Time Off Issue 1628 by TheMusic.com.au

…TRAIL OF DEAD

SETH SENTRY

KATE MILLER-HEIDKE

FOOD IN THE GUIDE

DOLLAR BAR PARQUET COURTS COLD WAR KIDS REVEREND HORTON HEAT

NO W AVA IL A B L E ON IPA D • W E DNE S D AY 2 2 M AY 2 013 • 16 2 8 • F R E E

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P15 FEATURE

“A stunning, well-rounded album that holds you close from the outset and never lets you go.” - Benny Doyle reviews CITY AND COLOUR’S THE HURRY AND THE HARM (P22)

When I was growing up, Sonic Youth and Fugazi were already fucking old to me.”

T ASON ARK FL WITHEM, WINTER OF RE REAE NENKTRY FR

T RISBANE S STERY PU B S: MY WHAT PRESENT NE HEARTS, KID,

P24 REVIEW

- Alex Maas of THE BLACK ANGELS (P12)

“I remember those Sub Pop guys having a lot of money, so that Nirvana explosion especially was good for bands like us.” - Jim Heath of THE REVEREND HORTON HEAT (P19)

P27 COLUMN

“In an arrangement of fairly mundane facts and thoughts is a vague sense of some truth about life, a sense of an important story.” - Adam Curley with THE BREAKDOWN

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“You should be able to disappear in the music, no matter where it takes you.”

- SETH SENTRY (P13)

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- Jason Reece of ...AND YOU WILL KNOW US BY THE TRAIL OF DEAD

“It’s cold as fuck in Melbourne today. I might play some video games.”

T A E V LI

For Deftones ft s tto come out and celebrate the music of their fallen friend so emphatically, it’s probably the most touching tribute they could send towards the clouds.” - DEFTONES, Live Review

TO H, NEW OR WITH SW ORT WE’RETOWN HEROES HOME

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“I will not be happy until his scrotum explodes.” - Cassandra Fumi reviews the EUROVISION telecast (P26)

“The summer-tinged tropical pop is gone. The naïve college hipster sound is gone.” - Tom Noyes reviews VAMPIRE WEEKEND’S MODERN VAMPIRES OF THE CITY (P22)

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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 Executive: Alex Iveson, Zac Gould 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, Tony McMahon, Benny Doyle, Jake Sun, Brendan Telford, Cyclone, Siobhain McDonnell, Sky Kirkham, Bradley Armstrong, Carley Hall, Eleanor Houghton, Madeleine Laing, Tom Hersey,

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Jazmine O’Sullivan, Tom Noyes, Samantha Armatys 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, Rick Clifford, Sky Kirkham 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: info@timeoff.com.au PRINTED BY: Rural Press

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

[NEWS NEWS] n a t i o n a l

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SEE THE WORLD Even though his regular crew, Gomez, aren’t on the road right now, Ben Ottewell still can’t resist popping down to spread some musical love. As one of the band’s three main vocalists, Ottewell helped Gomez become one of the most seminal and influential British bands of the noughties and his rich baritone croon still has the power to send hairs skyward. He’ll be playing solo tracks from his 2011 record, Shapes And Shadows, as well as a selection of Gomez classics and some choice covers, in concert, on the following dates: Wednesday 26 June, Mojo’s, Fremantle; Friday 28, The Substation, Melbourne; Saturday 29 and Sunday 30, The Workers Club, Melbourne; Thursday 4 July, The Barwon Club, Geelong; Friday 5, Theatre Royal Castlemaine; Sunday 7, Lizotte’s, Dee Why; Wednesday 10, Lizotte’s, Newcastle; Thursday 11, The Basement, Circular Quay; Friday 12, Lizotte’s, Kincumber; Saturday 13, Brass Monkey, Cronulla and Sunday 14, Old Museum, Brisbane.

THIS WEEK’S RELEASES LAURA MARLING Once I Was An Eagle Virgin/Cooperative

MOUNT KIMBIE Cold Spring Fault Less Youth Warp/Inertia

RIDING THE GOOD VIBES DIALECTRIX The Cold Light Of Day Obese

They might all come from different parts of the world, but Xavier Rudd, pictured, Donavon Frankenreiter and Nahko & Medicine For The People are intrinsically connected through their attitude, beliefs and soulful songs. Catch three voices, three cultures and a shared love of all things music and ocean on this springtime triple-header that’s set to be as warm as the rising sun: Saturday 28 September, 3 Oceans Winery, Margaret River; Sunday 29, Fremantle Arts Centre; Thursday 3 October, The Forum, Melbourne; Friday 4, Big Top Luna Park, Sydney; Sunday 6, Caloundra Music Festival, Sunshine Coast (all ages); Monday 7, YAC Amphitheatre, Byron Bay (all ages) and Tuesday 8, The Tivoli, Brisbane. Tickets go on sale Thursday 30 May – see Xavier Rudd’s website for details. All national dates are proudly presented by Street Press Australia.

CRYSTAL FIGHTERS

POWERING TO THE NEXT LEVEL

Cave Rave PIAS/Liberator

sleepmakeswaves

SWELLS APPROACHING

TOUR DIARY

New material, alternating setlists every night and a brandspanking light show; with all this in mind these upcoming dates from Sydney post-rockers sleepmakeswaves are shaping up to be monumental. Suitably titled, ‘...and so we destroyed everything’, these will be the only headline dates for the band this year so get along and see just why the four-piece are causing a massive stir right around the world. Catch sleepmakeswaves on their national tour: Friday 21 June, ANU Bar, Canberra; Saturday 22, Town Hall, Wollongong; Friday 28, Annandale Hotel, Sydney; Saturday 29, Cambridge Hotel, Newcastle; Saturday 6 and Sunday 7 July, Evelyn Hotel, Melbourne; Friday 12, The Tempo Hotel, Brisbane; Saturday 13, The Northern, Byron Bay; Thursday 18, Mojo’s, Fremantle; Friday 19, Amplifier, Perth and Friday 26, Annandale Hotel, Sydney. Proudly presented by Street Press Australia.

THE DECLINE

EVERY STREET HAS A STORY “So he had the singer of a touring punk rock band who’s just been to Amsterdam taking a drug test. He was probably thinking he’d hit the jackpot.” Touring Europe and blogging for theMusic.com.au

TRENDING ON

Aussie punk rock favourites The Smith Street Band are flying over a few of their American buddies, Joyce Manor and Cheap Girls, chaperoning them, introducing them to meat pies, AFL and plying them constantly with booze on their first visit to the country. Get your vocal cords ready for a big outing on this run of dates: Thursday 22 August, Rosemount Hotel, Perth*; Friday 23, Prince of Wales, Bunbury*; Sunday 25, Karova Lounge, Ballarat*; Thursday 29, The Zoo, Brisbane; Friday 30, Great Northern, Newcastle; Saturday 31, Annandale Hotel, Sydney; Wednesday 4 September, Transit Bar, Canberra and Saturday 7, Poison City Weekender, Corner Hotel, Melbourne. (*Joyce Manor not appearing – they’re bummed out about it, too!).

Far from a side-project for Hollywood star Jared Leto, Thirty Seconds To Mars have powered forward to become one of the most bombastic arena rock bands of our time. Back on the scene with their first album in four years, Love Lust Faith + Dreams has been put together by Leto and producer Steve Lillywhite (U2, The Rolling Stones) and brings together the theatrics, the emotion and raw power of the band, signalling an evolution in sound and substance. Announcing their biggest Australian shows, Thirty Seconds To Mars will perform the following dates: Saturday 10 August, Rod Laver Arena, Melbourne; Sunday 11, Sydney Entertainment Centre; Tuesday 13, Brisbane Entertainment Centre and Friday 16, Challenge Stadium, Perth. All dates are all ages.

FEET DON’T QUIT THE BEAT Since the release of their 2010 debut Gold On Gold, the rise of Clubfeet has been a steady one, and with their latest record, Heirs And Graces, the Melbournevia-Cape Town five-piece have all but cemented their place in the hearts of nu-disco lovers right around the country. Playing their biggest venues to date, you can catch the gang with special guests Panama on the following dates: Friday 28 June, Zierholz, Canberra; Saturday 29, Oxford Art Factory, Sydney; Thursday 4 July, Corner Hotel; Friday 5, Karova, Ballarat; Saturday 6, Eureka Hotel, Geelong; Wednesday 10, Akuna Club, Perth; Thursday 11, Mojo’s, Fremantle and Thursday 18, Oh Hello!, Brisbane.

Bon Jovi

1 NEWS 2 REVIEWS 3 INTERVIEWS 4 VIDEO 5 BLOG

BangTango crashes under Bon Jovi ticket demand Gaslight Anthem at the Enmore Theatre Jello Biafra

Dune Rats Red Light Green Light

On tour with The Decline

FLEETING HEAT Announcing their first tour on home soil in more than eight months after a recent run of European tour dates with One Direction, 5 Seconds Of Summer are ready to send teenage hearts a-flutter right around the country once more. Catch the quartet when they perform the following dates: Sunday 2 June, Metro Theatre, Sydney; Wednesday 5, The Hi-Fi, Brisbane; Friday 7, Ormond Hall, Melbourne and Saturday 8, Astor Theatre, Perth. Dates are all ages, except for Brisbane which is under-18 only. You can also check out the Sydney pop-rockers when they support 1D on their Australian arena tour this spring.

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

Taking his sound to places fresh and exciting with his Deep Bitch remixes, DCUP has been finding big time support from all corners of the globe, his new tracks currently being championed by the likes of Diplo, Jack Beats, Tommie Sunshine and more. In addition to all this, the Melbourne producer has been working on an EP, Versus, which he’ll be launching right around the country. Check DCUP out on the following dates: Friday 24 May, World Bar, Sydney; Saturday 25, Oh Hello!, Brisbane; Saturday 1 June, The Aviary, Perth; Friday 21, Trinity Bar, Canberra; Friday 28, Can’t Say, Melbourne; Sunday 7 July, Northern Unigames, Cloudland, Brisbane and Friday 26, Splendour in the Grass, North Byron Parklands.

THE FLYING V There are few guitarists on the planet that wield the axe with more panache and grace than Steve Vai. Managing to put emotion into the instrument while exhibiting unmatched technicality, Vai is an innovator and continues to push the limits of what man can do with a six-string. Here in a few months time, he’ll play the following dates: Wednesday 10 July, Concert Hall, Perth; Saturday 13, Palais Theatre, Melbourne; Sunday 14, Canberra Theatre; Monday 15, Enmore Theatre, Sydney and Tuesday 16, QPAC Concert Hall, Brisbane. Get your tickets from Tuesday 28 May.

ONLY ONE GUY FOR TAYLOR Just in case this tour wasn’t anticipated enough by pop fans around the country, it has just been announced that Guy Sebastian will act as support for Taylor Swift on her bigger-than-thou Red Tour. Get in early for some mad Insta pics of our original Australian Idol when Sebastian and Swift tour the following venues: Allianz Stadium, Sydney, Wednesday 4 December; Suncorp Stadium, Brisbane, Saturday 7; NIB Stadium, Perth, Wednesday 11, and Etihad Stadium, Melbourne, Saturday 14.

IT’S HARD TO SAY REALLY Pop punks on the rise A Loss For Words are finally getting down to Australia, playing shows with genre others Monuments and Sidelines at a whole bunch of dates this winter. The Boston quintet kick off their tour on Thursday 25 July at Snitch, X&Y Bar in Brisbane, followed by Friday 26, Studio 454, Brisbane (all ages); Saturday 27, The Bald Faced Stag (The Wall), Sydney (licensed/all ages); Sunday 28, The Basement, Canberra; Wednesday 31, The Barwon Club, Geelong; Thursday 1 August, Next, Melbourne; Saturday 3, Ferntree Gully Hotel and Sunday 4, Phoenix Youth Centre, Melbourne (all ages). Tickets go on sale Thursday.

BITCHES KNOW

Yothu Yindi

SOUND OUT THE TREATY Last week, the National Indigenous Music Awards (NIMA) announced that this year’s Awards concert would be a celebration of the music made by Yothu Yindi, pictured (members on the 2012 ARIA Awards Red Carpet with Dan Sultan. Pic by Cole Bennetts), with our country’s finest Indigenous artists set to take part in a magical night for a remarkable band. A natural continuation from the ARIA Awards performance that featured the likes of Dan Sultan, Paul Kelly and Gurrumul, the event will take place at the Darwin Amphitheatre on Saturday 10 August, and will feature the original members of Yothu Yindi as well as a handful of artists looking after the duties of Mandawuy Yunupingu including Rrawun Maymuru, grandson and frontman for East Journey. A full line-up of artists will be confirmed mid-June.

A Day To Remember

HOLDIN’ IT DOWN FOR THE UNDERGROUND Florida’s favourite gator boys, A Day To Remember are returning to Australia for their first dates Down Under in almost 18 months, playing nationally with a couple of epic supports, just to sweeten the deal. With their fifth album, Common Courtesy, about to be released, expect to hear a bunch of new cuts as well as the band’s full arsenal of mosh anthems. Arguably the most fun and entertaining metalcore band you’re likely to see on stage, you can catch A Day To Remember with supporting guests The Devil Wears Prada and Aussie lads Dream On, Dreamer at the Brisbane Riverstage, Friday 12 July (licensed/all ages); Hordern Pavilion, Sydney, Saturday 13 (licensed/all ages); Festival Hall, Melbourne, Sunday 14 (licensed/unlicensed) and Metro City, Perth, Thursday 18 (18+). Tickets for these shows go on sale Friday 24 May.

PIECING IT TOGETHER Following on from the bouncy sounds of recent singles Why’d You Have To Kiss Me So Hard? and Awhoooh!, Laura Imbruglia is finally ready to release her new record, What A Treat. Indeed. And just in case Imbruglia’s music wasn’t delightful enough, the album package comes complete with a puzzle – because we know you like solving the shit out of those mind benders. The now Melbourne-based singer-songwriter plays Friday 28 June, Boatshed, Manly; Saturday 29, GoodGod, Sydney; Sunday 30, Yours & Owls, Wollongong (afternoon); Friday 5 July, Beetle Bar, Brisbane and Saturday 13, The Tote, Melbourne.

www.thenorthern.com.au

JONSON STREET BYRON BAY Friday 24 May

UNDERGROUND LOVERS Saturday 25 May

TSUN, BEC & BEN, THE DARK HAWKS & THE RUMOURS Sunday 26 May

EMMA LOUISE, THELMA PLUM & PATRICK JAMES Friday 31 May

TIM STOKES BAND & THE VON VILLAINS Saturday 1 June

PILOTS, POSTBLUE & THE SINGLE FINS Friday 7 June

A LITTLE PROVINCE, BOOTLEG RASCAL & CLOUD LADDER Saturday 8 June

THE RED PAINTINGS Friday 14 June

DEAD BEAT BAND Saturday 15 June

DAN HANNAFORD BAND Saturday 22 June

THE BEARDS Saturday 29 June

ANDREW STOCKDALE PROJECT Thursday 4 July

ASH GRUNWALD Saturday 6 July

ROYSTON VASIE

TICKETS AVAILABLE ONLINE 9

[NEWS NEWS]

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STRAIGHT FROM THE STATE

ARTS

Tying in with all the celebrations for the Queensland’s Government 2013 Queensland Week, The Queensland Week Aboriginal and Torres Straight Islander Music Showcase will take place at the Brisbane Powerhouse Turbine Stage, Friday 7 June, and will feature the sweet sounds of Toowoomba’s Sue Ray, Rockhampton funksters Slip On Stereo, reggae players Djun Djun Jarra and CY, an upcoming MC from Stanthorpe. This free family event kicks off at 8pm.

BLOODY BLOOM Black Blood is the second release from GC heavy rockers Lilly Rouge and to tie in with the launch of the record the quartet will be hitting the road for a ten-date east coast tour. The band will perform in our midst Thursday 30 May, Surfers Paradise Beergarden, Gold Coast; Saturday 1 June, Tatts Hotel, Lismore; and Sunday 2, X&Y Bar. With recent big name supports under their belts (Everclear, Presidents Of The USA), the guys have got their live show on lock, making these dates essential viewing.

Gregory Crewdson

WEDNESDAY 22 Dracula – the original, the best and fully restored, Tod Browning’s 1931 Dracula is a classic adaptation of Bram Stoker’s novel. Played by a young Bela Lugosi, Count Dracula preys on Miss Mina Murray in classic gothic horror style. Part of GoMA’s Monsters programme, GoMA Cinema, 6pm.

THURSDAY 23 The Hangover Part III – Todd Phillips’ cringe-inducing comedy franchise is back. This time, there’s no wedding. No bachelor party. What could go wrong, right? Cooper, Galifianakis and Jeong return and John Goodman joins the Wolfpack. Opens today, Dendy Cinemas, check website for session times. Esoteric Art – Western Australian professor Darren Jorgensen traces a history of esoteric art in Australia. He considers how Norman Lindsay, Danie Mellor, and others mobilise ritual images and synthesise different ritual tradition, from Christian and Indigenous to pagan and sex magic. Institute of Modern Art, 6pm.

FRIDAY 24 Delicacy – based on a true story, a young man responds to an advertisement in the local classifieds for someone willing to let him eat them. The subsequent events between these two men play out on stage in one of the most shocking shows of the year. Starring Cameron Hurry and Gregory Scurr. Opening night, Brisbane Arts Theatre, 8pm, to Saturday 15 June. The Fly – see David Cronenberg’s 1986 squeamish sci-fi horror, The Fly. Jeff Goldblum’s portrayal of an ambitious physicist and his horrifying transformation after a teleportation mishap has made it a cult classic. Part of GoMA’s Monsters programme, GoMA Cinema, 8pm.

SATURDAY 25

DEATH BECOMES US The Dead Of Winter festival is back to wreck havoc in 2013, with another diabolical line-up headed up by Melbourne stompers Fireballs and King Parrot, pictured. Also on the bill are: Post-Life Disorder, Disentomb, The Disables, Casino Rumblers, Truth Corroded, Lynchmada, Alpine Fault, Darkcell, Chainsaw Hookers, In Death, Rome, High Time, Flangipanis, Horrorwood Mannequins, Clowns, Working Horse Irons, The Dead Love, The Levitation Hex, The Tearaways, Fat, Kyzer Soze, Kill The Apprentice, El Gordo, Meaniacs, Jack Flash, The 52 Pickups, F.U.C, Acid Nymph, Smoking Martha, The Damned Humans, Alkira, Delorean Tide, The Lilly Rouge Band, Mitch Alexander and The Velvet Vixens, with more bands to be announced soon. Shit goes down at the Jubilee Hotel, Saturday 13 July, with tickets available now through Oztix for $35+BF.

GET ON MOVING UP Do You Wanna Dance has put Melbourne pop rockers Masketta Fall on the map, and now the guys are looking to push forward and spread their music far and wide with a run of explosive live shows across the country. Kicking off their tour in Brisbane, the five-piece will play Snitch at X&Y Bar, Thursday 4 July, before hanging around to perform an all ages show at Lake Kawana Community Centre on the Sunshine Coast, Saturday 6.

FROM LITTLE THINGS BIG THINGS GROW Much like it’s parent event, Little BIGSOUND is all about the music biz and the electrifying tunes that are happening within it right now. Unlike BIGSOUND, this little version is designed specifically for the next generation of musicians, managers, promoters, label reps and photographers that are looking to get their career in the industry moving forward. Little BIGSOUND has been announced for its third year and will take place at The Edge, Southbank, Friday 12 July between 9am and 6pm. Learn from the best, network and make new friends, and hear music from some of Brisbane’s hottest new bands. For more info head to the BIGSOUND website now.

La Boite Indie 2013 – a collaboration with Queensland Performing Arts Centre, La Boite have worked with three different independent teams to bring you three shows to form part one of this special season. This is Capital City, The Séance and Blindscape, three different but brilliant shows, close night. La Boite’s Roundhouse Theatre, see website for show times. Sons Of Sin – The Danger Ensemble’s most provocative production to date,lays bare the hopes, dreams and expectations of young men moving through rites of passage and across a minefield of history, pressures, demands and taboos towards manhood. Closing night, Judith Wright Centre of Contemporary Arts, 7.30pm. Gregory Crewdson: In a Lonely Place – famous for his large-scale photographs of middle America, American photographer Crewdson’s show features three series – Fireflies, Beneath the Roses, and Sanctuary – that are equally epic in scale yet intimate in scope. Closes today, Institute of Modern Art, ‘til 5pm.

CROSS YOUR WIRES New single Like Fireflies is the second taste of Seja’s forthcoming record All Our Wires, the track featuring the formidable bass work of Regurgitator’s Ben Ely alongside the leftfield pop player’s squelchy synth sounds. Catch the local lass when she performs at Black Bear Lodge on Sunday 23 June, with tickets available on the night for $10. Get outside the box and get familiar with Seja.

A LITTLE RAY OF SUNSHINE

THE ONE-TWO-THREE COUNT SUNDAY 26 Briefs: The Second Coming – all male, all vaudeville and all trash, get set to see new tricks from this circus-infused cult variety show from The Briefs Factory. Don’t miss this all new burlesque hit. Closing night, Powerhouse Theatre, 7.30pm.

They have the sole purpose of playing like it’s their last night on earth. With that in mind, you can be damn sure that Doubleblack, featuring ex-members of The Living End, Fireballs and Fez Perez, will be trying their very hardest to tear you a new one, whatever that one is, when the guys head up our way to support the mighty Reverend Horton Heat. Catch both bands at The Hi-Fi on Sunday 26 May with further support coming from galactic rockers Men In Space. Tickets for the show are still available through the venue website, priced at $65+BF.

WAINWRIGHT SUPPORT SELECTED

START THE WEEKEND EARLY No cash? Wanna party? No problem. One of the finest new groups to emerge from Brisvegas in the past few years, Last Dinosaurs, will be performing a free show for their fellow city dwellers on Friday 24 May. Catch them in Queen Street Mall when they launch the largest, longest running free live music program of its kind in Australia – The City Sounds. Things kick off from 3pm, so skive off work early and head down (but don’t tell your bosses we told you to do that, okay?).

THE WEIRD AND WONDERFUL UK beatmaker Lapalux is visiting us this week for a special show of pure ambient bliss. His Nostalchic LP from earlier this year has become an underground hit, its mixture of rhythms and textures completely captivating, so catch him when he performs at Alhambra Lounge, Friday 24 May.

The Wolves is the gorgeous debut from Melbourne fourpiece Brighter Later, the record highlighting a group brimming with confidence and charm. Behind their psych rock, lo-fi genius, they have been handpicked by Martha Wainwright herself to act as support for her upcoming tour dates in our region. Now, you can catch two magnificent performances for the price of one when the acts play Friday 31 May, The Tivoli; Saturday 1 and Sunday 2 June, Byron Theatre, Byron Bay. Tickets for all dates are still available and can be purchased through the respective venue websites.

COMING NORTH FOR BATTLE Let the good vibes of Benjalu run right through you when the Novocastrian five-piece play The Loft on the Gold Coast, Friday 31 May with supports Jimmy The Saint and The Sinners and Fire & Whistle Theory. Tying in with the June release of their new EP, The Battle, tickets for Benjalu’s show are available on the door for $10, a pretty small price to pay for the amazing energy that you’ll take home with you.

LAURELS MAKE THIS HARDY

Make sure you’re at Limestone Park in Ipswich from 1pm on Saturday 25 May. Why? Well, there’s going to be some fantastic sounds getting sent out through the space courtesy of Deborah Conway, The Jungle Giants, Classik Nawu and The Surfari Krishnas. Part of the ‘Rise and Shine Queensland’ tour, get out and celebrate the spirit of the community and dance away the flood dramas that ravaged the area earlier this year. Pack your picnic, round up your family and friends and spend a beautiful afternoon in the sun!

Briefs

DOUBLE UP

Now in its fifth year, Rumble Rock Wrestling returns to take you down from the turnbuckle. Queensland’s premier wrestling organisation, the AWA, will be sending out the cavalry, with the likes of Combat Wombat, Super Cyclone and Dugong Hasselhoff all in attendance, dropping moves to a soundtrack of rowdiness, performed by the likes of The Meanies, Evil Eddie, Dick Desert and Snakes and Daggers. Tickets are available through Oztix ($10 for 4ZZZ subscribers/$20 otherwise), with the whole shebang taking place at The Arena, Sunday 9 June.

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

To ramp up proceedings for the upcoming Black Angels tour, the band have enlisted the help of psychedelic Sydney four-piece The Laurels for the full national tour, while fellow southerners Zeahorse will also be on board locally. Grab a ticket for their Tivoli show on Thursday 13 June through Handsome Tours. Proudly presented by Street Press Australia.

CHAISSON THE PERFECT MELODY

THE ANTI-BOY BAND

In town to support rock’n’roller reformed Johnny Diesel, Canadian songwriter Tim Chaisson will play his own special headline show at The Joynt on Thursday 23 May. Warm and soulful, Chaisson is a force on both the guitar and violin, his honeydripped storytelling leaving nothing on the table, and following performances at this year’s SxSW in Austin, Texas, his global star is definitely on the rise.

The Janoskians are a band of boys who aren’t a boy band – got it? This Aussie Jackass/Punk’d bastard spawn play The Tivoli, Saturday 22 June. Tickets for this all ages show can be purchased through Live Nation and Ticketek, with prices starting from $40+BF.

CONTINUAL MOVEMENT Lost Movements continues to go from strength to strength, the not-for-profit helping the arts community in Brisbane come together while providing ongoing support. Happening Sunday 2 June at Coniston Lane, Lost Movements VI features Galapogos, Balloons Kill Babies, Imperius Rex, Western Front, Slow Riots, Skinnie Finches and DPOOA, as well as live art, canvas works and other sensorial delights, from circus performances to burlesque. Running from 2:30pm ‘til 10pm, you can get your tickets on the door for $8.

COMING IN FOR LANDING One of this country’s hardest working bluesmen, Marshall Okell is returning to Queensland with his current band The Pride, concluding his current 22-date national tour in our midst to tie in with the launch of his latest record, Birdy. You can catch the gents when they perform at The Loft, Gold Coast, Saturday 1 June ($15), and Black Bear Lodge, Sunday 2 ($14).

SUNNYBOYS SELLING AT SPEED If you were still up in the air on whether you should get along and see Sunnyboys this weekend, then you best make you decision fast – the sold-out signs are already getting hung for their anticipated Gold Coast headline shows. Their Saturday 25 May date at Coolangatta Hotel is at capacity, however, you can still get on their Friday 24 show at the same venue. Tickets through the venue website and Feel Presents.

IT’S TIME TO LIVE YOUR LIFE Far East Movement are bringing the sound of LA to Australia. Turn Up The Love when the electro-rap superstars bring the party to Club LIV on the Gold Coast, Sunday 14 July, with support from Brett Allen, Mike D and Kurt Joseph. Get your tickets now through the venue website, with prices starting from $20.

FLIP THE COIN Local rock miscreants Dollar Bar are coming together for a wild night at The Waiting Room on Saturday 25 May. Support from Matt Banham, Tiny Spiders and their own Dale Peachey in solo mode.

THIS WEEK at The Hi-Fi Emma Louise Fri 24 May SELLING FAST

Seth Sentry Sat 25 May SOLD OUT

Reverend Horton Heat (USA) Sun 26 May

JUST ANNOUNCED 5 Seconds of Summer Wed 5 Jun

COMING UP

CANCELLED

The Ghost Inside (USA) Sat 1 Jun 18+ Sun 2 Jun U18 Kamelot (USA) Tue 4 Jun Killing Joke (UK) Thu 6 Jun HTC & Speaker TV Present

Gypsy & The Cat Fri 7 Jun Outlook Festival Launch Party Sat 8 Jun Tiki Taane (NZ) Sun 9 Jun The BellRays (USA) Thu 13 Jun Pludo Fri 14 Jun Municipal Waste (USA) Sat 15 Jun The Beards Fri 21 Jun The Red Paintings Sat 22 Jun Mono (JPN) Wed 26 Jun Andrew Stockdale (Wolfmother) Thu 27 Jun La Dispute (USA) Fri 28 Jun Baby Animals Sat 29 Jun Ash Grunwald Fri 5 Jul Saint Vitus (USA) & Monarch! (FRA) Thu 18 Jul Stereophonics (USA) Fri 19 Jul Nejo Y Dalmata (PUR) Sat 27 Jul Flyleaf (USA) Thu 15 Aug

Amorphis (FIN) Sat 12 Oct

Clare Bowditch Fri 16 Aug

Enslaved (NOR) Rescheduled to Sun 3 Nov

Soilwork (SWE) Wed 2 Oct

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AUSTIN PSYCH FEVER The Black Angels’ hometown of Austin has come to be seen as a haven for psych rock bands, mainly due to the rising success and allure of their Austin Psych Fest, now in its sixth year. Yet Maas maintains that this is something of a misconception.

PSYCH SUBMERSION Purveyors of all things psych, Texann outfit The Black Angels continue to stand as an iconic beacon for a musical niche that remains on the outskirts of mainstream popularity despite its fervent fanbase. As frontman elford it’s a collective that continues to excite Alex Maas explains to Brendan Telford, excite, ferment and grow grow. here are few bands in current rotation that can effectively state that they are the driving force behind an entire genre of music. As strong an influence an artistic endeavour may be, it usually takes a collective of likeminded souls to establish a given aesthetic and give it legs, spreading out amongst an appreciative audience to the point that it becomes its own amorphous beast, spewing forth more and more creative shifts while upholding the tropes that encapsulate the genre in the first place.

