lead singer threw a microphone into the crowd at Gunners recent show at Perth Arena, knocking Wright’s front teeth out,. The new album from trailblazing British metal band Black Sabbath , titled 13, will be released on June 10. This will be the first record from the band in 35 years.

Already enjoying a huge following in Europe and their native USA, the black-clad overlords of symphonic metal, Kamelot, are arriving in Australia for the very first time this winter. Since forming in Tampa, Florida back in 1991, the band have released ten studio albums, including last year’s Silverthorn, and are renowned for creating a powerful live experience that is a must-see for any metal lover. The five-piece kick off their tour in Brisbane, playing The Hi-Fi, Tuesday 4 June. Tickets for the show go on sale this Friday (22 March) at 9am through Metropolis Touring and start at $59+BF, with limited VIP meet and greet packages also available.

Named after the second single to be lifted from their rocking record of last year, Sea Of Bright Lights, City Riots’ Catch The Sun tour will be hitting capital cities around the country. After a string of saccharine EPs, the Adelaide boys showed a darker side with their debut LP, mirroring their development as songwriters. It will be inspired to see how they build their set to be one fluid piece, and you can check it out for yourself when the quartet plays Friday 5 April, Ric’s and Saturday 6, Trainspotters, Grand Central Hotel. Both nights are free so no excuses now.

Brisbane Festival is back in 2013, with our city’s much loved arts shindig happening right around town for three weeks from Saturday 7 to 28 September.


The mother of Michael Jackson and the King of Pop’s three children – Prince, Paris and Blanket – are seeking £26 billion (almost $38 billion Australian) in compensation from AEG Live, the concert promoters who were behind Jackson’s scheduled 50-date stand at London’s O2 Arena. Jackson passed away in the lead up to the performances in 2009 at his Los Angeles home.


NO APOLOGIES She’s one of the biggest pop stars on the planet and arguably the most popular individual on the internet with 63 million Facebook likes and over 27 million Twitter followers, but with seven albums in seven years and her fastest-rising single to date, Diamonds, landing to love from all around the globe, Rihanna isn’t about to rest on her laurels. And now it’s Australia’s turn to get a taste of the R&B queen when she brings her Unapologetic world tour Down Under this spring. Playing arenas right around the country, Queensland fans can get their fix when the ‘(Only Girl) In The World’ takes over the Brisbane Entertainment Centre, Saturday 28 September. Tickets for her show can be purchased through Live Nation. Register at the website now for pre-sale info.

GET ‘EM WHILE THEY’RE HOT Currently showing off their wares at Canadian Music Week after kicking butt all over Austin during SxSW and scoring their debut US television slot on Last Call With Carson Daly, Brisbane five-piece The Trouble With Templeton will be returning home next month to pick up right where they left off, back on the road again. The bombastic indie folk gang play two Queensland shows, happening Thursday 25 April, Alhambra Lounge and Thursday 2 May, Spotted Cow, Toowoomba. Grab your tickets now from Oztix.

TASTE FOR BLOOD In further exciting news for extreme metal fans the country over with another two brutalisers from the US teaming up for an Aussie run of dates. The ‘Supreme Slaughterhouse’ tour features mainstays of the scene Dying Fetus arriving to deliver tracks from their large canon, spanning more than 20 years, while oneman-death-band Putrid Pile will make his first visit to our country as support. The two acts will devour all in attendance at Beetle Bar, Sunday 21 April, with tickets on sale now through Oztix for $52+BF.

FOREVER YOUNG Stay listening to 4ZZZ’s youth and student shows (The Beejaydeejays, Damn Classy, 4ZZZ Youth Show) over the upcoming weeks as they’ll be announcing the line-up for Youth Open Day. Happening Saturday 6 April between noon and 5pm at their Fortitude Valley headquarters, there’ll be food, markets, a station tour, as well as three creative workshops over the afternoon – and, of course, live music. If you’re under 25 and you want to get involved in our thriving local music scene then hop along.


THIS WEEK at The Hi-Fi The Mark Of Cain Thu 21 Mar

Friday 22 March

Dubmarine Fri 22 Mar


Mutemath (USA) Sat 23 Mar SELLING FAST


Mad Caddies(USA) Sun 24 Mar SELLING FAST

Saturday 23 March


JUST ANNOUNCED Stand Up 2013 Feat. Lazy Grey Sat 27 Apr The Temper Trap Mon 6 May

Thursday 28 March


OM (USA) Wed 8 May Jello Biafra (USA) Thu 16 May

Saturday 30 March

Afrika Bambaataa (USA) Fri 17 May


Reverend Horton Heat (USA) Sun 26 May

Thursday 4 April


FAT ALBERT Saturday 6 April


RUFUS Thursday 11 April


SONS OF RICO Sunday 14 April

IN-CYDE Friday 19 April




Saturday 20 April



Kamelot (USA) Tue 4 Jun

COMING UP The Lumineers (USA) Sat 30 Mar SOLD OUT

Ben Howard (UK) Fri 5 Apr SOLD OUT

British India Sat 6 Apr Public Image Ltd (UK) Tue 9 Apr Epica (NL) Wed 17 Apr Hugry Kids Of Hungary Fri 5 Apr Tall Poppy Indie Rock Party Sat 20 Apr Silverstein (CAN) Sun 21 Apr Mick Taylor (UK) Tue 23 Apr CANCELLED

Pete Murray Wed 24 Apr

Emma Louise Fri 24 May

28 Days Fri 26 Apr

Seth Sentry Sat 25 May

Otep (USA) Sat 27 Apr

The Ghost Inside (USA) Sat 1 Jun 18+ Sun 2 Jun U18

Norma Jean (USA) Thu 2 May The Bronx (USA) Tue 7 May Cradle Of Filth (UK) Thu 9 May

Cnr George and Elizabeth Streets, Brisbane Ph 3221 4377

Live music 7 nights a week

Something For Kate Fri 18 May

Killing Joke (UK) Thu 6 Jun Municipal Waste (USA) Sat 15 Jun

The Beards Atari Teenage Riot (GER/UK) Fri 21 Jun Wed 15 May La Dispute (USA) CANCELLED Fri 28 Jun Soilwork (SWE) Wed 2 Oct TIX + INFO THEHIFI.COM.AU













An artist that seems to be everywhere at the moment, Doyle Perez has quickly become one of the most popular young singer-songwriters in the country thanks to his stripped back project D At Sea. With his brand new EP, Unconsciousness, shooting up to #3 upon its debut on the iTunes Alternative charts, there’s obviously no better time for the Brisbane songwriter to take his music on the road. Hearts will flutter when Perez delivers his emotive hardcore ballads Wednesday 24 April at Crowbar. Playing with Chasing Ghosts and Millie Tizzard, you can get your tickets through We Are Unified’s Oztix page for $15.

British prog arena rockers Muse look to be touring Australia in December, with Matt Bellamy announcing the news via Twitter. Melbourne MC Seth Sentry took out top honours at the SXSW #BoldStage rap battle. Beating US freestylers Devin Miles and Snow Tha Product. Sentry’s win has secured him the support slot on LL Cool J’s forthcoming Authentic tour around the States. The location of Laneway USA has been announced, with Michigan’s Motor City, Detroit, pencilled in to host the event, happening Saturday 14 September.




Since their inescapable single Awkward dropped back in 2011, Western Australian sunshine pop kids San Cisco have been everywhere, following up that single’s success with their breezy self-titled debut record on iconic US label Fat Possum. Now after some recent OS touring, the guys will be bringing their own style of beach party to cities and towns right around the country. Get among the fun when San Cisco play with Millions and Chaos Chaos at Kings Beach Tavern, Caloundra, Thursday 16 May; The Zoo, Friday 17; Coolangatta Hotel, Gold Coast, Saturday 18; Alhambra Lounge, Sunday 19 (afternoon U18); and The Northern, Byron Bay, Wednesday 22. Get your tickets through Oztix, proudly presented by Street Press Australia.

Expressive, challenging, passionate and educated – it’s no wonder Michigan’s La Dispute are one of the most celebrated bands in post-hardcore. With a visceral live show of neck snapping energy and end-to-end quality records from which to pull a setlist, Brisbane is in for a treat when five-piece take a flight across the Pacific to visit our country with support from Baltimore’s Pianos Become The Teeth. The two US acts play three shows in our region, performing Friday 28 June, The Hi-Fi; Saturday 29, Mt Gravatt PCYC (AA); and Sunday 30, Byron Bay YAC (AA). Tickets through Moshtix and Oztix.




Remember that mega weekend recently? It was off the chain, wasn’t it, full of big tunes, bad nudity and enough alcohol to flood a swimming pool. Well, we can promise you this tour is going to top that! Those bearded, sexual rock’n’roll miscreants Gay Paris are dropping another single, Ash Wednesday Boudoir Party, from their forthcoming record, The Last Good Party, and now they’re coming at you to make sure you get your loose on. You’ve got two chances to catch the Sydney band, with Gay Paris performing Friday 26 April, The Joynt and Friday 21 June, The Northern, Byron Bay. That gives you plenty of time to recharge the batteries in-between after going hell for leather next month!



CANDY RHYMES It’s been three years which we’ve last been spoiled with some Pez headline shows, but after disappearing into the wilderness before emerging stronger and more focused than ever before, the Melbourne MC is ready to bring the ruckus once more. The ‘Back In The Game Tour’ will dance either side of his scheduled appearance at under-18 festival Live It Up (RNA Showgrounds, Saturday 13 April); catch Pez at The Brewery, Byron Bay, Thursday 11; Coolangatta Hotel, Gold Coast, Friday 12; The Wharf Tavern, Mooloolaba, Saturday 13; and The Normanby Hotel, Sunday 14. Tickets through Oztix, Ticketmaster and venue websites.

SWALLOWED WHOLE There are few producers currently more hyped than Bristol lad Daniel Pearce, aka Eats Everything. Riding the current house resurgence and taking the established sound to places foreign and exciting, his tracks have piqued the attention of everyone from tastemakers such as Pete Tong and Annie Mac to contemporaries like Claude Von Stroke and Carl Cox. Now, he makes the trip to Australia to get rooms moving in capital cities around the country, doing the Anzac Day holiday circuit. We get our time to shine when Pearce plays The Met’s Coco Room, Friday 26 April.

Now running as a trimmed down four-piece following the departure of vocalist Brad Smith, Sydney pop punks Heroes For Hire want to reintroduce themselves to audiences and start their new chapter on the right foot. With guitarist and chief songwriter Duane Hazell taking over vocal duties, the band are sure to sound energised and reinvigorated when they hit capital city stages before they head OS for a bunch of shows throughout Asia and Europe. Catch them with GC lads Nine Sons Of Dan and fellow Sydneysiders Forever Ends Here when they play an all ages show at Trinity Hall, Friday 10 May. Get your tickets through Oztix and Moshtix.



US country exponent Jason Molina – who released music as Songs: Ohia and Magnolia Electric Co as well as under his own name – died this week after a long battle with alcoholism. His amazing show at The Troubadour will never be forgotten, and he’ll be sorely missed.

So new ATP-related shindig Release The Bats has been announced for Melbourne in October, so hopefully we’ll get some Brisbane sideshows for headlining bands like The Breeders and The Jesus Lizard! Bring that bat shit on!




GET WELL KIM Aussie comedienne Gina Riley – best known as half of the Kath & Kim juggernaut – was recently diagnosed with breast cancer and started treatment last week. Here’s hoping she has a swift and complete recovery.

So Warney’s solution to the current crisis befalling Australian cricket is to lock them all in a room “with alcohol and some music”. Hmmm, Warney for PM anyone? You have to wonder what music he’d choose though…



So Pope Francis – so they’ve dubbed him – is the first non-European pope in over 1,000 years (cool), but why did they pick someone so freaking old again? He’s already 76yo, the church will never change if they keep picking leaders already on their deathbed…

That statue busker who punched the punk down at Surfers should be given a trophy. The guy clearly wanted to see how far he could push before the busker snapped and he found out, it’s like science really. It’s so good seeing idiots get their comeuppance…

VALE Jason Molina

12 • For more news/announcements go to


Singularity, the sophomore release from Sydney five-piece Northlane, is one of the most hotly anticipated records of the year. And as Adrian Fitipaldes explains to Benny Doyle, they’ve only got themselves to blame.


esting up before the biggest time in his young life, Adrian Fitipaldes is catching his breath at his Sydney residence, and boy is he ever going to need the energy. Northlane’s second record is due to land on Friday 22 March, and with it immediately comes a hectic touring schedule that will see the band tied to the road for the rest of the year. However, the guys are match fit following a summer that saw the quintet play their biggest ever shows on the undercard for Parkway Drive and also as one of only four Australian bands doing the national loop with Soundwave.


“A lot of kids were nagging AJ [Maddah] over Twitter to put us on the bill, and hopefully he doesn’t hate us because of it, but luckily he made an exception last minute and he fit us on the [line-up] which I’m very thankful for,” Fitipaldes says. If Northlane were feeling the sense of occasion at any of those dates, however, they certainly didn’t show it. The band not only survived, but thrived in the main arena, playing with cohesion and a professionalism far exceeding the expectation of their 20-something years. “We just love playing shows and we


love playing the music we play,” says Fitipaldes. “We try and have as much fun as we possibly can – that’s why we do it. And I think if that’s showing on the audience side of things then we’re doing our job right, and we’re communicating that we love [being on stage] and we’re there to have fun. There’s no other reason, really.”

That flair extends away from the stage, too. Masterminding the Singularity2013 campaign from within their own ranks (see Sidebar), Northlane created one of the bigger online media buzzes in recent memory, at least in this country. It’s obvious the guys are confident in their craft and are looking at this ‘band’ thing as a big picture with a long-term future, a point Fitipaldes agrees with. “When I joined Northlane I was listening to the early stuff that they were writing,” he remembers. “Back then I was maybe 18, 19? And I really had a lot of faith in the music the guys were writing, I was like, ‘This has the potential to take us overseas, this has the potential to make us a bigger band, to step out of the local scene and into the national and international scene’, and I still have that faith to this day. I love

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hearing the stuff the boys are writing. If I’ve been at home for a while and I haven’t particularly listened to what they’ve been writing, I’m always really excited to hear what’s coming next and I’m [psyched] to write new lyrics when I hear that music. It’s all a process of creativity and experimentation, which is what we love doing. We all love being creative and we all love art, not just musical art but visual art. It all encompasses the ins and outs of Northlane.” For Fitipaldes, Northlane is no longer something to do on weekends – it’s now his life. His bandmates aren’t simply the blokes he jumps around a stage with – they’re his blood. And as the guys mature as individuals they continue to grow musically, a fact that’s written all over Singularity. “[This experience] is helping me flower and become the individual I want to be,” he confesses, “that maybe I might not have had the strength to do if I wasn’t in the band, y’know. And these are just little things. As a unit and as a team and as a brotherhood of five dudes, we can all help each other and create a support network for each other. We’re pushing each other further to not only be the musicians we want to be, but also the people and the individuals we want to be. There’s a lot of bands out there that chop and change members all the time; I couldn’t imagine being in a band with dudes that I wasn’t fully tight with and considered my family.”

Northlane’s debut record of 2011, Discoveries, won them an army of fans, domestically and abroad; the band stepping over many of their contemporaries to become one of the most talked about young prospects in metalcore thanks to progressive songwriting, intelligent lyrical content and an intensity that was unwavering. But although a strong and well received debut is the dream for young bands of any ilk, it doesn’t exactly make a follow-up an easy undertaking. Northlane felt this, but rather than break under the weight of expectation they were compelled to work harder and push further. What they’ve crafted is a modern metal masterwork that takes elements of everything from hardcore and progressive to industrial and Djent, blending it together to create a sonic explosion that rocks you to your core.

“After we released Discoveries and there was talk of a second album, it really felt like we were under the microscope because Discoveries was such a successful release and it got us to the point of where we are now,” tells Fitipaldes. “It’s the ol’, ‘Can Northlane back it up the second time’, y’know, and it is a

bit of pressure, but I love pressure; I work well under pressure and I think the rest of the boys do as well. I think most people do; I think it’s part of nature. When we’re forced to adapt as animals we adapt out of pressure, out of evolutionary pressure, and that’s what causes us to evolve and change, and that’s definitely what’s been happening. We’ve been feeling all this pressure from the music industry, from the music community, and it’s only helped us to want to prove to everyone, and mostly to ourselves, that we can do this and that we can back it up and write a brilliant second album, and a third that will come in the future. We’ll just continue reaching greater heights I guess.” Fitipaldes, along with guitarists Jon Deiley and Josh Smith, bassist Alex Milovic and drummer Nic Pettersen, recorded Singularity between tours late last year, working at The Machinery Shop in New Jersey with Will Putney, the producer who also mixed the band’s debut. In the lead up to their scheduled studio time they reached deep to light the creative fire inside them, writing while on the road in Australia and Canada with time constraints a constant.

“And imagine the pressure, trying to write an album to deadline, when you’re on tour doing all these crazy things, and it’s supposed to be the best album, it’s supposed to top Discoveries,” Fitipaldes exclaims. “But we ended up rocking up to the studio and we still [had] three or four songs to write, and Jonny the poor guy ends up blasting them out in three days. [He] must have felt like a squeezed piece of fruit after that!” he laughs. “And they all made the record, and they are all brilliant songs as well. I’m very proud of him and the rest of the guys because it is a lot of pressure. I complain that I have pressure being a frontman, but all I have to do is stand there, sing good and look pretty; whereas my boys, they really, really have to strive their hardest to channel some type of music through their imagination into their craft, and it does take a lot of patience and it does take a lot of dedication. Just to give you an idea, that’s the type of [stuff] we were facing on the musical side of things.” Not that Fitipaldes was simply sitting idle in the corner, bouncing a ball against a wall. The frontman put just as much time and heart into his end of the bargain. His delivery across the LP is sharp and contrasting, with spitfire venom roaring from various angles, tones changing constantly while the rhythm in his verses offsets the chaos surrounding. The lyrical content found across the long-player covers a disparate range of topics, with two overarching subjects tying together each distinct thread. The purpose, to push listeners to dig deep inside and create their own destiny, just like the Northlane lads have done. “It’s got a bit of everything, brother; there’s a few mixed themes within Singularity. [That title], Singularity, traditionally means a point in the future

where human advancement will have reached the point where it would be impossible to comprehend what life would be like in that age in the future. But a second concept evolved where Singularity is almost something that exists within the individual, the singular individual, and it’s stressing the importance and empowering the perspective of the individual, so by saying that I’m a singular human being I’m saying that I’m the centre of my universe and that I should not let my dreams pass me by. I should not worry about the future too much and not worry about the past, but just do what makes me happy. In the now. And that’s what I really wanted to stress, I wanted to empower the individual, the perspective of the individual. Not me, not the one singing – you, the person listening,” Fitipaldes takes a well-earned breath before concluding. “It’s about that person, the singular human being, and that’s something special, I reckon.”

Northlane’s Singularity campaign created a massive stir in late January. Only thing was, no one knew the band were behind it. Their label, UNFD, simply posted a link on their Facebook page leading to a website featuring a countdown timer. Further bands from the roster such as The Amity Affliction and Dream On, Dreamer followed suit and rumours were quickly abounding that Australia was in line for a new festival. Wrong. Instead, when the timer struck midnight on Friday 22 February, we were presented with details for Northlane’s second record. It was simple marketing – cryptic and tightly orchestrated – and it helped spike unprecedented interest in the Sydney crew. However, they aren’t the first band to push away from the expected to generate some headlines. Take a look at the fast, the fiery and the futile: The Black Keys Prior to the release of seventh record, El Camino, the Akron, Ohio pair gave a big thank you to their Australian fanbase with a road trip in the eponymous vehicle, handing out band swag at iconic ‘big’ things such as the Big Pineapple and Big Oyster, and cementing their popularity down under. The KLF One of the most successful acts to come out of the British acid house explosion in the late ‘80s, the boundary pushing London pair took ‘retiring’ to a whole new level when they announced they were quitting the music business, subsequently burning one million pounds, the last of their KLF earnings, in 1994. Tenacious D Looking to promote their DVD, The Complete Master Works, Jack Black and Kyle Gass announced they were going on an extended hunger strike in a glass case suspended above Times Square, New York. After only 23 minutes, Black freaked out, Gass started eating M&M’s, and the whole stunt was over in less than an hour.

WHO: Northlane WHAT: Singularity (UNFD) WHEN & WHERE: Saturday 13 April, Live It Up Festival, RNA Showgrounds (under18); Thursday 30 May, The Tempo Hotel; Friday 31, Eagleby Community Hall

THE NEXT TURN Weirder, poppier and synthier – Australian electronica exports PVT have returned with Homosapien. Matt O’Neill speaks to Richard Pike about the band’s career to date. ince formation, PVT have existed between categories. Formed as Pivot in 1999, an electro-acoustic free-improv ensemble (later abbreviating their name on account of copyright), the band have seemed thoroughly devoted to experimentation from the outset. Yet, since the release of debut album Make Me Love You in 2005, they’ve also showcased a pronounced populist streak. Audiences have never quite figured them out.


“That’s good, that’s great; that makes me very happy to hear, to be honest,” guitarist and vocalist Richard Pike laughs. “It’s exciting when you hear music that confounds you. It’s exciting when you hear new music and you have no idea how they made it or where it’s coming from. It makes you want to hear it again and understand it. If we’ve achieved that, that makes me very happy. Personally, I don’t think we have.” It’s a divide in no small part conjured by the band’s heritage. Each of the band’s current members have served time within the experimental underground. Drummer Laurence Pike was a founding member of Leaf Label experimental jazz outfit Triosk. Richard Pike produced two albums for Triosk and performed with legendary electronica act Flanger. Laptop artist Dave Miller is an internationally acclaimed sound artist. The dynamic is further complicated by the association of group’s former record label: Warp Records. Synonymous with electronic visionaries and innovators like Aphex Twin, Autechre and Squarepusher, Warp Records are so intrinsically linked to experimental music that, upon signing, PVT were immediately bombarded with references to the label’s history by journalists. It’s one of the reasons for the band’s departure from the imprint.

“You know, we did a lot of jamming on the previous records. We had some ideas and loops but, really, a lot of it was us jamming out those ideas,” the guitarist says. “The problem with that approach is you just end up with hours and hours of material to sort through. This time, we wanted to do it the other way. We wanted to walk in with more material under our belts and firmer idea of our direction… I mean, you never really know what you’re aiming for, but we wanted to have some kind of ballpark area in mind for this album.” WHO: PVT WHAT: Homosapien (Create/Control) WHEN & WHERE: Friday 22 March, The Zoo

“There was nothing really bad,” Pike explains. “I had a great time being on Warp and it was very exciting for us in a lot of ways. And we will always have that. You know, we’ve got a couple of albums on that label and it’s an amazing label. The flipside of Warp is that they have this really cultish following that goes way back and it got kind of tiresome living in the shadow of that. Even Steve [Beckett, CEO], the label boss, feels that. “You know, we’d do interviews and people would always ask us about Aphex Twin or Battles,” the guitarist laughs. “Your ego eventually kicks in and you just want to talk about your band. I mean, when we first got signed, all we got was ‘Oh, hey, it’s Battles Mk II‘ and I was just like ‘...what the fuck?‘ I mean, Battles are a fantastic band. I just think we’re coming from two very different places. All we have in common is that we have a guitar.” However, PVT have never been a particularly abstract or avantgarde act. If anything, they’ve grown progressively more accessible with each release. Even in their infancy, PVT/Pivot were hardly clinical experimentalists. Recorded as an instrumental five-piece, Make Me Love You glows with jazzy melody and groove. Abstraction and complexity abound; but never define.

There’s more to this story on the iPad “Man, that album feels like ten years ago,” Pike laughs. “It was totally different. I mean, the band was different. There were three other people in the band who were gone by the next record. We were basically a jam band at that point. I think you can still hear a thread, though. We’re still the same people who wrote those songs and we still write those kinds of songs. That DNA is still there, if you know what I mean.” Those values are only underscored by their subsequent records. O Soundtrack My Heart, released in 2008, saw the band crystallise their line-up and aesthetic. A blend of angular instrumental rock, leftfield electronica and vintage synthesiser fetishism, Soundtrack is highly experimental in composition but fundamentally accessible in presentation. Still instrumental, its arrangements are nevertheless stripped-back and concise. “In the past, I probably would have described us as an experimental band. In fact, I would say yes now,” Pike reflects. “It’s hard to be creative and objective about what you do, though. I still think what we do is experimental, but I also think we write pop songs as well. That’s the thing, though. I thought we wrote pop songs with Make Me Love You. I don’t really see any difference.” In fact, PVT are an experimental act with a populist outlook. Or vice versa. It’s why their career has proven so confounding. Even as their work has gotten more accessible, their outlook has remained largely unaltered. Richard Pike, for example, seems genuinely surprised that audience perceive a distinct difference between vocal-heavy records like 2013’s Homosapien or 2010’s Church With No Magic and the instrumental Soundtrack. “Was I scared? Do you mean, did I have a moment where I went to the bathroom, looked in the mirror and said, ‘You’re gonna sing, dammit?’” Pike asks with a chuckle. “I think it was a real gradual thing, with me and with the band. I’ve always sung, I’ve always written songs. I think it’s just a matter of becoming more comfortable as a singer and getting better as a songwriter. It’s not that new for me, even if it seems new from the outside.” Put simply, PVT don’t buy into popular music mythology. Richard Pike seems largely ignorant of it. Their latest album Homosapien is their most accessible work to date. Pike sings on every song bar one and, in arrangements and instrumentation, it’s effectively synth-pop. Yet, Pike doesn’t see it as anything other than another experiment. Selling out, streamlining; such pop-driven concepts seem largely outside his vocabulary. “I don’t know. Measuring success is a really weird thing to me. I wouldn’t know how,” he reflects on the band’s trajectory. “I guess my measure of success is that we haven’t been forced to stop what we’re doing as musicians. We have a following and we’re allowed to keep going because of that. You know, we’ve never had a hit single or anything like that, so that’s the only definition of success I can really comment on.

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SKETCHING IN RABBIT TRAILS Indefinable multi-instrumentalists Mutemath like to push boundaries while chasing that elusive new rhythm or sound. Paul Meany discusses with Brendan Telford the insecurity and fervour that such endeavours inevitably bring. utemath have never been a band that is easy to tie down and pigeonhole, the band steadily building a fervent fanbase over the past ten years due to their schizophrenic sonic explorations and effusive instrumentation. While original guitarist Greg Hill left the band in 2010, the New Orleans four-piece regrouped and came away with 2011’s Odd Soul, their strongest collective effort yet. The album has been critically lauded, and frontman Paul Meany admits it’s opened up a few more doors for them over the past year.


