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OF MONSTERS & MEN
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“It’s like you’ve got a rock and you chip away at it until you find the sculpture you’re looking for.” - Despicable Me 2 soundtrack creator PHARRELL WILLIAMS (P11)
I hate grunge, but I really like Diorama by Silverchair, because it’s not that grunge.” - Ragnar Pórhallsson from OF MONSTERS AND MEN
“There’s little that deviates from their tried and tested formula, which in this day and age might frustrate some, but their consistently eloquent, warm songwriting skills continue to energise.”
“We need to be that band that gives people something to drink to on the weekends. Or we’ll all be depressed as fuck.” - JJ Peters of DEEZ NUTS (P13)
“We’ve been notorious for not having what’s going on at the moment, it’s pretty silly really. We’re just kinda like in our own bubble.” - Jamie Reynolds of KLAXONS (P16)
“We’ve totally got a handle on complex ethical issues that may affect the youth of today, which is why I’m only allowed to talk about blowjobs and porn once a month.” - Helen Stringer with THE LOOKING GLASS (P30)
- Natasha Lee reviews WE STEAL SECRETS: THE STORY OF WIKILEAKS (P29)
“In the same way that the stamp of Neil Finn or Paul Kelly is inimitable, so too is Pyke’s deft approach to refined, layered melody and clever storytelling.” - Tyler McLoughlan reviews JOSH PYKE’S THE BEGINNING AND THE END OF EVERYTHING (P26)
EDITORIAL Group Managing Editor: Andrew Mast Editor: Steve Bell Assistant Editor: Benny Doyle Food & Arts Coordinator: Cassandra Fumi 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, Madeleine Laing, Tom Hersey, Jazmine O’Sullivan, Tom Noyes, Samantha Armatys, Amorina Fitzgerald-Hood
4 • To check out the mags online go to themusic.com.au/mags
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The group llockk in with Fanning tight and true, and on songs like Inside Track and Here Comes The Sadist, they are shaking their leg with swagger.” - BERNARD FANNING, Live Review
O P M TAE5=BGH5;9
- Brendan Telford reviews CAMERA OBSCURA’S DESIRE LINES (P26)
“Gibney has major beef with the silver-haired hacker, ultimately demonising Assange as a cavalier renegade.”
T A E V LI
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, Freya Lamont 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: email@example.com PRINTED BY: Rural Press
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[NEWS NEWS] n a t i o n a l
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TWISTING THE KNIFE
FAVOURITE ALBUM JONATHAN HIGGS FROM EVERYTHING EVERYTHING
Radiohead Kid A. I know it’s a bit of a cheat, but it was so bold. You’ve got to have OK Computer in there as well I guess to understand. But with Kid A, Radiohead made the boldest move by a successful British band in the last 20 years. They had something good going and then they decided to go and do something completely different.
HOWL AT THE MOON
When you’re thinking off arena rock, it doesn’t get more bombastic and futuristic than Muse. The British band have turned out some of the biggest riffs of the post-millennium era and anyone who saw their jawdropping arena dates of 2010 will attest their live shows are less of a concert and more of an event, with blinding lighting rigs, moving platforms, giant eyeballs and face-melting speaker stacks de rigueur. Indeed, they’ve come a hell of a long way since their inauspicious debut Australian tour, where they played at a pub and an RSL along the east coast. Adding to the massive evening will be local lads Birds Of Tokyo, who will open all dates with their melodic brand of anthemic rock. Having scored their first ARIA number one record earlier this year with March Fires, this will cap off a memorable year for the Perth five-piece in pretty dramatic style. Catch the two bands perform at the following dates: Saturday 30 November, Perth Arena; Friday 6 December, Rod Laver Arena, Melbourne; Tuesday 10, Brisbane Entertainment Centre; and Friday 13, Allphones Arena, Sydney. Tickets for these all ages shows are available from Monday.
Montreal-born, Californian-bred, Australian-based Wolf Mail has made the six-string his own, carving out a formidable reputation as one of the world’s great bluesmen. Even though he’s been living in our parts since 2006, he spends most of the time sharing his skills with the greater globe around us, however, he’s set to treat fans right across the country to his earthy sounds later this year. Wolf Mail plays Tuesday 3 September, The Perth Blues Club, The Charles Hotel; Friday 13, The Old Manly Boatshed, Sydney; Thursday 26, The Joynt, Brisbane; Friday 27, Bangalow Bowling Club; Saturday 28, Joe’s Waterhole, Eumundi; Sunday 29, Royal Mail Hotel, Goodna; Friday 4 October, Lizotte’s, Dee Why; Saturday 5, Great Southern Blues Festival, Narooma; Thursday 10, Northcote Social Club, Melbourne; Friday 11, The Bridge Hotel, Castlemaine; Saturday 12, The Music Man Megastore, Bendigo; Thursday 17, Lizotte’s, Newcastle; Friday 18, The Basement, Sydney; Saturday 19, Clarendon Guesthouse, Katoomba; Sunday 20, Beaches Hotel, Thirroul.
Everything Everything are touring. Check The Guide for dates.
THIS WEEK’S RELEASES Tonight Alive
ALUNAGEORGE Body Music Island/Universal
MISERY SIGNALS Absent Light UNFD
THE DARLING DOWNS In The Days When The World Was Wide Fuse
FUCK BUTTONS Slow Focus ATP/Fuse
TRENDING ON 1 NEWS 2 ALBUM REVIEWS 3 INTERVIEWS 4 LIVE REVIEWS 5 BLOG
Amanda Palmer gets naked in response to Daily Mail ‘nipple’ story Karnivool Asymmetry
Paul Dempsey from Something For Kate Dick Diver
The TV Set – Sandra Sully upstaged on Wanted
Sydney rockers The Snowdroppers have been getting the rub from their fervent fanbase and will be releasing popular ditty So Much Better as the third single from their full-length of earlier this year, Moving Out Of Eden. To mark the occasion – and also to sign off the record’s touring cycle before they return to work on album number three – The Snowdroppers will do what they do best: burn up the stage with sexy, sexy swagger. After the guys play support to Grinspoon for a few dates in August, they’ll embark on their Moving Out National Tour, playing the following east coast shows with their kindred spirits in rock’n’roll filth, Gay Paris: Friday 6 September, Alhambra Lounge, Brisbane; (Black) Friday 13, John Curtin Band Room, Melbourne; Friday 20 and Saturday 21, Annandale Hotel, Sydney (Gay Paris not appearing on the Saturday).
YOUNG AND RESTLESS They’ve only just been announced as part of Vans Warped Tour 2013, but that wasn’t enough for Sydney pop-punk sensations Tonight Alive – they want to do some headline shows of their own as well. With a second album set to drop in the none too distant future, these dates will prove an opportunity for fans to dig their teeth into the latest and greatest. Along with special guests Hands Like Houses and D At Sea, Tonight Alive will perform at the following venues: The Hi-Fi, Sydney, Thursday 5 September (licensed/all ages); Alhambra Lounge, Brisbane, Saturday 7 (under-18 matinee) and The Zoo, Brisbane (18+); The Hi-Fi, Melbourne, Wednesday 11 (under-18); Billboard, Melbourne, Friday 13; and Astor Theatre, Perth, Saturday 14 (licensed/ all ages). Tickets for all dates go on sale Friday.
SHAKEN OR STIRRED Your mum loves him, your mum’s mum loves him and even if you don’t you’ve probably got a soft spot for Canadian crooner Michael Buble. Channelling the sharp-suited lounge that made legends out of men like Frank Sinatra and Dean Martin, the three-time Grammy winner has developed a firm fanbase in Australia and, with five number one albums in addition to record sales of more two million, it’s clear that we can’t get enough of Buble’s smooth, smooth stuff. The 37-year-old will return Down Under in 2014, playing the following dates: Saturday 26 April, Perth Arena; Wednesday 30 and Thursday 1 May, Rod Laver Arena, Melbourne; Friday 9 and Saturday 10, Allphones Arena, Sydney; and Monday 12, Brisbane Entertainment Centre. Tickets go on sale Monday 5 August.