Texan psych rock band The Black Angels fit such a classification, however. Since forming in 2004, the band have forged forward at the tip of the post-millennial psychedelic movement, having crafted four lauded albums (including this year’s Indigo Meadow), toured the world countless times, pinned down festival stages while also starting their own (the Austin Psych Fest tied up its sixth entry in April), and launching their own label The Reverberation Appreciation Society, home to likeminded souls such as Cosmonauts, Holy Wave and Elephant Stone. The now fourpiece (Nate Ryan having

left the band in the early stages of the writing and recording of Indigo Meadow) may not have brought psychedelia into rock – that was done decades before – but they have successfully brought it kicking and screaming into the 21st century with a teeming Petri dish of acolytes of all persuasions in tow. “Hey, we are not the forefathers of anything,” Black Angels’ frontman Alex Maas laughs. “There are bands that we are massive fans of – The Warlocks, Brian Jonestown Massacre, Black Rebel Motorcycle Club – who were doing this before we had a mind to. We just play music that we really like, which is influenced by bands like Silver Apples or 13th Floor Elevators who were ahead of their time because they had clearly defined who they were almost from the outset. Psychedelic is such a broad term; everything can be classified as psychedelic, and we don’t govern that. I just think The Black Angels is a strong creative force for us, and it pulls other bands towards us. It’s fairly intuitive; not every band we see as peers has an overt political message, or is hallucinogenic, or has

drone elements to their sound. There’s a tone that exists that we all admire and gravitate towards, and it’s great to be seen to be a part of something that moves and captures people the way psychedelic music does.” After venturing away from Texas to record 2010’s Phosphene Dream (the bulk of it was done in Los Angeles with acclaimed producer Dave Sardy), the band came closer to home for the new album, venturing out into the west Texas desert, a move Maas attests lent some urgency and gravity to the recordings. “We recorded at this studio called Sonic Ranch with John Congleton (Explosions In The Sky, Clinic, Disappears), and there’s nothing to do but let the music wash over you,” he offers. “The studio is basically in this border town between Texas and Juarez, and there is nothing around – no distractions. We became submerged in the sounds, without competition from outside, and I think it helped these songs to really come alive.” There is more lightness on Indigo Meadow than was hinted at on Phosphene Dream, held in both the brevity of the tracks and the instrumentation that takes place veering further away from the elongated drones that signified their first albums Passover (2006) and Directions To See A Ghost (2008). Yet Indigo Meadow remains intrinsically a Black Angels album – Maas’ iconic incantations hover over a driving musical force, Christian Bland’s guitar a searing brand, Stephanie Bailey’s metronomic drums propelling forth like an unstoppable colossus. “Indigo Meadow is us trying to evolve,” Maas states. “We felt that after (third album) Phosphene Dream we had brought in influences that really appealed to us, and we wanted to push that further, but also integrate it with our past to make something fairly seamless. We’ve shifted from recording these really long songs, because to be honest a lot of the great psychedelic songs of the ‘60s and ‘70s weren’t long anyway, they were short songs that had a clear definition and could be expanded on or shortened as the mood came. I don’t think we could ever not sound like us, like The Black Angels; we have a structure and an understanding that was there from when we started and a way of playing that we like. There are still dark elements in there – I think we are incapable of breaking away from that.

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We have such different tastes that come in from different directions, and we want them all to have a voice somewhere – but The Black Angels’ sound is never in question.” The prominence of the organ in The Black Angels dynamic is even more prominent on the new album, a factor that Maas is particularly excited about. “I’ve become more and more interested in the capabilities of the organ,” he admits. “I’ve collected a few over the years, and the tones from one to the next open up new sounds and possibilities. We use vintage instruments when recording because it lends a warmer sound that we relate to, that speaks to us. Recording with older instruments comes from knowing what we want; we looked at bands like Love and the sound that they achieved, this full on, rich sound. There are so many bands now that we really love that are recording in the lo-fi way, which I think is really cool, it can lend a sort of immediacy, even an authenticity to what you’re doing. But for us we look at bands from the ‘50s and ‘60s that were creating timeless sounds, timeless pop songs, all under three minutes, and that is inspiring to us.”

The end result is a coup of sorts, with Indigo Meadow managing to capture the past, present and future of what has become an era-defining sound. “We wrote about thirty songs before we went in to record; we took a lot of time at the beginning of 2012 to just focus on us,” Maas explains. “We sat down with John and we spoke about how we wanted to proceed and move forward, and it was incredibly difficult and draining but also very rewarding. Cutting thirty songs down to seventeen is like pulling teeth, or killing your children. But it had to be done. It was the first time where we knew what we wanted from an album, and we recorded, in and out, and everything was clear from the start.” The true Black Angels experience though is in the live arena, where the sonic indulgences take sway. Psych rock has always been held in the thrall of the extended jam, and the band have excelled in extrapolating their songs into a motorik trance of raw repetition and power. With Ryan having left the band, Maas maintains that they have taken a leaner approach to their sets, which in some way has made it more aggressive in scope. “We will be touring with another guitarist, but after Nate left we kind of looked at re-prioritising,” Maas muses. “The live aspect for us is the most important element, it’s why you play music in the first place. It becomes a full on experience. We have a light show which becomes a member in and of itself, done by a close friend of ours Bob Mustachio. He drums for Christian’s other band (Christian Bland and The Revelators). He has a strong understanding of the flow of the music, and so these projections and lights are another extension of what we do. For psych music to work you have to be a part of it; you have to believe in it. There is a distinct difference between those who are psych and those who are merely playing at it. You end up on the outside if it isn’t real, if it’s an affectation or a stylistic choice, rather than a necessity. You should be able to disappear in the music, no matter where it takes you.” WHO: The Black Angels WHAT: Indigo Meadow (Pod/Inertia) WHEN & WHERE: Thursday 13 June, The Tivoli

“It’s funny, because everyone that comes from outside of Austin thinks it must be this massive psychedelic mecca, but the truth is it’s such a huge music city with all kinds of scenes going on,” he tells. “There’s constantly this competition for people to come to your shows, because there are so many shows to contend with. That isn’t a complaint either; it’s exciting to be part of a community that has so many factors and ideas. We put on Austin Psych Fest and it’s received far better from people outside of Austin, or indeed outside of the States. The buzz here is low because there are so many other good festivals that take place here.” Nevertheless, Psych Fest has become a beacon for a style of music still outside the mainstream consciousness. “We’ve met and played alongside so many amazing artists around the world, and we wanted them all to come to play with us. It was kinda selfish really; we just wanted all the bands we like to come play on one weekend. But it’s become a chance to highlight all the great things that are happening right under people’s noses in the psychedelic rock community. And the growth over the last few years has been mind-blowing, with people flying in from all over the world for it. We want it to be like a full coverage of what psychedelic music is, and seeing as Austin was the birthplace of 13th Floor Elevators; we’ve always tried to have some of the first acts out there on the bill – Roky Erickson, Silver Apples, The Moving Sidewalks this year. Plus there are all the subgenres – garage, surf, drone – it makes for an incredibly diverse template to choose from.” Australia’s connection to Austin Psych Fest is profound, with the Black Ryder, Beaches, The Laurels and Dreamtime all garnering slots, which has led to plans for a Melbourne Psych Fest to be in the works. “We tried to open up a festival in Melbourne for early this year, but the venues we had in mind didn’t line up, so we hope to make it happen next year.”

SALE OF THE SENTRY

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“I’ve gone from having not a whole lot on – which was last year and um, every year before that to – my whole year is planned out with shows and stuff,” he says dryly. “It’s getting tough! I’m certainly not complaining to be getting to see so much of the country and the world really, but there’s definitely some games getting dusty here. Tomorrow we go back to rehearsing for six hours a day. Even on my days off – like today I’m doing three hours of media so it’s not really a day off in the classic sense.”

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t’s cold as fuck in Melbourne today. I might play some video games.” This is how the mild-mannered underachiever Seth Marton used to spend A LOT of his days. But as Seth Sentry, his addiction to playing video games is taking a back seat to his pesky international music career which has exceeded his expectations in the last year or so.

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”I spent all my time smoking weed and playing video games and the rest of the time I just wasted.” Seth Sentry tells Chris Yates why it took him five years to finally get his album out.

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Sinatra, it rings true. While he certainly didn’t start rapping yesterday, it seems like he has popped up from obscurity amongst his arguably much harder working peers like 360 and Pez. He makes no bones about his previous work ethic (or lack thereof) but he says he doesn’t cut any corners on what he takes most seriously about the whole business. “I mean don’t get me wrong I was extremely lazy,” he continues laughing, “But I really spent a lot of time on the lyrics. I wanted them to be perfect.” WHO: Seth Sentry WHEN & WHERE: Saturday 25 May, The HiFi

He’s just returned from his trip to America and his first time outside of Australia. Not just as a touring musician, but even his first trip as a tourist. Safe to say things went down a little differently to your average gap year trip. After headline grabbing shows at South By Southwest, It was a monumental moment for Australian hip hop as a genre and a movement when Sentry got onstage to perform live for late night TV show Jimmy Kimmel Live, although Seth tries to play it down at every level. He says that the lead up to performing on the show was a lot more frightening than the performance itself. “The experience wasn’t as full on as I thought it would be,” he says, still sounding surprised. “I mean it wasn’t that stressful, it was actually a nice experience. The crew and everyone that was involved in the production were so great, and because it was on a stage and they had a crowd it just felt like doing a gig so that’s the way I looked at it and it kind of made it a bit easier I guess. The very first show we did was in Texas and that’s when we found out about Jimmy Kimmel so every show after that was leading up to it.” He performed his two most recent singles Float Away and Dear Science for the TV show crowd, and despite being his position as unofficial Aussie hip hop ambassador, he really didn’t see any need to play up his Australian-ness for the Americans. “There was never any danger of me doing anything like that,” he says quickly. “I think the music should speak for itself and music that usually does well internationally just does its own thing. That said I still made an effort to annunciate my words a little bit better and not mumble so much to make it easier to hear the lyrics which I think is one of the strong points of music I guess.” He says that the Americans had a lot more trouble communicating with some of their own staff than they did him. “There was a guy that worked for their crew – the stage manager or something – and he was Irish and they couldn’t understand a word he said but I could understand him perfectly,” he laughs. “They were like, ‘You can understand what he said? Amazing, from now on you’re our interpreter.’ So I became the go-between for them and the Irish dude.” “I was feeling the pressure a bit,” he says slipping back into describing how he felt about the performance. “Especially when people started talking about how I was the first OZ rapper to do it which I didn’t realise at the time. It didn’t really feel like it was a landmark or anything. I mean, it’s not like I’m the first – well when we were over there people know Hilltop Hoods and they know Bliss N Esso – It’s not like I’m the only Australian rapper they’ve ever heard of. It was just specifically on a US talk show so it’s not like it was massive but it was definitely on my mind.” He’s not oblivious to the status that this implies, but he still sounds surprised when reminded of the fact that the British invasion began with The Beatles on Ed Sullivan and that US Late shows carry a weight that is a little hard to gauge as Australian viewers catching the occasional episode of The Late Show with David Letterman. Much like the way the AM radio shock jocks set the agenda for politics in Australia, the talk shows do the same for entertainment in the US. Whether he wants to acknowledge it or not, it’s certainly a big deal for legitimising hip hop in Australia. “For me it was just a good first tour taking small steps. I’m not trying to crack the US market or anything like that. I’ve never really tried to do anything other than just my thing.” It’s not false modesty, he’s never really tried very hard to crack the Australian market even. Things have really just fallen into place naturally and without boatloads of hype or money to help him out. When The Waitress Song first appeared as one of seventeen zillion tracks on triple j’s Unearthed, it gained natural traction due to Sentry’s frank every-loser delivery and resonated with the many people who have crushed on their local coffee shop staff. His lack of pretention and hip hop posturing obviously has a lot to do with his appeal. “I’ve never really tried that hard to do anything to be honest!” he laughs. “I just liked rapping and if it lets me go overseas and go to New York then it’s just awesome.” With a five year gap between The Waitress Song’s EP The Waiter Minute EP there was speculation Sentry was taking too long to get his shit together to do an album, but the eventual release couldn’t have come at a better time. Sentry appropriates a famous George Best quote to describe this time - “I spent all my time smoking weed and playing video games and the rest of the time I just wasted,” and even though he mistakenly attributes the quote to

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THE DUST SETTLES For nearly ten years, performer Kate Miller-Heidke travelled the world as a singer-songwriter. Ahead of her Heavenly Sounds and regional tour, Matt O’Neill speaks to the one-time opera singer about settling down and spreading her wings.

ON THE TIME OFF STEREO MILK MUSIC Cruise Your Illusion

ate Miller-Heidke’s Nightflight was a different recording for the Brisbane songstress. Where her previous albums ensured her vulnerable songcraft arrived intermingled with a certain degree of quirk and theatricality, Nightflight stripped away most of her decorations. There was very little of the baroque-pop of her 2007 debut Little Eve and even less of the art-pop eclecticism of her 2008 follow-up Curiouser. It was a rawer, more honest sound.

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“You know, I think people can tell when you’re being honest. Curiouser was a much more layered, playful pop record, by comparison,” she muses. “I think I’m just really getting into the craft of pop music and really getting off on the idea of being, you know, absolutely, unselfconsciously daggy if I want to be. The freedom of not being a ‘triple j artist’ means I can kind of do whatever the fuck I want. I’m feeling quite liberated, these days.” Consciously or otherwise, it seemed to herald a new phase in Miller-Heidke’s life. Having spent nearly ten years developing her reputation as a singersongwriter, Nightflight has seemed to usher in a new era of experimentation for Kate Miller-Heidke. She’s an increasing fixture within the English National Opera (having sung principle roles in 2012’s The Death Of Klinghoffer and 2013’s Sunken Garden) and is currently in the process of writing an opera of her own. “That came about through Opera Australia,” she explains. “I sort of know [Opera Australia Artistic Director] Lyndon Terracini and he knew I’d been involved in that world over in London and obviously knew I was a songwriter and asked if I wanted to write an opera – so we’re writing a show based on Shaun Tan’s book The Rabbits. He’s this incredible illustrator from WA and it’s a big analogy about the colonisation of Australia.

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VIDEO OF THE WEEK LORDE - ROYALS

COMEDY

One of the most revered rock bands of the last two decades, Texans ...And You Will Know Us By The Trail Of Dead are returning to Australia this week to play their seminal third record Source Tags & Codes in its entirety. Their Brisbane show happens on Friday 24 May at Coniston Lane and we have two double passes to give away. Entrants must be 18+.

“It’s going to be an opera for children and adults. We’re still in the early stages, though. It’s obviously a massively project,” she elaborates. “I’ve never written anything like this before, so I hope I can do it. I’m collaborating with a guy called Ian Ramage, who has a lot of experience writing for theatre. Because

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ED “I think it has a lot to do with getting older,” she says – Miller-Heidke having turned 30 last year. “When I was younger, I thought I should have a strong musical identity and know what that was and stick to it. As I get older, I realise I’m still struggling with that idea and I’ll probably never really know what it is; I just have to settle for getting a little bit closer to it every time. It’s exciting and terrifying, really – though I have go for the former, mostly.” Ironically, it’s coincided with her actually settling down. After years of bouncing between various cities and continents, Miller-Heidke has made a home for herself in Brisbane with her husband and constant collaborator Keir Nuttall. In contrast to her seemingly cluttered workload (in addition to her current Heavenly Sounds tour, she’s also committed to a regional tour of Australia), she’s trying to take time and enjoy her work. “I have actually been quite protective of time at home. For the first time in years, I actually have a home – with my own piano and everything,” she enthuses. “This apartment came up in a building filled with heaps of old friends and we just kind of loved the idea of this musician commune. Me, my band’s old violinist Sallie Campbell and this fabulous guitarist John Rodgers have just been jamming on covers. We put on a concert of covers for charity over Christmas and it was great fun.”

“I’ve got about ten songs. I think I’m going to go into the studio later this year and have it out early next year,” she says. “It is a fast turnaround for me. I was kind of paranoid about leaving it as long as I did last time so I’ve actually been saying no to things this time. Not touring internationally as much and, like I said, being quite protective of my time. I really wanted it to be a fast turnaround this time. As always, this album’s a total reaction to the last.” “I don’t go looking for these projects, really,” she laughs. “You know, between writing that opera and preparing a new album, I’ve got more than enough stuff on my plate. I am going overseas next year to reprise my role in The Death Of Klinghoffer, which will be playing at The Met in New York, and obviously that’s going to be great – but I’m kind of sticking with the current projects, for the moment. You know, life is good.” “I’m writing songs, I’m doing demos, I just got back from London,” she smiles. “It’s early days for the next album but I want there to be a lot more joy on it. I think I need a bit of a release.” WHO: Kate Miller-Heidke WHEN & WHERE: Tuesday 28 May, St John’s Cathedral; Thursday 30, Empire Church Theatre, Toowoomba; Friday 31, Gold Coast Arts Centre Theatre; Saturday 1 June, Caloundra RSL

Kate Kingsmill chats to Akmal Saleh about pants, keeping it loose and the Egyptian revolution. You know, the usual stuff.

fter last year’s debacle, for his show this year, Akmal Saleh will be on time and wearing pants. “I’m well known for my punctuality but not my dress sense. People complained: ‘We don’t want to see that. I know it’s comedy but we didn’t want to laugh that hard’. So this year, I’ll be appropriately dressed.” What was he wearing last year? “I can’t remember. It’s all a blur now, it’s in the hands of the courts now, it’s out of my hands. My lawyer’s speaking for me, I can’t really discuss it.”

He may or may not talk about his pants in the actual show. “I could tell you it’s about such and such, and then on the night I may not cover that at all. It’s about a lot of things.” Saleh is nothing if not a great recycler. “I’m the kind of guy that’s always trodding through the tip of life: ‘Oh, check this out! Maybe I could use that! It’s a perfectly good sentence that someone’s thrown away’. You try and have your radar up all the time.” And so, he says, this year’s show is not exactly a new show.

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In addition to her return to opera, Miller-Heidke’s been branching out in other areas. In 2011, she debuted her side-project Fatty Gets A Stylist with an eponymous debut album (debut single Are You Ready? scoring advertisements for both America’s National Lottery and Australia’s Channel 7). Previously, she’s starred in Jerry Springer: The Opera. Whereas once she turned her back on a career in opera in pursuit of pop music, she now embraces an entire range of careers.

Except her relatively sedate domestic life has only been a necessary prelude to even more chaotic creative work. Eager to avoid a lengthy gap between releases, Miller-Heidke has already begun work on her fourth solo album and plans to have it recorded and released by next year. Like many things about the current period in her life, it stands in considerable contrast to her old habits. Her last album didn’t arrive until four years after its predecessor.

ALWAYS ON TIME

In his great tradition of keeping it loose, this year’s show is called Akmal, just like it was last year and the year before. “It’s kind of been working for me. I want to change it next year to Carl Barron. I think the ticket sales will go through the roof! I’m not big on variation. Same jokes, same pants. The pants show. That’s my next year’s show. Akmal talks about his pants for an hour.“ Director: Joel Kefali

of my classical background, I’m going to come at it from the angle of the singing – the melody and the harmony. Ian maybe will tackle the bits in-between.”

“It’s just bits and pieces. I never really do a new show. I just do bits and then I chuck the old bits out and replace them with new bits. But then other nights I’ll do some old bits. A lot of comedians will write a show, they’ll say, ‘Oh, my new show this year is about travels to Bathurst’ or something, and I’ve never done that; it requires a bit of discipline to do that. I kind of keep it loose, try to keep it loose and fun for me. That way, it feels fresh, because I never know which bit’s coming next.” Which is the best thing about Saleh in general – you never know where his mind might ping to next. Last year, he was so inspired by the Egyptian revolution he spent most of the year making a serious documentary about it. His film just won the Byron Bay film festival. “I was really inspired by what happened in Egypt. It was very noble what they did, and I wanted to contribute in some small way. And the cost was great. I took it off the mortgage. I’m in a bit of financial trouble, but I’m a filmmaker! I’m the first homeless filmmaker! Probably not the first. There’s probably a whole shelter for homeless filmmakers.” It took a real mental shift for him to be able to think funny after working on such a serious project for so long. “It’s very hard to shift your brain from doing that for

so long and then come and write jokes after that. So I haven’t been as productive as I should have been (with comedy). If you saw the show last year, there’ll probably be bits that you’ve heard before but I can’t help it. But maybe not. We’ve got a week, we’ll see. Anything could happen. I could even be funny.” WHAT: Akmal Live WHEN & WHERE: Saturday 15 June, Gold Coast Arts Theatre

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JONATHAN RICHMAN & THE MODERN LOVERS

“I still love that album, surprisingly enough,” Miller-Heidke reflects of her 2012 album. “It’s definitely the most honest I’ve been on record. That was very conscious. It still has moments of that theatricality, I think. Sarah has a little mini-opera bit. Humiliation is a little bit surreal. I think I wanted to tap into my folky roots, though. Having gone on those long tours of America with Ben Folds and seeing what really worked for those audiences live – I wanted to keep going in that vein.”

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Jackleg Devotional To The Heart

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THE BAPTIST GENERALS

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LIVING BY CODE

Come to the year 2013, and it feels like full circle, albeit on a parallel universe. The band released Lost Songs last year, a release that felt more urgent and immediate than their past few outings; the band have scattered across the world (frontman Conrad Keely now lives in Cambodia) and the band find themselves revisiting the material that kicked everything off by remastering their first two albums, then playing debut Madonna and Source Tags & Codes in their entirety.

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arly 2002. Austin, Texas rock band …And You Will Know Us By The Trail Of Dead had a small yet fervent following and a slowly developing storm of hype surrounding them after the release of two albums and a US tour with Superchunk. They released their third LP, Source Tags & Codes, and the explosion of plaudits and accolades rained down like a torrent. The album was filled with uncompromising bluster, angular bombast and a defiant air that stood head and shoulders above New York’s cool kids on the block. The band became bigger and brighter, and therein lay the backlash, as adulation turned to disdain. It didn’t faze them, however – it only made them stronger.

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…And You Will Know Us By The Trail Of Dead have never been ones to compromise. Brendan Telford chats with co-founder Jason Reece about returning to their roots, forging forward under fire, and carving out a legacy.

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that’s influenced by Fugazi, Dinosaur Jr, Sonic Youth – legacy bands. And when I was growing up, Sonic Youth and Fugazi were already fucking old to me. They were entering their 40s and I was thinking, ‘Dude, I’m listening to old people!’ But I gravitated towards those bands because they had soul, they had conviction, they had something that no one else could touch. Age, looks, gender – it doesn’t matter, and as long you always have something important to say and do, it never will.” WHO: …And You Will Know Us By The Trail Of Dead WHEN & WHERE: Friday 24 May, Coniston Lane

“I think for us to revisit those albums, they are very special moments in our history,” co-founder Jason Reece muses. “And it’s something that we have always been asked to do, by fans and promoters who are fans and friends of ours, so we finally caved in. We only did Madonna (in its entirety) in Tokyo, and we’ve done bits of Source Tags… in Austin, but Australia will get it in its full form for the first time, which will be interesting. We want it to be special. So who knows – if you really want to see it, you may have to fly there – this could be the only time. We don’t want to be one of those bands that keeps dragging out the dusty albums – we want it to mean something, to us and to the fans.” Source Tags & Codes denotes conflicting emotions for Reece, because although that album itself is a towering achievement that was revered in its day and is still held aloft as a benchmark by their fans, the shifting sands of public opinion and the chimerical zeitgeist of taste has seen such evaluations drop away over time, despite the band endeavouring to traverse far more interesting sonic realms since. For better or worse, internet litmus test Pitchfork gave the album a mythical 10.0 score, only to denounce their own opinion years later. There have also been internal shifts, with integral members leaving for other artistic pursuits. Reece admits that the brouhaha surrounding that album proved double-edged, yet they never intended to treat any wall of resistance as a failure or indeed a reason to fade away. “With that album it holds a crazy time for us, because Pitchfork gave it a ten, which was ridiculous, the amount of attention we got just because of that, ‘the Pitchfork ten band’. We were happy with it of course, you want to be favoured, you want to have that kind of recognition, you want people to realise that you’ve worked your ass off. But getting a ten, you can’t get any higher. And we have never thought we were going to make a couple albums and opt out, go do something else; we have always seen this as a career, as something that would last a long time, maybe even outlast us, something like the Flaming Lips or Sonic Youth, even Fugazi, what they’ve achieved and still continue to achieve. So everything we have done since has been held in direct comparison to that.” It is this inherent belief in crafting a legacy that has allowed … And You Will Know Us By The Trail Of Dead to remain one of the most consistent acts of the past decade, and has led to a holistic approach to their music. Both Lost Songs and 2011’s Tao Of The Dead incorporated Keely’s now iconic illustrations into a fully fledged story, included in both comic-strip and graphic novel variations, whilst the iconography and the linking segues between album recordings has been a lasting thread from the very beginning. This comes down to the latest album, which includes two versions of the record (with and without the musical segues between tracks). “We wanted to have it so there was a choice – either go straight up, or take the full journey,” Reece explains. “There are people that would rather listen to two or three songs; they’d rather pick and choose in this day and age. The album format, it’s sad but it isn’t adhered to as it used to [be], it’s more like making a mixtape or a playlist for their iPod. Even we do that on road trips, we have our iPad with this turntable thing set up on it, which allows you to DJ the stuff you like. So we get that. But as far as we are concerned, the album format is the truest form; lately for me it’s been some of the War On Drugs albums. We love vinyl too, because there is so much you can do with it and you can invest yourself in it to a certain level. And we like to continually connect everything, but always search for something new. We are working on something that involves a 20-minute piece, no breaks, no segues. We’ll see how well that goes down.” At the end of the day this is the defining factor of the band – they never compromise. Every move they have made has been wholly from their standpoint, even their ill-fated days on major label Interscope. They live and die by the sword, without a single regret, something Reece believes has not disappeared as the 21st century has become ever more youth-oriented. “We are surrounded by an ever-changing industry that expect different things, but we never succumb to it,” Reece espouses. “It’s fair for people to jump on things that are fad-oriented, but I have a feeling that the people that remain on those fads will be the Luddites. Others will revert back to albums, eventually – and I’m not talking about older generations, I’m talking about younger generations. Making an album and putting it on vinyl will be antiestablishment – the punk thing to do. In some ways it always was, and always will be. There are some kids who are doing that now – some 13 and 14-year-old kids in a band in Austin, Texas called Residual Kid, and they’re totally into playing rock music

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

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[FEATURES FEATURES] LAST ALBUM BOUGHT

California’s own Cold War Kids have just released album number four and are on their way Down Under for Splendour in the Grass. Bassist Matt Maust discusses all with Ben Preece.

YOU AM I TIM ROGERS

The Further Adventures of Charles Westover Del Shannon

“I’d probably say, being a big wanker, Del Shannon’s late ‘60s period and his album The Further Adventures of Charles Westover, is probably my favourite album that I’ve heard over the past million years.”

DAVEY LANE Primitive Clockwork Sun God Replica

“I bought a few weeks ago a band from Melbourne called Sun God Replica, and yeah, it’s fucking great, twisted and weird pop songs.” You Am I touring nationally from June check The Guide for dates.

The band’s founding guitarist Jonnie Russell left prior to the recording of Dear Miss Lonelyhearts, leading them to enlist former Modest Mouse and Murder City Devils’ guitarist Dann Gallucci, who ended up co-producing the record with Lars Stalfors, a man noted for his work with Funeral Party and Matt & Kim. Instead of the gritty texture of the band previous records, Galluci and Stalfors strived for something more spacious and audacious while maintaining the anthemic approach possessed on their last album, 2011’s Mine Is Yours. “It was pretty different this time around,” Maust explains carefully. “We worked definitely backwards. I think with the first two records, we just wrote songs in a rehearsal space and went and recorded them and barely altered them at all really. But with the last two records, we more indulged spontaneous ideas and would record all the ideas spontaneously during all the jam sessions. We’d then listen to them and think which is good, which is not and more or less wrote that way. We’d take those spontaneous recordings we were vibing and then build songs around them that way. Some of the stuff we’d written around loops like Bottled Affection and Lost That Easy, we’d kind of like wrote in the studio I guess and that... Lost That Easy is one of the ones we’d just learnt to play as we had built it in the studio. So that approach works – build them in the studio and build them back up for live, we thought that worked well.”

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ED Willett, the group’s sole songwriter, took inspiration from Nathanael West’s novel Miss Lonelyhearts for the album title and apparently drew heavily from the struggles of the lead character, an advice columnist who has a crisis about his readers suffering. As Maust notes, Willett is notorious for working the stories of others into lyrics that sound remarkably personal.

As for what was different on Helvetios, Glanzmann has no interest in speculating, besides suggesting that the band’s restless touring, which is about to bring them to Australian stages, because that seems counter-intuitive. “We never would analyse something and say, ‘Why did this do so well and what can we do to replicate that?’ After all this is art, it’s about creativity and doing what we want to do. Maybe on the next album we’ll do

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

“Australia actually does feel a lot like California,” he laughs. “Lots of the places we’ve played down there feel a lot like San Diego to me – it feels very Californian, well not too much different anyway. I’m really excited about coming back down there – we always have such a great time, the weather is always incredible, even if it rains, and the people are really, really great.”

“I’m always very wary to go into what lyrics mean, I know Nate is pretty precious about them in a way,” Maust continues carefully. “I think he tries to speak somewhat in code and he tries to write things for people to latch onto and have an ownership of while also being very personal things. The ‘miracle mile’, for example, is an

Eluveitie frontman Chrigel Glanzmann talks to Tom Hersey about the unexpected success of their last record, and how the band manage to bring all the elements of their folk metal to the stage.