“We have been able to tour a lot more, and go to some pretty amazing places, Australia being one of them,” Meany states. “We got to play in Mexico, and we are travelling to Singapore before coming back to Australia, and these are the types of things that sort of drip feed down from something like Odd Soul. In fact, and this is more of a personal milestone for me, but we are getting to play the New Orleans Jazz and Heritage Festival this year. It’s an old festival, it’s been around for I don’t know how long, and I remember going to it as a kid, and it’s kind of mind-blowing that I am now getting to play and be a part of something like that.” That said, Mutemath have never been a band to stand still, with their seismic shifts in mood, tempo and genre being one of the defining elements of the band’s oeuvre. This extends to their physical musicianship, whereby the stage is kept busy from multiple changes of instruments between band members. Meany admits that it is difficult to tie down what drives the band musically, but it’s best not to overthink things either. “We are definitely wanting to consolidate some of the ideas we had on the last record, but we are always changing the process of how we do things, just that little bit, to keep it fresh. It’s not really a conscious decision rather than something we have to do. Plus life doesn’t stand still – we have a new band member now, we have kids now, too – the dynamic changes when you have kids running around, needing to be fed. The best way to describe how we are travelling creatively right now is that we’re sketching, there is a lot of sketching going on, flinging down as many ideas as possible when we can. In fact we will be airing many of those ideas for the first time when we get to Australia, it’s the perfect

time to pick and choose what we think works best and really bang them out so that they are suitable for an audience, for a crowd to take in. We’re turning these sketches into an understandable or relatable picture.” With the band encompassing so many variants of musical genres – math rock, free jazz, prog, funk – it’s hard to fathom Mutemath wanting to straddle further sonic frontiers. “Well, we are constantly looking for things that we haven’t heard before,” Meany muses. “I think on the last album we were listening to some records that were our first time in experiencing them, they were our original memories, so we built on those new sounds, at least new to us. A lot of albums from the ‘70s, rediscovering albums from Black Sabbath and Led Zeppelin that we hadn’t ever taken in before. It threw us back to past memories, like when Dad taught me my first Hendrix song, or hearing the Beatles… We had a lot of fun allowing ourselves to go back there, culling from that era. Right now, for the time being at least, we are starting from a very now place; we are searching for things that none of us have literally heard before. We’ve been messing a lot with synths, seeing what we can cook up with iPads and computers. The process is like rabbit trails to us, so I never have an idea where we are going to end up. The things we do are we try to change locations; we are in a different house than we were last time. These places usually inform the sound of the instruments and the sound of the drums – even my own vocals – and anything goes. I’m just trying to chase down melodies and lyrics as they come to me; you can’t forsake that.” When Meany and drummer Darren King formed almost a decade ago, their musical focus was much more electronically oriented, where the foraging for new sounds first bore fruit. The opportunities and advancements that electronica can provide has always been at the core of the duo’s creativity, thus a constant source of inspiration for Mutemath, regardless of whether it’s prevalent or not. “I guess that [electronic music] has always been our MO to this day, even on Odd Soul, which ended up sounding very organic and jammed out,” Meany states. “All of our ideas start out on a sampler, with Darren usually

creating this electronic bass-driven instrumental track. Darren brings it to us, then we strike up as a band and reinterpret what this track is doing, and depending where that energy is bringing us will decide where a Mutemath song ends up. It can remain quite similar, or like on Odd Soul it becomes something completely different – it’s wherever the core of the song takes us. Very seldom will I sit down and write a song in classical songwriting terms whereby it’ll make the cut as a Mutemath song. There are so many sounds, we try all these different instruments – it’s much more of an intuitive process.” The sinuous nature that the disparate elements of Mutemath interweave and coalesce into these hybrid monsters belies the notion that these are meticulously timed and rehearsed jams – nothing is left to chance. While the conception and gestation periods of their songs holds a modicum of spontaneity, Meany admits that it takes an incredible amount of work and exertion to muscle the songs into the structures they hold, yet the boundaries are never set in stone.

“When we start out with our sketches and are rehearsing, those rabbit trails are definitely a part of it. Chasing those rabbit trails is enjoyable. When it comes to the live interpretations, we still allow ourselves some of those rabbit trails; it’s an important part of making music for us. It can be a blessing and a curse at the same time, I admit – when we get an idea and there isn’t a particular direction that we can just plug into, there is no blueprint and we just vibe off each other and end up wherever we end up. However I’m blessed to be playing with amazing musicians to the point that moments when playing these songs can be wholly new and exciting. And while we mould the songs into something manageable, it’s something that will always be a part of our DNA.” WHO: Mutemath WHEN & WHERE: Saturday 23 March, The Hi-Fi

MODERN FOLK In the wake of the massive success of the single Ho Hey and The Lumineers debut self-titled album, drummer Jeremiah Fraites speaks to Chris Familton to shed some light on the band’s rapid rise to fame. he pop world still constantly throws up one hit wonders and success stories that seem to spring from nowhere, gather momentum and work their way into the consciousness of millions. More often than not there is a savvy marketing campaign or novelty factor that drives those songs so when something with grassroot origins picks up steam and enters the mainstream it highlights how simple melodic hooks can still capture the imagination of music fans. The Lumineers are one recent example with their single Ho Hey now surpassing 50 million views on YouTube. It is an incredible figure for a trio that don’t trade in any particular schtick outside their brand of folk music and one that drummer Jeremiah Fraites struggles to conceptualise.


“It’s incredible, I’ll never forget my math teacher who said you can comprehend the numbers five or one thousand but you can’t comprehend the number one million,” he says. “You really can’t comprehend one million of something so 50 million is way beyond my comprehension.” Fraites is quick to point out that the other driver of their success has been radio, that traditional method of dispensing music simultaneously to millions of people. “Radio is still huge and we’ve found that wherever we go, whether it is Boise, Idaho, Omaha, Nebraska or Los Angeles and New York, radio has really been driving us along. We’ve had two fantastic singles and once people have heard those it has translated into them coming along to shows. I think overall radio has been the biggest bait to get people onto The Lumineers.”

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Though they’ve only recently released their debut album, the core of the band (Fraites and singer/ guitarist Wesley Schultz) have a musical history together going back to the early 2000s where they initially wrote heavy alternative rock songs in the vein of the bands they grew up on in the ‘90s. Fraites openly talks of playing in jazz and instrumental electronic bands and growing up

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listening to Metallica and Guns N’ Roses. It is refreshing honesty in these times of forced authenticity and bands cultivating contrived images and brands. “When we started writing it was mostly in the style of the music we grew up on, grunge-era bands like Stone Temple Pilots and Nirvana. We used to have a lot more electric guitar and heavy drumming and we did that for four or five years,” he tells. “I guess we just got sick of it, didn’t feel comfortable in our own shoes and started writing completely different stuff that was simple and acousticbased and we loved the addition of something like a piano. I feel like we failed a lot at what we used to do, which was good as we found out what we do love, which is what we are doing right now. I think the difference between then and now is that we’ll be able to play these songs in ten years and still believe them. The other stuff had a short life span, a short shelf life. It was sort of a fad what we were trying to do and this feels more comfortable.” As they started forming the sound of The Lumineers, one contemporary band stood out as an example of the musical ethos they were trying to work to and though theirs is a cleaner interpretation, they share many similarities. “One band in particular – The Felice Brothers – we really liked,” he continues. “Wes and I went and saw them live and there was something really unique about them. They used acoustic guitars and an old shitty out of tune piano sound and I really liked it. It was really simple and it evoked much more emotion from that simplicity rather than trying to be as technically advanced as possible on their instruments so that was really something that helped us change our genre and made us realise there is something to simplicity and a cinematic beauty to it all that really attracted us.” Fraites agrees that the recent spotlight on and success of folk-based acts in the commercial market has felt like a sudden focus on the genre, but he can see why the best of those acts have achieved the success they have. “I think it was instant,” he says. “Mumford & Sons were the biggest band all of a sudden and bands like Avett Brothers and Old Crow Medicine Show have been doing it for a long time and getting more attention. We’re part of that too, I guess, alongside bands like Of Monsters & Men and Fleet Foxes, and it feels like that has all been

pretty sudden. I think that there’s a storytelling quality to what all these bands are doing but there is also a pop sensibility to these bands with drums and a heavy pulse and catchy melodies so I’m not surprised it is in vogue right now, because it has that pop sensibility.” One pitfall of success on the scale they have been experiencing, from sold out international shows to Grammy Award nominations, is getting sucked into long promotion and touring cycles that can distract and sometimes destroy a band. Fraites gives the impression the group are taking a realistic and sensible approach to that side of the music business. “We are doing the long haul on this album for sure. It came out in April of last year and we’re going to go out again this year, maybe on into 2014. We’ll see how it goes; we’re not going to burn ourselves out. We keep things in check and try to stay mentally and physically healthy. We are excited to start writing new music though, absolutely. We’ve been finding a little bit of time but [not] as much as we’d like or need.” That next step, backing up and building on a big first album, is one they have already discussed and planned for. Even though they are only beginning to work on new ideas they have some strong concepts about how they will approach the next record. “We’re artists first and performers and entertainers second, I think, and right

now we have a very poppy, happy-go-lucky image but there is a lot to our sound that we want to expand on eventually,” he says. “There are songs on the record like Slow It Down and Morning Song where we purposefully put electric guitars on them to give our band some sort of an out. If the whole record was very smooth and clean and acoustic we would have boxed ourselves into a hole. Putting guitar on two or three of those songs toward the end of the record was done completely on purpose because we wanted to give ourselves an out, if we so chose to do that for the second album.” With their star ascending, The Lumineers appear to have a game plan for their music and a levelheaded perspective on the quantum leap the band’s profile has undergone in the last 12 months. The fascinating thing will be seeing where the crazy ride takes them and whether The Lumineers have already hit their peak or if it’s only just the beginning. WHO: The Lumineers WHAT: The Lumineers (Rogue/Inertia) WHEN & WHERE: Saturday 30 March, The Hi-Fi; Sunday 31 and Monday 1 April, Bluesfest, Tyagarah Tea Tree Farm

STANDING ON THE OUTSIDE The Mark Of Cain are back with a new album after a lengthy lay-off. Frontman and creative lynchpin John Scott tells Steve Bell how tough times made him confront his recurring vision of life as a battle, and how his music helped him come out the other side stronger, if not unscathed. or decades now, Adelaide outfit The Mark Of Cain have been one of the most powerful and unrelenting rock bands on the Australian scene, pummelling senses and sensibilities on stage and off with their uncompromising music and occasionally bleak worldview.


Based around the core of brothers John (guitar/vocals) and Kim Scott (bass) – augmented by a revolving cast of drummers, although powerhouse John Stanier (Helmet, Battles, Tomahawk) has been behind the kit since 1999 – late last year the band returned from a decade-long exile with their epic fifth long-player, Songs Of The Third And Fifth, a record which they’d slaved over out of sight for a number of years, but which took so long to eventually surface because of life issues getting in the way rather than any creative malaise. “It was intensive from the point of view of when we first recorded it, which was like ‘Bang, bang, bang – let’s get everything down’, because John Stanier was here; he’d just done the Big Day Out with Battles, so it was, like, ‘Let’s get this thing done’,” recalls John Scott of the album’s lengthy gestation. “But I keep telling people to blame me for the time it took – I was struggling a bit to get in there all the time, I was working and I had a bit of a meltdown too. I was getting over a bad breakup and selling my house, and you just struggle sometimes to have the energy to go in and record guitars and mix and listen to how it’s all going. But I sort of hung onto it in the end – it was a little bit like a lifebuoy, it was the one thing I could look forward to. But it did take a while, and a lot of that was definitely me trying to manage work, getting home to manage family, manage all of the shit that was going on and then also going in at night time to work on it.”

military just fucking drive through, keep on going and worry about the dead later – ‘it doesn’t mean a thing’ . I sometimes think that it’s a little bit like how some of us have to go through life, otherwise I’d get dragged down by every fucking thing that tugged at my heart. I just try and drive on through, and I find it part and parcel of my lyrical exploration. I leave it to the others to do those happy songs.” WHO: The Mark Of Cain WHAT: Songs Of The Third And Fifth (Feel) WHEN & WHERE: Thursday 21 March, The Hi-Fi; Friday 22, Coolangatta Hotel, Gold Coast

According to Scott, Stanier (who can’t be here for the current tour due to commitments with Tomahawk, replaced for the run by Eli Green) played a big role in shaping the album’s eventual direction – a mixture of the brutality of recent releases with the more melodic (albeit still heavy) sound of The Mark Of Cain’s early output. “John Stanier came to us liking the early stuff like [1989 debut] Battlesick and The Unclaimed Prize (1990) – he often used to say how he just loved the feel of those albums,” he tells. “He’d also remind us not to ignore that, because we’d gone from back in the day where it was more obvious where the influences were from, [to a point where] it was more of a riff-a-rama. I knew myself that I didn’t want to be writing another riff-a-rama album, something the same. It’s two-sided – when a band does something that’s the same as their last album, you’re, like, ‘Oh well, maybe it should have been a double-album release last time; nothing’s changed’ – but I still wanted it to be us.

There’s more to this story on the iPad “I wanted it to straddle everything from the beginning to where the last album was, and then take it over the line a little further – it’s not radically different, but it’s everything that we are. And without hitting that unfortunate ‘selling out’ stage that some bands get to, because we don’t have to worry about commerciality, we don’t have to worry about how many units get sold or whether we’re writing something that’s palatable for mass consumption. This is what we do – it’s our vanity project. It’s not a hobby, because it’s full-time for me and always is – it’s all my spare time, apart from when I’m at work. So the idea was just to not say ‘no’ to some of the songs that maybe in the later years I might have said ‘no’ to, that were perhaps more melodic or something.” There’s a distinct military theme throughout the music and artwork of Songs Of The Third And Fifth, but this is allegorical and ties in with the familial hardship that Scott had been facing leading up to the album. “I can see a theme through there in retrospect,” he reflects. “At the time of writing I wasn’t trying for anything – I think that’s normal, when a guy writes a book or makes a film he’ll look back and tell you that he can see some sort of theme running through that he wasn’t even aware was there, without making shit up – but to me it was always going to be about alienation and the idea of the outsider, because of what I was going through in the last few years when my family was splitting up and the emotions involved in that, and the ability to try and make people understand what you’re feeling. When you go to work you’re not supposed to be showing any of that – leave all your problems behind – but I was really struggling there for a bit, and I think it’s still thematically linked to the concept of the outsider, and looking at the idea of the individual’s feelings, as well, as sometimes going out there in story mode and looking at narratives of the frontline infantryman. It’s always that coupling over of looking at life as a battle, without being disingenuous about it. I just feel that life is a battle for a lot of us – that’s the theme, if you like.” That concept of the infantryman as outsider has been something of a recurring motif in the world of The Mark Of Cain over the years. “Absolutely, because that’s my interest,” Scott concurs. “I read a lot of stuff, but one thing that’s always interested me is how everyday people get pulled into a situation like in any great war or any great conflict, and people who are just average Joe Blows do these amazingly great deeds – their courage is amazing to me, and I just enjoy reading those sort of oral histories. They interview people and you just think, ‘My fucking God, how do nations train farmers, school teachers and miners and put them together and they just become this cohesive unit?’ It’s a visceral thing I feel from it and it just amazes me, and I like the idea sometimes of how in war the

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A WHIM AWAY Counting Crows have always been a band to do things their own way, and frontman Adam Duritz talks to Steve Bell about favouring the cool over the well-known and how his approach to his own songs changes as his perspective on life alters with the passage of time. t’s nigh on 20 years now since Californian folk rockers Counting Crows hit the ground running with the release of their acclaimed debut, August And Everything After. While the album dropped in late-1993, it wasn’t until early-’94 that it really began to get traction here and abroad, dragged along by the then omnipresent radio singles Mr Jones and Round Here, which soon made it the fastest selling album in the States since Nirvana’s Nevermind went gangbusters a couple of years earlier.


While that sudden burst of fame initially took its toll (on frontman and songwriter Adam Duritz in particular), the band soon rallied and since that time things have stayed on a pretty even keel for Counting Crows. They’ve released six studio albums and, most crucially, built up a formidable reputation on the live front, accruing a solid and loyal following in the process. Their most recent album, Underwater Sunshine (2012), is actually a collection of left-of-centre covers, and while they’ve long been renowned for reinterpreting other people’s work in the live realm, it was still an unexpected gambit for a band of their stature. “I don’t know, we’ve always wanted to do it,” Duritz ponders on the motivation for the covers collection. “I like reinterpreting, it’s a purely cool discipline. Also I was working on a play at the time so the songs I was writing were going to that – I didn’t want to write for two different things at the same time, so it was kind of perfect timing. “The criterion [for Underwater Sunshine] was just really great songs that we could find an interesting take on. Some of them we’d already been playing live, others we came up with when we were making the record, but the criteria was that we just wanted to find really, really cool songs. It sort of ended up being the most obscure covers album ever made – which was not our intention – but I think it’s reflective of the fact that there was also no intention to not make it that way. It was definitely not a criterion that songs needed to be well-known, they just needed to be really cool and we needed to find cool, interesting takes on them. Sometimes we’d pick a song that we really liked, but

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then our take would suck so we’d leave those off. It was basically just all on a whim, same as everything.” As Duritz suggests, some tracks on Underwater Sunshine are relative staples – think The Faces’ Ooh La La or Big Star’s The Ballad Of El Goodo – but some, like Dawes’ All My Failures, are hitherto unknown. “I know Taylor [Goldsmith] and those guys, Dawes are great,” Duritz smiles. “It’s not even on one of their records, I just found it on a Daytrotter Session that they did. I just thought it was a great song. That’s the kind of thing we were doing – the Coby Brown song, Hospital, that we recorded, that had not even been recorded by Coby yet! He’d done a demo with Immy [Crows’ guitarist David Immerglück], but we recorded that one before he’d even done his version. Immy was playing with him I guess and brought in some songs that he thought would be cool for the album from people he was playing with, and one of them was that song – it was a demo with bass and guitar and that was it, and we came up with our version from that. “That’s what I meant when I said that there were no criteria apart from it having to be a cool song. So for us finding Hospital – a song that no one had recorded yet – was like winning the fucking grand prize! What a get! Here’s a great song that no one has ever heard! I think some people would approach this from the angle that it would be better to record songs that everybody already loves because then it would be really popular on the record, but we think upside-down sometimes. It’s illogical and in retrospect I could see why people would think that way, but at the time I was just like, ‘Hey, killer!’ I was more interested in finding the Dawes song or the Coby song or our friend Kasey Anderson’s song Like Teenage Gravity than I was finding, say, Ooh La La.” In 2011 Counting Crows released August And Everything After: Live At Town Hall – a live return to their seminal debut album 18 years after the fact – and it was noticeable how much the songs had evolved over the journey, not just the lyrics having been altered in places but even the arrangements and key melodies.

“I think that we’ve never really aimed to play the songs like on the record – we’ve never really cared about that – so the songs naturally evolve on their own in lots of different ways,” Duritz explains. “They’re probably different even now than they were on that ...Town Hall thing – it just happens. To me, songs are a reflection of how you feel today, and it’s an interesting way to filter how you’re feeling through a song you wrote a while ago – your perspective on that song changes as you change. So I’ve always felt very open to letting that happen, and our songs kinda change a lot. Especially those first album songs, because we were such a new band right then that I think some of those songs weren’t really ready. I think there’s some great songs on that record – if you can call your own songs great – but I think, unlike the other records, that we can play them better now than we did then. I just feel like we were a little green when we made it, but people love it. “Say, when I wrote Mr Jones I was a kid in a bar, wishing I was more famous so that it would be easier to talk to some girls. So my perspective on being famous

is very different now 25 later than it was then, because I’ve been famous for 20 years. I have a lot of different feelings about that than I did then, so inevitably you sing that song differently because you’re different. I’m not trying to recreate a moment in time from 20 years ago, I’m trying to express the feelings from those songs the way that I feel about them right now – that way you get a lot of emotion every night rather than a snapshot of some feeling I had a long time ago. That doesn’t seem like a very interesting way to play, and I would get very bored playing concerts that way. I don’t even know how the recorded versions of those songs go, because I haven’t listened to them in a long time. I love those songs, but they inevitably grow because you do.” WHO: Counting Crows WHAT: Underwater Sunshine (Sony) WHEN & WHERE: Wednesday 27 March, QPAC; Thursday 28, Bluesfest, Tyagarah Teatree Farm

STILL RAW Forty years after guitarist James Williamson’s first and only record was released, he tells Dan Condon how he begrudgingly came to terms with Iggy & The Stooges and their seminal Raw Power being considered so important. t’s one of those bizarre stories that the beautiful mistress that is rock’n’roll throws at us only every now and then. Band makes a record, it flops, band splits up, record becomes posthumously massive and decades later the band get back together and get their due.


But for decades, James Williamson didn’t want his due. He split with frontman and creative collaborator Iggy Pop and rhythm section Ron and Scott Asheton not long after the record was released to little acclaim and even less commercial success, shunned music in general and didn’t look back. He became an electrical engineer, got a job in Silicon Valley, started a family and forgot all about what he referred to as his “failed record and failed career”. Even when people started crediting the album as one of the most influential rock’n’roll releases of all time, Williamson at first didn’t know and then wouldn’t accept it. “Well, I didn’t really initially accept that, it wasn’t really until probably the mid-‘90s that people got enough access to me to keep feeding me all this information,” he explains. “I really was out of the music scene and wasn’t paying any attention to it. To me, we had a failed record and a failed career and that was the end of it.

“I don’t know,” he says. “The fact is, we’re not getting any younger. For quite some time we’ve been doing a year at a time but at some point we’re gonna have to stop, because we just won’t be able to go on. It’s gonna be Iggy’s call, because he’s the one who’s taken the most beating out there doing what he does; imagine yourself doing what he does out there at his age? It’s really unbelievable that he’s even doing it.” WHO: Iggy & The Stooges WHAT: Ready To Die (Fat Possum/ Warner) out Friday 26 April WHEN & WHERE: Saturday 30 March, Bluesfest, Tyagarah Tea Tree Farm

“So, slowly as the internet came about and people got more access to me, then I slowly became begrudgingly accepting that it might be important and it became more and more clear that it was important. It’s been kinda hard; they’ve dragged me into that realisation. “I guess now, especially with the Hall Of Fame and all that sort of thing, you can’t really deny it. So I guess I have to accept it. It’s a big honour to be given that kind of praise.” Begrudging as it he might’ve seemed of the album’s vast influence, these days Williamson is hopeful that his work, which he admits to constructing naïvely, may have had a genuine impact on modern music. “I didn’t know what the hell I was doing, really,” he says. “I wrote a bunch of music and worked with Iggy to make them into songs. We all liked them at the time but it was a very, very, very big disappointment at the time because nobody else did, but here we are all these years later and I’m astonished every day with different people who I would never think would like that album and they love that album. “But the world has changed, the music scene has changed, and I like to think that we had a part in making it change. Now our sound is pretty well accepted and that’s something I’m certainly proud of.” The sessions for Raw Power, an enchantingly ugly sounding record, happened with scant supervision from the band’s record label, Columbia Records. Was the naïveté of a 22-23 year old James Williamson, let loose with the manic Iggy Pop, a blessing? “It probably was,” the guitarist ruminates. “There was a combination of factors. One was that our management at the time got very, very involved in David Bowie because he was a cash cow and he was starting to break at the time. He got all their attention at the time which meant that they weren’t paying attention to us, which was a good thing, because then we didn’t have to have somebody producing the album and telling us what to do – we could do whatever we wanted to do. We got to make a very unique record that I’m sure would not have been possible had we had outside, adult supervision.” The flipside of this was the relatively low-fidelity of the record, possibly part of the reason it didn’t perform particularly well commercially. “It was very, very poorly recorded,” Williamson admits. “Part of that was our inexperience; Iggy’s not a particularly technical-type guy and he was kinda running the show because he had made two albums and I had made none. I think our engineer was competent, but he was just the staff engineer at CBS Records in London – I’m not even sure what his name was – he was competent but we made him do a bunch of stuff that he usually would not have done, so the net result is that the recording is not as good as we would have liked it to be, in hindsight. But on the other hand it has a unique sound and nothing else really sounds like it.” The change of pace Williamson adopted with his new life fit well with him. “I’ve never regretted doing that,” he says of going into a professional career. “The music thing is very intense, especially the way we used to do it in the beginning. We were doing everything viscerally; everything was day-to-day and tough. “To go to something as cerebral as electrical engineering, learning things like calculus, was just mind blowing. I think that experience reshaped some of my thinking and developed some thinking that I would never have experienced just as a musician.” So drastic was his change of heart about music, he completely stopped playing guitar. “I stopped. I couldn’t reconcile the two things, both were so demanding on my time and energies and I also by then had started a family and so with that on top of everything else, I just let the music go,” he concedes. “In a way I kind of regret that, my son has gotten very interested in music these days and I probably should have taught him how to play guitar when he was young and could still learn it, but I didn’t.” Williamson admits that these days members of Iggy & The Stooges are afforded a far more comfortable life on the road. “I don’t have to do all the day-to-day stuff and this band is so well established that we don’t have to do a lot of the stuff that the younger bands have to do – schlepping stuff around and going town to town just to eke out a living,” he says. “All the tough parts aren’t there but all the good parts are there.” There has been a fair amount of talk about this being the final time Iggy & The Stooges will come to Australia, but Williamson says he can’t confirm anything at this stage. They just take things year by year.

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SPREADING THE WORD It’s taken over a decade, some multi-platinum discs, awards and plenty of old fashioned hard work, but finally, tastes are turning towards the tunes of Damien Dempsey, as Benny Doyle discovers. ithin all the social commentary – between the discussions on politics, pain and social injustice – what you’ll find is a beautiful record in Almighty Love, the sixth album from singer-songwriter Damien Dempsey. From the rising introductory vocal strains to the meandering final crescendo, the LP encapsulates the fight of the human spirit through all strengths and flaws.

It’s been a while between beers with Californian ska-punk greats Mad Caddies, but now they’re on their way down under and there’s a new record in the works. Guitarist Sascha Lazor catches Tom Hersey up on all of this, and why it’s taken them six years to put out a new record.