Get ready to shake your thing to the guitar pop double bill of the year when Jeremy Neale and Feelings partner up for dates along the east coast. As part of Velociraptor and with his own summertime pop melodies, Neale has emerged as one of this country’s most unique and inspired young songwriters, while Feelings stands as the new project for former Philly J’s frontman Berkfinger, a sharp tongued six-string auteur who is stepping out from his Berlin studio to present songs from a long awaited debut. The One More Time With Feelings tour takes in the following dates: Thursday 22 August, Solbar, Maroochydore; Friday 23, Alhambra Lounge, Brisbane; Saturday 24 August, The Spotted Cow, Toowoomba; Thursday 29, Transit Bar, Canberra; Friday 30, Goodgod Small Club, Sydney; Saturday 31, Yours And Owls, Wollongong; and Friday 6 September, Workers Club, Melbourne.
MARS DATES PUSHED BACK All you Jared Leto lovers out there are going to have to wait a little longer for your fix, with his arena rocking band Thirty Seconds To Mars regretfully announcing the postponement of their scheduled August tour. The band have released this statement: “It is with a heavy heart and deep regret that we must reschedule the four shows in Australia. A member of the band will be undergoing a medical procedure and the time will be used to address this. Please know we are absolutely devastated and hope for your understanding and patience. Our sincerest and deepest apologies.” The new all ages dates are Tuesday 25 March, Challenge Stadium, Perth; Friday 28, Rod Laver Arena, Melbourne; Saturday 29, Sydney Entertainment Centre; and Sunday 30, Brisbane Riverstage. All purchased tickets are valid for these new dates, however, if you can’t get to the 2014 shows please seek a refund from point of purchase by Friday 3 August.
COVER YOUR EARS Featuring members of NOFX, Lagwagon and Foo Fighters, Me First & The Gimme Gimmes are no slouches when it comes to musical chops – they just simply want to have fun. The ultimate punk rock covers supergroup, the five-piece have just put together the Sing In Japanese EP, a record that gives you exactly what it says on the box. Now, they’ll confuse and amuse in equal measures when they arrive for their first tour in three years. Enjoy some laughs, sing some guilty favourites and get pitted Wednesday 2 October at Manning Bar, Sydney; Thursday 3, Cambridge Hotel, Newcastle; Friday 4, The Hi-Fi, Brisbane; Saturday 5 and Sunday 6, Corner Hotel, Melbourne; Wednesday 9, Barwon Club, Geelong; Friday 11, Amplifier, Perth; and Saturday 12, Prince of Wales, Bunbury. Get your tickets this Friday.
6 • For more news/announcements go to themusic.com.au/news
FEELING DAMN GOOD With their latest single Is This How You Feel? getting showered with praise since its release a few months ago, The Preatures are positioned to take over the airways and our hearts with a new five-track EP of the same name. The Sydney soul rockers will launch the new release with a string of shows around the country before they bunk off to Europe and America to spread the love far and wide. Catch them Friday 6 September, Oxford Art Factory, Sydney; Friday 13, Northcote Social Club, Melbourne; Saturday 14, Karova Lounge, Ballarat; Friday 20, Flyrite, Perth; Saturday 21, Mojo’s, Fremantle; Thursday 26, Transit Bar, Canberra; and Friday 27, Black Bear Lodge, Brisbane. Proudly presented by Street Press Australia.
PARTNERS IN GOOD TIMES It might seem like a random match, but according to the players involved it makes perfect sense. Later this year, colourful indie pop upstarts The Griswolds will join forces with grounded hip hop MC Chance Waters, announcing the More Than Just Friends tour. Having been working together in the studio recently for a track on Waters’ forthcoming album, the two acts will extend their chemistry out onto the stage, playing Thursday 19 September, Northcote Social Club, Melbourne; Friday 21, Oxford Art Factory, Sydney; and Friday 4 October, Alhambra Lounge, Brisbane.
City & Colour
QUENCH OUR THIRST After giving us a brief bit of his magic with a couple of small shows over the weekend, Dallas Green has announced he’ll be returning as City and Colour later this year, touring those incredible pipes around the country with a full live band featuring the likes of Jack Lawrence (The Raconteurs, The Dead Weather) and Doug McGregor (The Constantines). Playing his biggest Australian shows ever along with some small and intimate gigs thrown in, Green will bring City and Colour’s rich back catalogue to life live on stage, playing Sunday 24 and Monday 25 November, State Theatre, Sydney; Thursday 28, Civic Theatre, Newcastle; Saturday 30, Brisbane Riverstage; Monday 2 December, Royal Theatre, Canberra; Saturday 7, Belvoir Amphitheatre, Perth; and Saturday 14, Sidney Myer Music Bowl, Melbourne. Every gig is all ages except for Perth where 18+ restrictions will be in place, however, under-18s can attend with a parent or guardian. Husky are set to support across the three-week stretch.
DARK AND STORMY Polish death metal titans Behemoth are set to stomp into our land, pillage our souls and obliterate some capital city venues in the process later this year. Consistent visitors in our parts since first presenting themselves during the mid-noughties, the four-piece continue to push the envelope with their blackened symphonies to the devil. In addition, the Hour Of Penance will also strike down upon us, with their maniacal shreds of metal. These morbid evenings of madness take place Thursday 24 October, Capitol, Perth; Friday 25, The Espy, Melbourne; Saturday 26, Manning Bar, Sydney; and Sunday 27, The Hi-Fi, Brisbane.
www.thenorthern.com.au WEDNESDAY 24 JULY
OPEN MIC SHOWCASE NIGHT
JONSON STREET BYRON BAY
Thursday 25 July
O’MALLEY’S EVERY FRIDAY AND SATURDAY NIGHT
ONE NIGHT WITH JACKIE ONASSIS, ELIZABETH ROSE, FISHING, JINJA SAFARI (DJ SET) + SPECIAL GUESTS
DJ MICHAEL SIDEWAYZ
Friday 2 August
THURSDAY 25 JULY
OPEN MIC NIGHT 7.30PM–10.30PM
AFTER THE FEATURE BANDS TIL 3AM:
COME DOWN AND MEET OUR NEW RESIDENT DJ. TOP 40’S, R&B, DANCE AND MUCH MORE TILL LATE
JERICCO Saturday 3 August
FRIDAY 26 JULY
5PM–9.30PM LATIN CONNECTION PRESENTS:
LATIN CAVE BRISBANES HEART OF LATIN DANCE, MUSIC AND FOOD 10PM
ELEGANT SHIVA, RUMOURS, THE SINGLE FINS, SAMOAN PUNKS Friday 9 August
DALLAS JAMES & THE GRAINS
SATURDAY 27 JULY
Saturday 10 August
THE RUMINATERS & PRO VITA
ELECTRIC SAMURAI 9.30PM–12AM
Thursday 15 August SUNDAY 28 JULY
GER FENNELLY 2.30PM–6.30PM
STRINGS FOR AMMO 7PM–11.30PM
SETH SENTRY & MANTRA Friday 16 August
ELECTRIC HORSE Saturday 17 August
MONDAY 29 JULY
MICKS TRIVIA 7PM–9PM
TSUN, PILOTS Friday 23 August
GLASS TOWERS TUESDAY 30 JULY
DEEP STACK POKER 7PM
Saturday 24 August
BOOTLEG RASCAL Thursday 29 August
GUTTERMOUTH Saturday 31 August
MIDNIGHT JUGGERNAUTS Basement Level - Wintergarden Centre Queen Street Mall - Brisbane City PH 07 3211 9881 FAX 07 3211 9890 Email firstname.lastname@example.org
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Grinspoon The Grates
Splendour on the Screen
SPLENDOUR ON THE SCREEN For those of you who will miss Splendour In The Grass, Grill’d Wintergarden is the only Brisbane venue playing Virgin Mobile’s Best Of The Fest stream on the big screen. Last year’s Virgin Mobile stream from Splendour in the Grass saw over half a million non festival-goers tune in, making it the third highest viewed YouTube live stream in Australian history. So head down, grab one of the 100 free Grill’d burgers on Traditional or Panini at Grill’d Wintergarden Sunday 28 July, from 2pm.
WEDNESDAY 24 The Central Queensland Project: A Region In Transition – a photography exhibition that looks at the economically powerful and sometime forgotten region of central Queensland. Featuring local photographers Kelly Hussey-Smith and Alan Hill. Brisbane Powerhouse, to Sunday 18 August
FRIDAY 26 Dirty Dancing – an interactive viewing of the classic chick-flick that coined the expression, “No one puts baby in the corner”. Audience members are encouraged to get into it and dress up in your best ‘60’s attire and get ready to dance and sing. There will be a pre-screening DJ set for everyone to get warmed up. Schonell Theatre, University of QLD, 7pm.