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This is the part where Maust slips up and reveals that his band would be heading to Australia for Splendour in the Grass, something that, at the time, was not to be revealed. Regardless, he admits he and the group have somewhat of an affinity with Australia and, like most, feels its familiarity to parts of their home country.

“He’s more observational on this one I think,” Maust explains. “I think the last record was autobiographical I’m guessing, but with the other records, there’s a lot of storytelling and scenario variation, but with this one the title comes from the book Dear Miss Lonelyhearts which I have not read but Nate read, I think, about a year ago and it had a pretty big effect on him so he decided to name the record that.

PASSION PROJECT

sually when we release an album we don’t have any expectations, because you never really know what’s going to happen,” Eluveitie vocalist Chrigel Glanzmann admits when he starts to reflect on the success of the band’s fifth studio album proper. Over a year on from the release of Helvetios, Glanzmann still seems flummoxed by the album’s success, which saw the band enter the top five of the album charts in their native Switzerland, as well as shooting up charts throughout Europe and the US. “Helvetios was something that we never expected, or ever thought could happen,” he continues. “It’s been extremely well received, our most successful album so far. It was our first album to enter the US Billboard charts… It was weird for us, because there’s a lot of melody in our music, but it’s still extreme metal.

“I think that’s my favourite on the record actually,” Maust says of the song. “I think perhaps that and Dear Miss Lonelyhearts are my favourite songs. Otherwise, I think the bass on Lost That Easy is the best part, from me at least – watching that unfold and recording that sound of that bass is my favourite part, I think.”

WHO: Cold War Kids WHAT: Dear Miss Lonelyhearts (Downtown/Universal) WHEN & WHERE: Saturday 27 July, Splendour in the Grass, North Byron Parklands

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As Maust mentioned, Tuxedos was the other track that came at the same time as Miracle Mile after the band had thought they’d wrapped the album. The album’s centrepiece, Tuxedos is another highlight on Dear Miss Lonelyhearts, a relaxed ballad that captures a more self-aware Cold War Kids at their best.

Look out Facebook! Hours spent participating per member dropping seriously. First really bad sign as seen by crappy MySpace years ago.

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The album’s lead single – Miracle Mile – is a rollicking slice of raw, piano-led rock, a sound not entirely indicative of what Galluci and Stalfors achieved together at the

area of town of LA, it’s a mile long stretch about four or five miles from where we live and I don’t think the song is necessarily about that strip of land – I’ll have to ask him about that actually – I like to keep some of the mystery with the lyrics, I don’t want to know all the time and like to interpret them in my own way. I’m just a spectator I guess, someone along for the ride.”

“It’s really funny as Miracle Mile was the last song we recorded for the record,” Maust confesses. “We were trying to rework what was going to become a B-side – I forget what the title was, I think it was Amelia or something like that – and Miracle Mile kind of came out of that, it came out of nowhere. We thought we were done with the record, took a few weeks off and went back to record some more. I hate the word B-side but that’s what we went back for, some more things and we recorded Tuxedos and Miracle Mile the same day. That song came out of nowhere! It’s kind of the same thing that happened with the last record – Louder Than Ever became the single and it was the last one recorded – quite funny.

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“I think it’s my favourite one so far,” bassist Matt Maust exclaims without a hint of irony. “It’s not like the first ones’ sound – we have a new member on this record and he’s our new guitar player who happened to also produced it. So yeah, that was a really new step for us, a new beginning for us – it was really good for us.”

production helm on the record as a whole. The album was recorded at the group’s home studio in San Pedro and, this time, drum machines and a more electro-tinged vibe a la Depeche Mode or New Order filters through what is otherwise ultimately the Cold War Kids’ sound.

“I’ve been listened to very hard rock over the last two weeks and I bought an album by a band called Red Fang which I really like. So I’m going back to being a teenager right now.”

Now with a fourth album – Dear Miss Lonelyhearts – under their belts, it feels like Cold War Kids have come full circle. They remain the frontrunners of passion when it comes to indie-rock, largely thanks to the sense of urgency and perhaps even desperation exuded by frontman Nathan Willett.

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Murder The Mountains Red Fang

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“Two years ago I bought Broadcast To The Focus Group by Julian House.”

alifornia’s Cold War Kids have always been embraced by Australian audiences, almost from the get-go, all while remaining somewhat of an intriguing enigma to all who buy their albums, casually download a single or two or even catch one on the radio. Across a string of EPs, now with four albums and more than a couple of classic tracks like Hang Me Up To Dry, We Used To Vacation, Hospital Beds and Something Is Not Right With Me, the band have developed somewhat of an affinity with Australia.

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Broadcast and The Focus Group Investigate Witch Cults Of The Radio Age Broadcast and The Focus Group

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op, but something that everyone will hate and it will flop, that’s a chance we are willing to take. We never wantt to be, how you say, circumcised, by business thinking.” As the band continue touring in support of Helvetios Glanzmann reveals that he’s already turned his mind to the band’s not one but next two records. One, a sequel to their breakthrough acoustic record Evocation I: The Arcane Dominion, and the other, another metal record. “It was quite a spontaneous thing really, some ideas came to me about the concept,” he says. “The next album we will do will be a metal album, but now I’ve got that concept Evocation Part II will come after the metal album. Basically our next two albums will kind of be linked together, conceptually.” But before the band head back into the studio, there’s still plenty of touring to take care of. Though the next stop on the band’s current world tour will see their maiden Australian shows take place, Eluveitie’s reputation as a live act precedes them. Known for playing with power while incorporating a bunch of weird and wonderful folk instruments, Glanzmann laughs and says that’s pretty much Eluveitie live in a nutshell. “We’re all pretty much, how do you say, music addicts y’know. As long as we can hold our instruments in our

hands we are ecstatic. And I think this is what comes across when we’re standing on stage, so the show is just a very natural expression of our passion for music.” As for the band’s rep to be able to do everything from the albums onstage, Glanzmann is resolute. They couldn’t have it any other way, basically. “What you hear on an Eluveitie record is what you get on at an Eluveitie show. What that means is there’s eight of us onstage coming up with these interesting folk instruments, so there’s something to look at.” But from a logistical standpoint, it must be pretty bloody hard for Eluveitie to actually put all those instruments together and recreate the dynamism of records like Helvetios and Slania, right? “It takes experience to know how to mix a mandola next to a fucking loud metal drum, but we’ve got it figured out by now. There’s no problem with that.” WHO: Eluveitie WHEN & WHERE: Thursday 23 May, The Zoo

But listening to Matt Berninger’s baritone mumbles and moans, a different picture emerges. Beyond the classic-rock records playing on the lyrical stereo – Bona Drag, Let It Be and Nevermind all get mentioned – there’s constant images of the sea, of being underwater, drowning; Berninger singing things like “learn to appreciate the void” and “I wish I could rise above it, but I stay down with my demons” as he hands himself over to the swirling darkness. And, up above, there’s always an inscrutable heaven looming, beckoning, even if he “can’t face heaven all heaven-faced”. “I have faith but don’t believe it,” Berninger admits; “if I die this instant” he wonders; later, “now I know what dying means”.

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n advance of its release, Trouble Will Find Me, the sixth album for The National, is being roughly painted as a ‘rocking’ set. After the sombre, elegant Boxer (2007) and opaque, claustrophobic High Violet (2010), this time the Brooklyn-based quintet are tossing out terms like “immediate and visceral” and “free-wheeling” to talk of their latest LP – the PR text promising directness, coherency and approachability. It’s, compared to a back catalogue filled with songs mournful, glowering and tortured in equal turns – they did, after all, release a record called Sad Songs For Dirty Lovers – The National at their most joyous.

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For their sixth album, Trouble Will Find Me, The National have built on a rekindled love of the band and found a little peace in the writing process. Guitarist Aaron Dessner tells Anthony Carew about the traces of ourselves we leave behind and the rollercoaster of brotherly relations.

MINING THE DEPTHS

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Like, I’d lay down a simple guitar part, a day later Matt would have some lyrics; we were much more laidback about the whole thing. Something did click with this record, like that chemistry came back, and it was happening that easily and that gives it this feeling of coming full circle, back to where we began. It’s refreshing, but oddly nostalgic.” WHO: The National WHAT: Trouble Will Find Me (4AD/Remote Control) WHEN & WHERE: Saturday 27 July, Splendour In The Grass, North Byron Parklands, Byron Bay

“It’s pretty strange, it’s like we’ve made a fun record about dying,” laughs Aaron Dessner, The National’s guitarist, who handles composition of the band’s music with brother/co-guitarist, Bryce. “There is a lot of references to passing, to the afterlife, to heaven, whether [Berninger] believes in it or not. For me, he seems to be exploring this idea that as you get older, you get more responsibilities, you have children, you start to think more about how your time here is not just your own life. The impact you have is felt in other people. When he says ‘we’ll all arrive in heaven alive’, I think what he means is that even when you pass, your children are still alive, your friends are still behind, the things that you’ve made are still there. It reappears throughout the record in different ways; like ‘I’m secretly in love with everyone I grew up with’. This idea that you’re connected to everyone you’ve ever known, that you leave a trace behind even after you’ve gone. I think all these thoughts emerged later, because at first we thought we were making this fun, bouncy record with lots of multi-layered drum-parts that give it this almost ‘dancey’ appeal. But, ultimately, when the lyrics start to emerge, you notice that there are all these references to death, even some seemingly suicidal references. As usual, Matt is blurring the lines between things with humour, you don’t really know if he’s really saying that or slightly sarcastically saying that.” Throughout The National’s ascendant rise of acclaimed records Berninger’s poetic lyrics have touched upon a run of social anxieties; from the awkwardness of being out on tiles to the burdens of encroaching middle-age, to trying and failing to live up to the dreams you have for yourself, or that others have for you. They’ve been, for want of a better term; determinedly grown-up, something that’s only increased since Berninger became a father to his four-year-old daughter, Isla. “He’s often thinking about how he’s responsible for his daughter,” says Dessner, “and how that’s more important than his rock band, more important than himself, even. It’s all coming through in the lyrics, this sense of the connection you have to others, with your connection to your child being the most intense.” Working on Trouble Will Find Me, Berninger was “in a much more prolific state-of-mind”, the usual pulling-teeth quality of the creative process falling away. “He had tapped into this very creative vein, where it was just flowing,” says Dessner. “The album takes its cues from that, in some ways: it’s an album that’s just flowing, and loose, and natural, and confident.” This makes The National’s sixth LP a huge contrast to the albums that preceded it. “Boxer and High Violet were both very difficult records to make,” Dessner freely admits. Freely, because it was hardly a secret; in fact, The National’s famously-fraught recording process – and the natural conflicts that arise of being a band with two sets of brothers, Aaron and Bryce, plus the fraternal rhythm-section of Scott and Bryan Devendorf – essentially became their identity. “There’s the story, which is true, about how we literally made 100 different versions of [High Violet’s] Lemonworld,” says Dessner. “It’s such a simple song that anyone would rightly wonder why we needed to make 100 versions of it, but that was just us trying to deal with these differences of opinion… There were a lot of inter-personal tensions when we were making High Violet, and it feels like it’s there on the record. But then the High Violet touring cycle turned out to be unexpectedly joyous, it was actually fun, and by the end we were enjoying being in the band, and felt very thankful for what we’d accomplished. There had been a lot of dark feelings brewing over the years, a lot of personal problems between us – nothing dramatic, but still very persistent – and, finally, it was like we all got over those things at the same time.” Dessner attributes much of that to the success of High Violet, which debuted in the top five in the UK, US, Canada, New Zealand and a run of European countries. After years of submitting to the touring grind and well-documented disappointment, struggle and unpopularity, now The National could play more sparingly, in concert halls, spend more time at home with their budding families. And, after they’d all grown to resent the dynamic of their band – and in some ways, the band itself – playing their shows after High Violet reawakened that love for the band-as-unit. “We embraced the chemistry of the band, rather than trying to fight it, and we just ran with it,” Dessner says; this leading all the way to Trouble Will Find Me. “It wasn’t an album without its difficult moments – I nearly lost my mind towards the end, as usual – but they didn’t define the recordings. Things just happened so spontaneously... We struck a nerve, and it was almost like the beginning of the band, when we used to just write songs.

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

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DRIPPING GOLD Using the strengths of multiple generations to get the best from their sound, HoneyBird hold the soul of the ‘70s for situations of today. Ilsa WynneHoelscher tells Benny Doyle how the pieces of the puzzle were placed.

Bon Scott statue for his hometown of Kirriemuir

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“We had a few line-ups before this final [one] and you’d always get to a certain point and then someone would leave or you’d get to a certain amount of tracks on your setlist and then someone breaks an arm and you’d just have to start again,” Wynne-Hoelscher laments. “Because even if you have to replace just one member you have to catch them up. We definitely thought for years we were [taking] two steps forward and one step back, but we’ve never really wanted anything more to come of this than to play and make music.” Taking on lyrical duties for the band’s debut, Ilsa penned the lion’s share last year. She recalls the time as being filled with hope in what lies ahead, trying to seek truth rather than dwell on negatives following the breakdown of a relationship. “A lot of the tracks, they seem a little heavy and dark in the lyrics, but in the actual music

and the melody of it, we’ve tried to marry it with this beautiful light – getting that light and shade.”

ith the core of frontwoman Ilsa WynneHoelscher and her guitar-playing father Anthony, the first formations for HoneyBird took place back in 2010 – the mutual goal: to write songs that moved them. Three years have passed since then, but finally the band have a debut record to their name and a solid line-up of versatile players rounding out the quintet.

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To achieve that balance in their bluesy rock, the vocalist leaves her written lyrics with the band to craft music around. The completed tracks that then return are often in a completely different light. “It’s great to collaborate with others but to have that starting point and get broader rather than be so focused,” Wynne-Hoelscher relates. After embarking on the songwriting journey that’s resulted in their debut, A Golden Thread, back in 2011, the quintet locked in studio time this year to provide that “deadline pressure”. Ilsa admits that the tracks changed a lot from their original incarnations, some with more polish, others with a newfound rawness – the end result being an eclectic album that mirrors their live shows. Now, since finishing the recording in April, the band have been tightening up their chops, ready to deliver the new music to fans, while also offering “a couple of covers that influenced the songwriting process”. “We’re definitely inspired by those rocksteady riffs from the ‘70s; that vintage feel and live sound,” the frontwoman tells. “And we’re not really sticking to one particular influence – we have so many.”

With a generationally varied line-up that includes members who lived through that golden era of rock’n’roll to ones whom have simply been bred on those sounds, HoneyBird simply rely on that unbridled musical passion and the onstage chemistry it spawns to hold their own identity. “I grew up listening to The Doors and Pink Floyd, and that’s all I’ve really known. As much as we do listen to modern bands – contemporary music – and get a kick out of different genres, that bluesy rock is just deeply seeded within us,” Wynne-Hoelscher concludes. “I mean, I don’t know how many times I’ve watched that Woodstock documentary.” WHO: HoneyBird WHAT: A Golden Thread (Birdbrain) WHEN & WHERE: Saturday 25 May, The Spotted Cow, Toowoomba; Thursday 30, Eatons Hill Hotel; Saturday 1 June, Woombye Pub, Sunshine Coast

FILM

ALEX GOW – OH MERCY

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Documentary maker Jamie Meltzer tells Anthony Carew the reason behind his decision to profile the mysterious motives behind radical activist turned FBI informant, Brandon Darby.

n the final days of 2008, Brandon Darby – a one-time radical leftist activist from Austin, Texas – typed an open letter to the internet, in which he owned up to media allegations that he was the incriminating FBI informant in the case of the Texas Two, a pair of college kids arrested for possession of Molotov cocktails at the 2008 Republic National Convention. They’d been demonised by the media, portrayed as domestic terrorists, and imprisoned thanks to the testimony – they said entrapment – of Darby. To some, Darby was a hero; to most, he was a snitch. “People have really strong responses one way or the other,” says Jamie Meltzer, the documentarian – and professor of documentary history at Stanford – who’s profiled Darby in the awesome Informant. “We have some great arguments in the Q&As! Standing up and yelling at each other, denouncing Brandon, or denouncing me for not denouncing Brandon. I knew I was stepping into that territory, so all of that has only been satisfying.”

I “Betadine throat wash, it’s fantastic. And hay fever tablets. Those are two things that work hands down. It’s incredibly satisfying.” Alex Gow has just finished touring with Beth Orton.

AFTER THE GIG WE...

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From the moment Meltzer read Darby’s open letter, he saw him as a ‘perfect’ documentary subject: “someone who does something that opens up a lot of really intriguing questions, which you can then explore for the next three years you’ll be making the film.” Taking

the Errol Morris approach, in a fashion similar to Bart rt Layton’s Oscar-winning The Imposter, Meltzer sits down his unreliable narrator in front of the camera, dramatically recreates his testimony, and then calls it all into question; making for a fascinating study in the slippery notions of truth and reality. “The challenge in this film was working with this really controversial character and respect the audience enough to let them come to their own conclusions about who he was and what he did,” offers Meltzer. “Brandon trusted me, but he also was aware that I wasn’t making a puff-piece. And it was difficult because I knew that, to make a good film, I had to betray him. I had to betray everybody in the film. I knew it was that kind of a movie: for it to be successful, nobody who was in the film could be 100 per cent happy with it.” “Really early on,” Meltzer continues, “the one thing that let me know that I definitely had a film in this, was that I’d spent a whole day talking to Brandon, interviewing him, and you’d understand him, and really see things from his point of view, and really feel for him. And then the next day I went and talked to Scott Crow – who almost turns out to be Brandon’s nemesis in the film – and I was completely under his spell. I realised this was

going to be a film about conflicting perspectives, where almost everyone on camera is unreliable.” In short: a film about an unreliable narrator becomes a puzzle of conflicting opinions, all of which are just as unreliable. “I wanted to put viewers in that uncomfortable position of asking them: ‘What do you think happened? Who do you think is telling the truth? Is anyone telling the truth?’” Meltzer says. “Essentially what I’m doing is putting viewers in the same position I was in when I was making the film, where you’re figuring out who you believe, and trying to find answers.” WHAT: Informant WHEN & WHERE: Wednesday 5 June, Human Rights Arts & Film Festival, Powerhouse, Tribal Theatre

LABOUR OF BROTHERLY LOVE Sydney three-piece post-rock juggernauts Solkyri have emerged triumphant from the studio with their debut full-length, Are You My Brother?, in tow. But, proud though they may be, making the album was not always smooth sailing, as bassist Andrew Pearsall tells Mitch Knox.

t was a very long and torturing process, unfortunately,” Pearsall laments. “It was just a long process from writing the first track to actually receiving the CD back in physical form. “It took a long time to mix, and we had a few unfortunate incidents with our mastering engineer – he had some personal items he had to deal with, so that provided some unforeseen delays – but we wanted to be very strict on what we were doing, and to try and achieve something that we haven’t done before.”

“I WAILIN H MONKS Drink all the drinks that they give us.

SLIM PICKINS Yeah, drinkin’ talkin’ to fine ladies…

WAILIN H MONKS Or not so fine ladies.

SLIM PICKINS Oh yeah, the uglier the better. Gay Paris touring nationally check The Guide for dates on themusic.com.au

But in achieving things, you do, or do not. There is no “try”. Everyone knows that, and Solkyri did. They just fucking went for it – they brought in vocals, vocalists, and a six-piece ensemble who, between them, played pretty much every instrument that could ever make a sound. “We didn’t really sit down and talk about what direction we wanted to take, but when we were writing we wanted to challenge ourselves and not do something that we’ve done before. I recall that, the first year of writing, we only penned two tracks because we tried to set the level and tried to achieve that level all the time, and at

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

the start it was a bit challenging and frustrating, because we were like, ‘Well, we’re not really getting there,’ but towards the end we did.” Being used to writing and playing instrumental music, having a vocal element was a new consideration for the band writing this album, though even the most polished examples of the new dimension – such as Home, featuring the voice of Melburnian jazz stalwart Hannah Cameron – were not necessarily envisioned as vocal vehicles. “Home was originally just a shoegazy guitar demo by our guitarist, Adam [Mostek], who just layered and layered and looped guitars,” Pearsall says. “And we thought it should be on the record, and we should all try and play on it, so we turned it into a pretty straightforward rock song. We brought it to the studio and it felt a bit empty, considering that it did flow through a kind of verse-chorus-verse-bridge-chorus structure, and our engineer, Dax [Liniere], suggested that we put some vocals to it. We were a bit suspect at the start, but [Melbourne post-rock band] Laura have done it well, Decoder Ring have done it … and we thought, ‘Let’s go out on a limb and give it a shot!’

“I think a lot of people have really grown to it. For people who don’t really listen to instrumental or experimental music, [vocals are] kind of a safety for them. And maybe it’s a good way to introduce them to sounds that they’re not already familiar with.” An even better introduction, one could argue, would be in the flesh. Fortunately, Solkyri are making northbound tracks our way. “Expect something that’s very diverse, and three guys just going for it,” Pearsall enthuses. “We have a lot of fun onstage; we like to get involved, and we like to bring it down with some slow numbers as well. I think there’s something for everyone, if people are open-minded and open to a good time… as cliché as that might sound.” WHO: Solkyri WHAT: Are You My Brother? (Bird’s Robe) WHEN & WHERE: Friday 31 May, Beetle Bar; Saturday 1 June, Tym Guitars (all ages)

MUSIC

[FEATURES FEATURES]

FIGHTING THE GOOD FIGHT He purports to be a man of the cloth, but in reality The Reverend Horton Heat is more of a road warrior-type figure. The Rev himself – Jim Heath to his folks – takes Steve Bell through the rockabilly great’s cocksure and convoluted history.

exan rockabilly legends The Reverend Horton Heat have had a long and eclectic career since convening in Texas back in the mid-‘80s, and the good times are showing no sign of abating. The hardtouring outfit are in the midst of writing and recording their 11th studio album – scavenging time in between gigs and road trips, naturally – which is also their first since signing to Chicago-based indie behemoth Victory Records. On the eve of their impending Australian sojourn, frontman and songwriter Jim Heath – whose stage name of The Reverend he shares with his band – tries to make sense of their new material.

“I kinda have to let it unfold as it goes – you never really know what’s going to happen,” he offers in his relaxed Texan drawl. “I try to predict what kind of album it’s going to be, and it always ends up being something a little different than what I started with. But that’s because I’m reaching out and trying to find new creative songs, and you kind of got to take whatever comes out of the cosmos and hits you on the head. My idea right now is that our last album [2009’s Laughin’ & Cryin With...] verged on being a straight-up country record – there was a lot of country on it – and I kind of envisaged just getting back to the straight Reverend Horton Heat rock’n’roll stuff, a little bit harder-edged stuff. Then we got talking to this label Victory – of course they do really hardcore stuff – so it’s a little bit unusual, but that could be a good thing. Their setup is brilliant and they’re great at what they do, so I’m flattered they want us. Gosh, it’s so difficult for us because we play so many gigs that it’s really difficult to write, record, rehearse – that sort of stuff that we really need to be doing. We’ll make it work.” One thing they won’t be doing at their new home is easing back on the humour that so liberally laces The Rev’s best material. “I kind of had an epiphany during doing that last album that our funny songs are the ones that are most popular with the audience,” Heath continues. “I don’t know if

I could only have every song just be funny. Actually my newer songs that are coming down the pipe are not necessarily funny, comical, zany things – I’ve got a little more serious stuff coming. There’s going to be some zaniness on there – there’s always got to be some zaniness on a Reverend Horton Heat album.” Even given Victory Records’ roster of punk and hardcore bands, it’s not that much of stretch envisioning The Reverend Horton Heat amid their throng. This is, after all, the same band that was signed to Sub Pop throughout the entire grunge explosion of the early ‘90s and who got to witness that strange era of musical history firsthand. “It was a great time,” Heath smiles. “Honestly, back then there weren’t really many rockabilly bands – there were a couple, there were several in America and of course every major city probably had a rockabilly band – but overall there wasn’t much out there. So Reverend Horton Heat always played the punk rock venues – the so-called ‘alternative venues’. We could play blues clubs, we could play country bars, we could play some of the more traditional type venues, but especially when we went on tour we were always playing the alternative/punk venues. “So in the Sub Pop years, one of the reasons they signed us was because we were already playing and doing well in the same venues as Nirvana and Soundgarden and Cat Butt and Mudhoney. So even though our music was far away from the grunge thing, we were already playing the same places and it kind of made sense in a way. But it was an interesting time just to see those bands just explode that big, especially Nirvana. Nirvana went in a very short time from a band playing in the little places that we were playing to just exploding almost overnight. Then all of a sudden, I remember those Sub Pop guys having a lot of money, so that Nirvana explosion especially was good for bands like us. “Sub Pop promoted us really well, and worked out a deal for us to be co-distributed through a major

label, Interscope – they tried to latch onto the whole Seattle thing and somehow a Texas band got on there. A lot of people really didn’t like us getting signed to Sub Pop, because we were a rockabilly band from Texas, and Sub Pop was supposed to be about ‘Seattle underground bands’ – that’s why it says ‘Sub’. But we’ve been one of the highest-selling bands that Sub Pop ever had, besides Nirvana and Soundgarden, because we’ve sold really consistently the whole time. If you sell well consistently for a long period of time, slow and steady wins the race.” Even though The Reverend Horton Heat are still rocking hard and relevant, Heath seems incredulous that his band’s been on the road for the best part of three decades now. “Oh I know, it’s pretty crazy, I can’t believe it,” he laughs. “It doesn’t seem like that at all – a lot of stuff that happened like twelve years ago seems like it happened a couple of years ago, and I’ll realise, ‘Wow, that was over a decade ago!’ But I try not to think about that or dwell on that, because I’m a fighter – I’m out here dealing with some stupid issue every day to make this band work,

and I’m still competitive. I still want us to be good, I still want us to be taken seriously, I still want us to be a band that’s looking forward to our new projects as opposed to a band that just sits back and goes, ‘Yeah, those days were really great, but it’s all over now.’ “I don’t like to think about all the years that are gone – I like my memories and everything – but one good thing about being busy, being a busy guy in a busy band, is that I don’t have time to stop and think about a lot of stuff that people might imagine a band should think about. Some of my friends who are my age go, ‘Isn’t it going to be a little weird, isn’t it going to be a little creepy if you’re eighty years old and still up there? What are your plans? What are you going to do?’ And I say, ‘I’m going to play music! Sure it might be creepy if I’m eighty years old and I’m up there playing this music, but who cares?’ If they want me I’ll go and do it, I don’t care!” WHO: The Reverend Horton Heat WHEN & WHERE: Sunday 26 May, The Hi-Fi

THE NEW ALBUM

ONE OF US IS THE KILLER

“Bursts out of the gate with stuttering explosions of drums and guitar, before dragging the listener through an ever-shifting landscape of brutalizing art-metal.” SPIN “A full-on kick square to the nuts.” METAL SUCKS AVAILABLE AT: BROOKSIDE MUSIC | JET BLACK CAT | ROCKINGHORSE | TITLE | KILL THE MUSIC

REMOTECONTROLRECORDS.COM

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

MUSIC

[FEATURES FEATURES] THE TIME OFF CREW ARE...

Cruise Your Illusion, Milk Music

GOING TO …And You Will Know Us By The Trail Of Dead, Coniston Lane

CHECKING OUT Animal Farm, QPAC

WATCHING I Swear To God, Jim Jefferies

READING Bradman’s War by Malcolm Knox

EATING Marinara Café, Paddington

DRINKING German beer at Brat Haus, Caxton St

GUMBO

One of Brisbane’s finest and most underrated indie outfits Dollar Bar are back with a new album, Paddington Workers Club, and frontman Dale Peachey tells Steve Bell how neither the tyranny of distance nor the inevitable passage of time will stop this group of mates from having fun together. or a while there at the turn of the millennium local indie quartet Dollar Bar could do no wrong. They released a string of vibrant, catchy EPs which totally captured the essence of their glorious and often shambolic live shows, and then capped it all off in 2004 with the release of their brilliant self-titled debut longplayer. Singles from Dollar Bar such as Cute Gurls Have The Best Diseases and Made In Paris soon saturated the airwaves – becoming staples of both community radio and our national youth broadcaster – but just when you though Dollar Bar were going to take things to the next level, they essentially disappeared.

From all accounts this split was completely amicable, with members moving interstate and the lustre of the band’s ambitions and achievements simply waning with time. Incarnations of the band would pop up from now and again, but these never involved the four mainstays at once so it was never quite the same, and for all intents and purposes Dollar Bar was consigned to the history bin, far too early and with far too little fanfare for many of their devoted followers. Then, a couple of years ago, word began to spread that they were getting the band back together. Soon there were even a couple of ad hoc releases in the marketplace – the demo collection Run It Up The Flagpole and the split-cassette with fellow prodigal Brisbanites Little Lovers both emerged in 2012 – but now, excitingly, they’ve taken this resurgence to the next level with the impending and long overdue release of their sophomore album, Paddington Workers Club. “We kind of just didn’t want to do it anymore,” recalls frontman Dale Peachey of Dollar Bar’s initial split. “We always had a hell of a lot of fun doing it, and I think it was getting a bit serious. Every band in the world wants to go higher and higher and higher and take the next step to get bigger and more popular, but we got to a point as a group which was as far as we wanted to go. We just stopped because it started getting a bit serious.

Check out our new food page in The Guide.