It’s no surprise then that the response has “been brilliant”, as Dempsey gushes. The record charted as high as number three in his native Ireland, hanging around the top for roughly two months, and has also led to an increase in radio play, “more than any other album”, generating interest that according to the Irishman wasn’t once there. “The DJs know that I’m here for the long haul; they know I’m not going away, y’know. And sometimes it takes a lot of listens for someone to get my music; sometimes it can take people a long time to come around, but they say one day it just clicks. Some DJs will tell me, ‘I didn’t like you, I didn’t like you for years, and then one day I heard one of your songs and it just clicked and I’ve just loved you since then’. So it’s weird, it’s strange.” It was over four years between the release of Dempsey’s fifth record The Rocky Road [2008] and 2012’s Almighty Love, the longest gap in his catalogue, amplifying internal feelings of pride even further within the Irishman. “When you’re away that long you can be forgotten about,” he reflects. “But what happens is people that love it, they pass it to other people, they drag people along to a gig or say, ‘You have to listen to this’. People become like messengers, y’know, and [my music] spreads slowly but surely – it’s not a flash in the pan thing. It seems to have a lot of longevity which is great.” Between the two records, Dempsey took considered breaks from his music. He won critical praise for his portrayal of Dublin crime boss Paul Chambers in Between The Canals, an Irish drama that marked the 37-yearold’s first role in a feature film. He also ventured out and threw himself at the world, spending large chunks


of time, as both a traveller and a resident, in the UK, Australia, Thailand and the Philippines, acquiring a new worldliness that shines through on Almighty Love. “People have said about the album, that the themes are a bit more universal. It’s not as introspective and insular, it’s not just about Ireland y’know, so maybe travelling has made me a bit more universal and has a bit more universal appeal, hopefully,” he reasons. “I’ve grown in life I suppose and I’m feeling more comfortable and more confident in myself as well, and in my music and my voice. “I’m still learning; I still see myself as a student – and I’m ready for things now. Some of these songs I’ve written I wouldn’t have ten years ago; I would’ve been worried about what people would think of what I was talking about, whereas now I don’t really care about what people are going to say. Maybe I have thicker skin or something?” Dempsey also admits that since those early days his accent has toned down. He’s learnt to speak a bit slower and pronounce his words better. Not that he’s forgetting where he’s from. He’s just committed to taking listeners to places they’ve never been. “The diction is better because I think I have something to say – a message – so I’d hate for people not to be able to understand me, y’know.” WHO: Damien Dempsey WHAT: Almighty Love (Clear/ABC) WHEN & WHERE: Thursday 28 March, The Old Museum; Sunday 31, Bluesfest, Tyagarah Tea Tree Farm


e’ve been working off and on for the past couple years,” says Mad Caddies’ guitarist Sascha Lazor of what they’ve been up to of late. “We’ve scrapped a couple of sessions because we weren’t really happy with what we came out of them with, and we started over again a couple of months ago and this time things haven’t been so rough… It’s going really well and hopefully we’ll have a lot of it done in the next six weeks. I’m really looking forward to it.”


It might not be the most ‘rock’n’roll’ response, but that’s what’s held up the Mad Caddies’ new record. And while it’s not tales of debauchery, rehab or conflict, it’s surely a comfort to fans who have been hanging out for more of the Caddies’ idiosyncratic amalgam of punk rock, ska and reggae, ever since the band released Keep It Going back in 2007.

While it’s something of a shame that Aussie fans won’t be able to get their hands on the band’s new record before they visit, Lazor promises that the Caddies are talking about debuting some of the new material while in town. “We’ll definitely be performing some new material by the time we come out to Australia,” he says. “This will be the first tour where we break out some of the new stuff.”

For all the fun in the Caddies’ bouncy tunes, it’s clear talking to Lazor that the band take what they do very seriously. Case in point, the new record that the band kept putting themselves back to square one on because they weren’t 100% satisfied with the material they worked on in the wake of Keep It Going. The band had to hit it out of the park, especially since it had been so long since their last album dropped.

The diligence and dedication to their new album is mirrored in their approach to their upcoming run of Australian shows. These guys are no spring chickens, and as Lazor sees it, they’ve now got to put in the work beforehand to make sure the Mad Caddies’ live show is shipshape.

“If we released a record every two years like a lot of bands do, I wouldn’t think that we wouldn’t try hard, but when you make records like we do you really need to make sure everything’s top shelf because it’s been such a long time since the last one came out,” says Lazor. “And we couldn’t make fans wait five or six years from our last record and then be happy putting out something that’s just mediocre.” The band’s perseverance with their as-yet-untitled sixth record has Lazor sounding inspired about the new material. “It’s really exciting, we had to scrap

Gold Coast hard rock group Electric Horse appear to have mellowed out somewhat on their first full-length, Venomous. Vocalist Jason Brown speaks to Lochlan Watt about growing up and finding that balance.

he most striking recent development in the storied career of rockabilly legend Wanda Jackson was her 2011 studio album – her 30th – The Party Ain’t Over, which she made with modern rock’n’roll demigod Jack White in the producer’s chair. “That brought so much attention to me,” Jackson concedes happily. “Some of the articles wrongly stated it was my comeback album, but I wanted to tell them, ‘Hey, wait a minute, I’ve been recording and working all along!’ It wasn’t a comeback but it certainly was a good shot in the arm for my career. I felt like it put me back as more of a viable artist for today, as well as yesteryear.”

think probably with the change in direction – we’ve gone a bit more rock – it might have thrown a few metal people who were still clinging on to the last band, that wanted to hear another metal record,” Electric Horse frontman Jason Brown concedes. “They might have been a little bit disappointed, but we can’t play music for other people, we’ve got to play it for ourselves.”


“But we began exchanging ideas and him sending me songs and me sending some to him that I wanted to do, then I felt better about the whole project when I saw songs like Busted and Dust On The Bible, songs that I was very familiar with.” Production for her latest LP, last year’s Unfinished Business, was placed in the hands of a less-famous but still revered artist in Justin Townes Earle. He has steered her in a direction far closer to her roots. “On the new album, I think the difference is this is taking me back to basics, back to where I started. More country, more bluesy, more rockabilly; not such definite rock’n’roll songs.” Jackson is one of the forebears of rock’n’roll, no question. Hell, she even dated Elvis. To influence other great artists is something that Jackson takes immense

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“About now, people are starting to eat better and go on hikes to get into shape. We’re all getting a bit older so we’ve got to prepare for the tour a bit ahead of time… But I guess that’s also a thing where like before we tour Australia I might take a bit of time off drinking and partying, because when we get down there that seems like all that we do.” WHO: Mad Caddies WHEN & WHERE: Sunday 24 March, Hits & Pits, The Hi-Fi


The cliché of ‘music legend’ may be disgustingly overused, but Wanda Jackson is the real deal. She tells Dan Condon that she’s proud to have inspired Springsteen but was nervous about what Jack White would do to her.

Just about any contemporary rock’n’roll band would lose their minds at the prospect of working with such a revered artist, but Wanda Jackson had her reservations about going into the studio with Jack White. “I did, yeah, I have to admit,” she says. “I didn’t know Jack at the time, I just knew that he was very popular in the rock’n’roll field and one of the top artists. I listened to some of his music and I thought, ‘My goodness! What is he gonna want me to record? What kind of songs does he have in mind?’ So I got a bit nervous.

most of what we’d done before because it didn’t make us feel like we do now; this stuff sounds like the Caddies but is new and fresh. It’s all still there, the reggae and ska and punk rock, but it’s just exploring those styles of music in a way that we haven’t done before. I think we’ve come across a good formula for that, and we’re all happy with where it’s taking us.”

“I pride in. “Well yeah, I can’t help but be a bit proud of that,” she says. “When you have artists who have come forward and said that I was instrumental in them playing rock’n’roll – people like Elvis Costello, Bruce Springsteen, Cyndi Lauper – it makes me feel very good. And then the induction into the Rock’n’Roll Hall Of Fame, I was put into the category of ‘Early Influencers’ and I felt that was exactly the spot I should be in.” She began performing as a mere 17-year-old and still loves it more than ever. “Oh absolutely, it’s all I’ve ever done,” she says. “I try to keep getting better, I still learn from people all the time about entertainment. It’s been my passion all my life, I love it. I think you have to love it to stay in it like I have, and like my husband, who has been with me through all of it – and before him, my parents were so helpful. It’s been such a good life for me, I feel very blessed.” As such, she wants to continue to be a part of the music industry for as long as feasibly possible. “I think so, as long as I think I am still a viable artist and as long as people still pay their hard-earned money to come out for an evening with me; I think that is very humbling. I think I’ll know when my time’s up, but right now I’m just having the time of my life. It gives everybody hope – even at my age you can still have new goals and things to do.” WHO: Wanda Jackson WHEN & WHERE: Wednesday 27 March, The Old Museum; Thursday 28 and Friday 29, Bluesfest, Tyagarah Tea Tree Farm

Brown and his cohorts have been going at Electric Horse since 2009, having released their debut EP Translations in late-2010. Currently among the ranks is his brother and fellow former Sunk Loto member Dane Brown, ex-Lump guitarists Scott Jackman and Luke Atrill, and bassist Corey Absell of King Mungi. February’s just released Venomous sees all the members venturing into territory that has moved on from the heaviness of their prior metal bands. When asked to describe what sort of life experiences shaped his lyrical content this time around the family man says “that’s a tricky one”. “Probably not so much as I have in the past… [used it as] a bit of an emotional outlet,” he offers. “Songwriting and lyric-wise, you’ll always be venting about something, but with this album I just kind of went a little bit more psychedelic with it. The thing is it’s all relative to what you’re going through in your life at the time, and right now for me things are pretty good. It was not so much of an emotional outpouring... more just seeing if I could come up with some cool words. There’s two different ways of writing lyrics: you can go the therapeutic route, and if you’re going through some tough shit, then that will come out. That has happened to me in the past, but this time it was more painting a picture, and seeing if it came out nice or not.” Does he ever miss being aggressive?

“For now man, I don’t miss it because I don’t lose my voice anymore... that’s one good thing,” he laughs. “I do kind of sometimes miss that kind of sound, but right now I’m not aggressive anymore. If I’m not feeling pissed off, or upset at life, then I’m not going to scream, or what’s the point? If you’re feeling a little bit content, or you’re not upset, then you’re not really going to scream I guess, and if you are then it’s probably not real.” His former band Sunk Loto was once one of Australia’s most talked about metal groups in the early-2000s, having put out two albums through Sony. If a major came knocking once more, would he consider it? “Man, it’d have to be a million dollar deal, because the music industry never used to be a guarantee, and now it’s even less of that,” he states. “The last band I played in was involved in the industry when there was still money to be made, but even then it was very unpredictable. I am definitely happy with where I am right now. I can pick music up when I want to, and put it down when I want to. It’s great going on tour and recording albums for a living, but people will change, and people will turn their backs on you. “I’ve got a great family, a beautiful wife, two kids, and just bought a house about two years ago. I work a job and it’s been pretty good. I drink beer and watch sport. Life’s good. I still like rock’n’roll too man.” WHO: Electric Horse WHAT: Venomous (Independent/Green Media) WHEN & WHERE: Saturday 23 March, The Tempo Hotel



After 40 years in the business, Chris Smither has finally cut a whole album of his own songs – though he had to look back to go forward, as he tells Michael Smith. ince he last visited Australia, touring his 2009 album, Time Stands Still, the seemingly permanently laidback Boston-based singersongwriter Chris Smither has released a ‘fans only’ live album, Lost And Found, a roots rock’n’roll covers EP, What I Learned In School, and the album that brings him back to Australia, Hundred Dollar Valentine, which features Morphine’s Billy Conway on drums and percussion.

Brisbane band Kingfisha are back on the road with a new single, touring in support of their self-titled debut for what’s billed as the third and final time. Jason Leca tells Sky Kirkham what’s on the horizon for the band.


While the press release that came with Hundred Dollar Valentine suggests that on this album Smither is tackling the ‘big questions’, the underlying themes are actually much more about acceptance. “It is!” Smither laughs, pleased that someone’s realised it. “It’s my own little sort of Buddhist statement, you know. The world is what it is and so make what you can of it. It’s not so much asking the big questions as saying they don’t really matter!” Not that Smither simply dismisses those bigger issues or the lessons one hopes are learned from the past in suggesting we live in ‘the now’, as the poignant final track, Every Mother’s Son, makes clear. “Of course I didn’t have any way of knowing that just a few months after the record came out that there would be these horrific school shootings here… again. When President Obama gave an address about the Newtown shootings, he said, ‘This is the fourth time in my administration I’ve had to do this.’ And that came as shock – people tend to forget.” While he’s cut 12 studio and half a dozen or more live albums over the 42 years he’s been a recording artist – though admittedly there was something of a “lost” decade or more there between his second album, 1971’s Don’t It Drag, and his 1991 “comeback” album, Another Way To Find You – Hundred Dollar Valentine is Smither’s first entirely original album, and even here, he’s “revisited” a couple of songs. “My whole career I’ve written about eight or nine songs,” he admits of his approach to cutting albums, “and then looked around for two or three others, you

“W know, to do, and I had written ‘the nine’ and was starting to cast about for something else to do and Goodie [producer David Goodrich] said, ‘Why don’t you cover yourself? You’ve got all these songs, half of ‘em you never play anymore. People haven’t heard you play them for years; they’ve heard other people play them more than they have you play ‘em’. “And I said, ‘What d’ya have in mind?’ Of course he had a whole list of stuff that he would love to hear me play. So I thought about it and picked a couple out that seemed to fit, and they were also songs that I was interested in seeing what they felt like to sing ‘em 20 or 30 years later. And it was interesting; in a way, they reflect the thematic drift of this collection because I go back and listen to the earlier versions of those two songs [I Feel the Same, a hit for Bonnie Raitt, and Every Mother’s Son] – they were much more emotionally-driven; they were full of angst and stuff like that. And I listen to ‘em now and they sound more resigned. Which is another way of saying accepting!” Smither laughs again. “And also I thought I Feel The Same was a nice little parallel with one of the newer blues tunes, What It Might Have Been, and I hadn’t even realised it at the time that I was writing it, that essentially it’s just an older person sort of saying the same thing from a slightly different perspective.” WHO: Chris Smither WHEN & WHERE: Thursday 21 March, South Leagues Club; Friday 22, Woombye Hotel, Sunshine Coast; Sunday 31 and Monday 1 April, Bluesfest, Tyagarah Tea Tree Farm

THE NEW SOUND Dave Di Marco left the leading post of a much-loved Brisbane indie-folk foursome last year, and he tells Carley Hall how his transition to solo artist has been a natural one. he Brisbane music scene is such that when a popular local act gets the break-up rumour mill churning, just about everybody knows about it. It happened last year when singer-guitarist Dave Di Marco announced his departure from indie-folksters Charlie Mayfair. After having spent the better part of five years with the group, among which he counts his closest friends, it’s understandable the frontman felt the nerves broaching the subject with his then bandmates.

“As much as I loved my time with the band, with my songwriting and performing it’s still a very, very personal thing. With a band you can sort of bounce ideas off other people, whether that’s songwriting or just day-to-day stuff, so you have that constant support in the group, that pack mentality. But sometimes with that you tend to lose your voice a little bit. That can be a good thing, but in the end as much as the songs were still great, it just wasn’t the sound I wanted to play anymore.” His evolution from the pack to a lone wolf transpired at a surprising pace. It was around July last year when Di Marco announced his departure; before the year was out he’d toured his songs in national support slots and recorded his debut EP with local go-to producer Yanto Browning (The Medics, Jungle Giants, Tara Simmons). “I’ve known Yanto for years, and ever since I was doing my solo stuff before the band he was saying, ‘Let’s record together, I really want to record you’, but we just never got to that point,” Di Marco says. “When I started doing my solo stuff I thought, ‘Well, I know exactly where I’m going to go’. So I ran him through my ideas and he was totally keen for it.

Kingfisha’s debut took four years to arrive, a result that Leca’s bandmate Drew Stephens noted [in this publication] was due to a concern with defining the band’s sound correctly. With that first release now out of the way, the band are feeling more comfortable in moving forward. “I think once that album did come out, we were really happy with how it sounded and really happy with the producer Paulie D, with what he was able to bring out of us,” Leca says. “I think after you release that first album and put your sound out there, how you want to present it, that gives you a stepping stone to what direction you want to go in next. I think the next album… It won’t be the same as [Kingfisha], that’s for sure. But it definitely helps, I think. It’s like anything, once you present something you can grow from that.” Leca’s own journey to dub/reggae began in an unusual place: British punk-rock. “I got into dub/reggae when I was 17 from a band called The Clash,” he explains. “That’s where I sort of started from that perspective. And then that drew me to stuff like King Tubby and Lee Perry and I just really love the genre; and we all have a love for that kind of music, especially dub music. It’s a very pigeonholed sort of genre, but we try to bring a songwriting aspect into it. It’s an interesting medium to do songwriting in, because a lot of other bands I’ve played in have just been instrumental, so to do something [as a] very songwriter-oriented band in that genre is good, it’s quite challenging.

“There are lots of different styles that have evolved from dub and reggae and there are lots of different genres that have stemmed from that as well. I’ve come from the background where I like to play a bit of post-rock and… You’re kind of the sum of all your parts really. Everybody has a musical journey and you’re grabbing a bit from here, a bit from there, and I suppose a lot of that will seep into the music you play regardless of what genre of music you are playing. We’ve all got various styles and backgrounds from the bands we used to play in [that we bring to Kingfisha], but that love of dub/ reggae is definitely the glue in Kingfisha.” With gigs booked around Australia until May, Kingfisha are looking even further afield for the rest of the year. “We’re looking at going over to Europe hopefully – we’ll be getting confirmation about that at the end of March,” Leca says. “So hopefully we’ll be going over there for a couple of weeks to a couple of festivals, one in Hungary – we’re really keen to get over there. Other releases… I don’t know, we’d like to do a dub album version of our album actually,” Leca laughs, enthusiastically. “So that’s something that might be on the cards in the future, doing some remixes of some of our tracks or getting other people to do it as well. And I think we’re going to be doing a lot more writing this year, so that’s heaps on the cards for us.” WHO: Kingfisha WHEN & WHERE: Friday 22 March, The Hi-Fi; Saturday 23, Solbar, Maroochydore

STRAIGHT SHOOTER A near death backyard experience proved to be the inspiration for Courtney Barnett’s forthcoming single, Avant Gardener. But as Benny Doyle finds out, there ain’t nothing strange ‘bout that.


“I guess they reacted pretty expectedly. At first it wasn’t easy but I think the other guys really understood where I was coming from,” Di Marco reasons. “They’re my friends as well, and they’re songs we wrote together that were very personal and meant something to everyone. In the end I think it was probably the best thing for everyone. Now we’re good mates. And [in Brisbane] we can’t really avoid each other unless you go overseas or something!

e’re working on a lot of new songs at the moment,” Jason Leca confirms, when asked if the press blurb means that a new album is in the works. “Whenever we’re not playing live we’re working on new stuff. We don’t like to play new songs until we really feel they’re ready, so we actually have quite a lot of new songs that we haven’t played [live] yet, we’re still working on them.”

t’s funny now, but I was doing some gardening and I had a weird allergic reaction and I still don’t know what it is because I didn’t go to the doctor after it. I couldn’t breathe and I got this rash on my arms from the plants and I had to go to hospital. It was very dramatic; it was a bit too dramatic. It was silly,” she laughs. “It was all these weeds down the side of the house, y’know, ‘the pathway that doesn’t get used’. We started this cleaning rampage and that was the first day of it. Then I ended up going to hospital so we never finished it. We’ve just cleaned the house again this weekend gone and I wasn’t allowed to go in the garden.”


“The thing I love about Yanto is he knew where to give advice, and where to let the artist do their thing. All he wants is a good product in the end that we’re both happy with and we both found that which is nice.” The result was Deep From Down These Walls, a collection of tracks that underline Di Marco’s reverence of artists like Damien Rice and Glen Hansard, set amongst raw, acoustic melodies with a pleasing bent for structure and dynamic shifts. Although recording cohorts Daniel Ogilvie and Graham Ritchie are both an integral part of Emma Louise live set, Di Marco soon picked up some notable local names to help in his quest to bring the songs to life onstage. “I’ve got Alex Mitchell who plays in a few bands like Moses Gunn Collective and Alistair Murray who plays in Tin Can Radio, so it’s kind of cool being able to jam with new people every few weeks and see everyone’s interpretations of the songs as well,” he relates. “It’s always cool playing in Brisbane, being your hometown you’ve got your friends there as well. That’s what I love about support gigs though too, you’re not playing to your usual crowd, you’re usually playing to a whole group of new people, so it’s kind of like playing to a different city sometimes.” WHO: Dave Di Marco WHAT: Deep From Down These Walls (Independent) WHEN & WHERE: Thursday 21 March, Cafe Le Monde, Noosa; Friday 22, The Brewery, Byron Bay; Saturday 23, The Loft, Gold Coast; Sunday 24, Black Bear Lodge

So – if you survive – anaphylactic shock does have some upsides it seems, and in addition to being able to now skive off of household chores, Barnett also walked away with a gem of a song. But that’s just how it is for the 24-year-old Melbourne songwriter; inspiration seems to reveal itself from the most unlikely of circumstances. It’s this engaging lyrical honesty and disarming storytelling, a genuine snapshot into real life as we know it, which has vaulted Barnett into the domestic psyche since the release of last year’s bedroom EP, I’ve Got A Friend Called Emily Ferris. “I guess I don’t do it intentionally, but I like hearing songs like that so it’s just how I end up writing,” she explains in her strong Aussie tone. “It just feels more realistic than painting a picture with poetic and flowery words – it’s nice to go straight to the point. I love [metaphors] at the best of times but sometimes its [good] to be completely matter-a-fact about everything. I figure there’s so many songs in the world and there’s about a million songs about the exact same thing. I try not to write love songs because I think they’re so easy, so I try and pick a certain, very distinct story and write a song about it.” Although she’s familiar around our traps following tours as a member of Immigrant Union and recent solo supports for artists such as Jens Lekman, this will

actually be Barnett’s first run of Queensland dates fronting her band, The Courtney Barnetts. Made up of Immigrant Union bandmates and good mates, she’s loving the current pack mentality. “They’ve been awesome,” she champions. “They’re the most supportive guys and super talented, obviously.” That just leaves us giggling at the name, really. “I do a lot of things for that small percentage,” she admits, “but a lot of stuff I do is sarcastic and I think a lot of people don’t get it, but if only five per cent [of people] get it and find something funny out of that then good. But it’s just about finding that dynamic, and like I said they’re super supportive, they really encourage my songwriting and... I dunno, they’re awesome.” With the band gelling as one and the success of her Triffids repping single History Eraser, no doubt we’re going to get plenty more of that vibrant raw colour painted for us on Barnett’s second EP, pencilled in for a release later this year. She’s coy when asked for any cheeky scoops, but judging by her itchy feet, we can expect plenty more music in the future. “I just want to go ahead and make a whole album, I can’t be bothered doing the next EP,” she sighs. “I’m a bit impatient, I just want to get onto the next thing.” WHO: Courtney Barnett WHEN & WHERE: Thursday 21 March, Black Bear Lodge; Thursday 16 May, Coolangatta Hotel, Gold Coast; Friday 17, Joe’s Waterhole, Eumundi; Saturday 18, The Hi-Fi

For more interviews go to • 21



STEP-PANTHER Maybe Later Independent

TEEN Carolina Carpark/Mistletone The debut album from Brooklyn band TEEN was a veritable mish mash of indie delights with electronic tinges and little concern for the restraints of typical genre labels. Threaded together by the vocals of Teeny Liebersen, the album was cohesive and beautiful none the less. Carolina shows some really strong developments in song ideas, and the untraditional narrative and appearance of weird instruments creates a large and somewhat epic sound. It still has a really handcrafted lo-fi edge to everything, and the swirling psych outro is amazing.



For the last 30 or so years, UK singer-songwriter Billy Bragg has been known (and loved) for his powerful political polemic – and for good reason – but this acclaim has tended to overlook the indubitable quality of the love songs which have liberally scattered his albums. Now Bragg is seeking to redress this imbalance, and his new album Tooth & Nail is primarily tackling the personal rather than the political, although in true Bragg fashion these boundaries are quickly (and often) blurred.

Progression is inevitable. To evolve in music, you need to keep ideas fresh and move forward. This is truly evident in the fourth album by Perthbred alternative rockers Birds Of Tokyo.

Feel like listening to a pack of snotty, hedonistic hoodrats singing about the myriad (and not veryLIVE complex) joys of being a pack of snotty, hedonistic hoodrats? Boy, do young LA skatepunks FIDLAR (a skating acronym for ‘Fuck It Dog, Life’s A Risk’) have an album for you!



Unlike when crafting his last album which primarily involved affairs of the heart – 1988’s Worker’s Playtime – Bragg is these days a settled family man, so instead of paeans to unrequited love, songs such as Handyman Blues and Swallow My Pride are written amidst the construct of an existing relationship. But of course there’s still plenty of societal (rather than overt party) politics which seep into proceedings, tracks such as January Song, Tomorrow’s Going To Be A Better Day, Do Unto Others and the Springsteenevoking There Will Be A Reckoning all arriving complete with a typically thought-provoking message. On the musical front Bragg acquiesced to the charms of producer (and long-time friend) Joe Henry and allowed him to use his accomplished folk band throughout, and the results are more sonically akin to the Mermaid Avenue sessions conducted with Wilco than anything else from Bragg’s long career. Furthermore, he’s also started to sing more as his voice has aged and gained in timbre, far removed from his early ragged bark. All in all, Tooth & Nail is one of Billy’s best, a collection as cerebral and confronting as it is soothing and comforting. ★★★★½

Steve Bell

The opening track, Liquid Arms, is blooming with synth from the very beginning. Ian Kenny doesn’t miss a beat on the vocals, nor would you expect him to. The emotion in his lyrics and the mood behind the entire vocal melody is intense, and the instrumentation really helps paint a picture of a band progressing and growing in both maturity and popularity. This Fire appeared at number 51 on the triple j Hottest 100 of 2012; it was the titular lead single from the previous EP, and possibly the strongest track on the album as well. It’s ripe with soft electronica and a fairly upbeat guitar and is quite positive, even if Kenny is singing about a fire burning down a town. That’s just a mere example of his exquisite songwriting talents.

Opening track Cheap Beer sets the template for what’s to follow: the first stanza, “Getting fucked up on the 101/Shooting our guns and having fun/40 beers later and a line of speed/Eight-ball of blow D V and half a pound of weed” belts into the petulant chorus of “I drink cheap beer! So what? Fuck you!” – anyone can write such riotous lyrics, the trick is making it sound believable and FIDLAR deliver.