SATURDAY 27 Drama Fest 2013 – a community theatre festival, with three sessions on today, each session includes three plays. All productions will be competing to take out the major prize. There is an array of themes and genres in the plays. Come and support community theatre. Adjudicated by Wesley Enoch, Artistic Director of QTC. The first session starts at 10am, Redlands Performing Arts Centre.
SUNDAY 28 Jacques Barrett & Luke Heggie – a night of comedy with Brisbane-born comedian and winner of RAW 2010, Luke Heggie. Known for his dry delivery, this show is based around Luke’s time working in a bottle-o. He is joined by Jacques Barrett, an observational comedian. The Paddo Tavern, 3pm.
GRATE NEW DATES Although Brisbane indie pop favourites The Grates have been out of the musical spotlight, they’ve been anything but bored with their hands all on deck behind Southside Tea Room in Morningside. They’re soon going to remind us why we fell head over heels for them in the first place, though, with the gang set to headline Mt Samson’s Red Deer Music festival in a few months time, and now they’ve just announced a few additional headline dates to reach out to even more of their fans. Along with Wax Witches, the DIY punk project of Bleeding Knees Club guy Alex Wall, Patience and John will play The Spotted Cow, Toowoomba on Thursday 5 September and Elsewhere, Gold Coast, Friday 6. With Red Deer all but sold out, this is your only chance to see The Grates perform this year, so head to Oztix now – $22+BF.
UP TO YOUR NECK IN IT
CODY’S A BELIEBER
British quintet Neck Deep are excited to announce their first Australian tour, with the Manchester melodic punk rockers coming with a formidable live show that has been refined throughout this year’s British Vans Warped Tour alongside the likes of Enter Shikari and Rise Against. The lads play two Queensland shows, happening Thursday 21 November, Snitch, X&Y Bar and Friday 22, Trinity Hall (all ages). Get your tickets through Oztix from Thursday 1 August.
It’s probably because he’s worried about the mass tween mauling that’s going to take place when he arrives later in the year, but Justin Bieber looks set to share the love with a local, with Cody Simpson announced as the very special guest on the Down Under leg of his Believe world tour. It hit Brisbane Entertainment Centre, Wednesday 27 November, with tickets on sale right now through Ticketek from $100+BF. If you haven’t got yours then what are you doing still reading this?
RUNNING WILD Former Australian Idol winner Wes Carr is reinventing himself as Buffalo Tales and wants to invite you to warm-up next to the campfire with him. The incarnation is coming to life with debut Roadtrip Confessions, a collection of acoustic jams documenting a faux car journey along the wide open road. Carr brings his new stories to life this weekend, playing three dates along our coast. Catch him at Southside Tea Room, Friday 26 July; Kings Beach Tavern, Caloundra, Saturday 27; and Coolangatta Sands Hotel, Sunday 28 from 3pm. Get your tickets through Oztix and the respective venues direct.
SAFARI SUPPORTS ANNOUNCED The much anticipated Bay Of Fires tour for Afro-indie crew Jinja Safari just got even finer with Cub Scouts and Okenyo announced as the support acts for the national run of dates. Just a reminder for Queensland dates: Wednesday 11 September, Woombye Pub, Sunshine Coast (Cub Scouts not appearing); Thursday 12, The Spotted Cow, Toowoomba; Friday 13, The Hi-Fi; and Saturday 14, Coolangatta Hotel, Gold Coast. Tickets can still be purchased through venue websites and Oztix for $25+BF, with all shows proudly presented by Street Press Australia.
NEWS Catwalk To Compassion – Brisbane student and Paradise Kids 4 Africa volunteer Jacqui Toumbas has organised the event Catwalk To Compassion to help raise funds for children in West Africa. The event is a runway show of fashions from Teal and Tala and Red Square Clothing. All proceeds will go towards building a new toilet block, clinic and handwashing bay in Skye Street school of Freetown in Sierra Leone. Jacqui believes the joy of life is giving and hopes to encourage other young people to get involved and inspire them to make a difference. Rainbow Room, Cloudland, Friday 16 August, 7pm.
UPCOMING Two New Exhibits At GOMA & QAG – The Gallery of Modern Art and Queensland Art Gallery have announced new international exhibitions coming your way in November this year. QAG will host California Design 1930-1965: Living In a Modern Way, a collection of items part of the study into California’s role in shaping international material culture. The collection was put together by Los Angeles County Museum of Art and includes over 250 objects. Opens Saturday 2 November. GoMA will host Cai Guo-Qiang: Falling Back To Earth, a collection of new and recent works by Chinese-born, New York-based artist. This is Cai Guo-Qiang’s first solo exhibit in Australia and will feature signature works including installation piece Head On which has 99 life-size wolves. Opens Saturday 23 November.
EXPLORATIONS THROUGH SOUND Room40 is delivering the Open Frame music and media festival once more in 2013, with progressive and provoking artists from Asia, North America and Europe as well as Australia. The full program guide for Open Frame 2013: The Future Of Noise is as follows: Institute Of Modern Art, Thursday 22 August (feat. David Troop, Greg Hainge and Amelia Barikin panel discussion), and Thursday 29 (feat. David Troop and Akio Suzuki); Lismore Regional Art Gallery, Friday 30, Akio Suzuki; Brisbane Powerhouse, Thursday 12 September (feat. Francisco Lopez, Angel Eyes and Heinz Riegler), Friday 13 (feat. Mark McGuire, pictured, Blank Realm and Circular Keys), and Thursday 19 (feat. Laurel Halo and Objekt). There will also be the Westhead Project feat. Jim Denley, Monika Brooks and Dale Gorfinkel which will take place Saturday 28 at an as-yetunannounced venue. Tickets for each individual evening can be purchased through the respective venues, with the whole event proudly presented by Time Off.
8 • For more news/announcements go to themusic.com.au/news
Golden Days is back again in 2013, and one of the biggest days of music on the Sunshine Coast is set to rock the region once more. This year’s line-up sees a load of big names signing up for some fun in the sun, with perennial festival favourites Grinspoon, pictured, Brisbane indie pop gang Ball Park Music, hoverboard repping hip hop dude Seth Sentry, as well as The Beards, Sticky Fingers, Kingswood, Battleships, Jackie Onassis (DJ set), Alys Longmate, DrawCard, Tea Society, Brett Orr, Hope Springs, The Buzzbees and Sahara Beck. Tickets for the festival, happening on Saturday 9 November at Coolum Sports Complex on the Sunshine Coast, are on sale next Monday, 29 July from 9am through the festival website. The festival is proudly presented by Time Off.
ABOUT TO KICK OFF There’s some great nights a brewing a Southside Tea Room with the venue excited to announce their $5 Saturdays sessions all throughout August. A muchbang-for-your-buck way to have a kick arse weekend, the information is on the box: five buck entry, five buck food and drink specials. In addition, there’ll be some vinyl getting slung by different DJs as well as generous lashings of live music. This is how things are looking for the month: Saturday 3 August: Belltalk and Cider Street; Saturday 10: Old Lion and Rick Fights; Saturday 17: Adele & Glenn and Jevan; Saturday 24: Bree De Rome with The Lion’s Children.
COMING BACK WITH MORE Vegas Kings
A DECADE OF DOING IT RIGHT Celebrating ten years in the Brisbane scene, local indie label Mere Noise are putting together a night that suits their ideals plenty: rock’n’roll giving back to those that listen. Be at Black Bear Lodge on Saturday 7 September to get a hit of Vegas Kings, pictured, who are back in business for this one special show, alongside HITS, Tiny Migrants (who are launching a brand new 7”) and Death Rides A Horse. In addition to this, there’ll also be a guest DJ spinning cuts from the entire 2013 Singles Club, further showcasing the slabs of good gear that Mere Noise are helping get heard. And all this wrapped into a free show no less!
FALLS FESTIVAL AT OUR FEET
360 Allstars – an urban circus performance that brings together international dancers, musicians and athletes. Come see champion breakdancers, a BMX gold medallist and many more exciting performers. Judith Wright Centre, matinee 11am, to Saturday 3 August.