20 YEARS OF TRIPLE J’S HOTTEST 100

“Then we played at a mate’s birthday party after a few years’ break and just went, ‘This is so much fun! Why did we stop?’ Now we’re back doing it because we love playing together and we’re just having so much fun. We’re loving jamming with each other, and it’s great – it just feels so good. Playing at that party sparked the spark again, and made us realise that we miss the band and the songs and what we have onstage, so we decided to keep on doing it but more as a hobby now. It’s back to why we were doing it in the first place and we’re thoroughly enjoying it.”

Even despite their debut album’s enduring legacy, it seems a shame that it didn’t receive more attention at the time, a fact that Peachey willingly concedes. “Of course, I would have loved it,” he admits. “But I don’t think it would have made a difference to us stopping or anything like that. If a record label heard this [new album] now and wanted to pick us up now, I don’t think we’d do it – I doubt we’d want to drop everything to hit the road touring or anything like that. Unless a band like Superchunk came out and wanted a national support – of course we’d do that – but we aren’t really interested in the slog of touring and promoting ourselves, we’re all busy with families and houses and stuff.

“It is more of an even [songwriting] spread, but not on purpose. It started off in the beginning as mainly my stuff but by the end [of the first tenure] the writing was more even, and we’ve picked it up from that point. I’ve got no problem at all spreading it out, I like it. What makes Dollar Bar special is the combination of the four of us playing together – including Brendan [Rosen] on drums – and that’s what we’ve really missed. After so many years we’ve found our own way of playing together, and we’ve come back onboard doing it again. It’s a good unit – I really like this unit of people.”

Now, with Paddington Workers Club nearly ready for public consumption, such outdated concerns seem trivial. The new collection is typical Dollar Bar fare, loose and immediate, with all three major songwriters – Peachey, bassist Patrick McCabe and guitarist Chris Yates – sharing the load a lot more equally than in the past, and Peachey seems stoked with the outcome of their labours. “It’s a hell of a lot more lo-fi for starters,” he muses of the new album. “We recorded at quite a young studio – Donny [Miller]’s Nowhere Audio – and because our writing and rehearsing and playing together is quite random and long distance, we’re doing it completely differently now. We used to practice every week when we’d get together and we’d have our finger right on

WHAT: Paddington Workers Club (Independent) WHEN & WHERE: Saturday 25 May, The Waiting Room

iPA

NHA D E NC

iPA

LONG WEEKEND

WHO: Dollar Bar

MUSIC

“Obviously in the past nine or ten years our taste has changed a bit. Chris has been leading it a bit in regards where we do it and how we do it, and his taste is very rock – he likes his garage and stuff like Royal Headache, and this is showing in the recordings where we’re not being so fussy. We’re finding that we’re still getting a good song out of it. One approach we took at the start was going, ‘Stuff it, why don’t we just record a Guided By Voices EP?’, where the songs would be good but the production would just be a secondary consideration. In the past we’ve tried to punch the production up a bit, but this time we’re not so worried about it because we think the songs are going to work for themselves. It was a natural progression and what we had to work with, and we took as much strength as we could from that process.

“I don’t think our faces were out there enough – I don’t think we were out there pushing it, we weren’t really an ‘in your face’ kind of band. That’s why it didn’t get as much traction as it might have, because we weren’t up in everyone’s grill. A lot of bands just seem to be everywhere even if nobody likes them, and it’s due to management and promotion and just the way the cogs turn – it feels like they’re wasting space when decent bands could use that space so much better.”

SONGS THAT SHOULD HAVE MADE IT BUT NEVER DID

ARCADE FIRE - NEIGHBORHOOD #3 (POWER OUT)

the beat, but this time we’re going for that more lo-fi sound because it’s kind of what we have to work with in a way. But we’re doing the best we can with it, and I think it’s turned out awesome really, I really like it.

NHA D E NC

LISTENING TO

THE BEAUTY PART

There are few Australian groups as idiosyncratic as Underground Lovers. Brendan ndan Telford speaks to Vincent Giarrusso about the band’s longevity and driving force. ourteen years between albums, and it could have been easy to assume that Melbourne icons Underground Lovers had put the possibility for new sonic highways behind them. Each of the five members has branched off on their own creative mediums, whether they be other musical endeavours, animation or film. Yet the arrival of new album Weekend proves to be just as refreshing, original and inviting as when they first came on the scene with Underground Lovers back in 1991.

“Amazingly no tracks from Arcade Fire’s masterpiece Funeral have ever made a Hottest 100 list. I’m going to pick Neighborhood #3 (Power Out) as my favourite track, with its urgent guitars and chirpy xylophone, the hairs on the back of my neck are awoken from their slumber every time I hear it.” - Alex Dyson (Breakfast)

“Glenn [Bennie] or Phillippa [Nihill] had some money left over from a grant, so we thought why don’t the five of us just go into a studio and bang out some songs and see what happens,” Vincent Giarrusso explains. “We did seven songs one after the other in one rehearsal, then went into the studio and recorded them. Songs like Spaces, Can For Now and Haunted came out of that; in fact Can For Now was done for the first time in the studio and that was it, the structure and melody came together just like that. We thought we should just do it, finish a record. And we are all busy with our own interests, but they all feed into music anyway so it felt so natural.” Weekend echoes with band’s penchant for shoegaze aesthetics underpinning esoteric pop machinations,

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

yet Giarrusso stresses that it remained important to all of them that while acknowledging their past their eyes stayed focused on the horizon. “We didn’t want to make a nostalgic record, rather than focus on what we do that is natural. Nothing overly conscious, but I think that’s how all of us are. So we are really happy that Weekend sounds as fresh as it does. Our first show in Melbourne surprised us because there were so many young people there who were getting into the new stuff – it was their introduction. It didn’t feel like a trip down memory lane kind of audience; people actually wanted to and got involved in the new songs. We are aware of ageism in the industry, and that we may not have appealed to a young demographic, but that isn’t what music is. The industry is more about marketing and working out how to sell shit, because people want to put you somewhere so they can tick the boxes. It’s always been impossible to do that with us anyway, but the music will always speak for itself.” Even so, the veterans have had to iron out a few kinks when playing the new songs live for the first time. “It has been strange and a little more nervewracking than we thought it would be,” Giarrusso laughs. “We have found that the songs do flow quite effortlessly when put alongside certain older tracks,

but it’s been a little trial and error. But we now have (the set) as a gradual build up that is quite intense.” That word – intense – is a common part of the vernacular when it comes to describing Underground Lovers, both from a discerning listener and from the viewpoint of the band members themselves. “It has always been very intense; the gigs are intense, and we’re in it together and we’re bonding through this experience,” Giarrusso states. “Each show is emotional, in the head as well. It’s intricate with a lot of layers. We generally see music as a reflection of how we see life – high and low. That is why we named Weekend after a Jean-Luc Godard film, because we like things that are intricate and complex. We do have a laugh together too – it’s like we’re in a bloody sitcom together sometimes.” WHO: Underground Lovers WHAT: Weekend (Remedy/Rubber) WHEN & WHERE: Friday May 24, The Northern, Byron Bay; Saturday May 25, The Zoo

MUSIC

[FEATURES FEATURES]

SOMETHING SPECIAL Brooklyn-via-Texas indie upstarts Parquet Courts have been wowing the world with their debut album, Light Up Gold. Guitarist, vocalist and songwriter Austin Brown tries to explain to Steve Bell just why they’re not yet keen to expand on the somewhat modest ambitions that they set out with.

rooklyn indie-garage upstarts Parquet Courts became one of the buzz bands at this year’s indie schmooze-fest South By Southwest in Austin, Texas, creating a buzz with the energetic punk stylings of their live show which in turn drew attention to their recently-released debut album, Light Up Gold. Of course, as is eternally the way in these matters, a lot of water had already passed under the bridge before Parquet Courts were so abruptly and concurrently “discovered” by half of the world’s music hacks, and it was quite fitting that this mass epiphany took place in Texas.

PRESENTS EMMA LOUISE

Three of the band’s four members were born and raised in Texas before relocating to New York City where they formed Parquet Courts in earnest, gigging regularly and releasing their debut cassette release, American Specialities, back in 2011. As the band honed their craft their following grew accordingly, until in late-2012 they self-released the DIY-recorded Light Up Gold on frontman Andrew Savage’s label Dull Tools, which in turn drew enough attention for them to be quickly snapped up by New York indie What’s Your Rupture? (previously home to The Long Blondes, Iceage and Fucked Up) who reissued the album earlier this year. Now, following their efforts at South By Southwest, the band have attracted global attention and Light Up Gold is being released in countries everywhere, a somewhat surreal situation for the band members in the midst of this sudden maelstrom. “Yeah, it seems that way, huh?” laughs guitarist/ vocalist Austin Brown. “I try not to pay too close attention to all that stuff. It’s cool, it’s great. I feel like it’s been a steady rise from our beginnings in New York, and we’re just working on getting the word out there so that we can bring the party all over. Our ambitions I think were to first of all to complete a record in the three days that we could afford to make one, and secondary to that was impressing our friends – I think we achieved those things pretty quickly, so after that everything was pretty much a bonus. “We achieved our goals pretty quickly – our personal goals – and now it’s more about pushing ourselves creatively and seeing where we can take the music. That’s as concrete of a goal as I could really imagine right now. I don’t really have any goals within the music industry – that’s kind of unpredictable and has very little to do with what I actually do – but as long as I’m feeling interested in creating the music and pushing that further and pushing myself to do better and feel interested and interesting, then that feels successful to me.”

Thursday, Woombye Pub Friday, The Hi-Fi Saturday, The Arts Centre, Gold Coast Sunday, The Northern, Byron Bay

While Brown believes that the vibe of Light Up Gold is roughly indicative of Parquet Courts’ live sound, he’s not convinced that they’ve fully captured their onstage qualities on tape yet.

generic, shit lyrics if you’re trying to fit a certain amount of syllables into the rhyme scheme you’re trying to develop. I think it’s kind of boring really. We try to draw from our notebooks – we’re nerds in a lot of ways.”

“Actually, I think we play the songs better live than we did on the record, just because we’ve had that much more time to refine them and perfect the nuance of the tracks, but I think the core of the tracks are as you hear them on the record,” he reflects. “I kind of hear the tracks how we play them live. I still think there’s something to hear in our live show – I think the show is where it clicks for a lot of people. If they’re into the record then they’ll dig the show, but if they’re not sure about the record then I think that our live performance is really where we exist.

Parquet Courts now feel attuned to living in New York City, and while Brown is adamant that they’re not part of any scene (yet), he’s glad that they upped stumps to The Big Apple.

“Some of [the album tracks] are about three years old at this point, so they were about two years old when we recorded them. Some of them were about two hours old when we recorded them – a few of them were written in the studio. Although we actually recorded it in our practice space. A few were kind of written on the spot, but a few had been refined over a couple of years since we began. They’re still being worked out. They’ve all been in the live set for at least a few shows.” While their roughshod music is integral to Parquet Courts’ appeal, the lyrics are perhaps even more important, even if they seem somewhat flippant on initial listens before revealing their indubitable depth. “The words are important to us – I think it’s important if you’re going to sing something then you should say something, and have a point or a message or at least a story to tell,” Brown posits. “I feel like it’s kind of boring otherwise. I think we all appreciate a good, witty lyric – we’re all fans of literature as well, and I think that mind of shines through in the way our our ideas translate as lyrics. It all starts as writing before it becomes lyrics rather than searching for lyrics to put with a particular song – I think a lot of times you can end up with pretty

FROM THE ARCHIVES 14 MAY 2008

“New York is hard, but it’s thrilling at the same time,” he tells. “There’s that thrill that you get when you first come to New York, although I think that the same thing could be said for a lot of cities. But for me the thrill of being in New York has never really worn off – sometimes I’ll forget because I’m kind of bogged down with work, or the winter time is pretty brutal, but it redeems itself in the most surprising ways. I love this city – I call it home now. I’m definitely from Texas – I would never deny that – but New York is my home.” And while there’s so far only tentative plans to bring Parquet Courts to Australia later in the year, they already have a strong affinity with the local scene. “We’re going on tour with Total Control and UV Race in a couple of weeks, I’m so pumped!” Brown gushes. “I’m super-psyched on [Total Control’s debut] Henge Beat, it’s such a great record. That was kind of our jam record on our tour this winter, and I probably still play that record once a week. I’m a big fan of Eddy Current Suppression Ring and UV Race and Royal Headache, and we played a show once with Kitchen’s Floor and they were great – we love those Australian bands. It seems like there’s something special happening there that I wish was happening here, and I’m pumped to get over there and see what they think of us.” WHO: Parquet Courts WHAT: Light Up Gold (Create/Control)

We sent the intern into the archives to select at random an old Time Off.

INTERVIEWS Kisschasy, Drive By Truckers, Faker, Cog, The Dillinger Escape Plan, Adele

ALBUM OF THE WEEK Narrow Stairs Death Cab For Cutie

MUSIC

GIG OF THE WEEK Blue Line Medic, The Old Museum Concert Hall

WHAT YOU SAY

And shit, we had an ad on the cover!

Since inception, American extreme metallers Cattle Decapitation have been branded as militant vegan ambassadors. As they prepare for their debut Australian sojourn, frontman Travis Ryan speaks to Matt O’Neill about that misconception. n a land of sheep, even a toothless wolf is king. So wrote Tom Clancy; about a retired assassin hiding in plain sight. However, San Diego’s Cattle Decapitation would seem equally deserving of such an epithet. Since their 1996 formation, they’ve had a reputation as activists. Their disdain for animal cruelty has arguably outshone even their punishing death metal/ grindcore hybrid. Inappropriately so, it would seem.

Cattle Decapitation is not actually a political or agendadriven outfit. Their work is littered with rumination on religion, ethics, philosophy and environmentalism – but Travis Ryan seems almost obsessively compelled to clarify that the band are simply a band. He attributes their reputation for politics to a lack of any actual lyrical discourse within extreme metal. To hear Ryan tell it; Cattle Decapitation are simply not devoid of opinions.

“I think a lot of people see the name and think, ‘Oh, extreme name, extreme music, they’re vegetarian – they must be militant vegan PETA warriors or some shit’,” frontman Travis Ryan says. “It’s not like that at all. For me, I think of being vegan as a very personal choice. I’m not preachy at all. That’s one gigantic misconception with vegans – that we’re very preachy. And that’s definitely not the case with the band.

“It’s not a priority in extreme music, no. There’s just been so many bands that don’t talk about anything at all, so that when you do talk about something or have a theme of sorts, people pick up on that a bit more,” he explains. “There are some bands that are just absurdly huge that are just saying nothing. They’re offering nothing of merit and seem to have no discernible message whatsoever.”

“There was always tongue-in-cheek sentiment to this band, in everything we did. You know, it came more out of fun than people realise, I think. We’re kind of a weird bunch,” he elaborates. “The name doubles as a metaphor for the destruction of the human race. Which is what a lot of the lyrics are actually about, anyway. I think most of out fans get that. If you listen to our lyrics, I think you see we’re a different kind of band.”

Where many metal bands strive to be seen as an institution or an entity, Ryan prefers to think of Cattle Decapitation as the opposite. It’s arguably why Cattle Decapitation have managed to maintain a progression for over fifteen years. They’re not tied to a brand and can experiment as and when they wish. Last year’s Monolith Of Humanity was arguably their best effort to date. Largely on account of a newfound appreciation of melody.

ARTS SITE OF THE WEEK SKETCHPATCH.NET “I never thought we would last this long. The first couple of years were basically just me trying to keep the band alive while the other two dudes in the band toured with their other band The Locust. We just kept kind of morphing and evolving and changing. It’s been a really long, weird journey, you know. If you’d asked me ten years ago what our plans were, I’d probably have said we would have broken up. “It’s different now, though. I think we’ve really solidified our line-up. We’ve really figured out our sounds. I’d be very sad if we didn’t get to make a few more albums with this line-up. In a weird way, it actually feels like Monolith Of Humanity was our first record and not our seventh. After our last album, I didn’t think we’d come up with anything better – but I’m very proud of our progression.”

SketchPatch is like a moving portfolio or easel on the net. It’s hard at first but then very addictive. It’s like Snapchat for grownups.

WHO: Cattle Decapitation WHEN & WHERE: Thursday 6 June, The Rev

For more interviews go to themusic.com.au/interviews • 21

SINGLED OUT SINGLE OF THE WEEK

WITH CHRIS YATES

MAILER DAEMON Gravitas Independent The debut EP from Sydney hip hop producer Mailer Daemon has been a long time coming, and the time and effort poured into this collection of tracks is immediately apparent. It’s far from straight up hip hop, especially in the Australian sense, and merges big pop and R&B ideas into the crispy production. The result is not a million miles away from Kanye’s more epic produced pop numbers, and the wide range of guest performers enhance this aesthetic further. There’s a host of guest MCs including some well known names like The Tongue, Jeswor and P Smurf on Always On The Grind and up-and-comers Jackie Onassis nail it on Up In The Clouds.

THE STEVENS The Stevens Chapter Music The newest cats out of the house of Chapter Music are The Stevens and their debut 7-inch EP is available now. Fans of the Chapter Music stable of artists like Twerps and Dick Diver will be familiar with the now omnipresent aesthetic of jangly guitars and lazy vocals but The Stevens aren’t just jumping someone else’s train. The songs are insanely good, instantly lovable with most of them winding up before two minutes of your life has passed. The faster pace of I Look Back makes it stand out from the rest of the tracks straight away, but it’s all good as they say.

DECO CHILD

ALBUM OF THE WEEK

[REVIEWS REVIEWS] a l b u m

DAFT PUNK Random Access Memories Sony Daft Punk’s 1997 debut Homework is a perfect album. It explicitly referenced the past and sounded like the future and 15 years later, it still does. Homework was for the streets and the clubs, its follow up Discovery (2001) was for everyone. Using everything they knew about electronic music, they crafted a perfect pop album. Human After All (2005) failed to translate to the critics and fans due to its experimental guitarheavy sound and wholesale sample philosophy. Random Access Memories is the culmination and progression of those three works distilled into a new record where the only boundaries are those set by The Robots. It’s a long record – each track has enough time to be its own thing. Nile Rodgers’ guitar playing and The Robots’ signature synth arpeggios are really the only consistent sonic themes throughout – in fact, Rodgers’ Chic sound is the biggest influence on the record and the main ingredient that separates it from their earlier records. While the recording of live instruments does create a warmth, essentially the biggest difference here is that the samples have been recorded live and incorporated back in to the tracks. The drums often sound very real, such as on the guitar soloing outro of Giorgio or the yacht rock of Fragments Of Time. Pharrell Williams’ vocals are a fantastic recurring human element. Julian Casablancas and Panda Bear act more as song vehicles – personality flourishes such as those that litter Discovery. The album finishes with The Robots returning to space on Contact and the party is over for now, at least on earth. ★★★★½

CITY AND COLOUR

DEPTFORD GOTH

The Hurry And The Harm

Life After Defo

Dine Alone

Merok/Cooperative

On Dallas Green’s fourth record under his name-play moniker City And Colour, he well and truly distances himself from his hardcore past, The Hurry And The Harm looking forward with sound and substance. It still has those trademark ‘glass half empty’ lyrics such as the title track’s opening verse “Everyone/Wants everything/ No matter the cost/We’re longing to live in a dream”, but overall the music here suggests confidence and pride, and with a crack band of session musicians roped in for the Nashville recording sessions, including Jack Lawrence (The Dead Weather) and Bo Koster (My Morning Jacket), it couldn’t sound more exciting.

There’s a familiar calm that falls with the opening of Deptford Goth’s recent release Life After Defo. While not equal, a hint of the strange bliss that came when discovering The xx for the first time jumps to the surface. With lines like “I want to dance like her, like nobody’s watching” (Feel Real), Daniel Woolhouse’s voice plugs right into an emotional socket and hits the on switch. Because, really, who hasn’t felt like that?

For all this assurance, though, there’s still a journey taking place. Listening to the wistful air of Paradise and robust first single Thirst, it seems as though Green is continuing to discover his voice – trying to take it to places unknown. For fans to be a part of that growth through song is genuinely thrilling. And compared to 2011’s Little Hell, the tattooed 32-year-old seems to allow a glow to radiate from this music, although the lyrical content might suggest emotions otherwise. The tracks on The Hurry And The Harm are full and brimming with instrumentation throughout. And even when the album sheds a few layers, during songs like Two Coins and Take Care, string accompaniments can still lie comfortably within the structures and electric guitar solos can stand tall without overpowering. With The Hurry And The Harm, Green has truly found the flow, voice and soul of City And Colour. A stunning, well-rounded album that holds you close from the outset and never lets you go. ★★★★½

As a whole the album isn’t as sonically full or satisfying as The xx’s debut, lacking that perfect sense of timing that made each rhythm cascade into the next, somehow turning bleak and cavernous sounds into something truly warm. Life After Defo, with all its gloomy lyricism, is markedly colder. It’s minimalist in a way that doesn’t allude to something missing, but doesn’t quite fill the vast space it opens up either. To his credit, Woolhouse isn’t afraid of silence. Instead he uses it as an instrument to create an introspective world to immerse in. …Defo is like standing in a vast hall with high ceilings and listening to the almost audible hum of the air; the heightened echo of every tiny sound. For the record, Woolhouse isn’t from Deptford and he isn’t a goth. The bearded instrumentalist joins the clan of sad South London boys, locked in bedrooms, using music to say what they can’t quite express through mumbles. The vague verses here provide a stumbling expression of emotion from somebody who finds it difficult to put feelings into words. But the final offering is both eloquent and enigmatic, with enough empty space to find a nook to rest in. ★★★½

Samantha Armatys

Benny Doyle

Chris Yates

Skinless Ninja Tune Deco Child’s real name is Alex Lloyd, but don’t let that put you off. It’s not the same guy. A straight up piano line and some high falsetto singing are at the core of Skinless with some serious sub bass and 8-bit computer noises tastefully augmented into the mix. It sounds like it should be horrible, but there’s really no other way to describe it and the fact it actually works is quite astounding. There’s a James Blake-ness to the whole thing which is only worth mentioning to spark your interest – Deco Child is just using similar elements in his song constructions, the style and delivery is very different.

JEN CLOHER

VAMPIRE WEEKEND

WIRE

In Blood Memory

Modern Vampires Of The City

Change Becomes Us

POND

Milk! Records/Vitamin Records

XL Recordings/Inertia

Pink Flag/Popfrenzy

Giant Tortoise

After four years almost completely out of the public eye, Melbourne’s Jen Cloher emerges with her third longplayer – and something has changed. Two successful records in Dead Wood Falls (2006) and Hidden Hands (2009) had Cloher pinned as an immensely talented songwriter with broad appeal who probably should break through to the mainstream but probably wouldn’t.

“Whenever we came up with something familiar sounding, it was rejected,” said co-producer Ariel Rechtshaid about the third album by New York band Vampire Weekend.

Change Becomes Us has an interesting, perplexing back-story. After the excellence of their first three records Pink Flag (1977), Chairs Missing (1978) and 154 (1979), the band had material ready for a fourth album that failed to arrive as the core trio of Colin Newman, Graham Lewis and Robert Grey began to implode. Some of the tracks made the grade in live performances in 1980, but in the main they were left by the wayside.

Modular The ‘70s rock influences on Pond’s first track from their new album Hobo Rocket are even more pronounced than on their unexpectedly successful debut. The riffs are heavy, like Led Zeppelin, and the vocals and melody are straight out of Dark Side Of The Moon. Of course, there’s still a heavy Beatles presence on the song structure as well. Lazy musical references they may be, but they are obvious and it would be remiss to pretend they’re not. That Pond sound like their own thing, which they certainly do, is the success of a band who already have escaped the shadow of their big brother Tame Impala.

JOSH ABRAHAMS The Swim EP Thirty Five Music A smooth collection of sounds as Josh Abrahams takes a break from DJing or producing music for other people to make his own stuff. Presented as a hobby project, it’s a quite interesting genreless mix up of all manner of shit. He revels in not following rules or trying to be commercial and it works out very well for him. Swim is the standout, with a very fluid sound that drops kooky vocal samples in next to downtempo techno arpeggios. Wind Her Up changes tack regularly and features some more organic sounds next to spiky synths.

While In Blood Memory is not going to bring her any closer to widespread fame, it shows a bolder, more assured performer mining grimier musical depths than ever before. She injects more swagger on these seven tracks than we’ve ever heard from her, but at the same time her performance seems slightly less contrived. Cloher sounds a little looser and a little more self-assured; she didn’t sound lost before, but she sounds utterly at home now. It’s louder too; Cloher’s new band finding inspiration in the likes of Crazy Horse, Television and the presently thriving Melbourne underground. Tasteful flourishes colour Cloher’s dour songs; mellotron and handclaps in opener Mount Beauty giving a widescreen scope, bent out of shape pedal steel on Kamikaze Origami giving an uneasy lounge song vibe, while the unabashed album ending is an explosive full stop on the work. Cloher herself seems to channel new influences, with the spirit of Lou Reed, PJ Harvey and Patti Smith stomping all over Aussie folk darlings she’s been compared to in the past. In Blood Memory is unexpectedly daring and ultimately refreshing. Its long songs, distorted guitars and freewheeling spirit might shock older fans, but Jen Cloher has never sounded more comfortable and, as a result, more affecting on record. ★★★½

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

Dan Condon

The summer-tinged tropical pop is gone. The naïve college hipster sound is gone. Songwriters Ezra Koenig and Rostam Batmanglij have taken a much more mature approach to Modern Vampires Of The City, where they draw from sounds of the ‘60s and step away from their prior pop sound. There’s a depth to the vocals, however the lyrics are as cryptic as ever. Diane Young is the lead single, and may just be the greatest song they’ve released to date. ‘Diane Young’ isn’t actually a person, but a character created to substitute for ‘dying young’. It’s an old fashioned rock’n’roll song, and an image of a black and white video clip with the band’s hair slicked back, vintage equipment and wearing tuxedos is given. The lyrics are deep and slightly dark, but Vampire Weekend put an entertaining spin on it. It may be the only track on the record that’s reminiscent of the Vampire Weekend you think you know.

Cue 2012. Newman, Lewis and Grey are back together; Wire is as crucial as ever; and their last original album release, 2011’s Red Barked Tree, was filled with the vitality that made their initial explorations so potent. Joined by guitarist Matthew Sims, they revisit these songs and the album title becomes an apt signifier – the hunger and vitriol of their youth mingles with their age and the future for this fascinating record.

That’s not a bad thing at all though. They experiment with some fun and interesting sounds and effects, creating an ambience and eeriness that’s very effective, even when quite melancholy. However stripped back some songs are, there’s still a full sound and a depth that many bands struggle to find in the modern times. Tracks like Everlasting Arms and Hudson have this empty yet overflowing sound, used so effectively that Modern Vampires Of The City is bound to be another cult hit for Vampire Weekend.

Doubles & Trebles kicks off in typical Wire-esque fashion – a stuttering, cold anti-anthem about isolation behind enemy lines. Yet it’s when Keep Exhaling hits that we realise that these wily dogs continue to confound, contuse and explore – a sub-two minute Bowie malaise over a quickfire drumbeat, underlining why bands like Muse seem so hollow and artificial. The opening riff on Adore Your Island taps on the shoulder of Baba O’Reilly, Newman’s vocals drifting forward like a sleepy Roger Waters, before a jarring punk pummelling starts, then stops. Lewis takes the vocal reins for Re-Invent Your Second Wheel, a good little pop song; and while Stealth Of A Stork and Eels Sang riff off old times, Change Becomes Us remains an exciting album – recycling in creative overdrive.

★★★★½

★★★★

Tom Noyes

Brendan Telford

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BRIGHTLY Beginnings And Endings Independent “The entire album is brilliantly put together and not once does it feel contrived.” Justine Keating

OWL EYES

MARK LANEGAN AND DUKE GARWOOD

KILLING JOKE

Nightswim

The Singles Collection: 1979-2012

FOURTEEN NIGHTS AT SEA

Wunderkind/Liberation

Black Pudding

Spinefarm/Universal

Great North

Given her release of three EPs in three years, which included the big electro-pop personality of singles Raiders and Crystalised, Brooke Addamo – aka Owl Eyes – built quite a level of anticipation for her debut long-player. While those looking for more of the same may be disappointed to find Addamo’s focus is on unhurried, dreamy synth-pop soundscapes across Nightswim, there are still moments where her knack for vibrant melody asserts itself; Hurricane restores hope with an immediate hook of crisply layered harmonies after the title track presents as a plodder, and Diamonds In Her Eyes opens up wonderfully in the chorus as the songstress pleads: “I will do unthinkable things for you”. Love Run Dry is the other key moment for those with a bonus track copy of Nightswim; last year’s single provides the perfect blend between understated synth and beats and the wonderful soaring heights of Addamo’s voice while adding strings to highlight the sentiment – relegating it to last-track bonus status is kind of baffling.

Heavenly/PIAS

Killing Joke have long been overdue for a proper compilation. For 35 years, they’ve been counted as one of Britain’s most idiosyncratic and influential acts. Across 15 studio albums, they’ve influenced Metallica, Nirvana, Soundgarden, Fear Factory, Faith No More and countless others. Unfortunately, The Singles Collection doesn’t quite do their sprawling career justice. Granted, it’s stronger than any previous attempt. Running the gamut from the band’s earliest singles to last year’s MMXII, The Singles Collection touches on every crucial era of the band’s history. Nervous System and Wardance showcase their early, primitive mixture of dub, metal, punk and political tribalism. Their synth-pop period is well-represented with cuts like Love Like Blood and Adorations. The second disc, meanwhile, captures both their experimental ‘90s work (1994’s Pandemonium, 1996’s Democracy) and their abrasive noughties material (2003’s Killing Joke to 2012’s MMXII).Unfortunately, in attempting to capture their entire chronological scope in such a limited setting, they’ve been forced to cut too many corners. 1996’s underrated Democracy is represented by one track, and 2006’s arguable latter-day masterwork Hosannas From The Basements Of Hell is similarly undervalued. Furthermore, much of their latter material is only included by grace of hamfisted editing – cuts like 2010’s abbreviated European Super State just sounding awkward and rushed.