If there is one thing Birds Of Tokyo enjoy, it is a ballad – this album is no different, thus Lanterns was created for that inevitable consignment. What makes it a ballad is the sing-along style chorus with simple and memorable lyrics; there’s a build up in each verse that grows louder and more intense with layers of instrumentation all adding to the mood. The gentle strumming of the slightly distorted guitar works brilliantly alongside the soothing and ethereal synth. This newfound experimentation from Birds Of Tokyo is fully apparent and it hits hard. The production is quite immaculate and is near the best they have yet created. March Fires is absolutely brilliant. ★★★★½

Tom Noyes


TMBG have always been mavericks of new media, like with their Dial A Song project of years gone by. Unsurprisingly, fans have benefited so much in the past few years with TMBG’s output showing no signs of slowing down. Icky is a weird and stupid tale about an Icky person that everyone loves. The video is brilliant old school cut and paste animation which helps paint the picture of Mr Icky, and balances their artful mix of comedy and jingles perfectly. Their new album Nanobots should be available right about now.


Cooking Vinyl/Universal




March Fires




Tooth & Nail





After hearing this song on the radio a bunch of times, I was surprised to think that Superchunk, the ‘90s-famous Chapel Hill indie superpower were back getting airplay. Upon closer inspection of the track and noticing the Australian lilt on the vocals I was even more pleasantly surprised to learn that it is in fact Sydney band Step-Panther, who’ve maybe never even heard the ‘Chunk. Still, they nail everything that group did right in their heyday – fast and messy indie pop with instant hooks and charm to spare. Even after a few dozen listens I’m craving this track hourly.

The songs are an unremitting glimpse into a reckless existence (White On White, Gimmie Something, Cocaine), although they balance this by showing that it’s not all fun and games – check the remorse of No Waves, the repugnant insight of Stoked And Broke and the hidden bonus track which finds vocalist Zac Carper living in a car and pissing in bottles. Musically it’s a winning amalgam of recent garage sounds (Blackout Stout sounds like they actually ate Black Lips, while the bratty call-and-response of 5 To 9 sounds heaps like Wavves) and older punk fare (tellingly, the father of the band’s two brothers was in TSOL). FIDLAR contains so many tales of drunken and drugged debauchery that you wonder how they have time to be in a band (let alone pay for all their swag). It’s base and shameless garage punk but works so well because (a) it’s done with such conviction, and (b) the songs are really fucking great. Too much fun. ★★★★

Steve Bell

MIDNIGHT JUGGERNAUTS Ballad Of The War Machine Siberia/Remote Control Delivered with the stern seriousness that Midnight Juggernauts always convey, Ballad Of The War Machine doesn’t really translate itself to the dancefloor, and instead harks back to some kind of synth opera time which other than War Of The Worlds didn’t actually exist. References to this production and Pink Floyd appear in a totally musical context, with heavy synth arpeggios echoing a generation of sci-fi soundtracks as well, and the Juggernauts’ heavily-effected vocals adding to the collage of sound instead of rising above.

DIZZEE RASCAL Bassline Junkie Liberator Dizzee explains (angrily) how he doesn’t want any drugs (“no fanks, not today”), he’s just totally addicted to big, dirty, stinking bass. Fittingly the song doesn’t feature any other instrumental accompaniment at all – it’s just a fast simple beat with a farting synthesiser line that slightly modifies itself over the track, with one other single synth note added at the end to break it up somewhat. The minimalism of the production is incredible, and proves how many songs are simply ruined by having too much going on.

FUTURE LOVE HANGOVER Sunlight Streams Electric Independent Sydney electronic artist Jack Prest presents the third part of his Future Love Hangover project with this densely layered track that merges danceable beats with synth explosions and a whole bunch of other noises I can’t really differentiate all melting together to form a beautiful mess. It’s hard to really make out what’s going on with the mix, but Prest’s gentle vocal over the top of the single chord melody transforms it into a pop song somehow, and it works brilliantly.



Long Island

vs Head vs Heart


No Quarter/Inertia


Specter At The Feast

New York’s Endless Boogie took their time to arrive; they’d been together years before playing their first show and it was almost a decade since their formation that their first LP saw the light of day. But the band were born fully formed and seemingly haven’t changed much since. It seems a cop out on paper, but Long Island is an Endless Boogie record – no more, no less. The songs are lengthy, built around seemingly simple but deceptively captivating guitar riffs that just chug forever, with the wild vocal of frontman Paul ‘Top Dollar’ Major adding an extreme sense of colour.

Following the success of her single Jungle in 2011, Emma Louise had every chance to take an expected singer-songwriter path with her debut record. Pick up a guitar, write some stripped-back folk-leaning fodder, soundtrack hipster girls knitting and cash the cheque at the end of it all. Instead, she’s led her band – and make no question this unit behind her is very much a band and not some chops for hire – to find a sound that marries lush future elements with earnest vintage charm, and dear god is it ever stunning.

Abstract Dragon/Co-Operative

It begins with ferocity, The Savagista monstrous 13-and-a-half minutes of boogie-down classic rock with Major delivering a croon more guttural than on past records, the crust of his voice perfectly at odds with the high pitched wailing of his lead guitar. Taking Out The Trash is only half as long, perhaps mercifully for some, and another Endless Boogie must-have on any road trip playlist. The slow-creeping threatens to explode for its entire nine minutes but remains well restrained, the sharp General Admission might be the band’s best simple rocker to date while 14-minute closer The Montgomery Manuscript builds beautifully throughout, before settling right down to close the album inconspicuously. Long Island is 80 minutes of groovy, grimy, utter indulgence that shows a band who do what they do with scant regard for anything else and no interest in changing. Zone out, smile wide and let the Boogie take you over again; if you’re already a fan then you’re going to be very happy. ★★★★

22 • For more reviews go to

Dan Condon

The one-two intro of 17 Hours and Atlas Eyes provides a nice upwards build into the release before settling into a gorgeous sonic world, a place where piano and guitars move within each other, drums, samples and loops push rhythms along, all the while Louise’s voice soars over the top, as soft and inviting as clouds in the sky. There’s some Middle-earth flute sounds in the background of Stainache that meander beautifully with Louise’s longing, while the subtle crescendo is so rich, so wide, that it could swallow you if it wasn’t done with such refrain. The pulsing synth disco of Freedom is smartly placed mid-record and creates this spike of energy that rolls into the second half of the album, while Cages is charged full of emotive power. Indeed, the sound depths being mined here are most certainly deserving of quality headphones and a comfy beanbag. People have fallen over themselves for Tori Amos, Lykke Li and Bat For Lashes, so there’s no reason they shouldn’t do the same for Emma Louise. vs Head vs Heart is a gorgeous debut and completely world-class. ★★★★

Benny Doyle

Two years on from their last LP, Beat The Devil’s Tattoo (2010), Black Rebel Motorcycle Club return with their seventh studio album Specter At The Feast, the majority of which was recorded at Dave Grohl’s studio in Los Angeles. The bass line of opening track Fire Walker provides a truly seductive introduction, while the hazy, moaning vocals stir memories of years gone by, not just because the track feels like it would be right at home on their debut record B.R.M.C (2001), but also because the lyrics, “The fire’s all that walks with me”, reminds the listener of David Lynch’s 1992 cult classic, Fire Walk With Me. Succeeding tracks see the band paying homage to the memory of Michael Been – father of frontman Robert Levon Been and the band’s sound engineer, who tragically passed away at one of their shows in 2010. Let The Day Begin is a cover of one of the songs he made with his band The Call in the ‘80s, while they deal with the loss in their own voice in Returning. The sullen tone is alleviated with the shindiggin’ tempo of Hate The Taste and Rival, both of which showcase the country-rock style that served them so well in Howl (2005), while the proceedings are slowed-down once again for Some Kind Of Ghost and Sometimes The Light, which are totally stripped back and haunting pieces. While Spectre At The Feast boasts some truly brilliant moments (Funny Games, Sell It), it doesn’t really bring anything new to the table; it sounds like everything we’ve heard before. The album definitely warrants a listen, just don’t expect a marked progression. ★★★★

Jazmine O’Sullivan






Future Eaters


What Love Is





Since their inception back in 2002, Minnesotan fourpiece Off With Their Heads have owed a substantial debt to revered Twin Cities outfit Hüsker Dü. Stylistically, there were obvious parallels between the two bands, beyond a shared home town. Ryan Young’s voice straining over power chords feels immediately referential to the work of Bob Mould and co.

A relatively new endeavour, Melbourne’s Exhaustion (sporting members of Snawklor, Ooga Boogas and Deaf Wish) nevertheless sound like they’ve been around forever, strapped inside an iron maiden on the seventh level of hell, only now allowed to vent their anguish and despair. Such is the dirge on their debut LP, Future Eaters, all screeching guitar, guttural bass, funereal drums and Duncan Blachford’s contorted and flayed vocals, that it’s difficult to listen to this without feeling heavy of head and heart.

Thanks to the likes of The Weeknd, Twin Shadow and Frank Ocean, R&B is cool again. Not that it went away, or stopped having poignant entries into its oeuvre – D’Angelo in particular kept it close during the 2000s – but as these others have shown, Autre Ne Veut (Arthur Ashkin to his mother) is emotionally aware of his vices and indiscretions, and on Anxiety he airs his misgivings with a raw combination of confidence and sexuality.

Gold Coast quintet The Lamplights are not exactly newcomers; their brand of folk-roots has been quietly loved and lauded by local audiences at intimate shows since 2009. Having grown from a trio by adding a player here and there, their sound has broadened to encompass an ensemble-like approach to songcrafting, and yet it’s clearly apparent singer Ryan Gittoes is the flag waver, the sinew tying the five-piece together. His stamp is heard and felt all throughout sophomore effort What Love Is, which is musically pleasing enough and bats a few winners out of the ball park, but as a whole ends up feeling a little glossed over and becomes a ‘by the book’ sort of release.

However on their third long player, and second with revered punk label Epitaph, the influence of Hüsker Dü has been superseded by a much more contemporary sonic reference. All the time out on the road with Against Me! can be heard throughout Home, especially on numbers like Shirts and Altar Boy, where the quartet hit that stadium-y power-pop punk rock sound that Against Me! long ago perfected. Though these songs do well to capture the attention for the first several listens, it doesn’t sound like Off With Their Heads writing music in a particularly unique voice. Home is weighed down by an irksome sense of same-sameiness, and the band’s struggle to find their own sound makes it falter upon repeat listens. It’s not all doom and gloom though, Off With Their Heads manage to redeem themselves in the moments where Home finds its own sound among the punk rock milieu. Its strengths lie in the confessional Don’t Make Me Go and alienation anthem Always Alone. In songs like these, it’s evident that Off With Their Heads have something to say, and when they realise how to articulate that in a unique voice, they’ll be just about unstoppable. Until then though, we’ll just have to be content with records like Home, that show real promise, but, frustratingly never fully deliver. ★★★

Tom Hersey

That said, this is an album that leaves an indelible mark. Opener Don’t Fly Right is a Jekyll/Hyde sonic orgasm, filled with chagrin and malice in equal measures; Keep The Change offers redemption via humiliation, soundtracked by sheet metal and rusted nails in sonic form; and the gut-churning regret brought on by a heinous act manifests into howling despair and paranoia on Old Mickey. The lynchpin is the tenminute-plus dead-eyed lurch of No Place For A Holiday, its ominous groove continually spiked by garrulous guitar strikes, a relentless bassline grind, a bizarrely soothing electronic outro from Zond’s Justin Fuller and a narrative that evokes humanist horrors at every turn. Future Eaters is in many ways a malevolent, malignant album that is more likely to invoke an epileptic fit than an epiphany… In many ways a sister record to the self-titled debut by The Spinning Rooms, but instead of small town madness we have urban nightmares amidst industrial wastelands and the grotesque. This is difficult to like, but nigh on impossible to ignore. ★★★★

Brendan Telford

One of the biggest selling points for Anxiety, and indeed Autre Ne Veut, is his arresting voice. Ashkin gives a sense of gravitas, power and believability to these tracks, with just enough vulnerability to pull at the heartstrings. Sticking to the album title, the songs seesaw from a sensual groove to a strained emotive howl, often within the same narrative. Ego Free, Sex Free slinks forward, a choir lifting up Ashkin’s silky falsetto as he sings the cryptic “Ego free, sex free/I can’t feel my body moving/Ego free, sex free/I can’t see your body, baby”, a soaring tune that dovetails into the sparse A Lie, which lays the soul bare just before we are swooped up again on Warning. The single Counting borrows heavily from The Weeknd’s Balearic dance music, interspersed with sharp stabs of perplexing sax. The overtly upbeat Warning is juxtaposed with ominous lyrics, and Gonna Die sees Ashkin offer his darkest yet most lyrical lines (“I feel I’m gonna die/And I feeling more accurately now than I have in a long while”). Anxiety toys with ideas and emotions, backed by supreme production from the likes of Daniel Lopatin and Joel Ford in what is a smooth, addictive yet obtuse masterstroke. ★★★★

Brendan Telford

Opener Heading East travels (so to speak) down a well-worn path lyrically with talk of moving on and the spirit of storytelling is present, hidden in the neatlyclipped acoustic guitar line and a dry, rambling kind of kit. It’s raw and energetic but for some reason Gittoes’s vocals seem almost too pristine to front this kind of band. Further in on the twangy title-track it’s a similar story, talk of leaving but backed up with a more country vibe, but towards the end the frontman adopts that ’90s penchant for singing using vowels only. Where the heck did that come from? Wonder still; it reappears during The Ballad Of Love And Hate. As jarring as that strange quirk is, that’s not to say the whole album is to be dismissed. Lost In Translation pleases with its minor shifts and pensive mood, and The River proves they can structure an organic folk-roots song well with racing guitar plucks chased by a scatty beat. ★★★

Carley Hall

For more reviews go to • 23

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



Paul Foot

THURSDAY 21 Colourfest – a film festival that focuses on stories of Australia’s multiculturalism, it aims to offer audiences Australian films with more cultural diversity. Part of harmony week, The QMC, 5pm.

FRIDAY 22 Green Jam Sessions – live outdoor music that happens every Friday. An evening of smooth jazz and laidback funk by musicians from the Queensland Conservatorium. A perfect way to unwind from a working week. QPAC, 5pm to 10 May.

SATURDAY 23 Breakout Comedy – a comedy show that features up and coming Australian comics, tonight see Nick Cody, Tien Tran, Dayne Rathbone and Michael Hing. Part of the Brisbane Comedy Festival, Rooftop Terrace, 7.30pm. Paul Foot: Kenny Larch Is Dead – the new show for this acclaimed British comedian. Foot is known for his musings, rants, ‘disturbances’ and apparent aversion to pop culture Part of the Comedy Festival, Turbine Studio, 8.45pm, to Sunday 24 March.

experiences of eight lesbians who lived in Queensland during the late 20th century. The subjects range from rock stars, academics, globetrotters and mothers and takes a look at their secret double lives. Brisbane Powerhouse, exhibiting to 28 April. Legally Blonde The Musical – the much loved chick-flick has been transformed into a stage musical! Barbie blonde Elle Woods follows her ex-boyfriend to Harvard Law School to try and win him back and instead finds being smart is better while teaching us all how to ‘bend and snap’. Staring Wicked’s Lucy Durack and Rob Mills. Lyric Theatre QPAC, 3pm, to 21 April.

MONDAY 25 The Vagina Monologues – a performance of Eve Ensler’s award winning play. This event is raising funds to help combat violence against women and has been organised by local volunteers who are passionate about the cause. Bleeding Heart , 7pm, to 27 March.

ARTS NEWS West End Film Festival Nominees Announced – the nominees for ‘Best Short Film’ at the West End Film Festival have been chosen. Judges received around 100 entries and have sifted through and found 15 standouts. There are four categories that need to find winners, each with a prize of $1,000. The films range from crab animation to chap-wearing stripper thriller. The final 15 will be screened 21 April at the Rumpus Pop-Up outdoor cinema.

Julia Loktev speaks to Anthony Carew about her new film The Loneliest Planet Planet,, her love of travelling and learning to appreciate the power of nature.


“Travel time is such a special time,” says Julia Loktev, the filmmaker behind the magical, minimalist The Loneliest Planet, a phenomenological travelogue set against the biological splendour of Georgia’s Caucasus Mountains. “You don’t have a list of a hundred things you’re supposed to be doing that day, you’re just there; just being, and drifting. It’s almost like a dream time.” Born in St Petersburg, Russia, and raised in the Rocky Mountains in Colorado, Loktev’s childhood blessed her with a love of both mountains and wandering. “I love travelling,” coos the 43-year-old. “When I finished college, I spent

Happy Country Colourfest

“The cake itself should be pretty spectacular, or there’s no point putting icing on it,” reasons Imogen Kelly about contemporary burlesque. Simon Eales gets the inside word on Herstory.


There’s royalty of a few different kinds coming up in the Performance Space off th the JJudith Wright Centre S dith W i ht C t as the divine Imogen Kelly releases her brand-spanking new burlesque show, Herstory, to the world. It’s a homecoming of sorts for Kelly who, over 20 years, has created a phenomenal string of edgy, risqué, classique, and oo-la-la acts, changing the way we think about burlesque along the way. Herstory is mainly new content, mixed with


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out of yourr element, but with that person you love, and how much you lean on them, and how it feels for that relationship to be tested. How it feels when, suddenly, this thing happens between you that rocks your world”. The ‘thing’ that happens in The Loneliest Planet – shouldn’t be disclosed; especially given Loktev is proud to have made a film that “doesn’t tell you what to think”. Yet it’s so fleeting, so seemingly minor (when I saw the film, people in the audience laughed), that it’s hard to believe a film has been based around it. “The essential moment takes two seconds, but the emotional reverberations could some of Kelly’s classic acts. Playing characters like Marlene Dietrich, The Virgin Queen, and Audrey Hepburn, she builds her show on asking questions these women may have had rattling around their own heads: “If they could speak for themselves, or relive their lives, or tell their own story, then what would the changes be?” she says.

SUNDAY 24 A Matter Of Time – a documentary photo exhibition that follows the

five months travelling on my own through Central Asia, and that’s not something many Americans do.” When Loktev was at the Tbilisi Film Festival with her provocative narrative debut, 2006’s Day Night Day Night, she remembered reading a short story by Tom Bissell called Expensive Trips Nowhere, in which a couple breaks up on holiday in Kazakhstan. Loktev, in turn, met up with her boyfriend, who’d been bicycling across Georgia and Armenia, and then they broke up in the Caucasus. So, she set about loosely adapting Bissell’s story to screen; wanting to explore “how it feels to be in that space of backpacking: away from home,

“Or it’s about them reinventing themselves. Lady Diana survives the car crash, for example.” As a driving theme, Kelly focuses on the way they cope with adversity and judgement. “Because all of them had situations that society focused on,” she continues. “They took the public’s fascination, so it’s really a dissection of their response; then parodying it, or satirising it to make the point that they actually did manage really well, they were quite amazing women with uncanny strength to keep going.” Kelly has an in-depth theoretical and practical training in burlesque and researches her shows thoroughly. But it’s the extra spark in these women that grabs her. “I usually just have a fascination with a character. I started with about twenty and then just whittled them down to who suits burlesque, or who suits my style… The story of Jackie Kennedy is pretty much the story of her little pink Chanel suit, more than it is about her and that day of the assassination, for example.” Kelly has been performing in the Spiegeltent for over ten years, and thinks of it as a second home. But despite the travelling tent’s popularity, people still don’t

last a lifetime,” Loktev says. “It’s about how a single incident can shake a relationship to its core.” The emotional reverberations that resound from it – in the central relationship between Mexican heart-throb Gael García Bernal and Israeli actress Hani Furstenberg, and in their relationship to their local guide, Bidzina Gujabidze (an actual local Georgian guide) – play out largely in silence; these tiny figures isolated in vast landscapes. “I was more interested in what happens when you don’t talk about things,” w says Loktev. “We’re so used to, in sa movies, where people sit down and m say everything they’re feeling and sa everything they want. When, in real ev life, that never happens. Very often, lif you don’t know what to say.” The yo production of The Loneliest Planet pr involved the crew ‘living the film’: in staying in local guesthouses with st families, lead up various mountains fa by local guides, endlessly traipsing with gear strapped to their backs. The result is a film as alive to its landscape as any in the history of cinema. “I’ve never had such an appreciation for the power of the sun, the power of nature, for every nuance of light,” says Loktev. “Much of the day we could not film because the sun was too strong, the light was too harsh. So, we had to adapt ourselves to light and find moments where the sun was beautiful, and take advantage of what nature was giving us.” WHAT: The Loneliest Planet In cinemas Thursday 21 March seem to understand her craft in Australia, she says. Not the case in the US, where Kelly last year was named the World’s Queen Of Burlesque. “I was judged by the women who created burlesque in the first place, as well as notables from the present. It just means that you’re the bomb. “It’s quite massive for Australia because we don’t sometimes realise what brilliant performers we have. But the rest of the world loves us.” It seems that a surplus of underdone performers though, and a mystified public, have contributed to an underappreciation of those artists putting together great stuff. “I just do what I do,” she says. “I am a performance artist and I tell stories that are sensual and erotic and fun and sexy. It’s great that there’s a revival going on. But I think there is a lot of bad burlesque going on and it is letting the reputation of the artform down.” Audiences should do their research and look out for “personality, charm, and feminine warmth”, Kelly reckons. “A lot of people now focus on the costuming and that, but that’s really just the icing on the cake. The cake itself should be pretty spectacular, or there’s no point putting icing on it.” A nice analogy there considering Marie Antoinette, Kelly’s favourite muse, was also partial to a little cake-based rhetoric. Life becomes art, etc. WHAT: Herstory WHEN & WHERE: Friday 5 and Saturday 6 April, Judith Wright Centre

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TOGETHER E10, S2 This Week On GIRLS? Lena Dunham and Judd Apatow wrote the Season Two finale together and it’s aptly named Together. Hannah’s hit rock bottom, she’s turned her apartment into a cave and is stuck making hypochondriacal Google searches. Marnie reveals to Charlie that she loves him (cheeks are damp); seeing the pair together for the first time since earlier in S1 seems really right and we’re rooting for them. Shoshanna confess to Ray that sometimes she loves him like she loves a monkey in a cage and breaks it off. Ray balks and storms out, his cardboard cutout of Andy Kaufman tucked under his arm. Hannah decides to cut her own hair into an uber cool pixie crop (come on – what girl in their 20s hasn’t done that?). Hannah calls

DAMIAN CALLINAN: THE MERGER COMEDY There are times when Damian Callinan’s The Merger doesn’t seem like a one-man show, so vividly-sketched are the comic actor’s characters and so swift his changeovers between them. The Merger, a sort-of-semisequel to vintage Callinan show Sportsman’s Night, sees him inhabit a gang of rich characters linked by a failing country town footy team, the Bodgy Creek Roosters. There’s irascible one-time sporting hero Bull; the team’s lefty, new-agey coach/ captain Troy, who counts reps

in English, French and Auslan and spouts Shakespearean sledges on-field; a ten-year-old wannabe documentary filmmaker; and Said, an Afghan refugee resettled in Bodgy Creek who coincidentally learnt to be a gun footy player while locked up on Nauru for four years. There are even a couple of puppets, and some members of the audience are even drawn in by Troy to fill pairs of boots. The Merger has the genius premise, the timely relevance and the charm to go beyond a mere stage show and find new life as a film script or, ideally, a Chris Lilley-alike sitcom.

WITH HELEN STRINGER There comes a time in every adult’s life when they realise that as a result of the workload they’ve taken on their next scheduled weekend is July 12. In such times said adult may be forced to accept that the sum total of their human contact will consist of daily smalltalk with the convenience store attendant from whom they purchase instant coffee and Facebook. The quality of status updates therefore becomes disproportionately important. Finding myself in exactly this situation I’m compelled to issue a plea to, for the love of God, cease and desist with the following content. Hipster Motivational Memes. According to these memes that daily plague me I should: breathe; live; remember that all who wander are not lost; and that in this moment I and/or we are infinite. That’s some profound shit. Before I fully internalise these pearls of wisdom, let me just summarise their main points. First, the key to a fulfilling life is to stay alive by maintaining vital involuntary bodily function which is, I’ll admit, some pretty sound medical advice. Second, I should join in on extolling the virtues of unfettered personal freedom and fully embracing First World narcissism. Judging by the accompanying photographs I should probably do this while dancing in the rain and wondering at the beautiful, sepia-toned world in which we live. Butterflies! Pine trees! Flowers! What a wonderful ideology to profligate; let’s try it out in sub-Saharan Africa.

Baz McAlister

Smug Vegan Food Posts.

Brisbane Comedy Festival, Powerhouse (finished)

I accept that in developed countries we’re endowed with the rare aware of. Kukucka’s response: “Isn’t that exciting? That means the scene is bigger than you’d imagined.” The Library’s program celebrates all the great work being done in Queensland’s game design community, with input from Halfbrick Studios, the incredibly successful creators of Fruit Ninja and Jetpack Joyride.

Entering its final month, the State Library’s Garage Gamer exhibition is taking things to a new level, as program coordinator Susan Kukucka tells Baz McAlister.