ALL THAT GLITTERS IS GOLD
Incredibly and rather unexpectedly, it has just been announced that southern festival institution The Falls Music & Arts Festival will be landing in our region this summer, giving us a New Year’s Eve event that is really worth smiling about. Offering something of a flipside to Splendour In The Grass in the winter, the long-running festival will take place at an as yet unannounced Byron Bay location from Tuesday 31 December to Friday 3 January. Festival founder Simon Daly says this: “We’re really excited to be heading north and expanding this year, the Byron Bay location couldn’t be better suited to everything that has always encompassed Falls in Lorne and Marion Bay. Coastal and charming natural settings; a destination for our patrons to travel for.” Bands will operate on a rotating line-up that will also include usual locations Lorne, Victoria and Marion Bay, Tasmania, and with last year’s bill including acts such as The Hives, The Flaming Lips, Two Door Cinema Club and SBTRKT, this is shaping up to be one smashing way to welcome in 2014.
UNACCUSTOMED TO THE UNDERSTATED Honky tonk good times are the order of the day for Dale Watson & His Lonestars, with the country music virtuoso leading his outlaw troops down a path that greats like Waylon Jennings and Willie Nelson started paving many moons ago. Helping to spread the ‘Nashville rash’ far and wide, Watson and the boys will be jetting over to our parts to spread their distinctive sounds with cutting humour and plenty of style. The band have locked in two Queensland dates, taking place Thursday 28 November, Black Bear Lodge and Friday 29, Morningside Services Club. Tickets for both dates are on sale now.
International artists and further Australian acts have been introduced as part of the third instalment for Byron Bay’s Boomerang Festival. Happening at Tyagarah Tea Tree Farm – the home of Bluesfest – across three days and nights from Friday 4 to Sunday 6 October, new performers who will be taking part in the festivities include: Moana & The Tribe, Quique Neira, Rako Dancers, The Chooky Dancers, Busby Marou, Casey Donovan, Briggs, Jack Charles in Bastardy and Dr Djiniyini Gondarra OAM. Tickets for this incredibly diverse celebration of Indigenous sounds are still available through the festival website, where you’ll also find the full list of artists on the bill. Proudly presented by Street Press Australia.
PLENTY OF FUEL IN THE INJECTOR After more than two decades in the game, Mark ‘Diesel’ Lizotte is still committed to giving his fans something special. This time, it’s with Let It Fly, 12 new songs that present the man for what he is: a diverse multi-instrumentalist that can sing, write and produce with the best of them. To introduce this new batch of songs, Diesel has announced some Fans First events, with limited tickets available to evenings that will consist of a solo performance and Q&A session, with punters getting an autographed copy of the LP sent to them, too. The Queensland date for this happens Thursday 1 August, The Hideaway.
A LOSS FOR WORDS SHIFT ALL AGES SHOW Quickie to let ya’ll know that Boston pop punkers A Loss For Words have had to change the venue for their scheduled all ages performance happening this Sunday, 28 July here in Brissie. Now the show will happen at Tall Poppy Studios instead of Studio 454, with all tickets purchased still good for the new location.
DISCOVERING THEMSELVES It’s taken them years of refining and digging into the depths of sound to find something that’s uniquely their own, but with their forthcoming debut album, I, A Man are set to do just that. Four guys from Melbourne, the band trigger all sorts of elements, from drone and kraut to dream pop. It’s textured, it’s hypnotic, it’s incredible that such accomplished tones have come from selfimposed isolation in the Victorian outback. The band are ready to present fans with first single Less Travelled, and will launch the track with a Queensland date, happening at Alhambra Lounge on Friday 30 August. This show will feature support from The Creases, with more to be announced in the coming month.
THIS WEEK at The Hi-Fi Nejo Y Dalmata (PUR) Sat 27 Jul
JUST ANNOUNCED Me First & The Gimme Gimmes Fri 4 Oct Behemoth Sun 27 Oct
COMING UP RevFest Sat 3 Aug Dubmarine Fri 9 Aug Shapeshifter (NZ) Sat 10 Aug Flyleaf (USA) Thu 15 Aug Clare Bowditch Fri 16 Aug Tall Poppy Indie Rock Party Sat 17 Aug Ash (IRL) performing 1977 Wed 21 Aug Weapon Records Launch feat. Tetrameth
Fri 23 Aug Cosmic Psychos Sat 24 Aug Midnight Juggernauts Fri 30 Aug Anberlin (USA) Wed 4 Sep The Paper Kites Fri 6 Sep Jinja Safari Fri 13 Sep Dead Letter Circus Sat 14 Sep Snakadaktal Fri 20 Sep The Drones Fri 27 Sep Soilwork (SWE) Wed 2 Oct Regurgitator Fri 11 Oct Amorphis (FIN) Sat 12 Oct Imagine Dragons (USA) Sat 19 Oct
Nile (USA) Thu 14 Nov
Every Time I Die (USA) Fri 18 Oct
Black Flag (USA), The Ataris (USA) + More Sat 16 Nov
Hits & Pits 2.0 Feat.
Mickey Avalon (USA) Thu 24 Oct Enslaved (NOR) Rescheduled to Sun 3 Nov TIX + INFO THEHIFI.COM.AU 1300 THE HIFI 125 BOUNDARY ST, WEST END
YOU GOTTA BE YOUR OWN DOG
EMBRACING THE ERRATIC Perth-bred rockers Pond have spent the last couple of years slinking out from under the gargantuan shadow cast by their partnersin-crime Tame Impala and embarking on their own trippy odyssey. Ahead of new album Hobo Rocket frontman Nick Allbrook talks to Steve Bell about crack den anthems, making music in your underwear and living in the bubble. retty much since their inception back in 2008, Perth outfit Pond were viewed as a side-project; the propulsive, relatively psychedelic offshoot of their world-taming older brother Tame Impala. Even though Pond’s members play in many other bands on the fertile WA scene, the Tame Impala connection was overwhelming – Tame’s touring line-up included enigmatic Pond frontman Nick Allbrook on bass and Pond guitarist/keys maestro Jay Watson on drums, while Tame Impala mastermind Kevin Parker even returned the favour, drumming on and producing Pond’s 2012 breakthrough Beards, Wives, Denim.
But this simplistic comparison was never fair on Pond, a band who from the outset were far too interesting to live in another’s shadow. Their arresting live show and increasingly strong recorded output gradually endeared them to audiences the world over, and while the burgeoning global success of Tame Impala was a boon for Pond’s profile they certainly weren’t beholden to them – an assertion readily evinced by Allbrook’s recent decision to quit his bass role with Tame (even if the plum position was quickly snapped up by Pond drummer Cam Avery). So while the two bands share members and a certain cavalier approach
to their trade, they are defiantly distinct entities, confirmed once more by Pond’s fifth long-player, Hobo Rocket. The album is brilliantly manic, throwing every conceivable idea into the mix and emerging with an intoxicating amalgam of sensorysmashing sounds, dense with feedback wails abounding. As with most of Pond’s music to date it’s fun and free-spirited – seemingly bound by no aesthetic or intellectual constraints – and definitely cut from its own cloth. “I am happy actually – I’m still happy, and I can still listen to it which is pretty crazy,” Allbrook reveals of his band’s new effort. “Usually we finish a record and I never want to hear it again, but this one I’ve enjoyed every time I’ve listened to it since. “I think we had some idea of exploring the more aggressive psychedelic intensity – strobe lights, metal, tinfoil, black and white kind of neon pixel explosion type thing. I don’t know – we had an aesthetic and general idea of where we wanted to go, or at least I did and I’m pretty sure the other guys did, too. There’s a whole lot [of things which conspired for the album’s sound] – various things cross into that, and they were inspirations and images and videos. I think of Butthole Surfers and Comets On Fire – that aggressively intense, bad trip kinda thing.” From the outside it seems like Pond defiantly