Hobbledehoy/MGM

The influence of ‘90s R&B becomes clear on Open Up – back in the day you’d expect a track like this to have a film clip featuring a forlorn beauty writhing up-and-down a wall like her life depended on it, and Addamo does well to modernise the mix of bassy and dreamy synth, but the lyrics are no literary revelation. Closure peps up with straightforward blocks of catchy melody; if there were more peaks, hooks and highs across Nightswim, this would make for an excellent album track though overall the expectation isn’t quite matched particularly considering Crystalised was a highlight of 2012. Nightswim, however, will grow with time, as no doubt Addamo will. ★★★

Black Pudding is far from the first collaborative effort to come from Mark Lanegan and Duke Garwood. Garwood has played guitar on Lanegan’s albums in the past, and the two have been seen on the same bill at various gigs for years, however, it’s the first recorded studio album to come from the pair with dual credits. Listening to the album, it’s definitely the Lanegan show. He takes control of the proceedings with the same formula that has served him well for his previous solo albums. However, the influence of Garwood cannot be denied; his multi-instrumental contribution is subtle, yet has a distinct impact on the themes of each track, and the overall identity of the record. Opening title track Black Pudding and closer Manchester Special have the effect of bookending the album, as they are purely instrumental, guitar-focused songs. Black Pudding is a bold and intriguing opening statement, which possesses a slightly Spanish feel, while War Memorial has more of an oldworld Americana vibe. The addition of keys to Last Rung ushers in a spooky, haunting effect, while Cold Molly funks it up with some slapping bass and synths. With each theme change and instrumental grab Garwood’s input can be heard, and always in the perfect dose. Without his diversifying sound, this record could possibly have run the risk of falling into sleepy, boring territory. Lanegan and Garwood have found a great working balance for Black Pudding, playing to each other’s strengths in order to produce a thoroughly enjoyable listen. ★★★★

Jazmine O’Sullivan

As a primer for newcomers, it’s probably the best on the market. It just doesn’t fully measure up to Killing Joke’s considerable legacy. Still, with a catalogue that spans from dub-reggae to heavy metal by way of industrial techno, synth-pop and orchestral music, it’s probably a miracle they’ve come this close to the mark. ★★★½

“Great North does not reinvent the genre, but it’s a brilliant Australian record and for fans of This Will Destroy You or modern instrumental/post-rock in general it’s utterly essential.” Andrew McDonald

THE LIVING EYES The Living Eyes Z-Man/Fuse “Straight outta Geelong, the self-titled debut from The Living Eyes is as basic and infectious as it comes… the four-piece rollick along, offering lackadaisical meditations on staying home at night, wanting to be left alone, and wanting to stick it to the man, as long as it doesn’t take too much effort.” Brendan Telford

CHARLES BABY The End Of The Terror Lights Independent “It’s the perfect balance of tragedy and beauty and the artistry that’s gone into the lyrics mark Charles Baby as an intricate and genuine wordsmith.” Lorin Reid

Matt O’Neill

Tyler McLoughlan

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

[REVIEWS REVIEWS] l i v e and general beat lovers who start to fill the bar and tables. Indigo Rising sisters Dayelle and Lani bust their floetry before getting Brothers Bond and the Kryptamistik boys back onstage. The end of the set opens the silent auction for graff pieces, ensuring tonight’s theme is complete. Laptops on cartons, Nick-One and New-Years Steve begin with an Afrika Bambaataa scratch out, catching the crowd’s attention. A mix of Wu-Tang and Biggie over soul and jazz samples has a few B-boys and -girls popping in their own circles. Verbill then fires up the mood for a Back In The Days collaboration which gets followers heading to the floor. As the subs and speakers are turned up, veteran DJ Katch has the growing crowd finally packing the floor and forming a B-boy circle which hasn’t been seen since Club Mercury days. The moves being busted out get everyone hyped, officially starting tonight’s block party.

ISAIAH MITCHELL, KELLIE LLOYD, BLACKIE, ROBERT MACMANUS THE TRANSCONTINENTAL HOTEL: 16/05/13 Having won over legions of fans in the past few years with his day job in Earthless, Isaiah Mitchell is back in town and this time is heading out for a rare solo jaunt, hitting up the recently revived Transcontinental Hotel with an impressive list of supports in tow. Deftones @ The Tivoli Pics by Rick Clifford

DEFTONES, HYRO DA HERO THE TIVOLI: 14/05/13 It’s a weird vibe inside The Tivoli with news filtering around that billed support letlive. have had to cancel their appearance tonight due to unexplained travel issues. In the group’s place is LA-via-Houston rapper Hyro Da Hero, the MC in the unenviable position of performing to a room rammed with metal fans. Fair play to the 25-year-old and his beat wizard Daniel Anderson (Glowbug) though; they try their hardest to make the best of a bad situation. Hyro has his shirt off, muscles ripple, middle fingers are thrown and polite applause is given before the mention of Deftones generates the biggest cheer of the night thus far. It’s a sea of raised arms that greets Deftones when they take their positions one by one across the darkened stage. Chino Morino soaks up the adulation from the foldback monitors while the rest of the quintet give the nod and rip straight into it; the new school sounds of Rocket Skates and Diamond Eyes leading into a bit of fierce nostalgia in the way of Be Quiet And Drive (Far Away), which is seamlessly segued into My Own Summer (Shove It). The visceral nature of the performance is something else, and the unbridled energy that sends out songs like You’ve Seen The Butcher and Feiticeira is insane for a bunch of middle-aged blokes that have been in the game for 25 years. Deftones have always been masters of brutality with generous lashings of beauty, and that’s highlighted this evening with Sextape and Riviére, but for the most part it’s the Sacramento alt.metal kings bringing the hammer down on the packed house, again and again. One thing that is apparent is just how much the fivepiece are enjoying music once more. Smiles are being shot every which way across the stage, jokes are shared, laughter is constantly visible, and their individual playing reflects this with that renewed passion felt through every one of Stephen Carpenter’s riffs, through every beat sent out from drummer Abe Cunningham. Change (In The House Of Flies) draws out the crowd’s voice for the biggest singalong of the night, before Bloody Cape caps an epic set which is then promptly trumped by an all-Adrenalin encore made up of Root, 7 Words and Engine No. 9, complete with Morino screaming heart and soul from the upper mezzanine level without missing a single cue. Considering the passing of former bassist Chi Cheng last month, the vibe of tonight’s show could have been south before we even started. But for Deftones to come out and celebrate the music of their fallen friend so emphatically, it’s probably the most touching tribute they could send towards the clouds. Benny Doyle

LOCAL NATIVES, NEW GODS, TEXTURE LIKE SUN THE ZOO: 19/05/13 A small but eager crowd turns out early for opening act Texture Like Sun. The Melbourne duo doesn’t deliver the brightness their name implies, but sets the tone for the evening with a moody and provocative set made up of eerie keys and vocals so deep they could penetrate the wooden floors and seep out into the streets below. There’s a hint of Bon Iver, Jeff Buckley and Nick Cave present, and with such a brotherhood of influences, there’s plenty of promise on the back of the release of their debut self-titled EP. Indie super group New Gods are next up. With members from Little Red, Eagle and The Worm and Ground Components, there’s enough collective talent to easily furnish the 30-minute set. At times, the sheer skill of all the members released at once is almost stifling. Guitar leads clash into each other and the distinct vocals of frontman Dominic Byrne are begging for a softer cushion to spring from. But when they get it right these guys create big moments. Closing track Eyes Of Love is dedicated to favourite comedian Bill Hicks, with a tight wall of sound providing a stellar punch line. The crowd enthusiastically welcomes Local Natives as they begin the last night of their Australian Hummingbird tour. A knitted sweater-clad crowd gather at the front of the stage, looking for a little warmth from the LA quintet. Collectively, a group of hummingbirds are called a choir, and it’s clear from the opening notes of You And I that the title for the latest album is fitting; the track is a menagerie of harmonies that come together like the fluttering of so many tiny wings to create a thunderous sound. Immediately apparent is the vocal weight of the group. Taylor Rice’s haunting refrains defy restraint and grow stronger with each track, backed by the dense tones of Kelcey Ayer, Ryan Hahn and Nik Ewing. Drumming from Matt Frazier is attentive, hypnotising and flawless. Wide Eyes and Breakers make early appearances and give a whole new meaning to the repeating “oohs” and “ahhs” so common in indie music: when these guys do it the words take on an instrumental quality rather than just providing vacuous filler between hooks. There are tracks from debut Gorilla Manor to keep diehard fans happy – the joyous Airplanes is heartwarming and delightful – and the night ends with an encore of Wooly Mammoth, Who Knows Who Cares and Sun Hands. Local Natives inhabit the same musical universe as bands like The National, Grizzly Bear and Broken Social Scene, but tonight proves that few can rival their ability to make an hour seem like a few minutes with a set full of raw power and emotional dexterity. Samantha Armatys

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

The room is noticeably sparse which is a bit of a shame, however, the action is on the stage. Opening the night, Robert MacManus – formerly of Grey Daturas and current Heathen Skulls mastermind – warms up the crowd, and his solo sound really strikes a chord with the audience, in some ways baring certain resemblance to his earlier work, while at the same time blending into something completely different: a great way to kick things off. Following on, Blackie of Australian punk legends Hard-Ons fame is perhaps in some ways the odd one out on the bill, but his solo material strangely fits and hits with the element of the crowd who are obviously keen to get down to some psych. By the time Kellie Lloyd hits the stage a few issues have arisen. Sound is not great, and halfway through Lloyd’s set the attention span of the audience starts to wander back to the bar and the smoking balcony, which is perhaps in part due to the lack of an actual band on tonight’s bill. Still, her set in part works by drawing from material both old and new and her voice sounds as good as ever, as she drives the intimate sounds that have cropped up in her work since her Screamfeeder days. Now for the main event. The crowd has barely grown by the time Isaiah Mitchell takes the stage, but those present are naturally eager to see the San Franciscan murder his axe, which unsurprisingly he does with style. Speculation as to what Mitchell plans on delivering in his solo incarnation was always a universal interest throughout the venue, and the sound is a mixture of wah-driven solo madness with drum machine beats and loops providing the canvas for the guitar mayhem. It isn’t too far removed from his work with Earthless, but strange elements such as electronica pop up and they do seem fairly natural. Mitchell is also quite humble throughout and it’s clear that this is an avenue that he could pursue in the future. While musically tonight is most definitely a smorgasbord of seasoned artists doing what they do best, the problem lies with the lack of expansion amongst the line-up which makes things a little slow. This, coupled with the cold and small attendance, is an unfortunate downer on the night that doesn’t define it, nor aid it. Bradley Armstrong

HI-FIDELITY OLD SCHOOL BLOCK PARTY FEAT. DJ AFRIKA BAMBAATAA THE HI-FI: 17/05/13 The hi-tops, three-stripes, ghetto gold and Kangols are out in full force for tonight’s throwback shindig. Desmond Cheese and Indigo Rising casually jam out to entertain the mix of local supporters, older boom bappers, youngbloods who have found an identity within the culture

Crate Creeps keep up the energy as DJ Butcher provides the backing track while Tommy Illfigga plays around with his own live beatbox recordings. They then “take it way back further” as Tommy puts his wayfarers on to jam out on his trumpet mic which has the crowd roaring. He spits an ode to Boom Town with an Area Codes a capella then calls for an Elements Collective dance showdown which he joins. King Kamonzi then takes the mic and really transcends back to ‘70s New York with the most classic of hype lines. The guest of honour Afrika Bambaataa silently and almost secretly appears on the decks and selects the jams for his party mix. With an emotionless expression, he plays Rick James to Nirvana, jungle to jazz, brass samples to dubstep while still keeping that hip hop beat, and has half the crowd just partying and the other half with expectant eyes on the stage, heads still bopping of course. King Kamonzi continues to hype and preach the Zulu Nation message, calling for some B-boys on stage – real block party style – which has the entire EC crew sharing the headlining set. Kamonzi calls out moves as they’re being pulled, keeping with the unity message. Though not much of a performer, Bam continues to select from his Mac and tweak on the mixer which keeps the party going. Then just a subtly as he appeared the ‘Godfather of Hip Hop’ vanishes as his mix plays. Jann Angara

NAT DUNN, THE STARRY FIELD BLACK BEAR LODGE: 15/05/13 The stage at Black Bear Lodge is first commandeered by Mark Myers’ (formerly of The Middle East) new solo project, The Starry Field on this hump-day. Considering it’s a weeknight, he’s pulled a commendable crowd to the venue, and gets to work charming the audience straight away with a stripped-back, completely solo, acoustic performance. The set is opened with his single If All Your Troubles Were A Sea, and his vocals are so endearing that they have the effect of instantly warming the room. A few songs in, however, it becomes difficult to stay focused on the performance; while the songs are very lovely and sweet, they start to feel more and more like background music as the set carries on. Myers’ album Back On The Milks contains a plethora of instrumental layers, such as keys, drums, synths and backing vocals, and it feels like he does need some accompaniment to make his performance live up to that potential and really shine. Local songstress Nat Dunn has sold out tonight’s show, and as such the room is buzzing with energy and positivity when it’s time for her to take the stage. Tonight’s show marks the launch of her debut EP A Fool’s Fate, and she kicks off the proceedings with her upbeat new single Trigger, which is followed closely by the title track Fool’s Fate. Both songs are met with an incredibly warm reception from the audience, yet one can’t help but feel that a little more subtlety in Dunn’s performance would allow for more resonance. She introduces her next song Mango Tree by telling us that it is of personal significance to her, as it reminds her of friends and family, and perhaps for this reason, the song is much more effective in hitting the mark – it’s one of her slower songs, yet it showcases the beautiful, smoky quality of her vocals in a style of blues that feels more suited to her than the previous tracks. While Dunn and her band do appear to be enjoying themselves, similarly to Myers, there is something missing from the performance to make it really hold attention. Her vocals are good, and her band is willing and able, yet there are times throughout the night where it all feels a little bit forced and overdone. Jazmine O’Sullivan

live

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

Super Wild Horses @ Black Bear Lodge Pic by Jazmine O’Sullivan

SUPER WILD HORSES, DAY RAVIES, THE KRAMERS BLACK BEAR LODGE: 17/05/13 It seems gig-goers are loathe to come out of hiding and brave the cold early, forcing opening act The Kramers to play to a barely-there audience at Black Bear Lodge. To their credit, the local outfit perform with all the gusto and energy you might find at a sold-out gig. Frontman and creative instigator Ethan Kernaghan is a sight to behold – while he mightn’t be old enough to enjoy an alcoholic beverage, he possesses a charisma, musical ability and commanding stage presence that would be the envy of many performers twice his age. While slamming out his rockabilly, garagey, surf-pop riffs on the guitar, he’s also flailing about spasmodically, moaning, groaning, grunting and howling, and it all comes together in a strange yet beautiful way. Melbourne-based drone-pop outfit Day Ravies are next, and are welcomed by an audience much stronger in numbers. This group ooze charm and indie sensibilities, while giving off an overall tone of modesty and simplicity. When they play their single Double Act, the slight imbalance in the sound levels has a noticeable impact, as Lani Crook’s sweet and innocent vocals are barely audible over the guitars. Adding to her troubles, halfway through the set Crook’s synth stand collapses, and while shocked for a moment, she swiftly proceeds

to keep playing from the ground; a ringing endorsement to the old saying ‘the show must go on’. With Sam Wilkinson, Caroline De Dear and Crook sharing the vocal duties quite equally throughout the set, there’s a good blend of soft and heavy, light and dark. Super Wild Horses, the Melbourne-based duo of Amy Franz and Hayley McKee, are welcomed with a tremendously warm reception from spectators when they take the stage. Franz is in control of the guitar and leading vocal duties as they open the set, giving us a solid run-through of tracks from the sophomore album they’re launching tonight, Crosswords. With Franz as frontwoman, there’s a distinct lean towards the grungey garage vibe, as evident in Alligator, Memphis and You Have Two Feet (So Run). The pace is then slowed down for the sombre sounds of Dragging The Fog, before the girls swap instrumental duties for the remainder of the set. McKee brings a softer, surfier style of pop to the evening, with Waikiki Romance, Meant For Two and Setting Sun. Together, these girls have an unassuming and beautiful stage presence, which the audience have been lapping up right from the start. With few of their songs reaching the three-minute mark, the set is short and sweet, although it seems as though most of this audience could have danced and swooned to the tunes of Super Wild Horses all night.

UNDEAD APES

LOOMER

Pick Your King

Bolt

Independent

Lost Race Records

Undead Apes are a proper punk rock band. Their influences have always deliberately shone through, but on their newest EP, the merging of all these twisted minds is even more apparent and it becomes a serious melange of different ideas and voices. The real shock to the system is the last track, Bitter Guy (UK Surf) – without a distorted guitar in sight, ex-Sekiden player Simon Graydon let’s his pure pop sensibility bubble to the surface of the surf and recollections of his old band come flooding back. The John Mercer fronted Rhetorical Cats is sure to be loaded with great jokes that I haven’t quite been able to pull out yet.

One from the vaults that is luckily seeing a re-release, Loomer’s 2010 album Ceiling will be getting pressed onto vinyl for the first time, albeit in a very limited quantity. Even if you miss out on the vinyl, there should be digital versions floating around for infinity which is a great thing. The track Bolt is being previewed as the first single, and it’s a dictionary definition of shoegazer drone shit done right. The guitars are noisy, the drones don’t let up, the vocals are buried – the subtleties in the guitars and vocals are all that stop it washing out into total nothingness. Members of Loomer went on to be in Slug Guts, Per Purpose and Lakes, so if you’re a fan of those bands you need to hear this.

GHOST NOTES

HEY GERONIMO

Go Where It Takes You

The Dan Kelly Song

Incremental Records

Independent

The drums are so distorted at the start of Go Where It Takes You that it’s hard to imagine exactly where you’re gonna end up. If you did hazard a guess, chances are you’d be way off the mark. A smooth guitar line enters and sits comfortably at odds with the broken sound of the drums. When the appearance of a trumpet (I think) wails over the bouncing bass line it sends the track into proper jazz territory, only to be destroyed by a massive chorus-break of distortion. Things all pile up on each other from this point in and everything explodes into a cacophony before breaking down again to nothing as it ebbs away.

Hey Geronimo’s singer Pete Kilroy says he was having a dream where Dan Kelly and Sir David McCormack were helping him write Hey Geronimo songs. In trying to pay tribute to Dan Kelly, himself a fervent admirer of McCormack’s prowess, Kilroy has got most of it right. The verses and (especially) the handclapping breakdown are total Custard rip-offs (and therefore Dan Kelly rip-offs squared) but the chorus really misses the mark and sounds more like an advertisement for Wet’n’Wild. Much respect for the attempt, and my disclosure as a McCormack fanatic is necessary and probably means I’m being a bit harsh.

Jazmine O’Sullivan

For more interviews go to themusic.com.au/interviews • 25

[REVIEWS REVIEWS] a r t s

ALIAS RUBY BLADE FILM After a plethora of advertisements for ethical super and bank companies, the closing film of the Human Rights Arts & Film Festival, Alias Ruby Blade, begins. The documentary, in its Australian premiere, combines archival footage and stylised reenactments to tell the story of Kirsty Sword Gusmão, activist, documentary filmmaker and mother of a nation. The documentary, expertly edited and shot by filmmaker Alex Meillier, takes the audience through Sword Gusmão’s integral involvement in the Timor-Leste independence struggle. The audience is introduced to Sword Gusmão’s life through her development as a budding activist in Melbourne, her integral involvement in the Timor-Leste independence movement in both Australia and Indonesia and finally the development of her relationship with former rebel leader and current Timor-Leste Prime Minister Xanana Gusmão. Through interviews with key players and the expert use of archival footage the documentary provides context to the independence struggle and delicately combines many concurrent storylines to tell a story bursting with intrigue, love and adversity. The filmmakers deserve recognition for presenting a film that is at times incredibly disturbing but never to the point that all one can do is switch off. Alias Ruby Blade is a fantastic and confronting film.

THREE EASY STEPS THEATRE

EUROVISION SONG CONTEST TV

Performed as part of 2013’s Anywhere Theatre Festival program, Makeshift Dance Collective’s Three Easy Steps is a fine example of the kind of innovative work that can be fostered by Anywhere’s unique premise. An experimental contemporary dance work, Steps spreads three key routines throughout Judith Wright Centre’s courtyard, staircase, shopfront, elevators and rehearsal spaces. It is to Makeshift’s credit that audiences rarely feel jarred moving from one space to another. Similarly impressive, their choreography actually takes advantage of the unique characteristics of each space. At one point, five dancers spread themselves across five levels of stairs while the audience watches through windows from the courtyard. The final tableau is truly striking. The clarity of the final work’s relationship to its original concept (a guide to clear communication) is debatable – but that’s of little consequence. The choreography is beautiful and varied while, from a technical standpoint, Makeshift’s dancers are at their best. The only real shortcoming of the work is that its final third is in need of some judicious editing. Other than that, it’s a commendably ambitious endeavour that could easily be the young dance collective’s best work to date.

The Eurovision Song Contest is about smoke machines, sporadic levitation, costume and pitch changes (normally at the same time) and, the staple of 2013, a swift midsong genre swap to dubstep. Romania’s popera anthem It’s My Life, by the vampiric Cezar, has everything a classic Eurovision performance should and then some. The #SBSEurovision Twitter hashtag explodes postRomania. One tweeter writes: “I will not be happy until his scrotum explodes” and “My life is now in two parts, before and after Romania’s performance”. Romania oozes cray and, more importantly, conviction to cray. This year the competition is staged in Malmö, Sweden, with host Petra Mede who’s hideously dressed by JeanPaul Gaultier. Big on Twitter throughout the broadcast is Anthony Callea, putting his two Mother’s Day-sales-earntcents in: “I hope Ukraine win... If I were to have a baby, I would like her to be the egg donor... #sbseurovision”. Felicity Ward also took to Eurotweeting: “I’m putting money that this guy’s gonna finish with a magic trick. #ReleaseTheFuckingDoves #SBSEurovision”, she tweets at the start of second-placed contestant Farid Mammadov of Azerbaijan’s performance (it involves a dancer in glass box and a shower of petals). The tweetwatch-tweet-watch thing is actually really enjoyable. Sure, it’s a bit screen-happy – groups of home viewers each with individual screens in front of one big screen – but it’s the only way to keep up with what everyone else thinks of each act. However, some things stay the same: the tackier, the better, and countries always vote for their neighbours. Tonight a barefoot Emmelie De Forest, reppin’ Denmark, took the big prize by a landslide of 281 points. However, Cezar and Romania are robbed with a final count of only 65 points. At least it’s more than Bonnie Tyler reppin’ the UK with a dismal 23 points.

Matt O’Neill Judith Wright Centre (finished)

Ben Meyer Human Rights Arts & Film Festival (Closing Film) Screening Thursday 6 June, Powerhouse, Tribal Theatre

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

RED THEATRE Queensland Theatre Company’s Red would appear to embody everything its protagonists despise. Embattled New York artist Mark Rothko (Colin Friels) continually rails against humdrum psychoanalysis of artists and his protégé (Tom Barton) waxes lyrical endlessly about the necessity of passion – but Red itself paradoxically proves to be little more than an anaemic and ham-fisted attempt at artistic psychoanalysis. John Logan’s script is considered a classic, however, it’s not actually that dramatic. It’s little more than a series of laborious two-handed hypotheticals about the meaning of art, linked together with shouting matches and some heavy-handed motifs. As such, it falls to director and cast to try and bring some passion or conflict to proceedings. Unfortunately, they come up short. Colin Friels is fun as Rothko but his transformation lacks soul. It’s an impersonation as opposed to a character. Tom Barton’s protégé is milquetoast. Alkinos Tsilimidos‘s direction feels non-existent. There’s simply no drama. Audiences are frequently left wondering why they care about the play’s events. It feels like all involved were relying on script to carry proceedings; forgetting that, without sculpting, it’s basically a rough draft of a TED Talk. Matt O’Neill QPAC Playhouse (finished)

Cassandra Fumi SBS

m u s i c [COLUMNS COLUMNS]

THE BREAKDOWN

OG FLAVAS

ROOTS DOWN

POP CULTURE THERAPY WITH ADAM CURLEY

URBAN AND R&B NEWS BY CYCLONE

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

Major Lazer

The National Helen Garner has spoken about getting a gut feeling for a story. When listening to a witness in a court case or speaking with a subject for a non-fiction piece, Garner gets a sense of what the ‘real’ story is, where the most relevant truth lies. She writes with the gut feeling in mind, too. A collection of Garner’s diary entries in a 2010 issue of The Monthly reveals the reason for keeping a diary at all. In an arrangement of fairly mundane facts and thoughts is a vague sense of some truth about life, a sense of an important story. Garner lets her readers have their own gut feelings. In writing, that’s sometimes called ‘flattening out’. You get rid of the nerves and the need to make something happen or explain some big idea and just let the moment sit and do what it’s going to do. It’s one of the hardest things to learn. On The National’s sixth studio album, Trouble Will Find Me (4AD/Remote Control), the band are practicing flattening out. It’s not only Matt Berninger’s domesticated, run-on lyrics, which replace the more painstakingly constructed imagery and wordplay of 2010’s High Violet, but the ease with which the whole band delivers the 13 songs. That was apparent with the arrival of the album’s first single and second track, Demons, in April. Though it sits in tone and weight with High Violet’s biggest single, Sorrow, there’s a looseness to it that resists single status. Berninger sings outside the song’s trembling guitar rhythm, and there’s a softness to his ill-fitted doubled vocal and the whole song’s mix. It’s as if the band simply picked up their instruments in an off moment and worked through the song without planning or intention, which is a thought that fits with how busy they’ve been, recording songs for HBO shows and for the soundtrack to the upcoming film adaptation of Kerouac’s Big Sur. It also might have been the only direction open to them after High Violet. A comparison that comes to mind is REM’s movement from 1991’s Out Of Time to 1992’s Automatic For The People. Both sold massively, but the former was full of song concepts and clearly mapped out lyrics (Shiny Happy People was borne of a clear idea, not a jam) and the latter seemed to simply slip out of them, more conversational, in the swing of things. The National share REM’s ability to build a big, thick single and to just kind of play out elongated pop-rock that can be listened to forever and sounds vaguely like a hit anyway. Berninger and Michael Stipe, too, can both be the tortured poet and the everyman. But Berninger is really only figuring out the strength of the latter on Trouble Will Find Me. On no other National album has a song appeared with a title as casual as I Need My Girl. It’s track ten on Trouble… and fades in and out again with a gentle guitar line, only underlined by a kick drum two-and-a-half minutes in. Berninger still displays a thoughtfulness with his words: “I try to call you from the party/It’s full of punks and cannonballers”. But where, on earlier albums, he might have followed that line with an even punchier lyric that pulled the song out into the greater world and said something of it or of his own disposition (in a fairly obscure way, most likely), here he gets at nothing more than the song’s title. That’s enough. He’s flattening out. There is a greater feeling that rises out of Trouble Will Find Me, and it’s there in part in that title, which comes from a line in the breezy rocker Sea Of Love. “No one’s careful all the time”, Berninger sings in Heavenfaced, and the feeling comes that this is what he’s getting at: little wins and deceptions, the way they add up and nudge life this way or that. But it’s a gut feeling, stirred up by an arrangement of the pieces of Berninger’s daily toils, delivered with little fanfare. The truth in it is a good one.