Not even Queensland’s most successful video game designers know just how much of a hotspot Brisbane is for producing games. Since the start of this year the State Library has been bringing indie game developers together with the public at its Garage Gamer

Adam who sees her distress and runs to her and says he was always there, Fun.’s song Sight Of The Sun takes us out. It’s a strange choice. However, Dunham is dating Fun.’s lead guitarist, Jack Antonoff – so perhaps she is just showing us who she’s ‘together’ with. Girl Talk Of The Week? Shoshanna to Ray: “Can you please get out of me?” [they are having lacklustre sex] Girl On Top? This week it’s too hard too make anyone on top. Girl on the bottom is definitely Jessa though, as she misses the whole ep. Shirtless Adam Watch? Adam runs through the streets of New York while talking to Hannah on FaceTime in one of those oh so romantic TV moments and, yep, he’s shirtless. What Did We Learn? Ray never finished his Ph.D in Latin Studies. Cassandra Fumi Season Fin (tear)


program, full of workshops, films, talks, special events and hands-on experiences. At one of the gaming experiences talks, a local game designer leant across to program coordinator Susan Kukucka and said he couldn’t believe how many of the other local designers and studios he wasn’t

“It’s significant that not only do Halfbrick come from Brisbane but they’ve chosen to stay in Brisbane,” Kukucka says. “I guess the interesting phenomenon in Brisbane now is the rise of the indies: there are a lot of companies springing up from the ashes of the big companies that were based here [such as Krome or Pandemic] that closed down during the GFC. A lot of people from those stayed here and decided to set up their own companies and their own IP. A lot are working on mobile games, which are not as expensive or time-consuming to create as AAA console games, so you have a lot of one-person, twoperson, four-person studios working in Brisbane making games. And the thing that has come out of Garage Gamer is that there are studios popping up all the time in Brisbane that other studios don’t know about! The community is growing.” Kukucka says Halfbrick are not the only locals to make good. Defiant Development are doing well with games such as Ski Safari and Screwtape Studios just received funding through a $15 million program Federal Arts Minister Simon Crean announced at the end of last year. With the successful program moving into its final days, besides the scope to just drop in and

play there are still a few lynchpin events to come. Tonight, Halfbrick Studios CEO Shainiel Deo will give a talk as part of the Game Changers lecture series; Kukucka expects tickets to have sold out by now but the talk will be live-streamed on the SLQ website and available for download so interested punters can still catch it. “On March 27 we have a Pecha Kucha night focused on game design,” Kukucka says, referring to the dynamic, concise Japanese presentation style for new ideas. “It’s 20 slides in 20 seconds, really visual and fast, and we think it’s a really exciting way to showcase some of the exciting work being done in game design. A powerful way to get your message across. So we have game designers coming along, and other people in the industry who might be involved in the theory side of things. “And our last Up Late night is on April 12 – it’s a bit of a meet-up, a night when people can come and socialise and play the games that are in the space, and we have someone from the games community host the night. It’s looking like we might be doing something with QUT’s Game On program’s 48-hour gaming challenge, where teams develop a game within 48 hours, and they don’t sleep and eat a lot of twominute noodles. The end result of that is often a playable game so we’re looking at the last eight years of that project, and bringing some of those games back to see where they’ve gotten to.” WHAT: Garage Gamer WHEN & WHERE: to Sunday 14 April, State Library of Queensland


privilege of having food in such abundance that we’re able to choose types to exclude from our diets. If you want to decide that bees shouldn’t be exploited for honey, go for broke. I do, however, object to updates informing me that I’m morally bereft for consuming animal products. Food posts that come with photos of dairy-free, egg-free, sugar-free, flour-free meals are never innocuous. The vegan food post is specifically and, I believe, solely designed to a) make omnivores feel like shit for not relating to farm animals so fully that we’re prepared to give up cheese; and b) demonstrate the moral superiority of those who are prepared to give up cheese. The Aspirational Thigh Gap. There’s nothing better than starving women taking shots of their pin-thin legs and celebrating the fact that they’ve made it through ketosis and finally reached the point of starvation at which their bodies start eating their own muscles in order to prevent death. Causing irreversible harm to your internal organs is all worth it to attain the coveted “thigh gap” whereby muscle wastage makes your lower limbs resemble those of an elderly ex-coal miner who was forced down a mineshaft the minute he was weaned, with the consequent lack of sunlight and nutritionally deficient diet leaving him bowlegged from malnutrition. Rickets is totes hot. I truly look back longingly at the days when Facebook was filled with inappropriately personal information and photos of drunken ex-private school girls with the hems of their skirts no longer covering their arses. Long live the over-share.


WITH MANDY MCALISTER Every week I ask myself, “What would the good people of Brisbane like to read about today?” Sometimes the answer is, “Sod it, I have an axe to grind and a public platform to do so.” (Of course while knowing that those axes are yours also, the more specific a gripe, the more universal it is.) This week I couldn’t go past giving you the lowdown on GoMA’s latest cinema program of films, Monsters, for one reason: Grindhouse. Amid the various classic monster movies, featuring the mutated likes of Frankenstein’s monster, a 50 foot woman, werewolves, zombies and cat people, a lone screening of Grindhouse sticks out in the program and draws you in like a proper old-school vampire draws in a hapless maiden (Nosferatu will take the Pepsi challenge with Edward Cullen any day of the fuckin’ week). Grindhouse never got the proper, double bill, cinema release it was intended for in Australia, which is a pity, since its raison d’etre is lost once you split the films up. Death Proof (directed by Quentin Tarantino) and Planet Terror (directed by Robert Rodriguez) each stand up pretty well on their own. However, the directors, like many of their fans, are nostalgic for a different time in cinema... well, not even cinema, more accurately, cinema going.

There was a golden age somewhere between the invention of talkies and the advent of multiplexes, sometime after they stopped playing God Save the Queen before every movie but before movie-going came with things to deal with (phones, talkers, forty fucking minutes of ads). Double bills were part of that time. Two movies for five bucks (alas, the candy bar always was a royal rip-off). Just about as generous (and very much so given inflation) an adult ticket to Grindhouse will cost you just $10.50. The rest of the program is pretty darn impressive, too. Modern classics like Zombieland (2009) go blow for blow with The Night Of The Living Dead (1968), while kitschy call-backs like The Toxic Avenger (1984) and Tremors (1990) feature unique creatures (it’s not all zombies and vampires and chicks with machine guns for legs). Heck, if you want to take the kids to a film that’s older than their grandma, the original King Kong turns 80 this year and has a PG rating. The honourable status of oldest film on the bill goes to The Hunchback Of Notre Dame (1923), which will be presented with live musical accompaniment, as will The Phantom Of The Opera (1925). The program runs from April 19 – June 2, so see GoMA’s website for details. If you’re short on time, you might not get to see everything you want. Be picky but not tardy; only a handful of films have repeat screenings.

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THE ARACHIDS Member/role:

Sam – dummer (the missing r was a typo, then I decided to leave it in)

Is your band responsible for more make-outs or break-ups? Why?

How long have you been together?

Make-outs, coz it’s all about dancing and fun. Unless the breakup involves dance-fighting. I would pay to see that.

Three glorious years.

How did you all meet? Speed dating at a seminar on how to make a lasting impression.

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? Queens of the Stone Age – Songs For The Deaf.

Would you rather be a busted broke-but-revered Hank Williams figure or some kind of Metallica monster? Metallica. Who doesn’t want their own band psychologist?!

Which Brisbane bands before you have been an inspiration (musically or otherwise)? Totally Regurgitator. We say this enough that it seems like a broken record, but there’s too much love there not to mention it.

What reality TV show would you enter as a band and why? Masterchef Junior. At least the rest of the contestants would laugh at our poo jokes.

If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? Cricket, coz we’re really good at standing around all day for five days and drinking a lot. (That happens in cricket right?). We also look great in white.

What’s in the pipeline for the band in the short term? Daydreaming is the first single from the forthcoming as-yet-untitled EP due out in July 2013. More tours planned and lots more shows. Plus the film clip for Daydreaming is just around the corner.

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

The Arachnids play Trainspotters at Grand Central Hotel on Saturday 23 March.

The vibraslap.

Photo by TERRY SOO.

mind to be clinical and detached, Keating’s performance simply doesn’t allow for it. Known for her progressive approach to technology, her classical technique and electronic ingenuity make it impossible to fully decipher exactly how her music is unfolding. She’ll layer seven loops of cello in a minute, discard four and reprise two others within the next. Her work unfolds with such speed and complexity that you ultimately just have to give up on understanding and embrace the outcome. And, crucially, that outcome is beautiful. Utterly breathtaking. While her opening number feels a bit compositionally awkward, the remainder of her set is so beautifully arranged that one’s left in quiet awe of her talents. Numbers like Lost and Seven League Boots are assembled before the audience’s very eyes and ears but their sound is so sophisticated and considered as to invite a certain skepticism towards your own faculties. Overall, it’s just astounding. Really, one of the best performers and performances in the world today. At the top of her game, no less. Matt O’Neill

OPETH, KATATONIA THE TIVOLI: 16/03/2013 After years of waiting for a round of Australian club shows, Katatonia fans are finally able to rejoice as the band arrives in Brisbane for only the second time in their 22-year history. With the room at near capacity, their aura spills out from a stage dressed in their characteristic imagery. They run through a set that focuses most heavily on material from the latter decade of their catalogue and remain thoroughly impressive throughout. They bid farewell with Leaders and leave many hoping that the not-too-distant future finally delivers them onto these shores for their own headlining tour.

Bruce Springsteen @ BEC pic by Terry Soo

BRUCE SPRINGSTEEN & THE E STREET BAND BRISBANE ENTERTAINMENT CENTRE: 14/03/13 The Boss is back! Tonight is Bruce Springsteen’s first Australian show in a decade, and the air is fittingly rife with excitement inside the packed BEC cavern. Some shows require no support, so with little ado the lights go down at 8pm and The E Street Band take the stage to rapturous applause and kick into We Take Care Of Our Own from The Wrecking Ball Tour’s titular album, the song’s conclusion met with brays of “Broooooce!” from all corners of the venue. Springsteen then casually announces, “We’ve got something special for you Brisbane” and the band sparks a reverent version of The Saints’ Just Like Fire Would, a brilliant tip of the hat to some local rockers. The massive band – it’s either 17 or 18 members, including Rage Against The Machine’s Tom Morello filling in for the absent Steve Van Zandt and Jake Clemons, nephew of the sadly deceased Clarence ‘The Big Man’ Clemons, on saxophone – are in fine fettle, and the epic classic Badlands elicits a sea of fist-pumping from the partisan crowd. The Boss literally throws away his guitar to a waiting roadie and struts through the opening of the eternally catchy Hungry Heart, jumping down into the crowd and making his way to a makeshift stage in between the standing and sitting sections, before – fragrantly ignoring the safety signs – leaning backwards and falling into the arms of the mob and crowd surfing his way back to the stage without a care in the world. The gospel-tinged My City Of Ruins brings some gravity to proceedings, segueing into Spirit In The Night – from his debut album which is incredibly 40 years old now – before Springsteen conducts the horns through the intro to The E Street Shuffle. Nebraska staple Johnny 99 is turned into a rollicking honky-tonk which works superbly, and a powerful rendition of Because The Night has people wondering how he ever gave this song away to Patti Smith. A rabble-rousing The Rising is particularly powerful, and the indefatigable Springsteen is silhouetted in the spotlight at the beginning to Thunder Road, letting the crowd take an early verse before grabbing back the reins and easing the set proper to its conclusion. There’s only the briefest of intermissions before they’re back in action, the revelry of We Are

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Alive soon dwarfed by the unmistakable opening bars of Born To Run, the place somehow lifting a notch in intensity onstage and off, before Glory Days gets the entire crowd on their feet and in turn runs seamlessly into the evergreen Dancing In The Dark. The boss swings his guitar around his neck like a hula hoop before bellowing, “One more for Brisbane!” and jumping on Roy Bittan’s white baby grand piano to lead his cohorts through brilliant party jam Tenth Avenue Freeze Out. More than three hours have passed without respite and the crowd are enraptured: it’s just so reassuring knowing that The Boss is out there both entertaining and looking out for us – tonight proves once more that he’s truly one of a kind. Steve Bell For an extended version of this review please go to

ZOE KEATING BRISBANE POWERHOUSE: 18/03/13 As audiences are ushered into the Brisbane Powerhouse’s Visy Theatre, we’re encouraged to be friendly. It’s a sold-out performance and we’re implored to sit “with each other” instead of simply “near each other”. In a strange way, it’s an ideal primer for tonight’s performance. While seemingly rooted in the colder worlds of electronics and classical musical, Zoe Keating’s oeuvre and aesthetic is one of exclusive warmth and embrace. Her stage presence is delightfully human – “After the show, I’ll be outside in, well, I presume there’s an area for me to meet people,” she says towards the performance’s conclusion, before confessing; “I came in the back, so I don’t actually know” – and her music is rich, inviting and immersive. She coaxes an astonishing array of textures and modes from her seemingly limited set-up. Equipped simply with a cello, a laptop and a small MIDI controller, Keating’s work stretches from rich harmonic textures and heartbreaking refrains to solitary, hovering notes and heaving, percussive soundscapes. She scratches, stabs and caresses her cello in perpetual invention. The results resemble everything from a Hans Zimmer score to a My Bloody Valentine offcut. What’s especially remarkable about the performance is how, even if one were of a

For their seventh ever show in Brisbane, Opeth open with a glorious rendition of The Devil’s Orchard; the same song they opened with when they last toured here in support of 2011’s controversial Heritage album. Much to the dismay of their more conservative fans, that tour saw them bypass any death metal offerings, so it comes as a great relief to many when they divert from their previous course and blast into the complex fury that is Ghost Of Perdition. For good measure they sink further into darkness and channel a frighteningly intense version of Still Life’s epic closer White Cluster. There is certainly no sign of them having become diluted with age. They prove they can still belt out death metal on level with the best of them, however, it is the dynamic play between contrasting modes that has always made Opeth so fucking brilliant. And with Atonement they remind of this fact with capital letters and three exclamation marks; it is quite possibly the most transcendentally sublime moment of any show they’ve played here. Frontman and band mastermind Mikael Åkerfeldt is ever the joker as he introduces the band by name and then himself simply as “cunt”. Deliverance is of course a crowd favourite, and rightfully so because as always it’s an absolute beast in its live incarnation. Hessian Peel and Häxprocess bring things back to a simmer which is extended on into a surprisingly successful acoustic version of the classic Demon Of The Fall. They depart into Harlequin Forest, but not all is lost – they re-emerge for a devastating encore of Blackwater Park that leaves all and sundry swimming in the murky depths of its disturbed core. Another raging success from one of the most consistently brilliant death metal bands of all time – bring on tour number eight! Jake Sun

DINOSAUR JR, REDD KROSS, GIANTS OF SCIENCE THE HI-FI: 14/03/13 It’s hard to get excited for a support act when the headliners are seen as minor deities, yet such lowered expectations play right into Brisbane stalwarts Giants Of Science’s favour. The quartet doesn’t play often, but when they do they bring the fury, with newer tracks like Prognosis Fucked, The Tower Of Toowong and Your Coke May Be Pepsi played at breathtaking speed. It’s a great sight to see so many revellers actively engaging with a support band at The Hi-Fi before 9pm – usually they are drowned out by the din of chatter at the bar. And when the final notes of ever-golden Zodak ring out, it’s hard not to think, ‘Fuck, if I thought THAT was loud…’ There is more than a little anticipation for ‘80s garage glammers Redd Kross, and the heady and at times bizarre amalgam of music the band

delves into excites and reviles in equal measure. There are moments where the band want it known that they are old – one quip stating they hadn’t played with Dinosaur Jr since 1993, another that they wrote a song in ’86 – while the brash colour clashes, sharkfin-shaped guitars and flailing long hair reeks of a band stuck outside of time. Yet when this is juxtaposed with the brilliance of Annie’s Gone and Pretty Please, it’s hard not to get swept up in their garish glory. Such a large cross-section of music fans both old and new swell the ranks until The Hi-Fi is bursting at the seams for the inimitable Dinosaur Jr, and the trio do not disappoint. If you have seen a Dinos set, you know what to expect – J Mascis the irascible sage, an immovable monolith whose outlandish bent notes, gravelly slack vocals and serrated solo whines are the stuff of legend, still drawing acolytes out of the air to this day; Lou Barlow’s effervescent flailing over his bass, engrossed in the atmosphere and hypnotised by the music they are creating; and Murph up the back, the metronomic glue that keeps this crazy ship from imploding under its own weight of egotistic brilliance. Everything here tonight – from new tracks like Watch The Corners and Rude (Barlow taking vocal reins here) to stone-cold classics such as Feel The Pain, Start Choppin, The Wagon and Freak Scene – is played with consummate control, without overt flair, because the noise does all the rest. Treated to a special rendition of The Cure’s Just Like Heaven, Dinosaur Jr tick all the boxes and then some. If only all bands could continually knock the ball out of the park like tonight. Brendan Telford

GRINSPOON, KINGSWOOD, EMPERORS THE TIVOLI: 15/03/13 As the drinks begin to flow and the Tivoli inexplicably heats up to sweat box temperatures there’s a pervasive excitement to see what Oz rock stalwarts Grinspoon can do with album number seven live. As punters shuffle to and from the bar, Perth four-piece Emperors transport the crowd back to the glory days of Australian alternative rock. With a sound rooted in the late ‘90s, immediately relatable for an audience who grew up listening to the Js when it was actually good, the band’s cuts are met with considerable appreciation. Melbourne’s Kingswood do their thing next. With swagger and a driving rhythm section, the band capture the crowd’s imagination. Rock’n’roll played with a tip of the hat to the stadium sound of the 1970s, Kingswood manage to get a room of heads nodding, and even a person here or there moving around. It’s a real testament to Grinspoon’s staying power that tonight they can sell out The Tivoli, and have everyone in the room eagerly anticipating the commencement of their set. Never mind the fact that everybody in the room’s probably already seen these guys countless times before; there’s a real buzz on the Tiv’s floor. To acknowledge the presence of these long time fans, Grinners have catered a set to rely strongly on some of the rarely played classics from deep within the band’s back catalogue. Kicking things off with a rousing edition of Black Friday from the 1998 EP Pushing Buttons, the band manoeuvre through the songs that you’ve wanted to hear them play live for ages. The success of these back catalogue cuts makes the difference between the Black Rabbits material all the more stark; there’s a noticeable lack of animation when Grinspoon hit the new material. Even though the crowd is incredibly supportive of cuts like Passerby, it feels like the band struggles to sell the material. Sure, frontman Phil Jamieson is anchored by a guitar for the new stuff, and they could probably play songs like Champion in their sleep with their hands tied behind their backs, but it doesn’t feel like Grinners are really behind their new material. Historically, when they’re touring a new album Grinspoon offer up plenty of the new, but tonight they keep working through oft-forgotten gems like Freezer and Bad Funk Stripe instead of the Black Rabbits’ material. Which is great for long time fans, who delight in those moments of realisation, several bars into efforts like Post Enebriated Anxiety and Gone Tomorrow, where it’s like, ‘Shit! I did not think they would play this’. Whatever the reasons behind their unexpected nostalgic turn, the end result is something that keeps an entire room of Oz rock fans very happy. Tom Hersey

Kiss @ BEC pic by Stephen Booth

skilled and passionate individuals. To watch the program unfold, go to

4ZZZ HOSTS YOUTH OPEN DAY Your favourite community youth broadcaster and media organisation 4ZZZ is set to host their Youth Open Day on Saturday 6 April, 12-5pm, for under-25s. Check out some local talent and celebrate creativity with art and live music taking over 4ZZZ’s iconic Fortitude Valley building from midday. Join in with exhibitions, free station tours, workshops and performances. For all the details, see

KISS, MÖTLEY CRÜE, THIN LIZZY, DIVA DEMOLITION BRISBANE ENTERTAINMENT CENTRE: 12/03/13 On the way into the Entertainment Centre tonight, there’s a small child with a face that faithfully replicates Gene Simmons’ make-up and an older gentleman in full Paul Stanley regalia, the spectacle completed by a beer gut squeezing out from the requisite unitard. With all this going on, it’s a little hard to focus on Diva Demolition, but despite this, the band hold their own on a bill with whatever remains of several rock’n’roll luminaries. Sure, it’s not the real Thin Lizzy, Phil Lynott’s not around, but it’s still pretty cool to hear some of his song being trotted out over the Entertainment Centre’s PA, and the undoubted quality of tracks like Jailbreak and The Boys Are Back in Town is enough to inspire the audience’s imagination. If you didn’t know that you were about to see some world class cock rock, then the two busty blondes, wearing cut-off t-shirts and stars and stripes tights, parading through the crowd with Mötley Crüe banners, alert you to the fact. One of the most notorious purveyors of high spectacle sleaze, the Sunset Strip four-piece’s set delivers on both fronts. While frontman Vince Neil warms up his voice on numbers like Saints

Of Los Angeles there’s enough pyrotechnics, strobe lights and chicks. Chicks are integral to the Mötley Crüe experience; even if the band are over the hill, their back up dancers are still 20-odd and something better to look at during new songs like Sex than Vince Neil’s burgeoning man boobs. Crüe should stick to what they’re good at; working through their anthem to ladies of the pole, Girls, Girls, Girls, and giving younger crowds a glimpse into what titty bars were like before 808s and Auto-Tune took over. Or they should give up. We wanted the best, and we got the best. The curtain drops and the hottest band in the world, KISS, descends from the rafters in a blaze of production value and wow the crowd with Detroit Rock City and Shout it Out Loud. Simmons, Stanley, Singer and Thayer pedal the same drumstick twirling, fire-breathing, ‘How you feelin’ tonight Brisbane?’ clichés as Crüe, but the same things that seemed tired during the last band are now awesome, because KISS is onstage. After all, this is the Demon, Starchild, Spaceman and Cat, and at least two of these guys are the reason cock rock’s particular brand of showmanship is what it is. The obligatory new album cuts like Outta This World and Hell Or Hallelujah are met with polite indifference but hits like Love Gun and Rock N Roll All Nite remind tonight’s crowd why they should be willing to lay down their lives in service of the KISS army. Tom Hersey

Q Music is a not for profit organisation supporting Queensland music, musicians and industry workers. This column will present you with information on grant and export opportunities, conferences and the general lowdown on the state’s music industry.

FEDERAL GOVERNMENT ANNOUNCES NATIONAL CULTURAL POLICY The Australian Federal Government last week released its National Cultural Policy, Creative Australia. The policy comes in response to the Australia Council Review, and offers an additional commitment of $75.3 million in funding support to the arts sector over the next four years. New governance policies also allow the Australia Council greater scope in sourcing more diverse artistic expertise to guide their planning. To find out more, go to

SOUND SUMMIT APPOINTS NEW CO-DIRECTOR Sound Summit, a festival of independent and innovative music, announces the appointment of their new Co-Director. Former 4ZZZ Events and Fundraising Coordinator, Liza Harvey will work on the 14th annual program of events alongside ongoing Co-Directors Daniel Gottlieb and Nic Warnock to form an expanded team of highly

AUSTRALIAN MUSIC RADIO AIRPLAY PROJECT FUNDING The Federal Government has confirmed that the Australian Music Radio Airplay Project (AMRAP) will be included in the 2013 budget and beyond to support community radio stations to promote new Australian music on air and online. The announcement was included in the launch of Creative Australia, the first national cultural policy for nearly 20 years. For more information, see

PROFESSIONAL DEVELOPMENT AWARDS FINALISTS ANNOUNCED QMusic congratulates the host of Queensland finalists in the APRA|AMCOS Professional Development Awards, who are one step closer to becoming the awards’ next success story: Thomas Busby, Thomas Calder, Brad Butcher, Steve Newcomb and Kristin Berardi. For updates, see BIGSOUND registrations and BIGSOUND Live artist applications are now open at QUEENSLAND MUSIC AWARDS entries are now open, across a range of categories. Apply now at

WANT TO KNOW MORE OR BECOME A QMUSIC MEMBER? For these stories, memberships and more, go to

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Kendrick Lamar

Shuggie Otis While he’s far from the biggest name on the bill, Shuggie Otis is one of the most intriguing artists at the 2013 Bluesfest. Missing from the music industry for decades after releasing three mind-blowing albums as a very, very young man, he’s now back and getting some real kudos for the first time in a long time. The son of the great Johnny Otis released the wildly psychedelic Here Comes Shuggie Otis as a 16-yearold in 1969, Freedom Flight – featuring the classic Strawberry Letter 23 – in 1971 and his final record to date, the influential Inspiration Information in 1974 before he pretty much disappeared. He joined up with his father’s band for a while, but eventually he was nowhere to be seen in the music industry. Now he’s back, Inspiration Information is re-released soon with a bonus disc of unheard gems and Otis is reinspired to make a fist of a musical career again. “I realised that I didn’t have to take my albums around to every company anymore as I had done since ’74 and always getting the refusal,” he says from his LA home. “I wanted to be presented in the same way… I didn’t wanna go out and play the chitlin’ circuit again. I was making money getting my Strawberry Letter 23 cheques in the mail and I also did some day jobs – at one point I just didn’t even want to be in the music business. I always knew that I’d come back, but there were times when I had to make some money – I also had a wife and a kid to take care of. I had the best years of my life being out and having those little jobs! So my fans shouldn’t worry about that. “It’s not like I wanted to ever be out; that’s not the truth at all, I never hid from wanting to do what my heart wants to do – play music and also share it.” A career filled with peaks and troughs as extreme as Otis’ has certainly taught the 59-year-old artist some lessons. “Sometimes you have to wait your turn, I guess that’s the biggest lesson I’ve learned,” he says. “You can’t make [success] happen; it has to come to you. Just because you’re doing the right thing every day, that doesn’t mean you’re going to get that record deal or it’s gonna be a hit or you’re gonna be happy. Right now I’m on top of the world because all this stuff has started happening, it did obviously picked up my spirits. I’m writing more, I’m playing more, I’m loving it – all I want to do is tour and write and record for the rest of my life. “I want people to know that when I got dropped from Epic [Records] I couldn’t get a deal for years and years and years. I’m not crying about that, I accepted it a long time ago and for whatever reason it happened. But my time did come back, I always did feel that it would, but it wasn’t my doing – it just happened.” As far as his own personal story, Otis is fairly sure he knows the reason behind his descent from fame. “A message to those youngsters out there who are getting record deals and what not: you have something to offer, nurture it but also don’t let the dollar bill and the glamour sway you. The main thing to do is to not let people take you over; a real musician, a real creator, never lets anyone take them over just for money. They’ll go down the drain rather than take the money to put out something that they don’t wanna do. “At times I didn’t feel bad about being out of the business because of that. They didn’t want to push my style of music – it became humorous to me, because at first they were all for me but I know why now. I was young and blues was popular. But that’s what happened and I’m glad to have gotten that gift at an early age. Shuggie Otis, sharing the bill with Robert Cray and Taj Mahal, plays Saturday 23 March, Enmore Theatre; Sunday 24, Hamer Hall; Tuesday 26, The Tivoli and Thursday 28 and Friday 29, Bluesfest, Tyagarah Tea Tree Farm.