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make music for themselves and if anybody else likes it then that’s a bonus (“I’d say that’s extremely accurate,” Allbrook laughs), and while Hobo Rocket is miles removed from Beards, Wives, Denim that wasn’t necessarily their intention, just the result of their three-way creative bent; Allbrook, Watson and guitarist Joseph Ryan concoct most of the music together in a typically random manner. “There’s a lot of back and forth actually, it’s kind of funny,” Allbrook ponders. “It’s almost like three solo projects all get put through a blender before they come out as some sort of brown super-smoothie. But we’re all on the same page, and that’s the only reason we’ve kept going, because whenever we hang out and talk about it we’re all pretty much talking about the same thing. Even when one of us feels like we’re getting into a different area, you talk to the other people and they’re all pretty much talking about the same thing. “It’s very relaxed – you can just do as much as you want by yourself sitting in your jocks in your bed strumming a guitar, and then when you’re proud enough to show other people something then you do, and you continue from there.” Which is probably why Hobo Rocket feels so eclectic – the way that anthemic single Xanman segues into the acid-tinged O Dharma, for instance, is indicative of the album’s ramshackle nature. Does Allbrook like albums that cover a lot of ground? “I do, I do,” he asserts. “I’m extremely partial to The White Album and Exile On Main Street and Tusk – they’re like the three flagship albums of being erratic. They’re the most classic, erratic albums – long and sprawling and probably slammed when they first came out. But yeah, I fucking love that when an album just goes anywhere and everywhere, I think it’s great.” For Hobo Rocket – originally conceived as an EP before sprawling an album – Pond convened at Eskimo Joe’s Wasteland Studios in Fremantle for just a handful of nights, recording primarily live to capture the unbridled intensity of their stage shows. “Usually [live and in the studio are] different aspects, but we thought [recording live] would be a pretty good idea for this one seeing as they were pretty heavy and loose and space-station-cum-crack den anthems; we figured we couldn’t do them track-by-track in a schmiko studio otherwise we’d sound like a joke,” Allbrook admits. “It was really fun to do it with all the lads being fiends and being loose and having fun. It was a Pond party – which is not the same as anyone else’s definition of a party – but it was an awesome party vibe.” The lyrics on Pond songs are Allbrook’s domain, and he’s once again delivered an idiosyncratic bunch of words. “I think I reference God or theology or some kind of divine spirit fourteen or fifteen times on the album. I’m looking up, down, around, you know,” he laughs. “There’s no
general rule [with lyrics] – sometimes things sound good and flow well when you’re singing over someone else’s song in your head, and it doesn’t matter what they mean or what they say, but sometimes you’ll be struck with a poetic phrase when you’re walking along, and you’ll take time to construct it as a lyric. There’s no rule.” Many influential WA bands like The Triffids have said that the landscape and isolation inherent in the western climes inspired their music, but [the now Melbournebased] Allbrook didn’t realise that this was the case until he spent time touring overseas. “I do think a lot about Australia and what we’ve got, and I suppose that seeps in in the same way that salt wind seeps into a coastal whisky,” he offers. “I’m the same age as a fine scotch, so I suppose you could argue that the same applies. I don’t even think I knew what home was until I went away for an extended period. I love Australia, I really do, and I have a much more profound love for Australia now than I ever did. As every teenager trying to be alternative-minded does at some point, you get really frustrated and down and hateful of the place where you are and I thought that for ages, but obviously that’s fucking ridiculous. There’s some unbelievable buffoonery here of course, above and beyond other places, but
you get that in other countries too; there are bogans in France, and German bogans are worse than Australian bogans. But I love Australia, I think it’s got enormous amounts to offer, especially to an Australian.” Allbrook is looking forward to taking the Hobo Rocket material on the road, even if they have to wait and book shows amidst the hectic Tame Impala touring schedule. “Yeah, it should be extremely fun if we get our act together,” he enthuses. “I think it’s pretty anthemic – I’m really looking forward to playing Midnight Mass, the last song. We haven’t played it yet – Cam can’t do the drum fill. We’ll see how it goes – he’s going to be pretty hot on his bass chops when he gets back, maybe we’ll swap him in to do that.” Do the Pond guys pride themselves on being multi-instrumentalists? “Nah, not at all,” Allbrook laughs. “It’s pretty bad – we’re all just like butter spread over too much bread. It’s great fun getting out of your comfort zone, totally, but it’s kind of embarrassing when you see someone who’s really, really fucking shit hot on thein instrument. Like hanging out with The Horrors – they’re just dedicated to their craft and they absolutely kick arse at it, and we can all plunk out something basic on every instrument.” Last year the notoriously vacillating UK music paper NME named Pond “the Hottest New Band In The World” – are they keen to follow in Tame Impala’s footsteps and conquer overseas territories? “I love going overseas as a holiday, from the perspective of an Antipodean youth wanting to see the big, wide world,” Allbrook chuckles. “I really don’t like to think about keeping the rest of the world – and particularly the rest of the world’s press – interested. I’m superaware of everyone’s fickle nature, and that at any point everyone could forget about you and will forget about you – and possibly at the same time say that you’re shit as well – so I try not to worry about it. I know that that’s completely liable to happen at any point, so I don’t want to make it a concern of mine. “The UK press are notorious for that, but they’re also such nice people, so I don’t really know what to think. I just don’t want to get desperate with it – I’d rather stay friends with the people I’ve met and let them do whatever journalistic bullshit they’ve got to do, and then have a beer with them when I’m in London. I much prefer not to look at it – the bubble is the best protection you can ever have.” WHO: Pond WHAT: Hobo Rocket (Modular)
Nick Allbrook stunned the music world with his decision to relinquish his role as bassist with Tame Impala just when that band’s freak flag was flying highest. With Tame being increasingly busy and also the sole creative domain of Kevin Parker, was the decision more about increasing his time to spend on other projects, or about being able to share his own music with the world? “I think the two things are the same – wanting to be less busy and having a creative outlet,” he reflects. “Having some time to go for a walk and think and be your own human. It was great – the whole time was amazing – but I just wanted to stop. When you’re wondering if you want to [be creative] and you’re not, and what’s keeping you not doing it, and most of the answers you come up with lead you to the instant conclusion that you’re a bloodsucking dickhead, and if you’re living with yourself being a blood-sucking dickhead then that’s a sure-fire path to depression. So yeah, you’ve got to leave.” This angst seems like the antithesis of the fun vibe that Pond display both onstage and increasingly on record. “Oh man, they’re both fun, but with Pond we’ve got to make up for our lack of precision by distracting everyone with vigorous arm movements and strange faces,” Allbrook laughs, before pondering how he’d describe the difference between Pond and Tame Impala to a newcomer. “I don’t know, there’s a lot of unrefined teenage kicks in there. I keep thinking of things in whisky terms – it’s like an untameable young Asyla whisky compared to a soft, refined twenty-fiveyear-old Dalwhinnie or something. That’ll do.”
ENHANCING THE RIDE It’s all about life balance, so when Pharrell Williams dances with naked women in a film clip, he’s going to counter that with an animation film soundtrack. Guy Davis talks with the multi-faceted artist about his work on Despicable Me 2.
harrell Williams is one of those prodigiously talented, extremely prolific and remarkably accomplished people who tend to make the rest of us wonder just what the hell we’re doing with our lives. There is, of course, his brilliant career as a producer, both on his own and as one half of The Neptunes – he’s worked with everyone from Jay-Z and Beyonce to Justin Timberlake and Britney Spears. As a musician, he’s released solo projects and recorded with his band N*E*R*D. He’s been nominated for 19 Grammy Awards; he’s taken home four of them.
Then there are the sidelines. Williams has co-founded a couple of clothing lines: Billionaire Boys Club and Ice Cream Footwear. He’s designed jewellery and furniture. He’s created sculpture. He’s a creative director for online broadcaster KarmaloopTV. And he’s building an after-school centre for kids in his hometown of Virginia Beach. He only sleeps 30 minutes a night. No, that’s not true at all... but you thought it could be for a moment, didn’t you?