Every hip hop producer makes an ‘artist’ album at some stage – from Puff Daddy to Timbaland to Kanye West to token non-MC Mark Ronson. NWA’s Dr Dre sparked the trend with The Chronic. Such projects are about ego – but necessary to establish a producer’s clout with a wider demographic. In the digital era especially, few listeners read song credits. Many a producer album has been game-changing. Still, the format is invariably the LP equivalent of a posse-cut. Diplo (aka Wesley Pentz) was already a cult, rather than superstar, DJ prior to his transition into urban hitmaker. Early on he released the obscure DJ Shadow-esque album Florida via Big Dada. Pentz and his Brit ally Dave ‘Switch’ Taylor would work with MIA, Pentz’s girlfriend. They produced her shock US hit Paper Planes, which received a Grammy nomination for ‘Record Of The Year’ – and inspired West’s production of the Jay-Z and T.I. track Swagga Like Us. The pair also teamed with Santigold. And they conceived the cartoony dancehallmeets-electro supergroup Major Lazer, airing 2009’s Guns Don’t Kill People... Lazers Do. Since then, both have set themselves up independently as producersfor-hire. Pentz, a cooler David Guetta, has furnished singles like Chris Brown’s Look At Me Now (featuring Lil Wayne and Busta Rhymes), Beyoncé’s End Of Time and Usher’s Climax. Lately, he guided Snoop Lion’s Reincarnated. Now Pentz is back with Major Lazer’s Free The Universe, minus Switch. Also absent? Mr Lion. Free... is more dancehall than the rootsy Reincarnated – well, with the exception of Fugee Wyclef Jean’s apathetic Reach For The Stars – and, again, heavy on EDM with chunks of trap and moombahton. Surprisingly mellow is Get Free, last year’s single with Dirty Projectors’ Amber Coffman. There are novel cameos from across

the spectrum of dancehall (Elephant Man), EDM (Flux Pavilion), indie (Vampire Weekend’s Ezra Koenig) and urban (Tyga). Major Lazer is never better than with the scorcher You’re No Good, featuring Vybz Kartel, Santigold, Yasmin and one of Haim. Pentz is resurrecting careers other than ‘Clef’s, too. Ms Dynamite, who sang on 2002’s Mercury Prize-winning A Little Deeper, raps for the banger Sweat. Shaggy’s fortunes should change with the catchy Keep Cool, on which Mr Boombastic partners Wynter Gordon. However, Bruno Mars’ ghetto booty Bubble Butt (with Tyga) borders on will.i.am level mundanity... Will.i.am’s #willpower has been dissed for its gimmicky Twitter hashtag title alone (though Mariah Carey’s new single is entitled #Beautiful). The producer/MC has made successive about-turns in his career. He started out in the group Atban Klann, affiliated with Eazy-E’s gangsta Ruthless Records, before forming the conscious Black Eyed Peas – who then embraced dumb (electro) pop. In 2013 will.i.am is #alittlelost. This much delayed fourth outing has proven contentious with accusations of beatbiting from underground DJs. Then there are the corny pop guests, including Miley Cyrus and, on #thatPOWER, which sounds like bastardised Daft Punk disco, Pentz’s pal Justin Bieber. But is #willpower really as wack as all that? No – it’s just anonymous, generic and lazy clubby electro aping Guetta, Swedish House Mafia and LMFAO (without the irony). Will.i.am tries to channel West’s dramatic sensibilities for the orchestrated Good Morning. The saddest bit? Britney Spears has never sounded as vacant as she does on Scream & Shout. RZA, among the ‘90s most important sonic auteurs, has returned to what he does best – producing. Or apparently so. In later years the Wu-Tang Clan don has been distracted by film, making his directorial debut with The Man With The Iron Fists. But he did co-produce West’s Dark Fantasy and Watch The Throne’s New Day. RZA has a track on Talib Kweli’s new Prisoner Of Conscious – but word is it’s old. The Abbott raps on KiD CuDi’s Beez as well as James Blake’s Take A Fall For Me – yet he has no publishing credits for the latter, suggesting that the Brit ghostwrote his lyrics! Hopefully, he’s not bored of music. A new Wu album, A Better Tomorrow, drops in July following their Coachella triumph.

ADAMANTIUM WOLF METAL, HARDCORE AND PUNK WITH LOCHLAN WATT Disentomb will support Thy Art Is Murder, Cattle Decapitation, King Parrot and Aversions Crown at The Rev on 6 June. Emerald Vale and I Shall Devour will open things up at Expressive Grounds on 7 June.

The Smith Street Band The Smith Street Band have announced a headlining tour throughout August and September, and they will have two bands from the USA in tow – Joyce Manor and Cheap Girls. You can catch this trio of punk rock at The Zoo on 29 August. Tickets are available now through Oztix. Thanks to Soundwave Touring, A Day To Remember will return to Australia this July with fellow Americans The Devil Wears Prada and Australians Dream On, Dreamer. You can catch this trio of metalcore when the tour kicks off on 12 July at Brisbane Riverstage. Tickets go on sale this Thursday through your usual outlets. A Day To Remember’s fifth album, Common Courtesy, has been completed for some months and is expected to be released this year. Local supports for Norway’s Enslaved have been announced. In addition to Sydney’s Rise of Avernus who have national support duties, Melbourne’s Ne Obliviscaris and Vyrion will open for the groups at The Hi-Fi on 3 November. Malignant Monster, Wardaemonic and Germ are among the other bands lucky enough to get hooked up around the nation.

Sydney’s Northlane will be hitting up Europe for the first time in October for the Impericon Never Say Die Tour. They’ll be tagging along with fellow Aussies I Killed The Prom Queen, with headliners Emmure and Miss May I, Betraying The Martyrs, Hundredth and Rise of The Northstar. The band will also be in Brisbane next week with US groups Stray From The Path, Structures and Perth’s Statues – catch them on 30 May at The Tempo Hotel and 31 May at The Eagleby Community Hall. Vyrion and Kyzer Soze have been confirmed as the local supports for Sydney’s The Amenta and Hobart’s Ruins when they swing by Crowbar on 11 July. Following their successful debut voyage to Europe, Lagerstein have announced the imminent departure of vocalist Ultra Lord (Dale Williams). “My decision to resign as captain is without mutiny or bitterness: the Lagerstein crew have some massive journeys planned on the S.S. Plunderberg this year and my commitments to Vyrion and Halfbrick are preventing me from being able to commit to long-term touring. I remain on fantastic terms with the lads, I’m proud of each of them, as crewmates and as a crew – I’m proud of what we’ve achieved and I’m confident that they can continue to achieve with the same vigour with whomever they choose as their next vocalist.” You can catch his last show with the group this Saturday at The Barra Bar (see below).

The Ghost Inside have moved their all ages show on Sunday 2 June from The Hi-Fi to Sun Distortion Studios. Emmure, Antagonist AD and Hand of Mercy round out the bill. Tickets to the original venue remain valid; get in quick if you don’t have one yet.

GIGS OF THE WEEK:

Boston-based pop punk group A Loss For Words are heading down to Australia for the first time this July and August. Perth group Monuments, who themselves recently travelled to Boston to record their debut album with Jay Maas of Defeater, will be launching Existence on the tour. Melbourne’s Sidelines will round out the bill. Catch them on 25 July at X&Y Bar or 26 July at Studio 454 for an all ages show.

Friday: 4 Dead In 5 Seconds, Irukandjii, Death to The Witness, Fall of The Divine, Haedom – Prince Of Wales Hotel.

Thursday: Eluveitie (SWI), Alpine Fault, Before Nightfall – The Zoo. Confession, The Endless Pandemic, Anchored Arms – X&Y Bar.

Saturday: Lagerstein, De La Cruz, LeSuits, Malakyte – The Barra Bar. Fagpriest, SMHG – Empire Studios. The Matador, In Ashes We Lie, Bitter Lungs – Miami Tavern Shark Bar. Army Of Champions, Mouthguard, Standard Union, The Dead Ringers – Crowbar.

Johnny Cash Jack White’s Third Man Records have once more endeared themselves to me, this time through their partnership with the great Sun Records. It was announced last week that they were to reissue a whole stack of 7” singles from the legendary label, which is just brilliant news. Sun Records was one of the most famous record labels of the 1950s and ’60s; many of the company’s releases are credited with building the foundation of rock’n’roll as the label was home to some of the most influential music of all time. The first three releases that Third Man are dealing are from quite early in the company’s existence: two singles from 1953 (the company was established by Sam Philips in 1952) – Rufus Thomas’ Bear Cat/Walking In The Rain and The Prisonaires’ Baby Please/Just Walking In The Rain – will be released next week, as will the classic 1956 Johnny Cash single Get Rhythm/I Walk The Line. Each of these songs shows a different side to Sun Records and proves just how diverse, yet undeniably brilliant, their output was. These singles are being released as part of what Third Man have confirmed as “an ongoing partnership between Sun and Third Man” with the label divulging that “future releases are already in the works”. Given the depth of the Sun Records catalogue, this is very exciting news indeed. Each record will be packaged with the classic label and logo design of Sun Records, with the first 150 releases on special yellow and black splattered coloured vinyl. You can pre-order them on the Third Man website now and, hell, while you’re there you might as well get a couple of those Document Records reissues. Mavis Staples has finished up a new LP called One True Vine as I mentioned a couple of weeks back and I’ve been lucky enough to spend a fair bit of time with it over the past couple of weeks. It sees Staples back with Wilco’s Jeff Tweedy, who as we all know is a complete genius, in the production chair, the two artists again showing they have some kind of musical connection that we couldn’t begin to understand. Staples’ 2010 You Are Not Alone LP (produced by Tweedy) was a joyous affair that brought to life plenty of old gospel favourites, tunes from Mavis’ Staple Singers days and a select bunch of covers; Staples had worked with plenty of hot shot producers since going solo – from Prince to Ry Cooder in recent years – but something about the match between her and Tweedy just worked brilliantly. Again, on One True Vine, Staples is made to sound as good as, if not better than, her late-‘60s heyday. It starts off so very darkly with Low’s (yes, the post-rock band) Holy Ghost and Every Step before the genius Funkadelic cover Can You Get To That lets a little light in. Without having the full liner notes it’s hard to tell who has written the songs that aren’t covers on here, though Jesus Wept has a definite Tweedy feel to it. Some classic old Gospel is brought back to the fore with Staples’ passable rendition of Washington Phillips’ What Are They Doing In Heaven Today, before things get fuzzed out with I Like The Things About Me which sees Staples as staunchly strong and positive as we have heard in a long time as she asserts “I like things about me that I once despised”. The album is gorgeous in just about every way, but the most striking aspect comes from the backing vocals that add a more distinct counterpoint to Staples’ vocals than we heard on You Are Not Alone. Corny as it might sound, it’s kinda nice to hear a record that is so very positive and uplifting without it feeling completely contrived and lame. Positivity you can dance to – has to be a good thing, right? One True Vine will be out through Anti/ Warner on Friday 28 June. One final point, Roots Down will be appearing on a fortnightly basis for the next couple of months, so don’t call the hospitals and the morgues if you don’t see it in this spot next week!

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

[COLUMNS COLUMNS] a r t s THE LOOKING GLASS

CULTURAL CRINGE

A JOURNEY THROUGH ARTS WITH HELEN STRINGER

ARTS NEWS WITH MANDY MCALISTER

to stage photos of themselves pulling duckface and pretending to be living a far more interesting life than their Facebook ‘friends’. Multiple choice questions will include: I update my status with hourly selfies because: a) I actually am famous and my many fans deserve to know how much more wonderful my charmed life is than theirs; b) I have a personality disorder so severe that I genuinely believe acquaintances give a shit about my hourly movements as depicted by close-up photos of my face; c) I am so far removed from reality that I fully believe that the strangers in my friends list don’t realise that approximately 99 per cent of the time I have deliberately put on a full face of makeup and applied a flattering filter for the sole purpose of cultivating the perception that I am superiorly interesting; or d) I am neurotically insecure and require daily affirmation that I am worthy of love and such affirmation is attained by the number of comments on my unending feed of selfies. Selfie There are few internet phenomena more awful than the selfie. I find the selfie so repugnant to my moral core that I have selfie-rage, a condition whereby a self-taken bobble head in black and white or sepia causes me to temporarily black out before writing polemics on the narcissism-induced decline of Western civilisation. It is utterly confounding that seemingly normal people have no compunction in repeatedly posting photos of their heads for admiration, and have so little insight they’re unable to see that the only thing this pastime demonstrates is the extent of their delusional sense of selfimportance and complete removal from the outside world. Those prone to excessive selfie-posting should be subject to mandatory sentencing upon exceeding an acceptable number of photos of their heads. A minor infringement of this quota will result in the perpetrator being required to undertake a quiz available to the general public regardless of their privacy settings. This quiz will require him or her to explain the origins of their compulsion

Major infringements will have greater consequences. If the culprit exceeds one selfie per day they will be suitably punished. First, those feeling compelled by the forces of selfabsorption to document their fake life will be made to upload a photo essay exposing the process behind his or her selfie-ism. For instance, if the professional selfie-ist has developed contortionist skills through a rigorous regimen of iPhone stretches to limber up their snapping arm in order to take angular photos of themselves fake-playing guitar, this must be documented in a step-by-step tutorial. Second, the perpetrator will be condemned to no less than fourteen days of honest selfie-ing, including capturing the hours they spend watching Snog, Marry, Avoid in foodstained pyjamas. A complete Facebook lockout will be imposed on those who hashtag their emaciated limbs with #boxgap or #thighgap. If anyone thinks they’re able to make an app that can be sent to the offending friend, call me; you’ll be doing the world an invaluable service.

not the only noteworthy dates in May for scifi fans. It’s also that time of year again when Douglas Adams fans everywhere dig into the good linen and find a towel befitting of being a tribute towel; May the 25th is Towel Day. Adams, famed for authoring The Hitchhiker’s Guide To The Galaxy, published in 1979, died suddenly of a heart attack in 2001, aged 49. The first Towel Day, on which fans are asked to carry with them that most useful of travelling tools, their towels, was held two weeks later in tribute. In The Hitchhikers Guide... Adams explains the importance of towels when embarking on interstellar hitchhiking stating, among other things, that, “A towel has immense psychological value. For some reason, if a strag [strag = non-hitchhiker] discovers that a hitchhiker has his towel with him, he will automatically assume that he is also in possession of a toothbrush, face flannel, soap, tin of biscuits, flask, compass, map, ball of string, gnat spray, wet weather gear, space suit etc, etc. Furthermore, the strag will then happily lend the hitchhiker any of these or a dozen other items that the hitchhiker might accidentally have ‘lost’.” Douglas Adams This year it seemed that everyone was on top of Star Wars Day. May the 4th, chosen because it sounds similar to “may the force”, was celebrated by geeks and geek groupies the world over with rampant consumerism, cosplay and Vadering memes aplenty. If you’ve not heard of Vadering, it’s when two people are photographed acting out the Darth Vader force choke. One person has to jump mimicking being choked, while the other person mimics Vader’s famous force choke grip, then hopefully you catch the perfect force choke on camera. If you intend doing this, remember to grab a third person - it doesn’t work well as a selfie. While May the 4th, and less popular date, Revenge of the 6th, are all very well, they’re

This year Towel Day events across the globe are ramping up but alas there are no events planned for Brisbane. Don’t panic though, there are plenty of online festivities for those wanting to join in. Towelday.org has the skinny on loads of fun ways to pay tribute, my favourite being the special Towel Day Facebook cover by illustrator Oren Mashovski. Facebook is playing a big part in Towel Day this year with fans organising events such as readings, movie viewings and radio show listening parties (there are various audiobooks and podcasts available on iTunes). For my part I’ll be hosting a Vogon poetry contest on Facebook because writing the third worst poetry in the universe is something anyone can aspire to (I believe Rebecca Black’s Friday started out as Vogon poetry). Happy Towel Day, hoopy froods, here’s hoping that this Saturday, and every day, you know where your towel is.

1000s THE GUIDE AT OF GIGS AT YOUR FINGERTIPS

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

[THE GUID IDE]

CARRIE AND THE CUT SNAKES Member answering/role: Carrie Henschell – vocalist/guitarist/songwriter

How long have you been together? About three years.

dollar. As for revered, any and all recognition for the music I write and perform is appreciated.

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

How did you all meet?

Emma White, Sabrina Lawrie, Texas Tea, Sue Ray, Virginia Sook, Kellie Lloyd, Gunk.

I’ve pulled together the Cut Snakes crew from meetings at parties, through other bands and even trolling the online muso classifieds.

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

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?

I’ve been in Brisbane for about seven years and it’s been from the amazing support of other local artists like those just mentioned and my friends here that has kept me striving to grow as an artist. I really value a strong community and I think Brisbane has a lot of powerful women making amazing music and that has really inspired me.

From previous travelling to and from gigs we’ve found turning off the radio and having an old fashioned singalong keeps us most happy.

Would you rather be a busted brokebut-revered Hank Williams figure or some kind of Metallica monster? I’m not interested in spending my life chasing the

Is your band responsible for more make-outs or break-ups? Why? Definitely more make-outs, but we don’t kiss and tell.

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

Big Brother. It’s a popularity contest and we are a likeable bunch so one of us has gotta win. Also, you don’t have to do anything on that show; hanging around the pool, sleeping in and jamming together. Ahh, give me those lazy days.

If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? I’d have to say netball because we have the legs for those netball skirts.

What’s in the pipeline for the band in the short term? I’m about to head off to the USA for 12 months, so we are doing a farewell show with Corn Liquor at The Hideaway on Saturday 25 May. Come and say hi/goodbye! And on the night we will premier our music video for the track Can’t Call You. I’ll also be playing a last sneaky solo show put on by the Women’s Arts Collective at Turnstyle on Sunday 9 June. Carrie And The Cut Snakes play The Hideaway on Saturday 25 May. Photo by TERRY SOO.

[THE GUID IDE] s i x

pack

CHARLIE HORSE

BEFORE CIADA “It’s a good time to take a little holiday from trying to write an album that surpasses what you have done before. We have done our Peter Gabriel 1, now it is time for Peter Gabriel 2. We are for some unknown reason opening our set with five new songs; we only crashed and burned once so we are getting a handle on them. There are a lot more intricate guitar parts, so we can’t really take advantage of the drink tickets until mid-set.”

Tony McMahon chats to Charlie Horse guitarist/songwriter Paul McDonald about touring and his band’s upcoming second album, Strange Passengers. “I’m not in the best frame of mind to comment on touring this morning,” McDonald says. “I’m writing this from the foot of a pet food factory in Albury. Rock’n’roll nirvana has taken a leave of absence for a minute. But sometimes it can surprise you; we just had a great show in Canberra with a full room of attentive punters that stayed, drank lots, yelled, clapped and bought albums afterwards. I think it’s a city that is low on the hipster count, which is beautiful to find.” How valuable is it to have a tour like this just before a band finishes an album? McDonald says the time off is invaluable.

For those who know Charlie Horse’s debut, I Hope I Am Not A Monster, McDonald says that Strange Passengers will be more European. Kind of. “Monster was our American album; the new one is definitely our European album,” he tells. “It’s probably a bit darker in feel and theme, but there is a sly gallows humour through the whole thing that we find funny. Sonically it’s broader and the lyrics are a bit more abstract, but oddly there are some Phil Spector-like songs on there too, the whole Leader Of The Pack thing which is not very European at all.” WHAT: Strange Passengers (Laughing Outlaw) WHEN & WHERE: Friday 24 May, The Spotted Cow, Toowoomba; Saturday 25, Trainspotters, Grand Central Hotel; Sunday 26, Brisbane Powerhouse

HOLISTIC

the artistic medium I have chosen and I’m fully and wholeheartedly putting myself into every lyric, scream and second of it,” he relates. Having “lived, breathed and bled” their debut EP, Birth To Burial, the Sydney five-piece are incredibly satisfied to have come out the other end of the cycle with a world-class product. And with each song holding its own theme based around major life experiences, it’s designed to demand complete immersion from listeners.

Managing to encapsulate the cycle of life into five massive songs, Before Ciada make no apologies for their grand ambition. Frontman Troy Ware sits down with Benny Doyle. Crafting apocalyptic metal that’s delivered with the panic and focus of humans running from a natural disaster, Before Ciada have quickly asserted themselves a force on the domestic scene. “[We play] under the theory that we live [in] an unsustainable world and with unsustainable habits,” the 26-year-old vocalist and lyricist says. “We all live to play on stage, or record in the studio, or write in the band room, to get our music and message out there.” It’s clear that for Ware and his fellow bandmates, Before Ciada means everything to them. “This is

“Well it’s disappointing that we are losing such a talented musician, and we work so well together, but we won’t lose focus over that. We always give 110 per cent every show, which is easy when you’re having fun, so despite the fact I don’t think this show will be any different.”

Time Off has always been fascinated by the enduring appeal of heavy metal. As such, we take the opportunity to ask Downs about his thoughts on the matter. “Heavy metal is an expression and an outlet for emotion, an escape from life’s tribulations. Metal seems to have an energy that people can emotionally relate to and express through. Certainly not everyone relates to it, but in saying that, there are more metal genres then ever now. Metal will never die, it will just keep evolving.” WHEN & WHERE: Friday 24 May, Prince Of Wales Hotel, Nundah

PATRICK JAMES

For Patrick James, life is soon going to mimic art, as with a brand new EP, a label deal and a national tour with a fellow rising star, things are all about to change, writes Benny Doyle. From his childhood home of Port Macquarie to performing on the streets of Sydney; from The Glebe Markets, The Rocks, Newtown, to writing and recording his debut EP, James’ journey has been a constant one since he picked up the guitar all those years ago. “[It] has helped develop the songs into a live setting and [has] also been a huge inspiration for writing and working harder. Busking has been a big aspect of my music.”

WHAT: Birth To Burial (Independent) WHEN & WHERE: Friday 24 May, Byron YAC, Byron Bay

that the project holds in comparison to other artist releases. It attracts a wider and mixed audience.” Currently working on a new single that the 20-yearold cites as different to everything the soulful pair have made up to this date, Lazy J and his partner in vibe Big Guy will be heading up the acts at the upcoming Stylin’ Up youth music, dance and culture festival. And for crowds to get the most from the show, LJ enthuses that chemistry is everything.

“We have been working on our sound, and I think it’s safe to say that we have now established it. We have spent some time harnessing our style and sound so this upcoming EP will give people a taste of our true passion for raw metal and an insight of what’s to come. We have also been experimenting with different elements to our sound. It’s a challenge not to over-complicate and still keep that raw metal feel. We all take recording very seriously, so we’re all pretty excited and keen for the EP release.”

Holistic’s upcoming gig at the Prince is their drummer’s last show, but Downs says there aren’t any plans to send him off with a bang, so to speak.

And for those getting along to see the guys in Byron, here are the simple rules: “Moshing is extremely encouraged and an after-show chillout with the locals will be a necessity. Most of all, expect a group of friends and family [rocking] out to some good ol’ Aussie metal.”

LAZY J & BIG GUY Due for release later this year, Holistic’s debut EP sounds as if it will be a very well-considered affair. Downs talks eloquently about the not inconsiderable process of a new band finding their path without losing sight of the fundamentals.

Chris Downs, guitarist with Sunshine Coast metallers Holistic, talks to Tony McMahon about losing drummers and the band’s forthcoming EP.

“The ‘birth’ track (Sake Of Reason) tells a story of the brutality that’s involved in bringing a new life into the world and the constant struggle faced once ‘alive’,” Ware explains. “Resurrection tells the story of ‘growth’, Born Of The Flame is ‘love’, I, The Bless’ed is ‘faith’, and Ashes Of The Damned is ‘death’. I always try to write to draw the listener into the story, allowing them to feel what the meaning and necessity of each step is worth.”

“It’s definitely vital to have the both of us onstage as it doesn’t only attract a wider audience but it allows [for] a different sound to our set compared to a solo [show] from myself,” he states. “We definitely vibe off each other so there’s a good chemistry onstage which sets the mood for the crowd.”

Finding success through reality show X-Factor but maintaining their popularity behind classy jams and a strong social media presence, Lazy J & Big Guy are here for the long haul. The rhyming force of the duo chats with Benny Doyle. Having just dropped The Takeover mixtape via their independent label Carpe Diem, Sydney vocalist Lazy J ranks the “variety of flavour and sound” as the biggest strengths within the songs. “They range from hip hop to soft R&B with a different style to each track whether it be fun and uplifting, slow and sexy or dark storytelling. That’s definitely one strength

And as for positive messages for the youth to take away from the whole day of festivities, Lazy leaves us with some poignant statements of significance. “I’m just hoping that the crowd who attends is inspired by what the people have done in organising the event,” he says. “From artists to promoters, holding an event is a huge thing and I’m hoping they can be uplifted to do something out of the ordinary. To chase their dreams. To find belief in themselves.” WHAT: The Takeover (Carpe Diem) WHEN & WHERE: Saturday 25 May, Stylin’ Up, CJ Greenfield Sports Complex

REDX Recorded with his friend and bandmate Scott Bradley Steven, All About To Change is bursting with that honesty – that raw soul. It engulfs James’ brand of whimsical folk. “It was recorded in a home studio setup so we had a lot of time to establish a direction for the EP,” he informs. “We actually recorded a number of songs which didn’t end up making it on the final product so we got used to seeing what worked and what didn’t.

“We love touring a lot,” Leggett admits. “It’s great going to other cities and seeing the sights and such for one, but the main thing is performing in front of the people that appreciate and support your music and meeting them individually. It’s just nice to treat them properly and get them exited about the music you’re playing and in that way develop a strong, loyal following.”

“There are different aspects of each song that grow on you,” he continues. “I hope that it’s not an EP that people get sick of after only a few listens. Also, I think there are a lot of influences in there and [I] hope listeners can appreciate that.”

“We’ve been to recording studios before, and we were never quite satisfied with the feel/vibe of the tracks. It does sound a bit silly, but when you’re uncomfortable in a recording environment it shows through in the music. Either you speed up and rush things or not have a clear view of how you’d like the songs to go, because you concentrate on the stress instead of the music. The fact that time is always ticking in a recording studio means that the performance is compromised with both band and engineer. So doing home recordings for us is so great because we get to do what we like when we like and we’re getting a lot better at it. We’re pretty lucky really!”

Currently out on the road as support for Emma Louise’s Australia-wide run of shows, James is stripping these new songs back to perform as a duo, a tough task he admits, but one which is proven rewarding thus far. “It’s definitely a challenge recording the songs in one way but then reworking them in a different way,” he tells. “We’re having a lot of fun with it!” WHAT: All About To Change (Create/Control) WHEN & WHERE: Thursday 23 May, Woombye Pub, Sunshine Coast; Friday 24, The Hi-Fi; Saturday 25, Gold Coast Arts Centre; Sunday 26, The Northern, Byron Bay

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

Interestingly, the band decided to record RedX at home.

Phill Leggett, guitarist/vocalist with Melbourne-via-Perth outfit RedX, has been in bands before, most notably the award winning The Joe Kings. As he explains to Tony McMahon, though, his new EP is a whole different animal. “We feel RedX is a completely different band with a different vision than the previous bands we’ve been in. I think we run by a rule of: ‘If we think it’s good that’s all that really matters’. I mean, you have to please yourself at the end of the day.” And to promote the record, RedX are in the midst of what can only be described as a huge national tour. Fortunately, though, being on the road is something they love.

WHAT: RedX (MGM) WHEN & WHERE: Friday 24 May, Miami Tavern, Gold Coast; Saturday 25, Woombye Pub, Sunshine Coast; Sunday 26, The Rails, Byron Bay; Tuesday 28, Ric’s Bar

Birdbrain*Records

SOULFUL

BLUES

ROCK

SAT 25 MAY, SPOTTED COW, TOOWOOMBA - $10 THURS 30 MAY, EATONS HILL HOTEL, BRISBANE - $15 SAT 1 JUNE, WOOMBYE PUB, SUNSHINE COAST - $15

]SPECIAL GUESTS

TROJAN HORSE

THE BEAR HUNT

(EATONS ONLY)

TOP 5

1 2 3 4 5

DEEP SOUTHERN COMFORT

[THE GUID IDE] f o o d PICKLES

OGORKI KWASZONE DOMOEW (Polish) VLASIC KOSHER DILL (American) BREAD AND BUTTER CUCUMBERS (Always Fresh) BABY CUCUMBERS (Always Fresh) POLISH OGOR (Polish)

FUN FACT The reason pickles were originally put into McD’s burgers was because otherwise they would be considered a candy.

FOOD TRIPPIN’ EATING AROUND THE USA WITH SOFIE MUCENIEKAS AND LLOYD HONEYBROOK

Loos Anggelles Ate at the first stop on our Man vs Food itinerary, Philippe’s. One double-dipped lamb and one single-dip pork sandwich, side of mac, side of potato salad, one pecan pie and three of the best trad. lemonades 65c can buy. This place has been open over 100 years and we totally understand why.

The more you stew gumbo, the tastier it gets. Sarah Braybrooke talks to Gumbo Kitchen founder Michael Cotter and Bourbon’s head chef James Metcalfe. Metcalfe

NEW CHEF NEW MENU COMING SOON $15 LUNCH & DINNER MENU

irishmurphys.com.au 32 • For more news/announcements go to themusic.com.au/news

“I

t’s basically like Big Mama in the kitchen, cooking up.” Sydney chef James Metcalfe was formerly known for his posh French food but today he’s talking about a very different kind of cuisine. Now the head chef at New Orleans-inspired restaurant The Bourbon

in Sydney, he is describing the food of the Deep South. Or more specifically, gumbo, a thick stew which is the flagship of Louisiana’s down-home cuisine. “There’s not one recipe: basically you can put whatever you like in it and call it a gumbo,” Metcalfe explains. “People used to put their leftovers in it; it was poor man’s food originally. The stereotypical gumbo is quite thick, with prawn and smoked ham, quite brown and quite rich. But when you look further than that, there are actually 101 kinds. Some of them have soft whole crabs, some have lobster, some have got no seafood whatsoever. They have pork, chicken, crocodile...” Behind its homely appearance, gumbo is a complex medley of the many cultures that have been marinating in the region for centuries, and there is no shortage of debate about the best recipe. The biggest question is not over which meat, vegetables or spices to use, but of how to make the stew’s thickened base. It can be made using a French roux, the African vegetable okra or Filé powder, a seasoning made of the powdered leaves of the sassafras tree and first used by Native Americans. Michael Cotter, the founder of Melbourne’s Gumbo Kitchen food truck, has spent years perfecting his own roux-based gumbo. “It took a long time to get to a point where I was happy with it. Making the roux in particular, you think you’ve got it dark enough, but you never do. The darker you get it without burning it the better. That’s the most important thing.” Metcalfe has a different approach: “The version that we do here at The Bourbon in Sydney is not typical of what you would get in New Orleans... I do a duck broth, without a roux. There’s pickled okra and corn, sausage, chilli and spring onions. It’s more like a refined gumbo.” He admits, “We’ve actually been criticised for not being authentic enough in our gumbo in a couple of reviews. By the purists. It doesn’t bother us too much, because we don’t want to be copying

exactly what they’re doing in New Orleans. We want to use it as a seasoning, inspired by them.” Describing Sydney diners as “a lot fussier” Metcalfe says that dining in New Orleans is cheap and cheerful. Having come back from a research trip just last week, and after eating at up to six places a day – all in the pursuit of knowledge, of course – he was somewhat overwhelmed by the city’s food, and equally impressed by its nightlife. “There’s one bar about a kilometre long. And bar on bar with music in, some with bands, some people singing rock. The atmosphere is amazing.” Cotter was likewise wowed by the city; his first encounter with New Orleans was while attending a conference in 2009. ”I fell in love with the food and the people,” he admits, “and couldn’t understand why that sort of thing hadn’t been done in Melbourne before.” He founded Gumbo Kitchen in response. Bringing New Orleans food to Australia is about capturing some of its spirit, as well as its flavours. Over there, food is cheap, portions are huge, and the locals are welcoming and friendly. “They just get a big heaped spoon and fill your plate up,” Metcalfe says. Dishes like gumbo are a product of this local culture of hospitality and generosity as much as of their ingredients. Exclusivity is not on the menu: “It’s about sharing with food and family. That’s thing about New Orleans food, it’s all about community.”