30 • For more opinion go to

There isn’t a hip hop word for ‘daggy’, yet urban acts love their daggy MOR stuff. Eminem’s 2000 signature hit Stan sampled the opening verse of Dido’s latently dark ballad Thank You. The UK singer was persuaded to cameo as Stan’s pregnant girlfriend in the video. Dido had been flying under the radar but, post-Stan, her debut No Angel blew up, selling over 20 million copies. Now Dido is on the comeback with Girl Who Got Away, her first album in five years. (She’s had a baby boy called Stanley – a coincidence.) The Londoner isn’t exactly revolutionising her sound, but Girl... is more electro(nic) and ‘up’. This time she’s sought Cali hotshot MC Kendrick Lamar for the cred. Let Us Move On, co-written by Jeff Bhasker and Plain Pat, both affiliated with Kanye West and KiD CuDi. Bhasker was involved in Lana Del Rey’s Born To Die and Let... has a similar trip hop aesthetic, only Dido is less subversive. Most of Girl... is safely produced by Dido’s brother Rollo, of Faithless fame. Dido recently joked to Q’s Peter Robinson about how she’s “bracketed in” with other “boring” acts like Coldplay, “but I think they’re brilliant, so it doesn’t bother me”. Urban has a long tradition of daggy collabs, samples and tributes. Ironically, hip hop can transform the cheesy into cool by way of recontextualisation – flipping. The Fugees sampled Enya (Ready Or Not), Wyclef Jean the Bee Gees (We Trying To Stay Alive) and Jay-Z the musical Annie (Hard Knock Life (Ghetto Anthem)). Boring or not, Coldplay are popular with urban ‘dagz’ and a moonlighting Chris Martin has been responsible for some surprisingly avant R&B, co-writing (and featuring on) Jamelia’s See It In A Boy’s Eyes and Nelly

Furtado’s Timbaland-helmed All Good Things (Come To An End). Martin produced Jay-Z’s existentialist Beach Chair off 2006’s Kingdom Come, admittedly dividing hip hoppers. In his Hova “homage” Big Brother on Graduation, West claimed that it was his idea to work with Martin. Regardless, Mr Gwyneth Paltrow appeared on Graduation’s Homecoming. West is also a fan of the oft-maligned Phil Collins, citing the ex-Genesis frontman/drummer as an influence on his “stadium” opus 808s & Heartbreak. Various R&B and hip hop acts contributed to a widely dissed Collins tribute album, Urban Renewal. Still, Brandy and her brother Ray J had a hit with their take on Another Day In Paradise, Collins’ song about homelessness. The set likewise saw Ol’ Dirty Bastard doing Sussudio. Bizarre. Collins himself digs his (vintage) R&B, covering The Supremes’ You Can’t Hurry Love and staring on a duet with Earth, Wind & Fire’s Philip Bailey on Easy Lover in the ‘80s. As producer, Eminem sampled Elton John’s Indian Sunset for Tupac Shakur’s posthumous Ghetto Gospel. John memorably performed Stan alongside Slim Shady at the Grammys, singing Dido’s lines. John guested, too, on Mary J Blige’s Mary. Even Aussies have got their dag on, Phrase joined by pub-rock hero Jimmy Barnes on Babylon’s grittily soulful Velvet Glove. Then there’s hip hop’s repurposing of classical music. Xzibit’s brilliant Paparazzi flipped Gabriel Fauré. More transgressive, Puerto Rican MC Big Pun’s The Dream Shatterer sampled German composer Richard Wagner, a man worshipped by the Nazis. In the ‘90s, Def Jam issued the now obscure The Rapsody Overture: Hip Hop Meets Classic, Warren G, LL Cool J and Xzibit rapping over operatic beats. Veteran artists don’t always benefit from hip hop idolisation. On 1997’s No Way Out, Puff Daddy sampled David Bowie’s Let’s Dance for Been Around The World. Bowie later teamed with Puff’s Bad Boy fam for American Dream off the street Training Day OST. A coup for Puff but a creative low for fans of The Thin White Duke.


Caitlin Rose Callie Khouri, the writer and producer of US cable show Nashville, has said of setting her series in country music’s Disneyland, “Whenever I’ve seen shows or films set here, they just don’t feel like the real Nashville to me.” Khouri also wrote Thelma & Louise so could be credited with knowing a thing or two about the way things go in the south, or at least the way the south can be a setting for a relatable hero’s journey. The reality Khouri seems to be shooting for with Nashville, currently in its first season on ABC in the States and which centres on the rivalry between an ageing country singer and a young pop-crossover star, is the tension between what Nashville is and what it wants to be. Mostly that’s evident in the show’s songs, performed by the actors, including Australia’s Clare Bowen: blues-café torch songs written by the likes of The Civil Wars and punchier AO bluegrass-country from a time just before Shania, with a couple of Miley moments for the kids. With many of the tracks released as singles and a soundtrack already out, the tension is being used to the show’s advantage: the hero is the battling country songwriter, the sound is the battle between chart singalongs and old-school sorrow. It’s a tension present in the new album by Nashville songwriter Caitlin Rose, The Stand-In (Spunk). Rose isn’t a stranger to the kind of pop hooks with which the country music industry pays its bills. Her mother, Liz Rose, has written 16 songs for Taylor Swift, including the hit You Belong With Me, though only one on Swift’s latest album. That alone is telling: Liz Rose specialises in writing country fare the right side of radio programming, though not so much the electric anthems Swift has turned to

most recently. On The Stand-In, Caitlin Rose is a more road-weary Zooey Deschanel, a heavyhearted troubadour with a reverence for sliding notes and storytelling, a charming swagger and an endless supply of earworms that never inch their way into Hollywood (or Swedish) production-house flash. If there is such a thing as the ‘real’ Nashville, a place of churning industry and hard-learned lessons, Rose could easily be seen as a representation of it. Like the TV show and its soundtrack, The Stand-In also wastes no time between foot-stompers and tearjerkers. It is a classic country record and perhaps a reason Rose is being compared to Loretta Lynn, country music’s great character singer. Unlike Rose’s 2010 album Own Side Now, which sashayed slowly into the band room but still kept at its edges, Rose’s second record jumps straight in with a richly produced rock song, No One To Call, that threatens Ryan Adams’ early-2000s highway warrior. The album then shifts to dark swamp guitar with more than a hint of Gillian Welch’s rolling vocal play; to kick-drum-driven powerpop, to softly-softly contemporary bluegrass that wouldn’t be out of place on Norah Jones’ 2002 debut. That’s a lot of references, and a lot of references to what was going on in the casual corners of country music a decade ago, perhaps the last time country got a real going-over by the indies. Rose’s power is certainly her ability to draw together the best parts of the genre’s many strands and to flawlessly deliver each song’s style and its outsider message. She’s the writer but also the actress. She’s also ever on the verge of leaving the show. On When I’m Gone she sings, “I’ve been thinkin’ about leaving this old town behind/I’ll beg and borrow to leave tomorrow/ Find no more sorrow, just say goodbye”, you get the feeling that’s not really an option for Rose; that her story is sewn to Nashville, wedged between its (sometimes pitiful) desire for the limelight and its need to purge its troubles. And that, in the end, accompanied by the wartime trumpet of The Stand-In’s final track Old Numbers, she’ll be on a curtain-clad stage accepting applause, a hero at the tired and triumphant end of her journey.

Crossover thrash legends Municipal Waste have confirmed their second-ever Australian tour dates, this time around thanks to Heathen Skulls. You can catch the US lords playing at The Hi-Fi on 16 June. Malakyte have been confirmed as direct support with one more opener to be announced. Tickets are on sale now. La Dispute is headed back to Australia this June, and this time they’re bringing fellow US posthardcore group Pianos Become The Teeth with them. Thanks to Resist Records, you can catch the bands on 28 June at The Hi-Fi, and on 29 June at The Mount Gravatt PCYC. Tickets are now available. The giant Hits And Pits fest hits Brisbane this Sunday (check the gigs at the bottom), but if a huge night at The Hi-Fi isn’t your thing, then perhaps you can catch some of the internationals playing at Crowbar next week. On Monday 25 March A Wilhelm Scream (USA) will perform their album Mute Print, while The Flatliners (CAN) will perform Cavalcade, with support from Beaver and Friends With The Enemy. Voodoo Glow Skulls (USA) will play the following night, though no word has yet been released on supports. Local supports for the forthcoming tour from US groups Born Of Osiris, Upon A Burning Body and Australians Feed Her To The Sharks and A Breach Of Silence have been announced. The Schoenberg Automaton and The Construct will support on 16 May at The Tempo Hotel, while Midnight In Alaska will open things up at Sun Distortion Studios on 17 May. Tickets for the Thy Art Is Murder, Cattle Decapitation (USA), King Parrot and Aversions Crown tour go on sale this Friday through Oztix – is probably your easiest option. Queensland shows are on 6 June at The Rev and 7 June at Expressive Grounds, Gold Coast. In other Thy Art Is Murder news, the band was recently nominated for a Metal Hammer ‘Golden God’ award in the category of ‘Best New Band’. They’re up against Japan’s Crossfaith, USA’s Upon A Burning Body, and UK groups Bury Tomorrow and Bleed From Within. Head to goldengods. to vote. Let’s help our fellow Aussies get to the top! Northlane’s expertly marketed new album Singularity drops this Friday. For now, the Sydney metalcore band have released another new single entitled Scarab over at the UNFD YouTube channel. There’s a competition going to see what bands will end up being the local supports on the upcoming tour from UK black metallers Cradle Of Filth and Australian extremists The Amenta. Head to to register your band’s details and submit a song through a purpose built SoundCloud-based application. KillRockStar & BigDog Entertainment will then decide upon a shortlist to be put to a vote through their Facebook page. The three songs with the most votes will then be presented to Cradle Of Filth mainman Dani Filth for a final decision. Registration closes this Sunday. Speaking of The Amenta, the Sydney/Perth band have just released the creepy new video clip for their previously released single, Teeth. You can suss it YouTube. The band’s third album Flesh Is Heir is due out this Friday through EVP Recordings.

GIGS OF THE WEEK: Thursday: The Broderick, The Fevered, Marathon, The Dead Ends – X&Y Bar. Friday: 50 Lions, Rain Dogs, Survival, Outsider’s Code, The Dead Ends – 199. Clowns, Black Deity, Bile Destruction, Strychnine, Puke Brew Brothers. Irukandji, In-Cyde, Nudge From Hey Dad, Kaerulean, Amassing The Infinite – Crowbar. Widow The Sea, Death Audio, Road To Ransome, Prophets of War – Beetle Bar. Saturday: As Paradise Falls, Paradise In Exile, This Fiasco, Common Bond – The Waiting Room. Electric Horse, These Four Walls (NZ), Epidemic... Over, Far From Paris – The Tempo Hotel. 50 Lions, Rain Dogs, Survival, Outsider’s Code – X&Y Bar. Sunday: Mad Caddies (USA), Good Riddance (USA), A Wilhelm Scream (USA), Voodoo Glow Skulls (USA), The Flatliners (CAN), Diesel Boy, One Dollar Short, Jamie Hay, Jen Buxton, Totally Unicorn, Paper Arms – The Hi-Fi.


APES pretty sick people, we had a ball and would definitely do the Big Day Out again if we’re lucky enough.”

ourselves! Our nerves, however, disappeared after the first note was rung out and we proceeded to have an absolute ball! That little taste has given us a big craving for that feeling again.”

Onto the current tour then: co-headliners are such a great idea. Why don’t we see more of them? Reale is as perplexed as we are.

Seamlessly blending British sensibilities with big breakout Aussie riffs, the Brisbane quartet have a confident sound they’re keen to develop further with some more studio time planned for the middle of the year. But until then...

They might just be middle class white boys that love quality guitar rock, but Jakarta Criers are anything but average. Guitarist Seaton FellSmith discusses the band’s exciting happenings with Benny Doyle. Having already kicked some solid goals in the past 12 months with a cracking EP to their name (Moonlife) and a BDO slot under their belt, it’s no shock that Seaton Fell-Smith and his JC crew are chuffed with their current trajectory. “We’re obviously stoked with what’s been happening lately,” he agrees. “We try not to focus too much on achievements or goals, but playing Big Day Out was fucking amazing… I could say we weren’t nervous but that’s just not true – we were shitting

“I’m not sure why we don’t see more of them really. We’ve done one previously and had a blast, so we thought, ‘why not do it again?’ There’s more people to party with, more friends of friends’ floors to sleep on and you also make some great buddies along the way.”

“We’re gonna try and play live as much as possible,” Fell-Smith says. “Losing yourself onstage in front of a crowd of happy, drunk people is possibly better than sex… perhaps… shit, don’t tell my girlfriend I said that.” Jakarta Criers will be chasing that feeling later this month, teaming up with fellow triple j Unearthed favourites Apes to make some aural love to Queensland and Victoria via the double headline ‘Steal A Fan’ tour. Although familiar around our local traps, this will mark the group’s first shows south of the border and they “couldn’t be more pumped”. “Teaming up with Melbourne’s Big Day Out winners Apes was a no brainer at the end of the day,” Fell-Smith states. “We like their no bullshit approach to songwriting and can’t wait to share a stage and many a beer with them, too.” WHEN & WHERE: Thursday 21 March, Coolangatta Hotel, Gold Coast; Friday 22, X&Y Bar


So, what does Reale think Jakarta Criers will be like as tour mates? It seems everything will be cool, on one very important condition.

Having recently won the triple j Unearthed Big Day Out contest, Melbourne rockers Apes are teaming up with Jakarta Criers for a dual headlining tour. Tony McMahon gets all the dirt from bassist Sam Reale.

“Jakarta Criers will be fine and intact, as long as they stay away from our rider. Just sayin’...” Finally, what can punters expect from an Apes live show? Some new drinking buddies, for a start. “It can be a sweaty, energetic, dirty, soul-filled night that results in a hangover that could slay a walrus. We put as much as we’ve got into it. We also love to have a drink with everyone, so if you see us out and about come and say ‘hey’. We’re more than likely gonna have a drink or 20 with you.”

“Winning something like that was amazing,” says Reale, talking about his band’s victory in the triple j BDO contest. “It brought with it a great amount of exposure for our band which is something we really appreciate and don’t take for granted. The whole experience was amazing from the start to a very hungover and blurred finish. Playing it was great, and we got taken care of really well and met some

WHEN & WHERE: Thursday 21 March, Coolangatta Hotel, Gold Coast; Friday 22, X&Y Bar

TERRIBLE TRUTHS opened a dialogue about gender and the inherent sexism of the late-‘70s. As a woman, chances were you probably weren’t going to get to be a lawyer or surgeon but you could be in a sick punk band.”

Blurst Of Times Festival happening across three venues in the Valley entertainment precinct. “So stoked...” the 23-year-old gushes. “The lineup is sick! It pretty much sums up our list of favourite upcoming bands. We’ve had the pleasure of playing with the likes of Velociraptor, Gung Ho, Sures and Drunk Mums before and the nights have been crazy! We always seem to have fun at Brissy shows too so yeah, looking forward to it!”

Currently working on a “darker and heavier” second EP, Pirates Alive are keen to make their mark on the scene and have a sweet arse time while doing it. Jarryd Inns holds court with Benny Doyle. “Work is going well. We have got [the] first two tracks mastered and sounding [great]. The EP is sounding a lot darker and heavier than our first releases... I guess it’s just a progression from the brighter, fun stuff we’re known for playing.” Although progress has gone a little slower than Pirates Alive would have liked due to flooding issues at their friend’s studio, Inns is confident the release will be ready to land mid-year. But before then, the Gold Coast trio will be taking part in the recently announced The

Serving up an interesting blend of chunky chords and saccharine melodies delivered with abrasive energy in spades, the three-piece have made some serious progress in a short period of time, turning a demo into a debut EP, and moving from small supports to spots on Big Day Out and BIGSOUND, all in a few years. And as Inns explains, taking lessons from all these experiences has made their live show crackerjack. “We like to fill our set with plenty of energy on stage; a lot of punchy riffs, raw breakdowns, nice builds and groovy solos. Our influences range from Kings Of Leon and Tame Impala to bands like The Black Lips and The Vines (as mad as that sounds), [and] we really try to make every song different from the last.” WHEN & WHERE: Sunday 31 March, The Blurst Of Times Festival, Fortitude Valley


Interestingly, Rose says that there was no sense in which Terrible Truths had to ‘adapt’ (for want of a better word) the post-punk sound in order to make it their own. “No, not really. We just decided on a list of bands that are forever favourites (Delta 5, Pylon, B-52s, The Slits, X-Ray Spex, The Au Pairs, I could go on…) and went from there. The adaptation was natural and not pre-meditated. I really like that we wear our influences on our sleeves though. It’s awesome when we’ve just played and someone says something like, ‘Whoa, you guys sound like you’re from Birmingham 1979’.”

Rani Rose, singer/guitarist with Melbourne post-punk outfit Terrible Truths, talks to Tony McMahon about the eternal resonance of that late-‘70s sound.

In exciting news for fans of the abovementioned sound – or just music fans in general, really – the rest of 2013 for Terrible Truths involves lots of creativity.

“I guess I’m attracted to the raw energy, the anything goes attitude and the left wing political ideals,” says Rose. “I like that post-punk from that era isn’t so much a genre with a set sound but a culmination of different sounds and ideas, like punk being fused with reggae and dub and jazz. It’s broad and inclusive but still its own definitive thing. I also really love that there are a lot of mixed gender bands and that post-punk

paint at a canvas. There is a part of each of us in every song and it shows with the sheer diversity from track to track, [however], it still has that uniquely These Four Walls flavour.

“It was great to meet those guys and get their take on things. I think it was more humanising the process for me and being reminded that they are the same as everyone, but have worked really hard to get where they are.” So, what are the excitement levels for the tour like? Thirty dates across Australia and New Zealand can only really be called a serious undertaking. One earnestly hopes the band all get along together. Cole seems to think it won’t be a problem.

“It’s definitely different,” says Cole, talking about comparing Ribbons to the rest of the band’s oeuvre. “But yeah, it’s still growing I think. Since we started out the band has grown from three members up to six, so this is record is different in a lot of ways but still with the same energy.” Having worked recently with Gotye and Adalita, Cole took their advice on board when it came

WHEN & WHERE: Sunday 31 March, The Blurst Of Times Festival, Fortitude Valley

THESE FOUR WALLS to making Ribbons, but says that it was more just realising rock gods are human too.

Hobart indie folk darlings The Mornings have just released their stunning new EP, Ribbons, and are backing it up with a huge tour. Tony McMahon gets all the news from singer/guitarist Sam Cole.

“Well we’re playing a bunch of shows in April, in Adelaide, Brisbane and a few in Melbourne. Then we’re gonna rehearse like crazy and start recording our debut album. We did a bunch of demos last year, but I think we’re ready for the real deal now.”

“Yeah it’s been great so far. We’re only bringing in the full six-piece band for the major shows, combining this with the duo shows breaks it up. We’ve all been playing together for quit a while and have known each other longer so touring together isn’t a whole lot different from playing in our home state. It should be a great time.” And what of the live show? How does it compare to recorded work? Not to diss the record, but Cole says they’re completely different animals. “We’re so happy with our new record and how it sounds, but there’s that indescribable extra layer that can only really be experienced live.” WHAT: Ribbons (Independent) WHEN & WHERE: Thursday 21 March, The Zoo

“We’re a straight up, balls to the wall rock band that thrive on big choruses and memorable hooks,” he adds. “There is something for everyone in every single [track].” The hard rockers aren’t strangers to a big stage either, having supported the likes of Disturbed, Nickelback and As I Lay Dying. For Gibb, this is the ultimate yardstick for success.

Already creating a stir in their native New Zealand, These Four Walls are now turning their attention to the other side of the Tasman, as Steve Gibb tells Benny Doyle. After recording their second LP, Living To Write The End, on the Gold Coast last year, These Four Walls are returning to the Sunshine State to show off the wares from their last visit. And after recently reaching the top of the JB Hi-Fi charts in NZ, 28-year-old frontman Gibb beams that the vibe in camp couldn’t be better. “The approach we took to creating this album was rewarding in itself,” he tells. “We came at the writing process with much more of a cohesive attitude; we locked ourselves in our practice room and simply let it happen... almost like the four of us throwing

“For us, the live shows are the main reason we do what we do,” he admits. “It’s the most incredible feeling watching someone’s lips mimic your own with lyrics you’ve written, or physically building to an instrumental moment you’ve carved into a song. The songs from the new album have been received really well on the road; we can’t wait to bring them [to Australia]. We put our heart and soul into every live show we do, so if you like to move come check us out!” WHAT: Living To Write The End (Independent) WHEN & WHERE: Saturday 23 March, The Tempo Hotel; Sunday 24, The Loft, Gold Coast (acoustic)

To check out the mags online go to • 31




THE TIGER & ME Member/role: Ade – co-lead vocalist/piano/guitar Name of single: Made It To The Harbour

DANIEL FORD FROM BLACK VACATION Best record you stole from your folks’ collection? The Beatles – Revolver. First record you bought? The Monks – Black Time. Bought this from Eric at Goner Records in Memphis, TN when I was about 15. Record you put on when you’re really miserable? Les Rallizes Dénudés – Cable Hogue Soundtrack. Record you put on when you bring someone home? Slayer – Reign In Blood. Most surprising record in your collection? Alex Chilton – No Sex. I love Alex Chilton but there’s a reason why the album is called No Sex. Last thing you bought/downloaded? Ducktails – The Flower Lane. Black Vacation play The Waiting Room on Friday 29 March.


Stand-alone release or precursor to something more substantial? This is the second single from our second album, The Drifter’s Dawn. We released the album in October last year. How does the single differ from previous work? Most of our previous tunes have been pretty organic and live-sounding; this is very loopbased and layered. I decided to write something by starting with short blocks of ideas, and then taking them out or putting them back in to create the song. This isn’t particularly uncommon but I’ve never really done anything like it before. I was listening pretty much exclusively to Beck at the time which may have something to do with it… We also did away with the notion of a chorus. We tried to put one in but the song wouldn’t have it. It just didn’t want it. It spat in the face of our chorus. There was a scene. Instead we just start with guitar and drums, and then keep adding layers of instruments playing short looped riffs. Hammond organ, Indian tabla drums, piano, a million guitars. We have a couple of dreamy instrumental bits to break it up. What do you have planned for the launch? We have a special guest brass player for the evening. We’re borrowing trumpet player Matt Hsu from Brisbane band The Mouldy Lovers. When we played a show with them late last year we invited Matt on stage to play a couple of songs and it sounded great, so we’re looking forward to having him back on stage and soloing up a storm. Where to from here? Gigs. Lots of gigs. After the tour we’re getting straight back on the horse. We’re mostly playing within driving distance from May-August, but we’re looking at being in Brisbane again in September/October so keep an eye out for us then. The Tiger & Me play Beach Hotel, Byron Bay on Thursday 21 March, Brisbane Markets on Friday 22 March, launch Made It To The Harbour (Four Four/ABC) at The Joynt on Saturday 23 March, then play Brisbane Markets on Sunday 24 March.

DON’T BE SO... Alt. R&B songstress Georgia Potter has just released Reckless, a bold and dynamic beat joint that was penned while gazing at the stars last year during the Splendour In The Grass festival. Channelling foreign delights experienced while travelling the world, it’s a gem of a tune and well worthy of a cheeky bit of touring to mark the occasion. Catch the local lass when she plays with Laneous & The Family Yah Saturday 27 April at The Zoo. You can also check her out as the support act for Elizabeth Rose Thursday 21 March at Oh Hello!.

STRIPPING IT BACK Gin Club player and general legend around these parts Conor Macdonald is treating his local brethren to a rare solo set at Southside Tea Room this Saturday, 23 March. Come and listen to Macdonald’s unique timbre and warm playing, enjoy a great assortment of international and boutique beers and have a chilled out night of free music.

PLANETS ALIGNED Grungy rock’n’roll quartet Lunar Seasons have a free show this coming up this Sunday 24 March, at The Tempo Hotel. In the vein of Smashing Pumpkins and Queens of the Stone Age, the Brisbane boys are currently working on a new EP, so expect to hear some spirited riffing and fresh sounds, with Iwish Ricky, Here’s To Neverland and Arctic also performing. The music kicks off from 4pm so get involved and enjoy your local product!

DIVING DOWN After smashing out two class albums and commanding stages everywhere from Big Day Out to Bluesfest, The Blackwater Fever were looking for some new challenges. This hunger led them to the studio, with the band taking full control over their third offering, The Depths. Get a first taste of these new songs when the Brissie trio perform Friday 22 March at The Joynt.

How did you get together? Micka Semfel (frontman/songwriter/ percussion): We all met in the studio while recording an album in Byron Bay. Sum up your musical sound in four words. Love and fresh water


If you could support any band in the world – past or present – who would it be? Tom Waits

South Australian trio Zelorage are redesigning the sounds of millennial nu-metal. Hear the solid Drop D tuning when the band head out on a national run of dates. They perform Saturday 27 April, Prince of Wales Hotel, and have another gig scheduled for Sunday 28 in Nambour, with venue information yet to be confirmed.

You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be? Oh geez that’s a tough cookie... something from The Clash. Greatest rock’n’roll moment of your career to date? There’s a been a few. Either having our music at the Quicksilver Pro or we really enjoyed a small festival up north called the Palm Creek Festival – great vibes! Why should people come and see your band? We have something for everyone’s tastes, whether it be you’re a drummer, bass player or guitarist, or you love rock, reggae, or a bit of blues. We’ve been playing around Australia and Canada now for two years and now it’s Brisbane’s turn for our one and only Brisbane show for 2013! Pacha Mamma play The Zoo on Sunday 24 March.

MORE ACTS FOR CAXTON ST FESTIVAL One of Brisbane’s favourite events has just gotten bigger and better with the second announcement of musical acts for the Caxton Street Seafood & Wine Festival. The big one here is that the already announced Ash Grunwald and Scott Owen (The Living End) will be joined by TLE drummer Andy Strachan, making for a formidable rockin’ roots combination. Other new names to the bill include Taxiride, who will be playing their first Queensland show in five years, Bullhorn, pictured, Lotek and Lady Lash, Mr Cassidy, James Johnston, Transvaal Diamond Syndicate, His Merry Men, Mind Over Matter, Disko Diva, Cutloose and Johny Laytex. Phew! Tickets are still available for the Festival, happening Sunday 5 May, and can be purchased through the event website for $25+BF. Proudly presented by Time Off.

32 • For more news/announcements go to

Name of EP: You Are Here Label: Independent How many tracks: Five Tell us a little bit about the release: I moved to Sydney from Brisbane in 2011 and wrote most of the songs in the first few months of my being here. I was jobless so I spent about three or four months going to yoga, practicing the piano and writing songs – pretty sweet life...! My writing changed a lot; my life changed a lot – I moved house six times in that year. I guess the thing that stayed the same was my desire to keep moving, my love for my family and my ability to get my heart broken. So that’s what the EP is. Change, heartbreak and family :) What do you have planned for the launch? We are very lucky to have secured some assistance from the Australian Government through the Australia Council. We’ll be launching the EP in the form of a Lounge Room Tour. Basically we’ll be heading to a few regional spots and some capital cities along the east coast, setting up camp in people’s lounge rooms, writing them songs and then performing them! I can’t wait!! What’s on the horizon for the band? The first thing I want to do is fall in a big heap :) That will be number one on the list. After that I think I’ll hit up Europe for a bit in 2014. I don’t think I’m ready to stay in one place yet! Katie Wighton releases You Are Here (Independent) at Brisbane Powerhouse Turbine Stage on Sunday 24 March.


SORRY FOR PARTY ROCKING It’s time you started vibing with The Party Squad. Made up of Dutch pair Jerry Leembruggen and Ruben Fernhout, the DJ and producers have remained at the top of the dance food chain in their home country for close to a decade now, and are keen to take you from night to day when they come out for some club nights next month. Check them out at Family Nightclub, Friday 6 April.