time. You can never get tired of new iterations of ‘It’s going to be okay’. I’m happy that in Despicable Me, of all films, we get to make music and give and offer people happiness. The filmmakers chose a happier throughline for the story, and that was perfect for me because that’s where I felt the music needed to go anyway, a happier place, where people could be excited and be festive and smile without feeling funny about it.” WHAT: Despicable Me 2 In cinemas now
So we’ve established that Pharrell Williams is kind of omnipresent. But he seems to be even more so lately. Two of the most popular singles of recent times, Robin Thicke’s Blurred Lines and Daft Punk’s Get Lucky both benefit from the Williams touch. Those pounding drums on Hans Zimmer’s Man Of Steel soundtrack? Williams. And who’s that providing the score to one of the most popular movies of the year, the animated hit Despicable Me 2? You get one guess. The first Despicable Me, which saw Steve Carell voicing Gru, a super-villain unexpectedly humanised when he becomes a father figure to a trio of adorable orphans, was Williams’ first outing as a soundtrack composer, and his input was regarded as a pivotal part of the movie’s massive appeal. “The music for the first film was distinctive and defined the character of the movie,” said Chris Meledandri of Illumination Entertainment, the production company behind the film. “It was borne out of collaboration between Pharrell and Heitor [Pereira, co-composer]. It was clear that was a relationship that we wanted to continue for the second film.” For his part, Williams needed little enticement. “I really wanted to do it,” he says. ”It’s animation! And animation was a huge part of my childhood, my formative years. When it comes to my creativity, I attribute it to skateboarding, I attribute it to music and I attribute it to animation. Cartoons raised me. From Looney Tunes to Justice League... I love everything that is on [animation TV station] Boomerang right now. I’m 40 and I watch SpongeBob all the time.” But enthusiasm isn’t always enough, and Williams is smart enough to recognise that he’s still in the early stages of his learning curve when it comes to soundtrack composition. “Filmmaking and scoring are really comprehensive jobs that take a lot of years and experience to get to an expertise level,” he says. “Part of it is just reaching into oblivion for things that don’t exist. You don’t necessarily know where what you get comes from but you know it feels good. Then your job is to continue to chase that. It’s like you’ve got a rock and you chip away at it until you find the sculpture you’re looking for.” He admits, however, that working with filmmakers to provide them with the sonic component of the big picture has similarities to his other collaborative endeavours. “I found myself really aiming to be harmonious with the intentions of the writers and the director,” says Williams. “Aside from the directives they give you, there’s the images, the dialogue, the physical movement of the characters. You have to make sure what you’re giving the film contours and parallels what the filmmakers want. Because even if you think something is great, if it doesn’t fit it can become a distraction. A film is like a rollercoaster ride; it goes the way the designers of the track intend it to go. And one person riding a rollercoaster can’t go in another direction – it’s not built that way. What I have to do is make sure I’m maintaining that direction. Because I’m there to enhance the ride, not distract from it in any way.” With Despicable Me 2, Williams says that his discussions with Meledandri and co-directors Chris Renaud and Pierre Coffin resulted in a search for “a more soulful sound – something that was right in the world of the late‘60s/early-‘70s”. And he found the process of working with the filmmakers an especially agreeable one. “My job is to interpret what they want and articulate it through music,” he says. “You either feel that or you don’t, and I always felt like I knew where they were coming from. What they do is so vivid and striking it’s hard not to be inspired by not only what they give you but also the intentions behind it. And that’s good because it means you can approach it from any different direction.” The main intention when it came to Despicable Me 2, which has Gru putting aside his super-villainous ways, devoting himself to fatherhood and falling for a fetching crime-fighter voiced by Bridesmaids’ Kristen Wiig, was conveying a sense of happiness. As well as reprising songs and themes from the original movie, Williams came up three new numbers in this upbeat vein, Fun Fun Fun, the aptly-titled Happy and Just A Cloud Away, the one with which he’s most... well, happy. “I’m very proud of Just a Cloud Away,” he said. “It’s meant to be a Hallmark card for people who are going through a tough
For more interviews go to themusic.com.au/interviews • 11
FEET FIRMLY PLANTED After the dust of previous band drama had settled, CSS were more relaxed during the making of their fourth album, Planta, says frontwoman Lovefoxxx (aka Luísa Hanae Matsushita). She chats to Anthony Carew about her thoughts on the mass public protests in Brazil, her childhood dream of being an air stewardess and the healing properties of performing a great show.
ALTERNATIVE CAREER JUSTIN STREET FROM AIRBOURNE
f course I’m a feminist!” yelps Luísa Hanae Matsushita, aka Lovefoxxx, leader of Brazil’s electro-pop outfit Cansei de Ser Sexy. “I don’t understand any woman who would say they’re not. I’m for equality for everyone; all I see feminism being is demanding your rights as a human-being. I believe in love, I believe in respect, I believe in kindness. Those are values I don’t think there are enough of in the world.”
Making movies and drawing/painting. Airbourne are touring. Check The Guide for dates.
That decision sucked ass #bullshit Cricket Australia (@CricketAus) Damn right it did. RIP #Ashes
APP IT UP
“We’re asked a lot to talk about it, and it’s difficult, because it’s something we’re following online – that we’re reading about online, watching videos of,” says Matsushita, from on the road ‘somewhere in Ohio’. “Watching it from afar, it’s hard to know exactly what’s going on, because the manifestation has grown so big, so vast, and has lost real direction, real specific goals for change. And now right-wing people are becoming involved, so it’s getting a bit weird, and we don’t know how serious it is anymore. But Brazil doesn’t manifest much, so it’s really meaningful that it’s happening.” Growing up in Campinas outside of São Paulo, Matsushita – the daughter of Japanese immigrants – was far removed from Brazil’s teeming poverty, and has spent much of her adult life outside of Brazil, including five years living in London and much of the last decade touring. She once described touring as “sucking her soul”: “It’s always really hard. It’s exhausting. It hurts. To detach from people is painful,” she says – but this life-on-the-road lifestyle is, for Matsushita, the culmination of a childhood dream. “I always wanted to travel, since I was a kid,” Matsushita recounts. “My auntie was an air stewardess, back when they had to be pretty-looking. She was gorgeous! So I had her as a role model: she spoke many languages, she was very clever, very glamorous. So, ever since I was really young, like six or something, I would think about being an air stewardess so I’d be able to travel; I really wanted to see the rest of the world. And I have! But being in a band is way better than being an air-stewardess, because I get to live a lot.”
IF YOU WEREN’T DOING MUSIC, WHAT ELSE WOULD YOU BE DOING?
Matsushita, 29, is talking big-picture beliefs and humanist values because, as has happened so much in the promotion for CSS’s fourth LP, Planta, she’s speaking about Brazil. As one of the country’s most visible pop exports, Matsushita has found herself often discussing the rise of mass public protests across Brazil in 2013.
Why it’s essential: It’s like Instagram for your clothes and shit. Plus, you can get exclusive offers from streetwear brands by joining. Platform: iOS 5.0
That band drama found members leaving; first Trevisan, and then, after 2011’s La Liberación, multiinstrumentalist Adriano Cintra. As the band’s sole male member, Cintra has often been painted as the man-who-actually-makes-the-music, a stereotype that was underlined when, upon leaving the band, he gave a bitter interview basically calling his ex-CSSers fame whores who couldn’t play their instruments. Matsushita declines to talk about Cintra directly, but in discussing Planta, he’s clearly in the subtext. “Planta felt really relaxed to make, which was something we’d never experienced before,” says Matsushita. “We felt really liberated. We treated every song as its
After making their first three LPs in Brazil, this one was recorded in Los Angeles with TV On The Radio’s Dave Sitek, and features an appearance by Hannah Blilie of Gossip and a co-write with Tim Armstrong of Rancid(!). There’s a strong reggae-leaning vibe on a bunch of the tracks, which are more synthbased; recalibrating the band’s new four-piece lineup (Matsushita, drummer Carolina Parra, and guitarists Luiza Sá and Ana Rezende) around keyboards. Touring Planta, CSS are rediscovering the simple joys of performing. “Yesterday, we were in Chicago, and I was having a tough day; I was feeling so, so sad, I really didn’t want to go on stage. But the show was so good it ‘cured’ me from that mental state,” says Matsushita. “I know this sounds almost stupid to say, but people really come to our shows to have a good time. We always have really friendly crowds, nobody’s trying to cause trouble. I feel a similarity between our crowd and us. Our interviews and our music attract similar kinds of people. We never have fights in our crowd; when I look out, usually all I see is people smiling a lot. Playing the show yesterday, the energy from the crowd made me feel so much better; and I’m sure it happens the other way around, too, that people can come to our shows, and maybe they’re feeling kind of sad, but after we play they feel so much better. We really love playing shows.” WHO: CSS WHAT: Planta (Stop Start) WHEN & WHERE: Sunday 17 November, Harvest Festival, City Botanic Gardens
f I die tomorrow, I’d be a happy man… That’s all I’ve gotta say,” offers A Loss For Words’ frontman Matt Arsenault, even though his band’s just about to put out a new record (“everything’s pretty much done. We’ve got all the recording done, we’ve got the booklet laid out, and then we’ll be getting the record pressed.”), and it would be a major bummer if A Loss For Words had to cancel their Australian tour due to bereavement.
When this is pointed out to him, Arsenault changes his tune (“yeah man, you’re right. I don’t wanna die before I get to see a kangaroo”), but the happiness he’s feeling remains constant. Undoubtedly a lot of that has to do with A Loss For Words’ outlook on their band, it’s all about good times; plenty of music, and not a whole lot of business. “We’ve been together so long, that we’ve got to this point where we just kind of do whatever we want to do,” Arsenault tells. “And then the label was like, ‘Okay guys, it’s time to do the record’ and we’re like, ‘Oh okay, alright. Let’s go’. Because we just like playing music and having fun. I think that’s kind of the best and worst thing about our band, we don’t take ourselves too seriously. We started this band just because we wanted to have fun.”