GET YA’ GUMBO SYDNEY: The Bourbon, 22 Darlinghurst Rd, Potts Point

MELBOURNE: Gumbo Kitchen food truck, various locations. Jump on Gumbo Kitchen’s Facebook for where to find the truck.

BRISBANE: Continental Kitchen, Queen St

PERTH: Universal Bar, 221 William St, Northbridge

[THE GUID IDE] i n d i e

news

PERSONAL BEST RECORDS

CARLY SINN FROM RAWR VANITY Best record you stole from your folks’ collection? Suzie Quatro’s The Most Of Suzie Quatro – she was the first live artist I saw when I was 12. I think it is safe to say that she played a huge influence in my musical taste and prompted me to become a musician. First record you bought? I’m embarrassed to say it these days, but Human Nature. I thought they were good at the time, I guess it was the boy band thing, I thought at least one of them was attractive.

BEN FOTHERGILL FROM TOURISM Best record you stole from your folks’ collection? Pink Floyd – Dark Side Of The Moon. First record you bought? CD – Silverchair’s Neon Ballroom. Vinyl – Gotye’s Making Mirrors.

Record you put on when you’re really miserable? Probably Mayday Parade – If You Wanted A Song Written About You, All You Had To Do Was Ask (from 2007 debut A Lesson In Romantics) for obvious reasons.

Record you put on when you’re really miserable? Paul Dempsey – Everything Is True.

Record you put on when you bring someone home? Anything by 50 Cent. Super romantic.

Most surprising record in your collection? Chicane – Behind The Sun.

Most surprising record in your collection? Eminem. You can never not have at least one rapper in your collection, right?

Last thing you bought/downloaded? Hungry Kids Of Hungary – You’re A Shadow.

Last thing you bought/downloaded? I downloaded the tracks to our new album, Allerton Place today! The last album I bought was Bring Me The Horizon –Sempeternal. Rawr Vanity launch Allerton Place (Independent) at The Zoo on Saturday 1 June.

BACKLASH VALE RAY MANZAREK The Doors’ founding keyboardist Ray Manzarek has passed away in Germany after a battle with cancer. His band dominated the ‘60s until the passing of frontman Jim Morrison in 1971, and their music has survived down the generations. He shall be sorely missed.

DEFINE ‘NEWS’ Did we miss a meeting where happenings on shitty TV reality and game shows suddenly became “news”? Why are the papers and online news sites filled with such vacuous rubbish? We know they have to pander to the lowest common denominator but surely there’s a line?

WHAT’S IN A NAME? It seems crazy that ‘sex workers’ are so concerned with nomenclature, with many firing up at Missy Higgins for using the term ‘prostitute’ in a tweet. Surely that innocent misnomer would have to be the least of their worries?

Record you put on when you bring someone home? Alt-J – An Awesome Wave.

Tourism play Trainspotters at Grand Central Hotel on Saturday 25 May.

FRONTLASH NECK AND NECK A new opinion poll has found that Julia Gillard and Tony Abbott are now tied in the race for our preferred leader, a three-way split with a piece of rotten lettuce. How did we find ourselves in this leadership vacuum? At least the poll might be interesting…

RUDDY HELL K-Rudd has flipped and now backs same-sex marriage, saying, “I have long resisted going with the growing tide of public opinion just for the sake of it.” Seriously? Fucking politicians, hey?

TOP SHOT Maybe Aussie batsman Dave Warner confused himself up with Warney for second, but his Twitter rant at journalists was at least briefly amusing, albeit utterly inane. Hopefully this will make him pull his head in before the Ashes and maybe even make some runs.

IT’S NOW OR NEVER

Beer and blood will be spilled when Brisbane hardcore enthusiasts Spitfireliar tear up 633 Ann this Sunday, May 26, at the weekly Rock N Roll BBQ. Also along for the ride are riff heroes The Mercy Beat, The Arcolas and Daisie May, with music, food and all that good drinking going down from 2pm – no cover charge.

Guitar virtuoso Bruce Mathiske is back on the scene with his 17th album My Life, a record that has allowed the songwriter to look back at all the trials and tribulations that have brought him to this point. Mathiske will perform two shows in Queensland, at the Brisbane Powerhouse, Wednesday 19 June, and Gold Coast Arts Centre, Friday 21.

WHAT COMES NEXT?

READY TO DRAW SWORDS

Get to Dowse Bar on Thursday 13 June to check Belltalk, the Brissie band in house to launch their new single, Bright Lights. Drawing influences from the likes of The Whitest Boy Alive and Chairlift, the track discusses the idea of wanderlust, and the old age ‘grass is always greener’ adage. Head along and get this first taste of the group’s forthcoming EP, due out in August.

The Chris Poulsen Trio’s album launch will be taking place at The Studio, Metro Arts on Saturday 1 June, with the $25 ticket price including a copy of the new long-player in question, David And Goliath. If you’re a jazz aficionado then this night is not to missed – tickets available through the artist’s website direct.

HEARING THE WHOLE Rambling troubadour Mark Moldre will be launching his brand new album, An Ear To The Earth, with a selected run of shows, playing Friday 21 June, The Brewery, Byron Bay and Sunday 23, Ric’s Bar. Another show on Saturday 22 is tentatively pencilled in also, with the venue yet to be announced. Keep your eyes peeled on The Guide at theMusic. com.au for information closer to the date.

KEEN AS According to their latest film clip for Standing By Your Side, Mustered Courage don’t make very good magicians or mimes, so it’s lucky they’re damn fine at writing gorgeous, plucky country and folk. Check out the quartet when they launch their new record, Powerlines, at The Royal Mail Hotel, Saturday 15 June (12:30pm) and again that evening at The Joynt (8pm), before they perform as part of the Broadbeach Country Music Festival, Gold Coast, on Friday 21.

SIT DOWN AND SOAK IT IN Following its original formation in London, Sofar Sounds has grown in popularity to now be recognised as a global movement, bringing a wide range of music to an even wider range of individuals, in lounge rooms right around the world. For the first time on Thursday 23 May, Sofar Sounds will happen in our fair city, with three Brisbane artists playing a handful of acoustic songs each. Who you ask? We can’t tell you – in fact, we can’t even give you the location ‘cause we don’t know. What you can do though is RSVP at brisbanesofar@gmail. com; you’ll then be able to find out all the deets. A donation jar will replace cover, with the all ages event kicking off at 6.30pm. There’ll also be food and drink available to purchase on the evening.

EXTENDED PLAY-TIME

GRIM INTENTIONS Brothers Grim and The Blue Murders. We’ll just let that incredibly brilliant band name sink in for a while. You’re good? Okay. The Brothers (yes, they’re actually brothers) Grim and co. are heading out on a national tour in support of their latest EP, Roll It In. The group will be sharing their venomous alt. country ballads with two appearances at The Joynt on Friday 31 May and Saturday 1 June. Tickets can be purchased on the door for just $10.

SINGLE FOCUS

FLOATING ADRIFT Metal Lokis No Anchor return for a one-off show at The Waiting Room, Friday May 31 to commandeer another Sonic Masala showcase. The brutality comes full circle with support from O and Vassals. This promises to tear the world asunder, and you’ll want to be there when that happens. It kicks off at 8pm, $10 and BYO.

SWEET SOUNDS The Dowse Bar will be filled with the sweet, folksy sounds provided by local sirens Clare Quinn and Tori-Lee on Sunday 26 May. Quinn has spent the last year jet-setting around Europe and is keen to show Brisbane audiences how she’s grown and evolved from her experiences abroad. Her debut album Emerald has received a warm response from fans, and will be available for sale on the night of the gig, with doors opening at 5pm. Sounds like a perfect way to wind up the week.

HUMP DAY REPRIEVE RIP Ray Manzarek

BREATHING FLAMES

In order to soothe those hump-day blues, The Zoo will be hosting a new event on the last Wednesday of every month, called The Cantillate Club. The event aims to showcase the talents of up-andcoming local singer-songwriters in a reputable setting, with the first club night scheduled for Wednesday 29 May, with headliners Amon and Audra performing with Alex Crook, Sleeping Cities and Amorina. Tickets available for $8 on the door.

RIOT IN THE SUBURBS Hard, fast metal countered with just the right amount of groove. Now that’s what we’re talking about! Get a taste of it for yourself when NoXiouS take over the Prince Of Wales Hotel on Friday 31 May, supported by friends Temptris, Upside Downside, Prowler and Magnertron. The POW is going to be torn to shreds, so get amongst the riotous fun!

BLANKING OUT Newcastle punk rockers The Black Cats will be coming at us claws out when they kick off their winter tour in our region next month. Catch the trio Wednesday 19 June, Ric’s and Friday 21, YAC Rock Cafe, Byron Bay, where they’ll be launching their brand new single, Blank.

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

BEC AND BEN Song title: This Is Why I Love You What’s the song about? Well it’s not really a love song despite the title. It’s a sarcastic, aggressive conversation between two characters caught in a destructive relationship whose only saving grace is that they aren’t alone. Is this track from a forthcoming/existing release? Yeah, the song comes from an EP we’ve released called Butterknives To Razorblades which is available in all the usual places. How long did it take to write/record? The writing of it happened quite quickly; the song probably came together in about 30 minutes and was refined over a few rehearsals. Recording it was another matter. We had to do it twice which was kind of frustrating but a good lesson. Was anything in particular inspiring you during the making? Nothing specific but the lyrics had this sexy, sinister overtone that we really wanted to match with the music, which I guess is why it came out sounding quite machine-like with the jerky, push-pull feel of the chorus. What’s your favourite part of the song? The chorus. The phrasing of the lyrics and the way the chords move from dissonant offbeats to straight low power chords is great fun. Do you play it differently live? It’s slightly longer, we have a bit more of an interlude before the last chorus which we’ve previously used to get Bec some help on the drums. I think we had about eight audience members helping her out once. It was all happening, loads of fun. Bec And Ben launch This Is Why I Love You (Independent) at Alhambra Lounge on Thursday 23 May.

JEREMY HUNTER Name of EP: Jeremy Hunter Label: Plus One How many tracks: Five Tell us a little bit about the release: This EP has been a long time coming! I recorded it last June at Airlock Studios with Konstantin Kersting from The Belligerents – a talented muso but also an incredible young producer just starting out. The tracks are a mix of folk, rock, and blues tied together with a bit of an acoustic-pop undercurrent. Most of them are simply an attempt to get to the bottom of the wild emotions I was going through at the time – crazy relationship issues and job dissatisfaction – all of that came out in the tracks. What do you have planned for the launch? We’re playing at Black Bear Lodge with Moses Gunn Collective and Soviet X-Ray Record Club – right there suggests it’ll be a pretty rad night. But I’m getting a pro lighting person along for the night, we’ll be working on the songs together to see if we can’t heighten the atmosphere of the set with colour and light. It’s something I’ve never done before, so I’m really excited about that. What’s on the horizon for the band? We have a quick trip down to Melbourne (and hopefully Sydney) after the Black Bear show, and a few scattered gigs for the following months. Wanting to get on some festivals later in the year and with any luck we’ll be back in the studio in a few months. Jeremy Hunter launches Jeremy Hunter (Plus One) at The Majestic Theatre, Sunshine Coast on Saturday 25 May and Black Bear Lodge on Sunday 26 May.

indie news

BRISBANE BOUND

CAN’T HELP BUT LOOK

PUSHING ON UP

Rawr Vanity launch their brand new album Allerton Place with Take Us To Vegas, Far From Paris and Let’s Jump Ship. It all happens at The Zoo on Saturday 1 June, with tickets available through Oztix. Grab yours now and check out what’s happening in the world of local glitter pop-rock, a genre the Rawr Vanity gang have pretty much created themselves!

In addition to their Rock N Roll BBQ slot on Sunday, Daisie May will round out the biggest time in the band’s history by launching their spanking new EP at The Loft, Gold Coast, Friday 24 May ($10) before heading west next month to play The Spotted Cow, Toowoomba on Friday 21 June. Word is the Brisbane rockers killed it at the Woombye Pub last week, so don’t miss out on the tasty action this time around.

A GAME OF WHO IS IT THE BROW HORN ORCHESTRA Members/roles: Nicholas Owen (vocals, keys, beats), Karri Harper Meredith (trombone, synths), Sky Eaton (trumpet, synths, vocals), Ben Lanzon (drums, triggers), Ben Fear (guitar, vocals), Paul Fletcher (cowbell) Home ground: Fremantle, Western Australia Describe your live music/performance style as succinctly as possible. Brass n beats, party vibes across an assortment of tasty genres. Is this your first foray to Brisbane? If not how many times have you performed in our midst? This will be our third time over to Brisbane. We played BIGSOUND plus sideshows last year and came over on our first national tour the year before. Please relate your impressions of performing in our fair city. Great scene, good vibes and good bands; we’ve got a lot of love for your city! What can we expect different this time around? Loads of new tunes we’re putting out on our next release and a fair portion of ruckus. Has anything exciting been happening in your world of late? We’ve been playing some great festivals around the country over the past two years including, Big Day Out, Peats Ridge, Pyramid Rock, GTM, Future Music, etc. Gearing up for some exciting shows over the year! The Brow Horn Orchestra play The Joynt on Saturday 25 May, plus Queen Street Mall on Friday 24 and Sunday 26 May.

Add a bit of mystery to your week by heading along to Friends at X&Y Bar this Friday, 24 May, where a mystery headliner will take to the stage and send your night right over the edge (we can only assume). The undercard is solid too, with Cake Shop and The Lesser Bilby fronting up. It’s $10 entry or if you front up late, it’s $5 from midnight.

RIFFING IT OUT With three generations of blues funk and jazz guitarists being brought together, you’re in for a treat at Black Bear Lodge tomorrow night, Thursday 23 May. Lovers of the six-string head along to catch the Ewan MacKenzie Band, Heroine Chic and Le Breeze, with tickets available through Oztix for $15+BF.

CALLING ON A SEA CHANGE Former Inland Sea troubadour Jeremy Hunter has just released his debut self-titled EP and will be launching the collection of folk rock gems with a few shows over the coming weeks. With a three-piece backing band to help flesh out these new nuggets on stage, you can catch Jeremy and co. at Majestic Theatre, Pomona, Saturday 25 May with Barry Charles; Black Bear Lodge, Sunday 26 with Moses Gunn Collective and Soviet X-Ray Record Club and Dowse Bar, Thursday 6 June (solo) with Tom West.

TIME’S NOT FOR WASTING One song. One day. It was these rules that GC group City Over Sand worked within, crafting their latest indie pop gem, Hold On. Watch as that engaging spontaneity comes through on the stage when the outfit play a home town show at The Loft, Gold Coast, Friday 19 July. Get your tickets on the door for $10.

[THE GUID IDE]

HAVE YOU HEARD

SOUTH EAST QUEENSLAND FOURPLAY Bringing together four fantastic local prospects, the ‘Round and Round and Up and Down’ tour will take Black As Blue, Double Lined Minority, Gentlemen and The Roshambos to the following venues: Eatons Hill Hotel, Wednesday 19 June; The Basement, Gold Coast Arts Centre, Thursday 20; Warwick RSL Kings Theatre, Friday 21; The Spotted Cow, Toowoomba, Saturday 22; and Solbar, Maroochydore, Sunday 23.

DRU COMING AT YOU Funky soul artist Dru Chen continues his east coast tour at The Box on Thursday 6 June, in support of his new EP, Intentions. Accompanied by his band, Chen uses live looping, keys, textured guitar lines and more to bring his music to life on stage. Tickets can be purchased for $10 on the door, with Hailey Calvert supporting on the night.

ON TIME OFF STEREO What A Treat LAURA IMBRUGLIA Trouble Will Find Me THE NATIONAL English Little League GUIDED BY VOICES Guided By Delight THE SEWERGROOVES Muchacho PHOSPHERESCENT In Blood Memory JEN CLOHER American Kid PATTY GRIFFIN Random Access Memories DAFT PUNK The North Borders BONOBO Around The Fur DEFTONES

MORNING HARVEY How did you get together? Spencer White: Jack and I are brothers, Justin and I met in high school. I went to the same school as Eugene and James and I worked at the same café for three or four years. Sum up your musical sound in four words? Drone pop mood rock. If you could support any band in the world – past or present – who would it be? It would have to be The Dandy Warhols. I’ve probably listened to Thirteen Tales From Urban Bohemia every day since I was eight... ha! You’re being sent into space, you can’t take an iPod, and you can only bring one album – what would it be? I can’t speak for the other boys because we all have very different tastes in music, but I’m going to have say Thirteen Tales From Urban Bohemia again. Greatest rock’n’roll moment of your career to date? We got a really nice rider for the first time the other night? Why should people come and see your band? To just live a little, you know? Take a few risks. You might meet someone nice. Morning Harvey play The End on Thursday 23 May.

For more interviews go to themusic.com.au/interviews • 35

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TOUR GUIDE

YOU AM I: The Tivoli Jun 26 and 27 GOLD FIELDS: Elsewhere Jul 5, Alhambra Lounge Jul 6

MUNICIPAL WASTE: Saturday 15 June, The Hi-Fi

BLISS N ESO: Eatons Hill Hotel Jul 12

PRESENTS

CLARE BOWDITCH: The Hi-Fi Aug 16, Byron Community Centre Aug 17

EMMA LOUISE: The Hi-Fi May 24

DRAGON: Eatons Hill Hotel May 25

DASH BERLIN: Family May 31 OLIVER TWIZT: The Met May 31 THE UPBEATS: Coniston Lane Jun 1 THE GHOST INSIDE, EMMURE: The Hi-Fi Jun 1 (18+), Sun Distortion Jun 2 (AA) KAMELOT: The Hi-Fi Jun 4 CATTLE DECAPITATION: The Rev Jun 6, Expressive Grounds Jun 7 (AA) HAPPY MONDAYS: The Tivoli Jun 7 ROBERT BABICZ: The Met Jun 7 BREACH & ROUTE 94: Bowler Bar Jun 7 TYLER, THE CREATOR, EARL SWEATSHIRT: Eatons Hill Hotel Jun 8 P-MONEY: Alhambra Lounge Jun 9 THE MILK CARTON KIDS: Old Museum Jun 9 TIKI TAANE: The Hi-Fi Jun 9 THE BLACK ANGELS: The Tivoli Jun 13

MUNICIPAL WASTE: The Hi-Fi Jun 15

LA DISPUTE: The Hi-Fi Jun 28, Trinity Church Hall Jun 29 (AA), Sunday Jun 30 Byron Bay YAC (AA) ENABLER: Crowbar Jul 4 A DAY TO REMEMBER: Brisbane Riverstage Jul 12 (AA) YOUTH OF TODAY: Crowbar Jul 12 FAR EAST MOVEMENT: Club LIV Jul 14 BEN OTTEWELL: Old Museum Jul 14 STEVE VAI: QPAC Jul 16 BLEEDING THROUGH: The Rev Jul 18 SAINT VITUS: The Hi-Fi Jul 18 DIZZY WRIGHT: Coniston Lane Jul 19 STEREOPHONICS: The Hi-Fi Jul 19 P!NK: BEC Jul 19, 20, 22, 23, Aug 29, 30, Sep 7, 8 JONNY CRAIG: X&Y Bar Jul 20, Studio 454 Jul 21 (AA)

THE BEARDS: The Hi-Fi Jun 21

THE BREEDERS: The Tivoli Oct 29

23 MAY 2013

TOY: The Zoo Jun 17

MONO: The Hi-Fi Jun 26

XAVIER RUDD: The Tivoli Oct 8

THU

LIL B: Coniston Lane Jun 14

KORA: The Zoo Jun 22

FOALS: The Tivoli Oct 2

THE BLACK ANGELS: The Tivoli Jun 13

Jam Night Open Mic feat. various: Coolangatta Hotel Locky: Irish Murphy’s, Brisbane Mark Sheils: Royal George, Fortitude Valley Open Mic Night feat. various: Solbar, Maroochydore Rockschool Challenge feat. Obliged To Deny + Lili Kendall + Wheeler + On Your Feet + Beneath It All + Bleach: Southbank Institute of Technology, South Brisbane Chain Gang feat. DJ Black Amex + James Wright: The End, West End Transvaal Diamond Syndicate + Barefoot Alley: The Joynt, South Brisbane Open Mic Night feat. various: The Loft, Chevron Island San Cisco + Millions + Chaos Chaos: The Northern, Byron Bay Tempo Acoustic Sessions feat. Winter of Reason + Special Guests: The Tempo Hotel, Fortitude Valley Astrid & The Asteroids + Brother Fox + Who Is John?: The Zoo, Fortitude Valley

THE BELLRAYS: The Hi-Fi Jun 13, Coolangatta Hotel Jun 15

MOLLY RINGWALD: Gold Coast Arts Centre Jun 22

HAPPY MONDAYS: The Tivoli Jun 7

22 MAY 2013

…TRAIL OF DEAD: Coniston Lane May 24

MARTHA WAINWRIGHT: The Tivoli May 31

JAPANDROIDS: The Zoo Sep 1

WED

INTERNATIONAL ELUVEITIE: The Zoo May 23

THE REVEREND HORTON HEAT: The Hi-Fi May 26

NORTHLANE: Tempo Hotel May 30, Eagleby Community Hall May 31 (AA)

Bec & Ben: Alhambra Lounge, Fortitude Valley Ewan MacKenzie Quartet + Heroin Chic + Le Breeze: Black Bear Lodge, Fortitude Valley Suicide Swans + Karl S Williams: Brisbane Brewhouse, Woolloongabba Peter Walters Trio + Special Guests: Brisbane Jazz Club, Kangaroo Point Blues On Broadbeach feat. Gail Page + Devils Kiosk + Juzzie Smith + Tuesday’s Good + Joshua Needs: Broadbeach Mall (Broadbeach Mall Stage), Gold Coast Blues On Broadbeach feat. Mojo Webb Band + Asa Broomhall: Broadbeach Tavern, Gold Coast Sessionkatz + Six Shooter Cahill + Chris Miller: Elsewhere, Surfers Paradise Good Oak + The Altais: Gov’s Espresso, Mermaid Beach Scott Geary: Hamilton Hotel (Sports Bar), Hamilton

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

Jabba: Irish Murphy’s, Brisbane Stormy Weather: Lock ‘n’ Load Bistro, West End Mundy: Mick O’Malley’s, Brisbane Open Mic: Mick O’Malley’s, Brisbane Blues On Broadbeach feat. The Ben Eaton Trio + Minnie Marks: Oasis Shopping Centre, Broadbeach Faleepo Francisco + Josh Gambles + DJ Valdis: Ric’s (downstairs), Fortitude Valley CQ Uni Music Student Showcase feat. various: Solbar, Maroochydore Morning Harvey: The End, West End Blues On Broadbeach feat. Transvaal Diamond Syndicate + Andrew Winton + Jesse Valach & Blues Mountain Trio + Cal Williams Jr: The Envy Hotel, Broadbeach J-Free + D-Pax + Sammy Rowland + Savage: The Exchange Hotel, Brisbane Motorway Ends + The Androgyny: The Hideaway, Fortitude Valley Tim Chaisson: The Joynt, South Brisbane Gold Coast Comedy Club feat. various: The Loft, Chevron Island Society Of Sound Presents Mystery Punk feat. Stone Hearts + What We’re Worth + New Orkid + Hometown Heroes: The Tempo Hotel, Fortitude Valley Eluveitie + Alpine Fault + Before Nightfall: The Zoo, Fortitude Valley Emma Louise + Patrick James: Woombye Pub, Sunshine Coast

FRI 24 MAY 2013 Enth Degree + Universe Returns + Science Project + Hades Of Spades + DJ MechBot: Beetle Bar, Brisbane Soul Club feat. various DJs: Black Bear Lodge, Fortitude Valley One Eyed Pilots: Brisbane Brewhouse, Woolloongabba Quentin Angus Quintet: Brisbane Jazz Club, Kangaroo Point Blues On Broadbeach feat. Ray Beadle Band + Dream Boogie + Ghost Road + Harry Brus + Lachy Doley + Jesse Valach & Blues Mountain Trio + Blue Eyes Cry + The Syndicators: Broadbeach Mall (Broadbeach Mall Stage), Gold Coast

RUDIMENTAL: Eatons Hill Hotel Sep 20

Blues On Broadbeach feat. Jon Stevens + The Phil Emmanuel Band + Kevin Borich Express + Mason Rack Band + Devil’s Kiosk + Mojo Webb Band + The Stevie Paige Band + Transvaal Diamond Syndicate: Broadbeach Mall (Surf Parade Stage), Gold Coast Blues On Broadbeach feat. Doc Span + Nick Charles + Claude Hay + more: Broadbeach Mall (Victoria Park Stage), Gold Coast Blues On Broadbeach feat. Jimi Hockings Blues Machine + Tuesday’s Good: Broadbeach Tavern, Gold Coast Dance To Blackout + Junior Arcade + The Descenters: Chardons Corner Hotel, Annerley ...And You Will Know Us By The Trail Of Dead (performing Source Tags & Codes) + Sincerely Grizzly: Coniston Lane, Fortitude Valley The Sunnyboys + Not Ok: Coolangatta Hotel Like Thieves + Ninth Of May + Arctic + Lunar Seasons: Crowbar, Fortitude Valley Zaped + Jessiah Cocks + Meredith: Dowse Bar (Iceworks), Paddington Cosmic Dolphin Party feat. Wax Witches + Mitzi + Major Leagues + Cassette Cathedral + DJ Waylon: Elsewhere, Surfers Paradise tyDi: Family Nightclub, Fortitude Valley Nick & Greg: Gazebo Restaurant, Hotel Urban, Brisbane The Best of the Bee Gees: Hamilton Hotel, Hamilton Cfam: Hamilton Hotel (Sports Bar), Hamilton Jabba + B-Rad: Irish Murphy’s, Brisbane Motion with +Various DJs: Irish Murphy’s (upstairs), Brisbane Sounds of the Footpath: Lock ‘n’ Load Bistro, West End RedX + Fox Hunt + Cassette Cathedral + Boy Cry Wolf: Miami Tavern (Shark Bar), Gold Coast Oliver Twizt + Uberjak’d + Craig Roberts + Flash + 1: Platinum Nightclub, Broadbeach Surf Report: Pottsville Beach Sports Club, Pottsville Holistic + 4 Dead In 5 Seconds + Irukandjii + Death To The Witness + Fall Of The Devine + Haedom: Prince of Wales Hotel, Nundah Last Dinosaurs + The Gin Club + Brow Horn Orchestra: Queen Street Mall, Brisbane Junkyard Diamonds + Dead Zephyr + The Rouse + DJ Valdis: Ric’s (downstairs), Fortitude Valley

DJ Ryan Clague: Ric’s (upstairs), Fortitude Valley Tim & Terry: Royal Mail Hotel, Goodna The Floating Bridges + The Greenroom + Beth’n’Ben: Solbar, Maroochydore Andrew Taylor Duo + James Dean: Stones Corner Hotel, Stones Corner Body & Soul feat. Sandy Beyon & Sean Mullen: Summit Bar & Restaurant, Mt Coot-tha Pommy Johnson: The Arts Centre Gold Coast (The Basement), Surfers Paradise Blues On Broadbeach feat. Mal Eastik Band + Milena Barret + Gail Page + Richard Perso + Zevon & The Werewolves of Melbourne + Tom Richardson + more: The Envy Hotel, Broadbeach Trademark + Danizm + J-Free + D-Pax: The Exchange Hotel, Brisbane Emma Louise + Patrick James: The Hi-Fi, West End Carrie & The Cut Snakes + Corn Liquor: The Hideaway, Fortitude Valley Electrik Lemonade: The Joynt, South Brisbane Daisie May + Hans Solo Band + Candice McLeod + Lani: The Loft, Chevron Island Peking Duk: The Met, Fortitude Valley Underground Lovers + special guests: The Northern, Byron Bay We All Want To + Charlie Horse: The Spotted Cow, Toowoomba Spherian + Weightless In Orbit + Freethought + Perilium + Triplickit: The Tempo Hotel, Fortitude Valley Kingdom: The Tempo Hotel (Bowler Bar), Fortitude Valley 007 Licenced To Thrill feat. various: The Tivoli, Fortitude Valley Jinja Safari + The Belligerents + Kodiak Lawn Party: The Zoo, Fortitude Valley Jon English & The Foster Brothers: Twin Towns, Tweed Heads Ian Moss: Woombye Pub, Sunshine Coast

SAT 25 MAY 2013 La Mont: Agnes Water Tavern, DJ Indy Andy: Albany Creek Tavern The Psychotic Turnbuckles + Mick Medew & The Rumours + Dr Bombay: Beetle Bar, Brisbane