JAMES X. BOYD FROM VELOCIRAPTOR Best record you stole from your folks’ collection? The B-52’s Party Mix! – still on high rotation at my house, thanks Mum. First record you bought? AC/DC – Back In Black on tape. Bad assssss. Record you put on when you’re really miserable? I’m never miserable. Record you put on when you bring someone home? I only ever bring one lady home and she can choose anything she wants. Most surprising record in your collection? Harry Belafonte’s entire ‘50s catalogue lovingly collected from Brisbane op-shops. Last thing you bought/downloaded? Dick Diver – Calendar Days. Hurry up postman! Velociraptor play The Blurst Of Times Festival in Fortitude Valley on Sunday 31 March.


YACHT CLUB DJS Name of act: Yacht Club DJs Member/role: Guy – computer Home ground: Ballarat Describe your live music/performance style as succinctly as possible. A shambolic smattering of music from the ‘50s onwards... Is this your first foray to Brisbane? If not how many times have you performed in our midst? I think we’d be firmly in double digits now. Please relate your impressions of performing in our fair city. Typically, a sweaty mess. And always a cracking party. What can we expect different this time around? We just finished a new mixture called Make Me A Machiato Pronto. So there’ll be plenty of new stuff and some of the stuff people have most enjoyed on the last few mixtures. Has anything exciting been happening in your world of late? We’ve been making music flat out which has been a blast. Also, I just finished the new Stephan Hawking book this morning which was mind-blowingly good. Yacht Club DJs play Alhambra Lounge on Friday 22 March.

BEASTLY ROCK’N’ROLL They’ve earned slots on the recent Big Day Out and Laneway festivals, and have recently shared stages with Bob Mould and The Presidents Of The USA – obviously Sincerly, Grizzly know a thing or two about rocking. Find out how they throw their riffs out down Adelaide way when the South Australians come north to play the always free Trainspotters at Grand Central Hotel, Saturday 30 March with Teleprompter and Wolver.

SWEET CANDY The Candyrat Guitar Night is lapping Australia, pairing Canada’s Maneli Jamal with our own Owen Van Larkins for sessions of instrumental guitar magic. You can catch the guys Saturday 30 March, The Brewery, Byron Bay; Sunday 31, The Vault, Gold Coast; Friday 5 April, JMC Academy (masterclass); Saturday 6, QPAC, Cremorne Theatre; Friday 12, Swich For Youth, North Ipswich Functions Centre; Saturday 13, Due East and Studio 188, Ipswich; Sunday 14, Woombye Pub, Sunshine Coast. Please visit the fRETfEST website for time and ticketing details. Don’t miss this opportunity to see two of the planet’s foremost fingerstyle guitarists together on stage.

FULLY FORMED Experimental Brisbane folkie Wafia is a fresh face on the scene and an incredibly talented songwriter to boot, mixing old and new sounds in a way designed to touch the core of every listener. To bring her music to life and do it justice onstage, Wafia has put together a live band and will be taking them out on the road this week, playing Thursday 21 March at The Hideaway, supported by Fossils. In addition, you can also catch her Saturday 23 as part of the EMERGE Autumn Series taking place in the Chinatown car park alongside Tourism and The DreamSmiths.

SMALL TOWN SOUNDS No doubt that Byron Bay has a feel; a vibe. But does it have a sound? You better believe. Helping to take the sounds of the surf town to a bigger audience are three of its finest: Pacha Mamma, Andy Jans Brown and Jaffer. Rock, roots, reggae, soul, funk – you’ll find it all here. Head along and channel those southern vibes when the trio of acts play The Zoo, Sunday 24 March.

YAH YAH YAH We’ve missed Laneous & The Family Yah. The West End quartet have been quiet on the scene for the last year, but now we’re excited to share the news: the boys are back in town, and in rather spectacular fashion, let it be told. They will be conducting the third instalment of their Pink Dove evenings, the night titled The Bird Fire Review. This entails five hours of saucy musical incest, with 12 players in total pulled from a variety of bands including Laneous & the Family Yah, Georgia Potter, MKO, Superfeather, The Well Alrights and The Melotonins. See the spectacle go down Saturday 27 April at The Zoo. Tickets through Oztix for $14.

OUR FAVOURITE MISS Poppy jazz lass Miss Elm is ready to release her second EP, Idle Away, and has announced a few dates to launch the collection of new tracks. Catch her Friday 12 April, Alloneword with Dom Miller and O’ Little Sister ($10 on the door, includes copy of the EP), Saturday 13, The Upfront Club, Maleny with Pear and the Awkward Orchestra, and Friday 26, The Gov’s Espresso, Gold Coast with Lyon Apprentice.

Soulful roots specialist Bobby Alu is back with a new jam, You Know, a tune that showcases his immense talent, be it behind the mic, strapped with a guitar or holding some sticks. The Samoan-Aussie continues clocking up the road kilometres, launching his new track with a bunch of dates: Sunday 14 April, Brunswick Hotel (free); Friday 19, The Joynt ($10 with Leisure Bandits); Saturday 20, Big Pineapple Music Festival ($73+BF); and Saturday 4 May, Mandala Arts Cafe, Gold Coast ($15).


Member/role: Paul Watson – Bottom End Technician Name of single: Beat In Control Stand-alone release or precursor to something more substantial? Beat In Control is the fist single from Dubmarine’s upcoming second LP. How does the single differ from previous work? Beat In Control is definitely the shortest song Dubmarine has ever written, focusing on a simple killer horn line and groove. Kazman’s lyrics talk about the freedom he feels while dancing. Which is not surprising as you will always see Kazman on the dancefloor at festivals in the thick of it.

BOW DOWN AND KISS THE RIFF Seen as one of the most dangerous bands doing the circuit in their native New Zealand, God Bows To Math are a raw, unhinged beast on stage, squishing catchy melodies in between walls of noise and percussive pummelings to create a rock experience that will attack you without remorse. Currently recording the follow-up to their 2011 self-titled record, the three-piece have decided to take a little break for a run of dates our side of the Tasman. God Bows To Math will finish their tour Sunday 28 April at The Waiting Room, with support on the night coming from Undead Apes, Tiny Spiders and Roku Music.

Where to from here? Dubmarine are touring around the country with our new single. We also take off to perform at the huge Capetown Jazz Festival in South Africa, which we are super excited about. Then it is all about getting the new album out! Dubmarine launch Beat In Control (Independent) at The Hi-Fi on Friday 22 March and play Solbar, Maroochydore on Friday 19 April.

Home ground: Auckland, New Zealand Describe your live music/performance style as succinctly as possible. An infectiously melancholic positive pop party!

Please relate your impressions of performing in our fair city. Last time I came to Brisbane I feel like I really got the full introduction. It was around 8am when I boarded the plane in New Zealand. At around 8.45am (Somewhere over the Tasman Sea) I passed out flat on my face in the aisle on route to the bathroom. Upon arrival I was rushed to hospital in an ambulance where, after close examination from some of the nicest and most attractive hospital staff I’ve ever seen, it was concluded that perhaps instead of Coca Cola I needed to drink a little bit more water. After that ordeal the shows went great and I really feel like Brisbane knows how to party!


What do you have planned for the launch? Dubmarine CD launches always pull out the stops. The line-up includes Kingfisha (who are launching their new single Digging For Fire) and the triumphant return of one of Brisbane’s fave party starters, The Chocolate Strings. Also on the bill is Liam Niko and Andy Dub who if you made it to Earth Frequency Festival or Island Vibe, you would remember the hot sets for these guys. We are stoked with the line-up. It is legit!


Is this your first foray to Brisbane? If not how many times have you performed in our midst? I came through Brisbane towards the end of last year while touring with a new band called Feelings. I really like Brisbane – it seemed to glow with holiday vibes and everyone I met was really cool and friendly.


TAKING THE HOUSE Bold and beautiful with lofty choruses that could soar across oceans, Little Casino offer up feel good of the highest order. The Byron/Brisbane five-piece have just put their debut EP together and will be plugging in to energise their local brethren with a few dates throughout next couple of months. The Little ones have a double billing on Wednesday 3 April, playing a free, all ages instore at Jet Black Cat Records followed by a DJ set at The End. Following that you can catch them Sunday 7 April, Black Bear Lodge with Soviet X-Ray Record Club and Friday 10 May, The Northern, Byron Bay.


What can we expect different this time around? I’ll be playing some brand new songs off the soonto-be-released album accompanied by my fourpiece band. Audience members can also expect to hear favorites from the EP, both mine and theirs. Has anything exciting been happening in your world of late? I just released the video for the most recent single Hipsteranity which includes some of my favourite things in life! Pizzas, a turtle neck skivvy and gory blood and guts! Check it out on YouTube! Tom Lark plays Alhambra Lounge on Thursday 21 March.

FEVER TO HELL Brisbane lads The Fevered have got yet another solid international support, the five-piece announced as the local opener for multifaceted American metallers Black Breath. The gig, also featuring Canberra hardcore behemoth I Exist, will take place Friday 5 April at Crowbar.

PICKING AND CHOOSING Spend some time with The Company and you’ll be walking away feeling a whole lot better about things. The fast picking bluegrass locals are bringing some further charm to the Coorparoo Bowls Club, delivering their sweet soulful harmonies Friday 5 April with uke led crew The Pockets. Tickets can be purchased through

For more news/announcements go to • 33


BOB EVANS: The Zoo Apr 13 HUNGRY KIDS OF HUNGARY: The Hi-Fi Apr 19, Alhambra Apr 21 (U18)



WE ALL WANT TO: The Judith Wright Centre Apr 19


THE MARK OF CAIN: The Hi-Fi Mar 21

GRINSPOON: Coolangatta Hotel Apr 21

TIM HECKER, POLE: IMA Gallery Mar 21

PVT: The Zoo Mar 22

TRACK & FIELD: The Rev & Electric Playground Apr 26

CHRIS SMITHER: South Leagues Club Mar 21, Woombye Hotel, Mar 22


TEGAN AND SARA: The Tivoli Apr 30

WANDA JACKSON: Old Museum Mar 27

HAPPY MONDAYS: The Tivoli May 3

MUTEMATH: The Hi-Fi Mar 23

JAKE SHIMABUKURO: Brisbane Powerhouse Mar 27

THE JACKSONS: Brisbane Riverstage Mar 24

CREO: Ric’s Bar Mar 30

GROOVIN’ THE MOO: Townsville Cricket Grounds May 5


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



WANDA JACKSON: Old Museum Mar 27

STRANGE TALK: Alhambra Lounge Mar 30

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

THE KOOKS: The Tivoli May 7 & 8 MATT & KIM: The Zoo May 9 MELBOURNE SKA ORCHESTRA: The Tivoli May 11 SAN CISCO: Kings Beach Tavern May 16, The Zoo May 17, Coolangatta Hotel May 18

RODRIGUEZ: The Tivoli Apr 1


SOJA: The Zoo Apr 3

EMMA LOUISE: The Hi-Fi May 24

BEN HOWARD: The Hi-Fi Apr 5

THE BEARDS: The Hi-Fi Jun 21


FOALS: The Tivoli Oct 2



ROGER HODGSON: The Tivoli Mar 30 THE LUMINEERS: The Hi-Fi Mar 30 RODRIGUEZ: The Tivoli Apr 1 NEWTON FAULKNER: The Tivoli Apr 2

20 MARCH 2013

BIRDY: The Tivoli Apr 3 (AA) SOJA: The Zoo Apr 3, Coolangatta Hotel Apr 4 PASSENGER: Conservatorium Theatre Apr 2, 3 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 DYING FETUS, PUTRID PILE: Beetle Bar Apr 21 BLACK SABBATH: BEC Apr 25 EATS EVERYTHING: The Met Apr 26 KING TUFF: The Primitive Room Apr 26 BRYAN ADAMS: BEC Apr 27 OTEP: The Hi-Fi Apr 27 FIREWIND: Beetle Bar Apr 28 DEATHSTARS: The Zoo May 1 AEROSMITH: BEC May 1 NORMA JEAN: The Hi-Fi May 2

Guns N’ Roses, ZZ Top, Rose Tattoo: Brisbane Entertainment Centre Beejays: Brisbane Jazz Club Locky: Irish Murphy’s Ingrid James: Limes Hotel The Bridge Project: Queensland Multicultural Centre Mark Sheils: Royal George Alasdair Fraser & Natalie Haas, The Wish List: The Danish Club The Chemist: The Lark Open Mic Night: The Loft, Gold Coast Tempo Acoustic Sessions with Pat Tierney, Josh Elstom, Josh Lovegrove, Jesse Mann: The Tempo Hotel

FRIGHTENED RABBIT: The Zoo May 2 SIX60: The Tivoli May 4



21 MARCH 2013

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

Leah Mencel: 633 Ann Lambda Lambda Lambda feat. Tom Lark: Alhambra Lounge The Tiger & Me: Beach Hotel, Byron Bay

34 • To check out the mags online go to

Thirteen Seventy, Dameena, Trash Queen: Beetle Bar Courtney Barnett, Grand Atlantic, Dom Miller & His M8s: Black Bear Lodge An Evening with Nina feat. Lauren Lucille: Brisbane Jazz Club Dave Di Marco: Cafe Le Monde, Noosa Apes, Jakarta Criers: Coolangatta Hotel, Gold Coast Daywalker, Without A Witness, Questions, Bay Harbour: Crowbar Jabba: Irish Murphy’s Stormy Weather: Lock ‘n’ Load Bistro Neil Duddy: Logan Diggers Club, Logan Central Ballad Boy: Loving Hut, Mount Gravatt Clinic & Conversation with Steve Stevens: Metro Arts Elizabeth Rose, Georgia Potter: Oh Hello! Darren J Ray: Redlands Sporting Club, Wellington Point Barry Charles & The Deeper Beat: Solbar, Maroochydore The Mark Of Cain, Blacklevel Embassy, The Sea Shall Not Have Them: The Hi-Fi Wafia, Fossils: The Hideaway The Lamplights: The Joynt Gold Coast Comedy Club Showcase: The Loft, Gold Coast

Monkiblood, Hailey Calvert: The Sunroom Stephen Anning + more: The Tempo Hotel Birds of Tokyo, Regular John: The Tivoli Stormchasers, Samuel Cole & The Mornings, Golden Sound, The Bucketseats: The Zoo Snitch feat. The Construct, A Breach Of Silence, Ambitions, Asleep In The Night, Dane Adamo: X&Y Bar

FRI 22 MARCH 2013 Stevenson St: Albany Creek Tavern, Albany Creek Yacht Club DJs, Step Panther, Rodeo: Alhambra Lounge, Fortitude Valley Widow The Sea, Death Audio, Road To Ransome, Prophets Of War: Beetle Bar Hip Hop Night feat. Various DJs: Bowler Bar Step It Up: Brisbane Jazz Club The Mark Of Cain: Coolangatta Hotel, Gold Coast In Cyde, Nudge From Hey Dad, Humility: Crowbar David Bentley Duo: Ecco Bar

Trap Nation feat. Various DJs: Electric Playground Elizabeth Rose, Von Villans: Elsewhere, Gold Coast Fresh Friday feat. Various DJs: Fitzy’s Loganholme, Peter Cupples: Gazebo Restaurant, Hotel Urban B-Rad, Jabba: Irish Murphy’s Motion+Various DJs: Irish Murphy’s (upstairs) Body & Soul feat. Sandy Beyon & Sean Mullen: Jephson Hotel James G Brennan: Joe’s Waterhole, Eumundi Le Breeze: Lambert’s Restaurant About Time: Lock ‘n’ Load Bistro Sylk: Logan Diggers Club, Logan Central Acca/Dacca: Logan Diggers Club, Logan Central Brian Mannix, Scott Carne, Dale Ryder: Lonestar Tavern, Gold Coast Kill Appeal, Bixby Canyon, DJ Valdis, Simon Says: Ric’s The Blue Ruins: Royal Mail Hotel, Goodna Chilled Preston: Saltbar, South Kingscliff Urthboy, One Sixth, Jimblah: Solbar, Maroochydore Lisa Hunt: Star Court Theatre, Lismore

Dave Di Marco: The Brewery, Byron Bay The Tiger & Me: The Brisbane Markets Kingfisha, Dubmarine, The Chocolate Strings, Andy Dub, Liam Niko: The Hi-Fi The Blackwater Fever: The Joynt Ingrid James, Julian Jones: The Lido Cafe & Restaurant Head Clouds, Los Vultures, She: The Loft, Gold Coast Brooke Evers: The Met A Little Province, Wandering Eyes, Elegant Shiva: The Northern, Byron Bay The Big Duo: The Sunroom The Darkened Seas, Barefoot Alley, Turkey & Goose, Triplickit: The Tempo Hotel Birds of Tokyo, Regular John: The Tivoli PVT, Collarbones, Elroy 4.0: The Zoo Chris Smither: Woombye Pub, Sunshine Coast Apes, Jakarta Criers: X&Y Bar

Miller City Sessions feat. Warren Peace: Family Nightclub Trainspotters feat. The Arachnids, Kolorsol, You People: Grand Central Hotel Locky, Berst: Irish Murphy’s Motion feat. Various DJs: Irish Murphy’s (upstairs) Devils Kiosk: Lock ‘n’ Load Bistro No Right Turn: Logan Diggers Club, Logan Central Rome, Death Audio, In Death, Azreal: Miami Tavern (Shark Bar), Gold Coast Darren J Ray: Nerang RSL, Gold Coast Wanda Jackson: Old Museum Vicious Circle, Blunt Force Trauma, Sausage Chopper, Mouthguard, AhFuckThat: Prince of Wales Hotel, Nundah Claude Hay: Royal Mail Hotel, Goodna The Zone: Saltbar, South Kingscliff

TIM HECKER: Thursday 21 March, IMA Gallery

SAT 23 MARCH 2013 Powerplay: Albany Creek Tavern Schoolfight, Brokenword, B.O.S.S.: Beetle Bar Various DJs: Bowler Bar Dr Bob presents.... feat. Various Artists: Brisbane Jazz Club Popalicious feat. Various DJs: Brisbane Powerhouse (Turbine Platform) Birds of Tokyo, Regular John: Coolangatta Hotel, Gold Coast Scott Pullen, Giv: Elsewhere, Gold Coast

Kingfisha, CC The Cat: Solbar, Maroochydore Conor McDonald: Southside Tea Room Ken Davis: Tallebudgera Valley Community Hall, Gold Coast The Tiger & Me: The Brisbane Markets Mutemath, Big Scary: The Hi-Fi The Tiger & Me, Luna Junction: The Joynt Dave Di Marco, The Phoncurves, Mountains: The Loft, Gold Coast RnB Saturday feat. Various DJs: The Met My Byron Bay Riot feat. Fait Accompli, The Chitticks, Pro Vita: The Northern, Byron Bay Locky: The Sunroom




















TOUR GUIDE BIRDY: Wednesday 3 April, The Tivoli

EXAMPLE: The Tivoli May 9



THURSDAY 21 & FRIDAY 22 MARCH, THE TIVOLI Remember back when Birds Of Tokyo just seemed like a side-project for Karnivool’s Ian Kenny? Seems weird now, hey? Their brand new fourth album, March Fires, debuted at the very top of the Australian album charts a few weeks back – a pretty bloody impressive effort by anyone’s standards – and now they’re bringing the party to Queensland as they wrap up their March Fires tour. The WA-bred quintet are a long way from home so make sure you give them a warm welcome when they drop by The Tivoli for two massive shows – Thursday 21 March and Friday 22 March (sold out) – showcasing new tracks as well as all of the gold from their killer back catalogue. And, to make matters tastier, they’re being joined by both Regular John and Gung Ho – two Aussie bands on the rise who should need no introduction – making this two deadly nights of killer homegrown rock’n’roll. What are ya waiting for?

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

THE BAMBOOS: Sunday 24 March, Bond University

Hits & Pits 2013 feat. Mad Caddies, Good Riddance, A Wilhelm Scream, Voodoo Glow Skulls, The Flatliners, Diesel Boy, One Dollar Short, Jamie Hay, Jen Buxton, Totally Unicorn, Paper Arms: The Hi-Fi The Simon Wright Band: The Joynt These Four Walls, Karl S Williams, Winston Chariott, Take Me North: The Loft, Gold Coast

Mark Sheils: The Elephant Arms Luka Bloom: The Tivoli

TUE 26 MARCH 2013 Voodoo Glow Skulls + Guests: Crowbar Lauren Lucille: Lock ‘n’ Load Bistro

ELUVEITIE: The Zoo May 23 DRAGON: Eatons Hill Hotel May 25 THE REVEREND HORTON HEAT: The Hi-Fi May 26 THE GHOST INSIDE, EMMURE: The Hi-Fi Jun 1 (18+), Jun 2 (U18) KAMELOT: The Hi-Fi Jun 4 CATTLE DECAPITATION: The Rev Jun 6, Expressive Grounds Jun 7 (AA) MUNICIPAL WASTE: The Hi-Fi Jun 15 LA DISPUTE: The Hi-Fi Jun 28, Mt Gravatt PCYC Jun 29 (AA), Sunday Jun 30 Byron Bay YAC (AA) P!NK: BEC Jul 19, 20, 22, 23, Aug 27, 29, 30 AMANDA PALMER AND THE GRAND THEFT ORCHESTRA: The Tivoli Sep 12 RIHANNA: BEC Sep 28 FOALS: The Tivoli Oct 2 SOILWORK: The Hi-Fi Oct 2

URTHBOY: Saturday 23 March, The Zoo Electric Horse, These Four Walls, Epidemic... Over, Far From Paris, Lucky 13: The Tempo Hotel Urthboy, One Sixth, Jimblah: The Zoo Thriller feat. 50 Lions, Outsiders Code, Rain Dogs, Deadlift: X&Y Bar

SUN 24 MARCH 2013 XXYYXX: Alhambra Lounge The Lamplights: Beach Hotel, Byron Bay Dave Di Marco: Black Bear Lodge The Bamboos, Benny & The Dukes: Bond University, Gold Coast Ipswich City Big Band: Brisbane Jazz Club

Live Spark feat. Bandito Folk, Katie Wighton: Brisbane Powerhouse Luke Thompson, Good Oak, O’ Little Sister: Dowse Bar (Iceworks) Royale Sundays feat. Mr Clifford, Stretch Paper Cranes: Elsewhere, Gold Coast Jesse Witney: Lock ‘n’ Load Bistro Blizzard of Oz, Ride The Lightning, Valvetrain, Skullp Uck, Wisdoms Realm: Prince of Wales Hotel, Nundah Ric’s BBQ Bloc Party feat. The Secret City: Ric’s The Jacksons: Riverstage DJ Danny Cool: Stoke Bar

ONE DIRECTION: BEC Oct 19, 20, 21


I Wish Risky, Here’s To Neverland, Luna Seasons, Artic: The Tempo Hotel (afternoon) Sounds of Byron Bay feat. Pacho Mama, Jaffer, Andy Jans-Brown, Cozmic: The Zoo


Firetrucks, Say Do Now: X&Y Bar

25 MARCH 2013 A Wilhelm Scream, The Flatliners, Beaver, Friends With The Enemy: Crowbar

36 • To check out the mags online go to

Christine Douglas, Aris: New Farm Bowls Club Mark Sheils: Samford Valley Hotel, Samford Valley Emma Louise: The Arts Centre Gold Coast (Paradise Room) Danny Bhoy: The Arts Centre Gold Coast Christine Douglas, Aris: The Bug Diafrix + Special Guests: The Northern, Byron Bay Angharad Drake, Maddison Wilson: The Sunroom Escalate Semi Final #5 feat. Afterglow + more: The Tempo Hotel

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 THE STARRY FIELD: Beetle Bar Apr 3 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 CITY RIOTS: Ric’s Bar Apr 5, Grand Central Hotel 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 PEZ: The Brewery Apr 11, Coolangatta Hotel Apr 12, The Wharf Tavern, Apr 13, The Normanby Hotel Apr 14 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 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 CHANCE WATERS: The Zoo Apr 17, Surfers Paradise Beergarden Apr 18, The Spotted Cow Apr 19 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 WE ALL WANT TO: Judith Wright Centre Apr 19, Spotted Cow May 24 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 D AT SEA: Crowbar Apr 24 THE TROUBLE WITH TEMPLETON: Alhambra Lounge Apr 25, Spotted Cow May 2 GAY PARIS: The Joynt Apr 26, The Northern Jun 21 LANEOUS & THE FAMILY YAH: The Zoo 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 AINSLIE WILLS: Railway Friendly Bar May 11, Black Bear Lodge May 12 SAN CISCO: Kings Beach Tavern May 16, The Zoo May 17, Coolangatta Hotel May 18, Alhambra Lounge May 19 (U18 afternoon), The Northern May 22 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 KATE MILLER-HEIDKE: Star Court Theatre May 26, St John’s Cathedral May 28, Empire Church Theatre May 30, Gold Coast Arts Centre May 31, Caloundra RSL Jun 1 THY ART IS MURDER: The Rev Jun 6, Expressive Grounds Jun 7 (AA) 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

JAY-Z’S ROC BOYS IN THE HOUSE Being able to say you are mates of Jay-Z and play in his band comes with its perks – just ask Jay-Z band drummer Tony Royster Jr and DJ/producer Young Guru. Playing with Jay-Z at President Obama’s inauguration was one gig among many they’ll never forget.


Do you enjoy the technology side of drumming? Yeah I do. It really does depend on how you use it though. As long as you don’t take it out of context of what the music requires. It’s always great to have the acoustics of a drum set but then have the clap or an 808 coming from your trigger or electronic pad... it adds a different element to the drums. It can go hand in hand. The technology today is amazing, there are so many options.

The American Candyrat Records roster includes some of the best acoustic guitar players the world has to offer. With over 200 million YouTube views and a loyal worldwide following, Candyrat is re-defining the genre of acoustic guitar music. This week, they will be sending two of their top artists on a tour of Australia and New Zealand with performances in select venues in Melbourne, Sydney, Byron, Brisbane and both Islands.

Australian-born, Van Larkins, burst onto the international guitar scene 2 years ago with the release of the critically acclaimed duo album, Myriad, produced by finger-style guitar great Andrew White (released on Candyrat Records). His highly anticipated new solo album, Wandering Hands, earned worldwide recognition in the finger-style guitar genre since its release in May.

Muso: Where did the idea come from of you hooking up with Young Guru for these clinics? Tony: I have always enjoyed being in clubs and seeing the live instrumentation. I am not a club guy but when I do go, it’s always amazing to see some live instrumentation. A while ago I used to play with DJs in little bars and it was a great thing. Being on tour with Guru, with Jay-Z. it’s like man... We have been to Australia several times and love it and we thought why don’t we try to do something together over there? It will be something fun and we get to do something different together to what we do on a regular basis with Jay-Z.