12 • For more interviews go to themusic.com.au/interviews
After their debut, self-titled album became a huge international success – released on Sub Pop in the US, wildly hyped in the UK, and spawning indie-dance hits Music Is My Hot Hot Sex and Let’s Make Love And Listen To Death From Above – things started to change. Their 2008 follow-up, Donkey, became the ‘difficult second album’, its recording a slog. “Donkey was a really bitter record,” Matsushita recalls. “There was so much bitterness, lots of bad band drama; I don’t really want to talk about it, but we were really hurt by so many events.”
own thing, and everything we did was us working together to further the song, not our own personal agendas. We were working together for the music, not against each other to further our own causes.”
Life is good for Boston pop-punkers A Loss For Words. They’ve just finished working on a new record that they’re stoked on, and they’re about to head down to Australia for the first time. Vocalist Matt Arsenault sends some good vibrations Tom Hersey’s way.
SWAAG What it does: We’re consumers. Don’t deny it. All those jokes about people bragging on their new Nikes, or Tigers or Converse… that’s us. Swaag (the extra ‘a’ is for, ‘I have no idea’) lets you show off your personal style without the shame of having to show your face. Wanna show off your new Ray Bans? Snap. Upload. Fancy-filter the shit of out it and then choose what swag bucket they fall into (clothing, accessories, etc).
Growing up, Matsushita thought she’d be an illustrator, and moved to São Paulo at 16 to take up an internship with a fashion designer. She’d never made music when, at 19, her friend (and now former CSS member) Iracema Trevisan invited her to be in her “joke band”, who’d taken their Portuguese name from a Beyonce quote where the starlet had lamented that she was ‘tired of being sexy’. “It was the most unpretentious thing I’ve ever joined,” Matsushita recounts. “We all thought that we would always only play in very horrible places, and we used to think that was very funny. We’ve never had any expectations, we only did things that we thought were good. We weren’t chasing success, we were just trying to make ourselves laugh.”
It’s that sentiment that’s echoed throughout the poppunk five-piece’s career. These were the guys who were together for nearly a decade before they released their first full-length record. They’re happy to spend their time working on split releases with buddies and doing things like acoustic EPs and Boyz II Men covers, and generally need to get told when it’s time to do a real record. “The label gets in touch with us and says, ‘Alright guys, it’s been two years, do you want to do a new one?’ And we’re like, ‘Yeah, fuck it, let’s do a new full-length. We’re ready, so let’s go for it’.” And when it comes time to write a record, especially something to follow up the deftly-crafted catchiness and energy of 2011’s No Sanctuary, Arsenault assures that A Loss for Words really got down to business. “We put a little more pressure on ourselves when we know we’re doing a full-length,” he admits. “I mean, the acoustic EP, the splits, all those are just fun for us so we just focus on having a good time with it, as well as making sure it sounds good. But with the full-length we definitely really get in the zone, and all contribute heaps of ideas to the writing,
so we can have all the material that we can. Like on this album we went in and recorded sixteen songs and narrowed those down to the best thirteen.” With the album in the can, A Loss for Words are stoked to play the new material. Fortunately for Australian fans, we’re going to be the first people who get to hear it. “It’ll be the first tour that we play two of the new songs,” Arsenault reveals. “It will actually be the only tour we have between the time we recorded and when we release the record, so you guys are going to be our guinea pigs for the new stuff. I’m sure they’ll get leaked onto the internet when somebody films them and puts them up on YouTube, but we don’t care.” WHO: A Loss For Words WHEN & WHERE: Thursday 25 July, Snitch, X&Y Bar; Friday 26, Tall Poppy Studio (all ages)
THE LAST LAUGH Since 2007, Deez Nuts has gone from a joke solo project to an internationallyacclaimed hardcore outfit. Currently touring Australia in support of third album Bout It!, frontman and founder JJ Peters speaks to Matt O’Neill about getting serious.
eez Nuts originally came as a scream of desperation. Or boredom, at least. Prior to formation, JJ Peters had spent roughly seven years with Australian metalcore outfit I Killed The Prom Queen. A founding member of the Adelaide outfit, Peters had watched his band nab tours with bands like Lamb Of God and Between The Buried And Me, record an album with Fredrik Nordstrom and break through to ARIA charts and international markets alike.
Before they disintegrated, anyway. Unable to find a permanent vocalist and feeling their race had been run, I Killed The Prom Queen disbanded in 2007. As something to pass the time, Peters formed a random joke project. Deez Nuts would see the drummer mashing up his longstanding love of hardcore with his longstanding love of hip hop. Furthermore, it would be entirely solo. Peters would write, perform and record everything.
pedestal to talk about important issues. But that’s like 99.5 per cent of bands out there,” he laughs. “I think there’s a little room for a band – aka us – to come through and focus on the lighter side of life. As much as I’d like to be more serious on occasion, we need to be that band that gives people something to drink to on the weekends. Or we’ll all be depressed as fuck.” WHO: Deez Nuts WHAT: Bout It! (UNFD) WHEN & WHERE: Friday 26 (18+) and Saturday 27 July (all ages), Crowbar
It was a success. A far greater success than Peters was anticipating, actually. Originally considered something of a nonproject in regards to career ambitions, Deez Nuts were immediately invited to tour Europe with metalcore heavyweights Bring Me The Horizon on the back of their first EP Rep Your Hood. Since then, their reputation has only grown. The band have just recently returned from playing headline shows in Russia, for example. “I think when the EP came out and immediately got a pretty solid response, I could instantly tell that this was going to be something that was going to stick around for a while. Even on our first tour, we were billed pretty high and got a pretty good response from the crowds,” Peters remembers. “And then we were lucky enough to be brought over to Europe with Bring Me. We got a pretty good response from crowds over there. Which was amazing, for a band that didn’t even have an album out and were touring on their first EP. We already had strong responses from Europe and we didn’t even technically have a release out over there. When that happened, I could tell that it was going to be something that would at least stick around for a bit. I had no idea it would go this far, though.” The past five years have seen Deez Nuts release three successful albums and cultivate a truly international following. Locally, they’ve released on Stomp, Roadrunner and UNFD. Globally, they’re consistent European performers. Such is their success, JJ Peters was even forced to quit a reformed I Killed The Prom Queen earlier this year to focus on Deez Nuts exclusively. “It wasn’t really a hard decision. Prom Queen had been on sort of a hiatus and then on-again-off-again for a period of about six years. Once Prom Queen decided to be a full-time band again and it came down to one or the other, it wasn’t really that hard to choose,” Peters admits. “I was obviously going to go with the band I’d been putting my energy into for the past seven or so years.” The band’s most recent album is a sign of the times. Released earlier this year, Bout It! marks Deez Nuts’ fully-fledged graduation from JJ Peters’ solo project to an ongoing concern. Produced by Shane Frisby and featuring guest appearances from members of Architects, Hatebreed and Madball, it’s the band’s first album to be written collaboratively – Peters having finally assembled a permanent line-up for the project. “It was a little bit scary, I guess. That fear of change and that fear of things being different,” the frontman says of the shift. “But it was exciting for me also – because I was in a fortunate position where I was working with people who knew the sound and the life of the band and knew the direction I wanted to go in with the album. But, at the same time, I had people around me to bounce ideas off and tell me when a song was shitty. That was always one thing that was always kind of tough on the earlier albums. You know, I’d finish them up and I’d be listening back and I’d just find myself wishing I’d had someone around to tell me that a particular song could have been done a bit better. But that’s what I had this time around. And, you know, more time to sit around and really think about vocal lines and production standards overall.” The flipside of the band’s increasing notoriety has been a handful of persistent misapprehensions about their work. A party band from the outset, Deez Nuts‘ hip hop-influenced lyrics and aesthetic have seen JJ Peters criticised almost since formation as an idiot and a misogynist. However, the frontman is untroubled by the accusations – maintaining a practical outlook. “It was never part of the plan to offend people. I think that’s just people lacking a sense of humour and taking song titles and certain stand-out lyrics at face value,” he says pragmatically. “I’m a huge fan of rap music and what I’ve been doing, right from the get-go, has been taking things that were, not necessarily appropriate, but a part of rap music and putting them within the hardcore context purely to take the piss out of myself. Not to take the piss out of rap music or hardcore music – but just to make something fun,” he clarifies. “I’ve been accused of [being] a misogynist since the cover of the first EP featured me sitting around with four scantily clad women – but, once again, if people flipped through the booklet or asked the question, they’d learn that was my long-term girlfriend and the girlfriends of two of my best mates. One of whom was pregnant. It was a joke.” Peters does hope the band will grow more serious over time. A committed vegan, he’s not incapable of making intelligent comment on more complex issues. Yet, he’s also oddly philosophical about the necessity of bands like Deez Nuts. The band have their share of detractors but even their most cynical critics would be hardpressed to argue with the frontman’s reasoning for their existence. “We’d like to evolve and slip a few more serious things in there, yeah,” he says. “But, at the same time, there are a million bands out there singing about being depressed and singing about world issues or singing about whatever they find to be important. I have no problem with that. That’s mostly the stuff I listen to. Music is a great
For more interviews go to themusic.com.au/interviews • 13
Former hardcore pioneer Grant Hart is tackling a bona fide classic on his ambitious new concept piece, The Argument. He asks Steve Bell, ‘Where the fuck is the rebellion?’