Soul Club feat. various DJs: Black Bear Lodge, Fortitude Valley Free Sunny: Brisbane Brewhouse, Woolloongabba The Beatle Boys: Brisbane Convention and Exhibition Centre, South Bank Tom Vincent Trio: Brisbane Jazz Club, Kangaroo Point Blues On Broadbeach feat. Phil Emmanuel + Robbie Bostock + Russell Morris + Jesse Valach & Blues Mountain Trio + Benny Walker + more: Broadbeach Mall (Broadbeach Mall Stage), Gold Coast Blues On Broadbeach feat. Ian Moss + Mahalia Barnes & Prinnie Stevens + Darren Jack Hammond Trio + The Black Sorrows + Liza Ohlback + Steve Edmonds Band + Jimi Hockings Blues Machine + more: Broadbeach Mall (Surf Parade Stage), Gold Coast Blues On Broadbeach feat. Andrew Winton + Tom Richardson + Hat Fitz & Cara + Andy Baylor’s Cajun Combo + more: Broadbeach Mall (Victoria Park Stage), Gold Coast Blues On Broadbeach feat. Blue Eyes Cry + MooMooPappa: Broadbeach Tavern, Gold Coast Stylin’ Up 2013 feat. various: CJ Greenfields Sporting Complex, Inala Tijuana Cartel: Coniston Lane, Fortitude Valley The Sunnyboys + RedGlo: Coolangatta Hotel No Secrets: Coolangatta Tweed Heads Golf Club, Tweed Heads Army Of Champions + Standard Union + Mouthguard + The Dead Ringers: Crowbar, Fortitude Valley Dragon + special guests: Eatons Hill Hotel, Eatons Hill

Andrew Morris: Mandala Organic Arts Cafe, Mermaid Beach Ger Fennelly: Mick O’Malley’s, Brisbane DCUP: Oh Hello!, Fortitude Valley Soula + Alf: Palmwoods Hotel, Palmwoods Addicted To Bass feat. Tom Piper + SCNDL + Craig Roberts + Flash: Platinum Nightclub, Broadbeach Craig Taylor: Pottsville Beach Sports Club, Pottsville Ah Fuck That + Antichrists Anonymous + Common Enemy: Prince of Wales Hotel, Nundah Dave’s Pawn Shop + Love Hate Rebellion + The Halls + DJ Valdis: Ric’s (downstairs), Fortitude Valley DJ Cutts: Ric’s (upstairs), Fortitude Valley Transvaal Diamond Syndicate + Moondog Gypsy Blues Band: Royal Mail Hotel (afternoon), Goodna Nicky Convine: Saltbar, South Kingscliff Marshall Okell + Mitch Davis & The Dawn Chorus: Solbar, Maroochydore The Roshambos: Southside Tea Room, Morningside Emma Louise + Patrick James: The Arts Centre Gold Coast (Paradise Room), Surfers Paradise Blues On Broadbeach feat. Diezel Town + Nick Charles + Andrew Baxter Band + Lachy Doley + Claude Hay + Hat Fitz & Cara + more: The Envy Hotel, Broadbeach That Swedish Guy + Savage + Trademark + J-Free: The Exchange Hotel, Brisbane Seth Sentry + special guests: The Hi-Fi, West End

DRAGON: Saturday 25 May, Eatons Hill Hotel

Six Shooter Cahill + Chris Miller: Elsewhere, Surfers Paradise Goodwill: Family Nightclub, Fortitude Valley Trainspotters feat. We All Want To + Charlie Horse + Hound: Grand Central Hotel, Brisbane Mashd N Kutcher: Hamilton Hotel, Hamilton Leith Stuart + Tyson & Shake: Hamilton Hotel (Sports Bar), Hamilton Berst + Locky: Irish Murphy’s, Brisbane Motion feat. various DJs: Irish Murphy’s (upstairs), Brisbane Rise and Shine Queensland feat. The Jungle Giants + Deborah Conway + Classik Nawu + Surfari Krishnas: Limestone Park (morning), Ipswich Mojo Webb: Lock ‘n’ Load Bistro, West End

Carrie & The Cut Snakes + Corn Liquor: The Hideaway, Fortitude Valley Brow Horn Orchestra + Barksdale Brass Band: The Joynt, South Brisbane Underwood Mayne + Kenny Slide + Cloudy Friday + Teigan Le Plastrier: The Loft, Chevron Island Jeremy Hunter + Barry Charles: The Majestic Theatre, Sunshine Coast Bec & Ben: The Northern, Byron Bay Honeybird + Trojan Horse: The Spotted Cow, Toowoomba Zoophonic Blonde + more: The Tempo Hotel, Fortitude Valley Various DJs: The Tempo Hotel (Bowler Bar), Fortitude Valley

HURRY! LATE LISTING

FINAL CALL

321 BRUNSWICK STREET MALL, FORTITUDE VALLEY WEDNESDAY 22ND MAY

LE PARTY SOUL WITH DJ REDBEARD FEATURING MARVILLE (10PM) + TS PREDATOR (9PM) THURSDAY 23RD MAY

FALEEPO FRANCISCO (10:30PM) + JOSH GAMBLES (9:30PM) FRIDAY 24TH MAY

DOWNSTAIRS - JUNKYARD DIAMONDS (9:30PM) + DEAD ZEPHYR (8:45PM) + THE ROUSE (8PM) UPSTAIRS - DJ SIMON - 8PM–5AM SATURDAY 25TH MAY

DOWNSTAIRS - DAVES PAWN SHOP EP LAUNCH (9:30PM) + LOVE HATE REBELLION (8:45PM) + THE HALLS (8PM) UPSTAIRS - DJ CUTTS - 8PM–5AM SUNDAY 26TH MAY

LOVE LIKE YOURS WEDDING RECEPTION 3:30PM - NIKOLAINE MARTIN, 4:30PM - THE ANDROGYNY 5:30PM - GHOST AUDIO, 6:30PM - THE HALLS 7:30PM - THE BOYS MONDAY 27TH MAY

THE SILENCIO (9:30PM) + TIMMY RICKARD (8:30PM)

be where the POWER is! for new or renewed listings www.themusic.com.au/amid

TUESDAY 28TH MAY

REDX (PLAYING 2 X 45MIN SETS FROM 8:30PM)

FREE LIVE MUSIC AND INDIE DJS

WANT TO PLAY? EMAIL BOOKINGS@RICSBAR.COM.AU

WWW.RICSBAR.COM.AU

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1,000’s of gigs at your fingertips. The Guide at

TOUR GUIDE THE MEANIES: The Arena Jun 9

BARDO POND: The Zoo Aug 2

IN HEARTS WAKE: Crowbar Jun 13, Eagleby Hall Jun 14 (AA), Byron Bay YAC Jun 15 (AA)

THIRTY SECONDS TO MARS: BEC Aug 13

ABBE MAY: Eatons Hill Hotel Jun 13

MDC: The Zoo Aug 13

THE SUPERJESUS: The Zoo Jun 15 & 16

FLYLEAF: The Hi-Fi Aug 15 DON MCLEAN: QPAC Aug 23, Twin Towns Aug 25

BEACHES: Black Bear Lodge Jun 19

JAPANDROIDS: The Zoo Sep 1

TIGERTOWN: Black Bear Lodge Jun 20, Solbar Jun 21, The Spotted Cow Jun 22

CYNDI LAUPER: Jupiters Casino Sep 10, QPAC Sep 11

GAY PARIS: The Northern Jun 21

VOLUMES: Crowbar Sep 12, Eagleby Community Hall Sep 13 AMANDA PALMER AND THE GRAND THEFT ORCHESTRA: The Tivoli Sep 12

THE WHITLAMS: QPAC Jun 21 THE BEARDS: The Hi-Fi Jun 21, The Northern Jun 22

RUDIMENTAL: Eatons Hill Hotel Sep 20

THE NERVE: Byron Bay Brewery Jun 21, Tempo Hotel Jun 22

RIHANNA: BEC Sep 28

THE RED PAINTINGS: The Hi-Fi Jun 22

FOALS: The Tivoli Oct 2

THE JANOSKIANS: The Tivoli Jun 22

SOILWORK: The Hi-Fi Oct 2

SEJA: Black Bear Lodge Jun 23

AMORPHIS: The Hi-Fi Oct 12

YOU AM I: The Tivoli Jun 26 & 27

KIM WILDE, NIK KERSHAW: The Tivoli Oct 16

I KILLED THE PROM QUEEN, HOUSE VS HURRICANE: The Tempo Jun 27, Eagleby Community Hall Jun 28 (AA)

ONE DIRECTION: BEC Oct 19, 20, 21 THE BREEDERS: The Tivoli Oct 29 ENSLAVED: The Hi-Fi Nov 3 SMOKIE: Brolga Theatre Nov 12, Empire Theatre Nov 14, QPAC Nov 15

THE VAUDEVILLE SMASH: The Loft Jun 27, Solbar Jun 28, The Joynt Jun 29

OLLY MURS: BCEC Nov 16

ANDREW STOCKDALE: The Hi-Fi Jun 27, Coolangatta Hotel Jun 28, The Northern Jun 29

TAYLOR SWIFT: Suncorp Stadium Dec 7

BALL PARK MUSIC: The Tivoli Jun 28

BON JOVI, KID ROCK: Suncorp Stadium Dec 17

THE TONGUE: The Tempo Hotel Jun 28

BRUNO MARS: BEC Mar 7

KIRIN J CALLINAN: The Zoo Jun 29

NATIONAL

BABY ANIMALS: The Hi-Fi Jun 29

GOOD OAK: Gov’s Espresso May 23

ASH GRUNWALD: The Northern Jul 4, The Hi-Fi Jul 5, Kings Beach Tavern Jul 6, Rabbit and Cocoon Jul 7

TIM CHAISSON: The Joynt May 23

LAURA IMBRUGLIA: Beetle Bar Jul 5

EMMA LOUISE: Woombye Pub May 23, The Hi-Fi May 24, Paradise Room May 25, The Northern, May 26

GOLD FIELDS: Elsewhere Jul 5, Alhambra Lounge Jul 6

CLAUDE HAY: The Rails May 23

JINJA SAFARI: The Zoo May 24 FLIGHT FACILITIES: Oh Hello! May 24 UNDERGOUND LOVERS: The Northern May 24, The Zoo May 25 SUNNYBOYS: Coolangatta Hotel May 24, 25 PSYCHOTIC TURNBUCKLES: Beetle Bar May 25 DCUP: Oh Hello! May 25, Cloudland Jul 7 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 ANDY BULL: Black Bear Lodge May 30 NORTHLANE: The Tempo Hotel May 30, Eagleby Community Centre May 31 BRITISH INDIA: The Spotted Cow May 31, Noosa Surf Club Jun 1 SOLKYRI: Beetle Bar May 31, Tym Guitars Jun 1 (AA) THE CHEMIST: X&Y Bar May 31 MATT CORBY: The Tivoli Jun 1 ARCHIE ROACH: GoMA Jun 1 BASS KLEPH: Platinum Jun 1, Wharf Tavern Jun 7, Normanby Hotel Jun 9 5 SECONDS OF SUMMER: The Hi-Fi Jun 5 THY ART IS MURDER: The Rev Jun 6, Expressive Grounds Jun 7 (AA) BLEEDING KNEES CLUB: Alhambra Lounge Jun 6 MANTRA: Coniston Lane Jun 7 TOMMY TRASH: The Met Jun 7 THE PEEP TEMPEL: Prince Of Wales Hotel Jun 8

THE NEVER EVER: Studio 454 Jul 7 (AA) DAVID BRIDIE: Mullum Civic Memorial Hall Jul 11, Brisbane Powerhouse Jul 13 BLISS N ESO: Eatons Hill Hotel Jul 12 SLEEPMAKESWAVES: The Tempo Hotel Jul 12; The Northern Jul 13 BERNARD FANNING: Nambour Civic Centre Jul 14, Empire Theatre Jul 16, The Tivoli Jul 18, 20, Gold Coast Arts Centre Jul 19 CLUBFEET: Oh Hello! Jul 18 MARK SEYMOUR: Noosa Heads Surf Club Aug 8, Hamilton Hotel Aug 9, Racecourse Hotel Aug 10 THE SMITH STREET BAND: The Zoo Aug 29 PARKWAY DRIVE: The Tivoli Sep 29, 30 (AA) XAVIER RUDD: Byron YAC Oct 7 (AA), The Tivoli Oct 8

FESTIVALS STYLIN’ UP FESTIVAL: CJ Greenfields Sports Complex May 25 BRISBANE INTERNATIONAL JAZZ FESTIVAL: Brisbane May 29-Jun 6 VALLEY VIBES: Fortitude Valley PCYC Jun 16 (AA) DEAD OF WINTER FESTIVAL: Jubilee Hotel Jul 13 SPLENDOUR IN THE GRASS: North Byron Parklands Jul 26-28 RED DEER MUSIC FESTIVAL: Samford Valley Sep 7

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

EMMA LOUISE

GIG OF THE WEEK

A LOSS FOR WORDS: Snitch Jul 25, Studio 454 Jul 26

FRIDAY 24 MAY, THE HI-FI It’s been a meteoric rise for local songstress Emma Louise, and she’s finally ready to launch her debut long-player, Vs Head Vs Heart, in her local neck of the woods this weekend. The album has already been picked up by Frenchkiss Records for release in the USA and Germany, so it won’t be long until she’s spreading the word to the rest of the globe, but for now we can catch her with full band in tow as she unveils the unabashed beauty of her new material in the live setting, with a clutch of old faves no doubt thrown in for good measure. To make this Friday night at The Hi-Fi even more special, Emma is being joined by fellow burgeoning singer-songwriter Thelma Plum and heartfelt Sydney troubadour Patrick James, making this one hell of a night of Aussie songwriting talent. If you can’t make Friday night Emma is also holding album launches at Woombye Pub, Sunshine Coast (Thursday 23 May), Gold Coast Arts Centre (Saturday 25 May) and The Northern, Byron Bay (Sunday 26 May), so get along and support our rising homegrown artists!

007 Licenced To Thrill feat. various: The Tivoli, Fortitude Valley Dollar Bar + Matt Banham + Tiny Spiders + Dale Peachey: The Waiting Room, West End Underground Lovers + Silver Sircus: The Zoo, Fortitude Valley The Kransky Sisters: Twin Towns, Tweed Heads RedX + Alys Longmate + Sahara Beck: Woombye Pub, Woombye Mexico City + special guests: X&Y Bar, Fortitude Valley

SUN 26 MAY 2013 Rock n Roll BBQ feat. Spitfireliar + The Mercy Beat + The Arcolas + Daisie May: 633 Ann (afternoon), Fortitude Valley Shoeless Joe: Agnes Water Tavern Jeremy Hunter + The Moses Gunn Collective + Soviet Xray Record Club: Black Bear Lodge, Fortitude Valley John Hoffman Duo: Brisbane Jazz Club (brunch), Kangaroo Point Miss Mandy Swings: Brisbane Jazz Club, Kangaroo Point Lucy Star Satellite + Charlie Horse: Brisbane Powerhouse (Turbine Platform/all ages, afternoon), New Farm Blues On Broadbeach feat. Wiley Reed Tribute Band + Doc Span + Andrew Baxter Band + more: Broadbeach Mall (Broadbeach Mall Stage), Gold Coast Blues On Broadbeach feat. Phil Manning + Paul Cheeseman + Dan Hannaford + Jimi Beavis + Juzzie Smith: Broadbeach Mall (Victoria Park Stage), Gold Coast

Blues On Broadbeach feat. Vanessa Amorosi + Blues Super Group + Ray Beadle Band + Liza Ohlback + more: Broadbeach Mall (Surf Parade Stage), Gold Coast Blues On Broadbeach feat. Mason Rack Band + Cal Williams Jr + Mission Blues Band: Broadbeach Tavern, Gold Coast Bullhorn: Byron Bay Brewery The Jason Recliners: Coorparoo Bowls Club, Coorparoo Claire Quinn + Tori Lee: Dowse Bar (Iceworks/ afternoon), Paddington Josh Maher + Stretch Paper Cranes: Elsewhere, Surfers Paradise Spike: Hamilton Hotel (Public Bar/ afternoon), Hamilton Wasabi + Ragdoll + Mick McHugh: Irish Murphy’s (afternoon), Brisbane Foster & Allen: Kedron Wavell Services Club, Chermside South The Enterprise: Lock ‘n’ Load Bistro, West End Ger Fennelly: Mick O’Malley’s, Brisbane Mitchell Patterson: Pottsville Beach Sports Club Love Like Yours: The Reception feat. The Boys + The Halls + Ghost Audio + The Androgyny + Nikolaine Martin: Ric’s (downstairs/afternoon), Fortitude Valley Barry Charles & The Deeper Beat: Solbar, Maroochydore Kerry Kennedy + Double Barrel: Southern Cross Tavern, Coolangatta Coolhand Luke: Stoke Bar, Southbank Rise and Shine Queensland feat. James Morrison + Deborah Conway + Karl S Williams + Margy Rose: Tamborine Mountain Sports Grounds (afternoon), North Tamborine

JINJA SAFARI: Friday 24 May, The Zoo

Blues On Broadbeach feat. Mike Elrington + Diezel Town + Shaun Kirk + Steve Edmonds Band + Dan Hannaford + more: The Envy Hotel, Broadbeach Body & Soul feat. Sandy Beyon & Sean Mullen: The Greek Club, South Brisbane Reverend Horton Heat + Doubleblack + Men Into Space: The Hi-Fi, West End Flyin’ Solo: The Joynt, South Brisbane Emma Louise + Thelma Plum + Patrick James: The Northern, Byron Bay RedX: The Rails, Byron Bay The Establishment: The Tempo Hotel (afternoon), Fortitude Valley 007 Licenced To Thrill feat. various: The Tivoli, Fortitude Valley

MON 27 MAY 2013 Foster & Allen: Civic Centre, Ipswich B-Rad: Irish Murphy’s, Brisbane

Rockaoke: The Tempo Hotel, Fortitude Valley

TUE 28 MAY 2013 Matt Nelson: Brisbane Brewhouse, Woolloongabba Woody Lives Here: Irish Murphy’s, Brisbane Paul Young Trio: Lock ‘n’ Load Bistro, West End RedX: Ric’s, Fortitude Valley Mark Sheils: Samford Valley Hotel, Samford Valley Kate Miller-Heidke: St John’s Cathedral, Brisbane Mark Davidson + The Wish List: The Bug, New Farm Foster & Allen: The Events Centre Caloundra Escalate Semi Final #7 feat. Strings For Ammo + Will Day & The Alibis + The Orchard + The Evershow: The Tempo Hotel, Fortitude Valley

HTC AND SPEAKER TV PRESENTS

SUPPORTS: CLUBFEET & GEORGIA POTTER

BEHIND THE LINES MY GEAR: JACK CARTY With his next release, an EP titled The Predictable Crisis Of Modern Life just released, Jack Carty is preparing for the next round of touring, but he’s decided to add another element. “I play an acoustic Gibson J45 [a round-shoulder dreadnaught],” he explains. “I’ve had it for two years or something, since Gibson gave me an endorsement, and it’s a beautiful guitar. I think the more you play a guitar the more it opens up, especially to the style of stuff that you’re doing. I love the neck on it – it’s a nice width… I don’t know, there’s just something about it. It’s sort of intangible really. The other day I was in Newcastle buying an acoustic amp for busking. When I play, I usually DI the guitar through the PA system, but I’ve bought this little Roland AC33 amplifier. I’m not particularly huge on busking – I’m not going to be doing it every day or anything – but sometimes I busk when I’m in a town I’ve never been to before just for a bit of fun so I thought I may as well get something to make it a bit louder.” The top of the J-45 is made from AA-grade Sitka spruce, while the back and sides are constructed from pattern grade Honduras mahogany, giving the J-45 its world renowned full, balanced expression, warm bass and excellent projection.

SOUND BYTES Birmingham, UK’s Editors recorded their new album, The Weight Of Your Love, at Blackbird Studio in Nashville with producer Jacquire King (Tom Waits, Of Monsters And Men, Kings Of Leon) and then called in Craig Silvey (Arctic Monkeys, The Horrors, Arcade Fire, Bon Iver) to mix it. The new album, Modern Vampires Of The City, from Vampire Weekend, was begun with sessions in New York City and Martha’s Vineyard and completed in Vox Studios in LA, run these days by Woody Jackson, recording the rhythm section to analogue tape with producer Ariel Rechtshaid.

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

NEW FROM OLD In revisiting fragments of the past, UK experimentalists Wire have come up with something distinctly contemporary, as Michael Smith discovers. riginally forming in London late in 1976, Wire inevitably found themselves caught up in the new wave of bands that emerged with punk, though their richly detailed and atmospheric sound set them apart. Over the next three years, they released three albums produced by Mike Thorne – 1977’s Pink Flag, 1978’s Chairs Missing and 1979’s 154 – before fragmenting. Various line-ups and reformations saw further releases, but it wasn’t until the recording of their 2011 album, Red Barked Tree, that the three core members – singer and guitarist Colin Newman, bass player and singer Graham Lewis and drummer Robert Gotobed – found themselves comfortable enough to forge something new. The previous year they’d invited a young guitarist, Matt Simms, to join them to fill out the sound live.

“Two thousand and eleven was a pretty busy year for us,” Newman explains. “I mean, we basically toured the arse off Red Barked Tree. We toured more than we’d toured since ’78 actually, which was a big deal for Wire, and during that period, Matt Simms, who joined us as a live guitarist in 2010, he became more and more integral to the band and the band started to get really hot. So when it came to November, we were asked to do a second UK tour and as we’d previously toured the UK in February we didn’t want to play the same set obviously so we had to come up with something new. But being on the road, that’s not a good time to develop new material and to be honest it was too soon to start thinking about new material, so I suggested that we might start thinking about this material a bit more seriously. We had a rehearsal and put eight pieces into the set and that worked amazingly well.” The material Newman is talking about dates back to the period just after the release of 154, and it became the basis of what turned out to be Wire’s new album, Change Becomes Us, something they hadn’t planned on at all.

“There were two kind of lines of how the album came about. One is historic and one is contemporary. The historic one is that in the period around the early ‘80s when Wire was literally falling apart, there was the basis of at least an album in material which wasn’t recorded, wasn’t demo’d – some of it was played live, possibly only once – it was in the DNA of the band, but these are not finished pieces. It’s not like there were a bunch of demos for an album that never got made. It was always, ‘We should do that one day,’ kind of thing, but the circumstances didn’t present themselves. There was no consciousness of trying to live in the past – this was just good material, let’s just use it as if the songs have just been written. The next logical step was if we can make it work live, we should record it. So we booked Rockfield where we recorded obviously the things we knew how to play, plus figured out how to play the others. Then I spent six months of production on it to turn it into an album, and towards the latter part of that process – by that time we were getting into Autumn 2012 – it was in our eyes a project. It couldn’t be the next album because from the band’s point of view it was too early, but we realised it was the next album – it sounds from now – so we’ve succeeded in basically doing the almost impossible,” he laughs. “It’s both historic and contemporary – but it’s historic only if you know the story.” “That’s right,” Lewis agrees. “What we were able to do, because of the confidence and the strength in the group at present, was to transcend the material’s beginnings. They became current things. What then happened was that Colin started refining things, working in his studio, and basically we started working in parallel. Because things changed fundamentally, in some cases, that gave you incredible freedom to reinterpret or completely rewrite things, and in other cases, the sonic development which had occurred suggested that perhaps the text, which had probably been written very, very quickly in 1979 for a performance the next week and had not been edited or reviewed, had to be reviewed now. So

it was quite a convoluted one – with some pieces, there were fragments that survive, there are a couple of things that are almost exactly the same. Then there are other pieces which are complete rewrites. Some pieces were very, very difficult. It’s a problem we’d never come across before – I suppose it’s a problem which will only ever happen once,” he chuckles. Opening in 1965, Rockfield, situated near the market town of Monmouth in Wales, is recognised as the first residential recording studio in the world and has hosted the recording of some of the seminal albums of the past four decades or so, among them albums by Black Sabbath, Motorhead, The Damned, The Wonderstuff and The Stone Roses. In 1975 it was the primary studio used by Queen for the recording of Bohemian Rhapsody. There are two studios – the Coach House and the Quadrangle, each with their own separate accommodation and dining, and it was in the original room, the Coach House, that Wire spent a week recording Change Becomes Us, the control room featuring a non-automated customised 48-channel Neve 8128 inline console running into a 32 inputs, 40 outputs ProTools 8, HD2. “Rockfield,” Lewis explains, “what it does have, being and old-style studio, is the possibility to be able to separate everything but still all be able to play in the same room.” Change Becomes Us by Wire is out now through PopFrenzy.

CLASSIES

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To check out the mags online go to themusic.com.au/mags • 41

BEHIND THE LINES TWO MANAGERS & A LAWYER

PRODUCT NEWS

Saturday 25 May, as part of Sydney’s VIVID Ideas Festival, the Museum Of Contemporary Art (MCA) is hosting a seminar titled F@#k You!!: Resolving Disputes in the Creative Industries, it’s well worth jumping on a flight if you’re interstate to attend. For 90 minutes from 10am, artist managers Michael McMartin (The Hoodoo Gurus) and Keith Welsh (Icehouse), both trained and experienced mediators, along with colleague, intellectual property lawyer Adrian McGruther, will give insights into the minefield that is working out the individual intellectual property rights of musicians, songwriters, photographers and graphic artists, when the art gives way to battling over percentages, sharing merchandise income and chasing the use of copyright material illegally by filmmakers or advertisers, among other issues. “We’re all great believers in mediation and people talking,” Welsh, who has a Masters degree in dispute resolution, explains, “and I’ve done quite a few mediations with Michael in the creative industries. We just see this thing all the time about communication. If people can get together, sit down and work out problems, it’s so much better to do it themselves than have it imposed by some court or find themselves spending all the money they’re fighting about on lawyers. We want to show people there are other ways than reaching for your lawyer, so between the three of us we’re able to tell a few law stories and talk in numbers that usually scare people.” Along with a brief Q&A at the end of the seminar, there’ll be a mock 20-minute mediation to demonstrate what happens in these sorts of sessions. Tickets will set you back a mere $15, with a special industry discount available by typing Velocer when booking online.

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

Neal Schon

THE NEAL SCHON SIGNATURE PAUL REED Neal Schon of Journey has joined the Paul Reed Smith guitars family of artists with two distinct signature models, the NS-14 and NS-15, in which design he was intimately involved in nearly every aspect, from the stylised f-holes to the hardware details. The NS-14 is a completely new PRS design incorporating a 14” semi-hollow singlecut body with a new neck joint designed to allow greater access to the higher frets. The NS-15, meanwhile, is a thinline hollowbody based on the Neal Schon limited edition Private Stock guitar released early last year. A portion of Neal’s signature tone comes from his long-standing use of Floyd Rose tremolo systems, so the NS-14 and NS-15 add a Floyd Rose to the PRS Core line for the first time.

AUDIO-TECHNICA MICS GET USB

ARE YOU READY FOR DIGITAL?

Designed to digitally capture music, voice or any acoustic audio source, the AT2020USB+ cardioid condenser microphone with USB digital output is an updated version of the AudioTechnica AT2020USB with a few additional features. There’s a built-in headphone jack with volume control for direct monitoring in real time – no latency – and a built-in high-output internal headphone amplifier, a mix control that blends the mic’s signal with audio pre-recorded on the connected computer, and the cardioid pickup pattern delivers excellent off-axis rejection, while it’s a/D converter, with a 16-bit 44.1/48 kHz sampling rate, ensures extremely articulate sound reproduction, The mic is compatible with Windows 7, Vista, XP and 2000. RRP $249.

As most of you will be aware, Australia is currently transitioning from analogue to digital TV transmission at the completion of which wireless audio devices must vacate the surplus spectrum, known as the Digital Dividend (694820MHz), to free it up for the new services. Get ready for digital by visiting the Ready For Digital website, which carries all the latest information about the change and what you need to do, including the latest news and updates from the ACMA and AWAG, the best wireless management tools to help you find your best frequency, and the Australian Radio Frequency Guide by Shure, used by the Government and AWAG in their Digital Dividend talks, as well as Ready for Digital Dividend Restack products; product replacement finders, in case you do need new systems; comm’s information, because it’s not just about wireless microphone systems; downloads from the ACMA specifically relevant to the wireless audio users, and the only industry forum dedicated to the Digital Dividend changes – ask all your questions and hold discussions with other users, open to all, moderated by Jands’ Technical Experts.

THE NEW AMPEG PORTAFLEX The PF-800 delivers the superior performance of Ampeg’s Portaflex Series bass heads in an ultra-compact 800-watt design perfect for bassists that demand uncompromising tone. With a MOSFET preamp, the PF-800 features an onboard compressor, balanced direct out, pre/ post EQ option, -40 dB pad and an effects loop with a dedicated mix control (foot switchable).

FORD JOINS AV 24/7 One of Sydney’s leading audiovisual companies, celebrating ten years in the industry, AV 24/7 has appointed Mark Ford as their new senior project manager. AV 24/7 has worked with a wide range of clients, from large projects and events for Samsung, Hyundai, Emirates and News Life Media to smaller, bespoke events for brands like Google, Vogue, Mercedes and the Communications Council. For details, check out the AV 24/7 website.

THE DSL-1C MARSHALL As part of Marshall’s 50th Anniversary celebrations last year, they released a series of amps paying homage to one of the five decades that Marshall had been in business. The fourth was the DSL-1C combo amplifier, reflecting the era of 1990s Marshall tone. The DSL-1C is a two-channel, .01W/1W amp with a 10” Celestion speaker. With three ECC83 preamp tubes and two ECC82 power tubes, this all-tube amp packs a big punch in a little package.