Obviously your father was a major influence on you growing up but was there anyone else that influenced you? First of all, my mother played drums as well. My mum played drums coming up in the church. My father was just an amazing musician; played drums as well as guitar, bass, fiddled around with a bit of everything. As far as drummers are concerned, Buddy Rich was one of my favourite drummers who I used to listen to. My father would buy these DVDs… well at the time it was VHS tapes. Dennis Chambers is one of my main influences as well. I had the opportunity of meeting him at a very early age and it was a great experience for me.


The Candyrat Guitar Night features artists Owen Van Larkins (Australia) and Maneli Jamal (Canada) in an evening of jaw-dropping guitar playing and exquisite technique. Together and alone, each artist explores the rich tapestry of their individual approach to acoustic finger-style guitar music and leave audiences spellbound.

ot that these guys need Jay-Z’s endorsement, they are both uniquely talented individuals in their own right. Royster and Guru also happen to be great mates who had some spare time on their hands and have decided to put together a short club and clinic tour of Australia. Tony Royster Jr was in Singapore touring with Joss Stone just prior to the Australian jaunt and spoke with Muso’s Greg Phillips about the tour.

What will your key message be to people who come to the clinics? First of all, Guru is going to be doing the club thing and I am going to be doing the clinics with other musicians. But basically that music is a key ingredient to bringing people together regardless of what you do. It speaks in so many different languages. Music has got me where I am today and is something that is extremely important to me and I have a passion for it. So for anyone that comes, I like to express what I have done, what I have learnt, where it has taken me in my career and just the different ways it can affect you. If you’re feeling down, it’s a great way to bring you up. If you feel stressed, it’s a great way to just let out. Music has the ability to make someone feel amazing.


You play in some pretty crazy time signatures. Do you think anyone can do that with practice or is it a little bit genetic? It’s both. It’s common sense that some people grasp things quicker than others. With practice, anything is possible. It might take you two months, it might take you two years… Sometimes, it is hard for people to grasp things because they try to do it like someone else. That’s why I try to embed in people’s brains that I have my own techniques and my own way of thinking when it comes to drums. It’s completely different from other drummers. Everyone should find what works for you and if it is not hurting you then do that. You have been playing DW drums for a while. What is it about that brand of kit that you like? I have been playing DW since 1998. Even before the sound, it was the finishes that really caught my eye. Presentation is very important to me as well. You want to feel confident when you are playing. If you are playing something nice, it carries over to your playing as well. As far as the drums are concerned, they have so much passion. They put so much passion their drums in regard to picking the wood and even putting the notes inside the drums so you know what you can tune your drums to if you really want to go that deep into it. They can pretty much do whatever you want as far as size goes. The drums sound so good regardless of the situation; studio or arena, stadium. They are just amazing drums. Beats are such an important part of Jay-Z’s music. How much creative freedom does he give you? What’s funny is, Jay-Z or more so the genre of hip hop, is primarily based on solid grooves and beats, period. That’s what the rappers, the artists like to hear. It’s usually all about reproducing the beats which were

programmed in the studio that are on the records. As far as him giving me freedom to play, of course, there are certain things in his lyrics that he does that I can duplicate with the hi hats or different parts of my kit that he really enjoys but it is not going out of the context of the music. I’m laying down a solid groove but also adding to it with things he hasn’t heard, things that weren’t on the record but that go with his rapping. He really just leaves it in my hands. There might be times where I will do something by accident, then the next time I won’t do it and he’ll be like, what happened to that thing you did, you didn’t do that this time? Make sure you do that. Then I’ll remember that for next time. I’ll do things here and there just to see how he feels about it. You played for the President. What was that gig like? Man, the inauguration, that was crazy. That was when he was first elected and it was an unreal experience. The first black President and us having the opportunity to actually meet him and talk to him. To even get that close to the President is crazy. That was a great experience for me and being there, there were other amazing artists there performing as well. You have Sting sitting right next to you as the President is talking, you have Bono right next to you. It was an unforgettable experience. Young Guru and Tony Royster Jr are performing across Australia at secret locations, follow facebook. com/AddedFlavaAudioLabs for venue details. WHO: Young Guru and Tony Royster Jr clinics WHEN & WHERE: Saturday 23 March, JMC Academy (Royster Jr, 2pm; Guru 4pm)

Maneli Jamal plays with conviction that transcends words and obvious melodies. Born in Iran and raised in Germany, Jamal moved to the States in his adolescence, immigrating to Minnesota before relocating to Austin, Texas until his late teens and is now based in Canada. Jamal miraculously took the Canadian finger-style world by storm with his profound storytelling guitar technique described as percussive, melodic and rhythmic. A documentary about Maneli’s life and music is available online.

CLASSIC ACTIVE SERIES RAY 34 GOES METALLIC Following in line with Music Man’s introduction of the sterling silver finish for their guitars and basses, the range of colours available for the Sterling by Music Classic Active series of StingRay style basses has been expanded to include a striking metallic silver. The Ray 34CA SVM’s metallic silver finish is topped off by the addition of a matching headstock and solid black pickguard. All other popular finishes for the Classic Active series basses including black, vintage cream, mint green and three-tone sunburst continue to be available for 2013. The Classic Active Series basses deliver old-school vibe and looks for the vintage enthusiast. The lightweight slab bodies (no belly or forearm contours) allow for player comfort too. The glossy amber-tinted neck features a narrow 38mm nut width, 34” scale and 21 thin vintage style frets. The finish is a hard glossy coat that exudes the vibe and look of an older instrument. The Music Man designed two band active preamp features volume, treble and bass controls. The preamp and pickup were re-voiced for this model, for a more organic feel, and are noise free.


For more interviews go to • 37

A MELLOW CROON stalwarts Emmy Lou Harris and Rodney Crowell eventually got around to recording the duet album, Old Yellow Moon, which they had eternally talked about. Emmy Lou reveals to Muso’s Greg Phillips how it finally happened. ou’d think that the care factor for a couple of gentle, old cow-folk releasing a bunch of obscure country rock duets would be relatively low. However, given that the album is as comfortable as your favourite pair of shoes and performed by the queen of, Emmy Lou Harris, and her longtime friend and highly regarded singer, songwriter Rodney Crowell, it warrants much respect. Old Yellow Moon has its origins way back in the ‘70s when Crowell and Harris played together in a group called The Hot Band, at a time when such a name was defensible. It features several Crowell songs as well as tunes that are close to both artist’s hearts. It’s an album they spoke of but never had the opportunity to create, until now.


“You have a finite time in your life. You don’t want to say, ‘man I wished we’d done that’,” says Emmy Lou, of one of the reasons for the album. “With this project, I had a few song ideas but I knew Rodney would come up with something besides his own songs so I didn’t really worry about it. He is a great lover and appreciator of other people’s songs.” Collaboration with other artists has played a major part in Emmy Lou’s career, going back to her work on the famous Grievous Angels album with Gram Parsons and the trio sessions with Linda Ronstadt and Dolly Parton, to more recent work with Mark Knopfler. It’s a music creation method she couldn’t live without. “Even if you are just doing a solo record, you are collaborating with a producer and other musicians,” says Harris. “Obviously, it is much more of a collaboration when there are artists involved. I love that. The ideas that you pass back and forward, the company is great, especially on this record. Rodney and I have been friends for so long. There might be a few years where you don’t see each other and even though we live in the same town, with our schedules... I guess that is one of the reasons why this album took so long.”

The recording of Old Yellow Moon was hardly a chore for Harris and Crowell, particularly the title track. “The first time we sang the song Old Yellow Moon, we were around the kitchen table,” explains Harris. “Rodney was recording different versions of songs we were considering. So it was the first time he had sung the song and it was just two acoustic guitars and two voices. Later on when we listened to it, we thought it was so perfect and in the moment.” After recording more than 20 albums, Harris views the studio experience as yet another part of the creative process, as opposed to a necessary evil. “Recording is definitely an art,” she says. “It is totally different to [playing] live but you get your blueprint in the studio and you take it out live to the people but the studio is where the music is made. I’ve done live albums. You work them up with the band. I have done two live albums of previously unrecorded material by me. Recording... it’s still a mystery to me but I think that is good. You really don’t know where a song is going to go.” While Emmy Lou doesn’t rate herself as a guitarist, Gibson guitars saw the value in creating an acoustic guitar for the much celebrated artist. It was a smaller version of the J200 acoustic she plays. “I used it on the last album, Hard Bargain, almost exclusively. On stage I use the full size J200 as well as a Martin for open tuning. I use about four different guitars for different tunings. I am not much of a guitar player in that I don’t use a lot of chords and things. I like the voicings of open tunings. I write a lot in open A which is a tuning that Daniel Lanois showed me. I really get inspired by the sound of an open tuned guitar – makes you feel like you can play more than you really can.” Harris is the first to admit that the technical aspect of music is not her area of expertise and ensures

38 • To check out the mags online go to

she is surrounded by people who do know the complexities of sound. “We always travel with a good monitor mixer. It’s a leap of faith. You work with good people and you know they are going to get the maximum sound for you no matter what venue you are in. I never miss sound check. I like to get the feel of the venue. Sometimes we might work up a song we haven’t done for a while. You do a few songs so you know where your voice is and where the guitar’s sound is. Sometimes you’ll do a festival and you have to just go out there and wing it. If you have worked with the musicians for a long time and you know your sound guy is good, then you just go out and try to have fun. The audience wants to know that you are enjoying yourself.” The music industry has changed dramatically since Harris released her first album, Gliding Bird, in 1970. Despite the advent of digital music and the many ways people access and listen to their music today, Emmy

Lou is still a traditionalist in regard to the track order of an album. “I know that people use shuffle and I use it myself,” she confesses. “I like to use shuffle on my iPod because I like to be surprised but for me, an album is like a string of pearls. One song needs to follow another and tell a story. I really agonise over the sequence.” More important than the track order however, Emmy Lou hopes that people who get to listen to the album take away the true essence of the project. “I’d like people to get that it is a celebration of friendship, of having someone in your life who is very special. You couldn’t undo the thread. It would be completely different without that person. There is a lot of joy on this record of that companionship.” WHO: Emmy Lou Harris & Rodney Crowell WHAT: Old Yellow Moon (Nonesuch/Warner)

IN THE STUDIO: OWL EYES As Owl Eyes prepares to deliver her debut album, Muso’s Greg Phillips speaks to Brooke Addamo about the whole damn journey that resulted in Nightswim.


ightswim, the debut album for Owl Eyes, aka 22-year-old songstress Brooke Addamo, is the sound of a quietly confident artist with a vision. It’s a vast electronic landscape featuring Addamo’s inner most sonic notions and emotions. It’s the consequence of having laboured over and learnt from three critically acclaimed EPs prior. It’s also the result of a fertile music collaboration between her regular songwriting partner Jan Skubiszewski, Perth-based producer Shazam and production mainman Styalz Fuego, known for his work with hip hop artists such as 360. When Muso catches up with Owl Eyes at the Base Studio in South Melbourne, where she’d been recording for the last few months, she is on the verge of letting her baby go, giving the OK to send it to mastering. Much has changed since we first heard demo versions a couple weeks beforehand. Styalz and co have weaved their magic over a couple of tracks and transformed them into the songs they need to be to fit the aural identity of Nightswim. Brooke is thankful that her label brought Styalz to her attention. “I’d done a few sessions with other producers just to get a feel for things but Styalz and I clicked automatically,” she recalls. “We liked the same kind of music although he comes from a hip hop background. He also comes from a dance background, but it kinda works. We just thought in a similar way and it is very rare to have that connection in the studio. We’d basically finished the album and then brought in Shazam (Cameron Parkin) from Perth to embellish a few things. I think Styalz really gets it and I like to work with people that understand me and are delicate in the way that they work with my music and they have to have an understanding of my influences. Styalz also opened my mind up a lot more to dance and electronic music. I was already down that path but he brought it on even more.” Despite the use of multi-layered tracks on each song, somehow Styalz has been able to produce a real clarity to the album, whereby every part serves a purpose with no hint of superfluous sounds. Owl Eyes agrees. “You want it to sound like one continuous beautiful thing but still have that contrast,” she says. “Last week, when I was thinking about the sequence, I did take one track out. It didn’t really fit. I mean, you can use it for something else but I feel like an album is different from an EP. With the EP, I was just putting some songs out, testing the waters, experimenting. I wanted the album to be a bit more solid than that and feel like a puzzle. There was a lot of chopping and changing.” While writing for the album, Addamo was immersing herself in as much musical diversity as she could to get the creative juices flowing. “I always listen to Fleetwood Mac and Kate Bush for melodies and inspiration,” she says. “I listen to a lot of Kavinsky, an electronic producer, and Com Truise; I was listening a lot to Justin Martin and I went to see him when he came to

Melbourne – just a lot of intelligent electronic music while keeping the same pop groundings. I listened to a lot of synthy bass-inspired music.” As far as any studio benchmark she may have been measuring herself against, Something, the 2012 album by American synth pop duo Chairlift, wasn’t far from her mind. “I love that Chairlift album,” Addamo offers. “I think Caroline [Polachek] is a genius. I have an amazing crush on her... in a girl-like, adoring way. It’s such a great pop record. I also really love the last Frank Ocean album, Channel Orange, too. That really blew my mind. I loved the little interludes he had in songs and it really took you somewhere.” While long-time Owl Eyes fans will be familiar with the breezy indie electro-pop side of her music, on Nightswim there’s not only a darker undercurrent but also a significant danceable beat at the base of many of these tunes. “I really wanted the driving kick and bass and 808s,” she says. “Even the darker songs, I wanted a groove in there. I think a lot of the music I have been listening to lately, it’s the groove that makes you feel something.” Another pre-album promise to herself was that it needed to be electronic rather than organic. “I was really mindful of that. I wanted to make a synth record. I wanted to have a lot of Moog bass and just a million synth lines.” Shazam was a handy man to have on board too, particularly when it came to the first single, Closure, a song Addamo had become quite bored with. “That song has been re-written in my mind a hundred times,” she says. “We nearly threw that song out because I just hated it and didn’t want to work on it anymore. Shazam said ‘Give it to me and I’ll try a few things’. We didn’t listen to it for a long time, I just didn’t want to. Then when I did listen again with all the changes, it was refreshed and had a new life to it. I just love the ‘80s throw-back thing. Time can change your mind. Shazam came on board for a few of the songs. We were starting songs all the time and having trouble finishing them sometimes, so it’s good to have another perspective. I have never actually met Shazam, just spoke on the phone. He’s kind of a younger Styalz. At the start it was just asking him what he thought of this or that and then we asked him to collaborate. He also collaborated with me on an intro piece which I really wanted to open the album and the shows and I wanted it all to connect from the studio to the live show.” Although Addamo is proud of Nightswim, she’s already keen to get out, tour the album and work on a follow up to put into practice things she’s learned. “I think you need to mentally prepare before you come in to the studio,” she says. “It’s kind of a daunting experience. I was really daunted at the start about writing an album. It was such a big hurdle for me. I had fears and anxieties about it but I think next time, I’ll be more prepared and more positive. It’s just another piece of music, another project to work on. I won’t be so anxious to

start. I want to start now, I already have ideas. But I feel this is a really solid album. I’ve had doubts all along but I am really proud of my songwriting and my songwriting has grown. I’m just excited to get it out now. I want to see if people still remember me; go to different states, taking the studio versions and putting them into a live situation.” Addamo hasn’t needed to employ additional musicians to reproduce the new songs live, but she has invested in a lot of new equipment. “We’ve added the sample pad and my bass player is going to get a little MIDI pad, plus I have a synth and obviously my synth player has plenty of synths,” she explains. “I bought a Roland synth which I’ll be

playing on stage. Last tour I played some drums but this tour I think I will stick to a few things and do them well. We’re currently in the process of changing synth players. It was a big thing for me because she is a friend and I love her but she has too many commitments; she’s a teacher and stuff. It’s going to be a lot of fun. We have had one practice with the song Saltwater. There are a lot of parts and we’re going to sync it all up and have banks so we can have all our sounds.” WHO: Owl Eyes WHAT: Nightswim

For more interviews go to • 39


This issue, we look at their drum cases, but not just any old soft case, we’re talking heavy-duty, rotationally moulded plastic cases. The rotational moulding process is done in a hollow mould that’s filled with plastic and slowly rotated around two perpendicular axes where the softened plastic disperses and sticks to the walls of the mould (thank you Wikipedia). To maintain an even thickness of the plastic the machine rotates at all times during the heating process, also to avoid any deformation or sagging. This process results in extremely even layers and a professional looking mould that’s almost indestructible.

further, a music player specifically designed to work together with the product. Once added to your device simply launch it with the press of a button on the left earpiece and you can create playlists, sift through songs, share your favourite tunes with friends and even customise the graphic equaliser to make certain the sound you get from Jabra Revo Wireless is always what you’re looking for. The headphones provide you with three plug-in and connectivity options: wireless, wired and USB. Taking full advantage of the Bluetooth technology that Jabra has built itself on, a simple flick of the switch found to the bottom of the right earpiece allows you to go completely wireless, offering full freedom for the listener. Once connected, pairing mode will be announced, followed by audio instructions directly through the headphones on how to get going.

JABRA REVO WIRELESS One of Denmark’s leading electronics manufacturers have turned their attention to entertainment and leisure audio, launching three new types of headphones for the fashionable. Of these three though, it’s the Jabra Revo Wireless product that really captures the imagination, taking the company’s former background in Bluetooth mobile phone headsets and combining it with today’s most progressive audio technology to create an overall product that gives you the ultimate aural experience. Dolby have long set the benchmark for audio quality on listening devices, and with Jabra Revo Wireless, you can enjoy those crisp sounds all around. The company have come to the party with Dolby Digital Plus, an internal set-up that delivers powerful and rich tones with great sonic depth. It doesn’t matter what style of music you’re listening to, be it brutal tech metal, thick as shit dub or blissed-out dream pop; the sounds through the headphones are expansive, with high- and low-end balance maintained and each individual sonic element given room to move. The exclusive Jabra Sound App (for iOS and Android) has been created to enhance these headphones

The Turntable Touch Control and multi-function button, again on the right earpiece, provide total direction for your audio experience. Play, skip, pause and even manage your phone calls on the go, all with the press of a button. Clear call connect will make sure you can always hear and be heard, incoming and outgoing. You can also be paired with any near field communication device by simply holding the item to the NFC zone, found on the outside of the left earpiece. If you want to keep things more traditional, the removable fabric woven 3.5mm headphone jack is fitted with a multi-function button, allowing you to control various sound options with ease. And the USB cord means you can listen to music from your laptop or PC while charging the device. This way you can continue to power up wirelessly and remain drowned in sound. But none of these sweet features would be of any importance if they were uncomfortable to wear. Thankfully, the comfort given to your ears and head, with high-quality leather cushioning on all contact points, makes sure every listening experience is a great one. And just to top things off, they look freaking cool, too. Hell, even the hard-case box that they come in is class. The design of the Jabra Revo Wireless stereo headphones is modern, clean and stylish, with lines of rich orange marrying well with the grey and black of the product. Overall, a product that’s pretty tough to fault and the perfect purchase for any audiophile.

Gator’s Elite Air series are serious cases. They get their name by utilising a soft cushion of air underneath and around the drums, so the drums themselves aren’t touching big slabs of foam like most other hard cases. In addition, the unique design of every case sees them lock the drum into the middle of each case, away from the side walls whilst still providing a snug fit.

GATOR XL PROTECHTOR ELITE AIR FUSION CUSTOM CASES Many years ago, this humble writer was hard at work building custom flight cases. I was sweatin’ it out in a factory doing some serious physical work back when I was a young man, full of energy, without a care in the world. My experiences gave me an insight into how important a good case is, especially when travelling regularly and even more so if you intend travel by air – just ask my old bandmate about the headstock that broke on his prized Les Paul on a trip to Adelaide. When it comes to cases, Gator is one of the biggest names – experts with years of experience – but also with rapid growth behind the company to include a wide variety of designs for musical instruments, audio visual and industrial products. All the manufacturing takes place in the USA, and they still build to order, but with such a wide range of designs readily available, you’re likely to find the product in their catalogue.

Out of the box the unit itself is very study but lightweight, in a strong plastic mould that’ll keep good if you take care of it by keeping it in the padded bag. I tested the unit by first trying it with an acoustic guitar and the included lapel, headset, and wireless hand-held mics. The acoustic plugs into a mic/line Neutrik-style connector (takes both XLR and ¼” inputs). I switched the unit on and an LED on the back indicated the amount of battery available with its brightness, and I set the master volume to about 50% and was good to go. My acoustic sounded okay, not quite as lush as plugging into a good acoustic amp or nice pair of stage monitors, but it was defined and could reach a reasonable level before feedback. Testing the wireless lapel, headset and hand-held mics was a lot of fun. Walking around the house and speaking into mic I was able to get a better feel for each mic. Ultimately the best sounding mic was the wireless handheld, which had a nice natural response, but got a little bit ugly when you got right into its face. Clicking in the “Voice Priority” switch was cool, as it muted the music from the CD player while there was signal coming in from the mic, great for presentations.

PRODUCT: RARE AUDIO RA-WRB-80 WIRELESS PA SYSTEM Rare Audio is another brand distributed by Jade Australia that have a large array of different speakers, amps, subwoofers and foldbacks in their catalogue for just about every occasion. This issue, under review is a nifty little device. An Ultra-Compact 80 watt all-in-one portable PA system fitted with an iPod dock, DVD/CD/MP3/ MP4 player with USB/SD card and video out, handheld wireless mic, body-pack with transmitter, lapel mic, headset mic as well as DVD remote control. What we have here is a mobile, multifunctional PA with many practical applications, you can use it in a retail store to advertise specials or use it for presentations if you’re a business that needs a PA. It can even become the ultimate busking tool if you’re out on the street with a mic and guitar while a backing track runs on your iPod or CD player, or you can even use it at small gigs and rehearsals.

Next I tried the lapel mic which worked quite well too. The quality of the signal was not as good as the handheld, but it worked well enough to be practical for a seminar or presentation that can also be recorded via the line out on the back of the unit. The lapel and headset mic’s have their own UHF channel, so it’s possible to have two wireless mic’s running simultaneously with independent volume controls. The headset mic sounded similar to the lapel mic, but was very multi-directional, so best suited for seminars and less behind a drum kit. Throwing in a CD was great, and showed the potential of the coaxial speaker to produce some nice sounds especially after turning the bass and treble to about 3 o’clock. Listening to music or full mix gives a better indication of the overall tone of the unit, and here things got nice and crisp with a good round bottom and decent projection. Overall, the RA-WRB-80 Wireless PA System is a good investment for corporate uses, busking, parties and mobile karaoke sessions. It’s not cheap, but you won’t have to buy additional mics/DVD players etc, and can even send the video out to a TV/ projector.

40 • To check out the mags online go to

TWO NOTES TORPEDO CAB Two Notes is the vision of Guillaume Pille, an electronics researcher and music lover whose vision is to bring professional quality recording solutions reserved for engineers to everyday musicians. Today I’ll be looking at Torpedo CAB, a stomp-sized professional speaker simulator designed to go straight onto your pedal board for live use. The signal chain on the CAB consists of a Power Amp stage, over 32 cabinets, 8 microphones, a 5-band EQ with USB and MIDI connectivity at 96 kHz/32 Bits. Ideally if you’re a guitarist that’s big on pedals and uses an overdrive or distortion pedal for the majority of their driven tone then this CAB is for you. It’s designed mainly for live use, to sit on your pedal board at the end of the chain and to go out to a DI box before it hits the desk. This gives the sound engineer a completely isolated guitar signal that can feed monitors and go to front on house without any spill or artifacts that ruin a tone. I tested the CAB with an Ibanez TS-808 Tubescreamer, ProCo Rat Distortion and Boss Metal Zone, all classic pedals that suit different styles and sit on a large number of boards. First up, the Ibanez Tubescreamer. Here I was looking for the pedal to create a nice warm,

The Elite Air set is comprised of five cases that in fit inside one another and can be moved around with a well positioned handle and a couple of casters on the base (so it’s nice and easy to wheel them to the side of the stage after a show). The first case is a bass drum case at 22 x 18 inches, and features three steel handles; one to lift the case on its own or to pull it along, and the other two to lift the case with one or two people at a time. There’s a strong nylon strap on the top and a quick-snap clip that secures the lid, so no more annoying hoops like you may have experienced in the past. Next, the tom cases at 14” x 14”, 12” x 9” and 10” x 8”. These cases all fit inside one another and feature a single steel handle and tough nylon strap with clips too, on top of that sits a snare case at 14” x 5” that has a special design for the snare strainer to fit snugly. Each drum case is built like an absolute tank. The concept of using air to cushion your investment is a very smart one, so it won’t wear out your cases or drums as much. All the components are extremely rugged and the material comes with a lifetime warranty against cracking. If black is not your thing, you can also get the cases in custom colours like orange, red, yellow and blue.

‘chocolatey’ drive with a Fender Strat and some spankin’ single coils. I selected the SE EL 84 (single ended Class A circuit, same as a Vox AC 30), and turned the power amp volume to 30dB (dimed all the way up) for an impossible to achieve live tone (heads would explode). I set the depth to 50%, selected the pentode mode (all valves/full capacity), picked the “Voice 30” cabinet, an original Vox cab with Celestion Silver Bell speakers, put a beautiful Royer 121 Ribbon mic in front of the cab (which would feedback like a mother live), set a little bit of distance and put it slightly off centre. The signal chain here is one to die for, a blues dream rig, and impossible to achieve live. The Two Tone created a wonderful warm, vintage sound, which was very convincing in its authenticity. I used the Rat distortion for more on a ‘70s Marshall JMP-style drive. This time I selected PP EL 34s (push pull/class A/B), dimed power amp with presence and depth all the way up, pentode topology, Brit VintC cab (Marshall Slash Signature 4x12 Celestion V30 cab) and a Shure SM57 in front of the speaker. I was able to sweep through a wide range of tones by changing the distance and position of the mic. Moving the mic further back created a more authentic ‘70s rock tone comb filtering effect, whereas moving the mic more off centre smoothed out the top end and increased warmth. Finally the Metal Zone, one of the most popular heavy metal solutions on the market. I used the PP 6L6 mode (same tube config as my Peavey 5150), turned the volume back to 10dB for more headroom, set the presence to 50% and the depth to 100% for nice big bottom end slam. I selected Pentode mode, went all out with the Calif StdC cab (Mesa Boogie V30 closed back) and picked a Neumann U87 up close, near the edge of the speaker. This time I achieved a nice, fat saturated distortion with pounding bass, sculpted mids and thrashing attack, a truly classy metal tone. The Two Notes Torpedo CAB is a very cool unit indeed, and could possibly take live guitar tones to the next level. It’d be great to see a couple of these units at gigs in the near future.









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Time Off Issue 1619  
Time Off Issue 1619  

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