rant Hart hasn’t always been known for highbrow conceptual pieces, but by the same token he’s no stranger to them either. As drummer and co-songwriter/vocalist for Midwestern hardcore/alt-rock heroes Hüsker Dü (he penned such classic numbers as Dianne and Don’t Want To Know If You Are Lonely), he was an integral creative cog in the creation of that band’s 1984 opus Zen Arcade; a double concept album about a boy leaving home to find his place in the world. Later his post-Hüskers vehicle Nova Mob released The Last Days Of Pompeii in 1991, an ambitious allegorical concept piece which referenced Pompeii as well as Nazi Germany.
Now, after two decades penning more traditional fare, Hart has once again released the reins and
let his ambition run wild. His new solo album The Argument is a sprawling affair by necessity – over 20 tracks it tries to encapsulate the essence of John Milton’s Paradise Lost, the 17th century tenpart epic concerning the Biblical construct of the ‘Fall of Man’; the fallen angel Satan tempting Adam and Eve, and their subsequent expulsion from the Garden Of Eden. Also inspired by Hart’s friendship with iconic Beat legend William S Burroughs – who tried to adapt Lost Paradise for the stage in a sci-fi setting, the unpublished manuscript of which ended up in Hart’s possession – the songwriter has reached for the stars, both literally and figuratively. “It’s based on a million word epic poem, so the challenge of condensing that into two records was the thing that I had to wrap my head around,” Hart reflects. “The Milton poem is part of the entire English-speaking world – Paradise Lost just filters into the zeitgeist without people even realising that it’s Paradise Lost. Really a lot of the ideas about hell and the ideas about heaven were invented by Milton. But it was also a form of protest that he concocted – he juxtaposed heaven and hell and God and Lucifer when a lot of the time he was talking about the English Civil War and the beheading of the King, and also the persecution of Galileo. “A lot of the book’s about the way stars move and the reaction of the angel to that question posed by Adam; their ‘You don’t need to know that!’ was mimicking the non-secular parties’ reaction to science being able to answer some of the divine questions. He was the most well-placed wordsmith in the Englishspeaking world at the time – he was basically the wordsmith to the King, and any foreign correspondence, or anything to do with the written language, went through Milton.” One has to wonder how themes from Paradise Lost are still relevant 350 years later given the massive societal changes in the intervening years, but Hart is adamant that the universal constants still stand true today. “I think the redemptive qualities of love is pretty much the biggest message – where there is love there is forgiveness,” he offers. “I think a lot of it’s valid today, if only as an example to hold up of a man putting himself in peril to speak his mind. The life story of Milton himself is as inspirational as the poem.” Despite the daunting nature of this self-set task, Hart is adamant that he was always going to tackle Paradise Lost in its entirety rather than just certain sections of the classic. “One of the things I noticed early on – particularly with the Burroughs treatment – was that most of the time people did anything with the poem, they skipped over huge amounts of it,” he continues, “so early on I decided, ‘I’m going to tell the whole story!’ But it wasn’t long before I discovered that it wasn’t possible unless you produced ten books of a million words each. There’s no condensation of it – it has to be a mission. First I dealt with it by removing the repetitious religious stuff that finds its way into the Bible or Old Testament canon, and then went with the bits that made the biggest impression on me as far as inspiration for the songs.” And of course it wasn’t only lyrics that Hart had at his disposal to help tell this massive narrative, he also had to marry the right music with the right passages to get the full impact. “My determination was to assign different sharp melodies to the different characters, kind of like Prokofiev did with Peter And The Wolf where the oboe would represent Peter and the trumpet or whatever would be the wolf,” he tells. “What I did was assign a series of horn notes to Lucifer and since the opposite of Lucifer in the poem would be Eve, I took Lucifer’s melody and reversed it for Eve. Then there’s a separate melody for whenever you’re in a flashback to the pre-fall heaven – there’s a melody that occurs and re-occurs. Then there’s the characters that really only make one appearance and don’t need to be re-identified, so they’re given their song – given their moment. For example, the archangel Muriel who sits on the sun watching over earth, he makes one appearance and that’s it for him, so he doesn’t need an identifier outside of his number.” It all sounds incredibly painstaking, but of course the payoff for any such arduous task is the reward when things eventually fall into place. “With much of my work the aspiration and the reality can be two different things,” Hart chuckles. “I could very easily have spent another year with The Last Days Of Pompeii – whenever you release an album there’s things that you didn’t change where you always wonder, ‘Hmmm, what would have happened if I’d concentrated on this more?’, but that’s the nature of the artist – you don’t sit back and go, Ah, my masterpiece!’ unless you’re a real idiot.” And Hart is surely nobody’s fool, relishing this chance to craft something ambitious in a world that he perceives to be playing safe. “I think we need more [risk taking],” he stresses. “I’m not just patting myself on the back as someone who has done that, but what has rock’n’roll and what has pop done post-punk that isn’t just some lame-arse following of trends? Where’s the breakthrough? Where the fuck is the rebellion? That’s what I grew up thinking it was about – stirring shit up. Writing a concept album based on Paradise Lost isn’t the typical idea of ‘stirring shit up’, but it will do in this case. There’s something really wrong with a culture where the most exciting thing that people talk about is, ‘Whatshisname and So-andso are getting back together!’ That speaks very poorly for us. There should be a lot more interesting things going on than somebody bending over backwards to satisfy an audience’s mid-life crisis.” WHO: Grant Hart WHAT: The Argument (Domino/EMI)
14 • For more interviews go to themusic.com.au/interviews
16 AUG FRI
23 AUG FRI
6 SEP Soundlounge Opening Night
Saruzu with special guest Kacey Patrick
Thelma Plum with special guest Robbie Miller
$20 at the door
Dubmarine + CC the Cat with special guest Felicity Lawless
$20 at the door
Josh Pyke with special guests Patrick James and Olympia
$45 at the door
The Paper Kites
$25 at the door
Mat McHugh & The Seperatista Soundsystem
$30 at the door
$10 at the door
$25 at the door
$16 at the door
Bobby Alu with special guest Sue Anne Stewart
$15 at the door
Tickets at soundlounge.com.au 15
[FEATURES FEATURES] ON THE TIME OFF STEREO
Even though they were right in the midst of rave music’s second coming in Britain, Klaxons are only now embracing the bangers. Jamie Reynolds shares his excitement with Benny Doyle.
COSMIC PSYCHOS Go The Hack
PAUL KELLY AND THE COLOURED GIRLS Gossip
DESAPARECIDOS Read Music/Speak Spanish
FROM THE ARCHIVES 4 FEBRUARY 2009
IT’S NOT OVER YET
’m staring out to my garden wishing the sun was out. It’s all good. It’s quite nice actually, I have the afternoon off, so I might get into the garden, it needs some weeding – do something normal, y’know.” Unwinding at home after a couple of recent festival dates in Italy and Switzerland, Jamie Reynolds, bass player and vocalist for East London Day-Glo saviours Klaxons, is ready to get hedonistic once more.
The band have been off the radar for roughly two years since the touring cycle for sophomore album Surfing The Void wrapped up, and although the time has taken most of the band from their 20s to their 30s, and even netted one member a Hollywood wife (keyboardist/ vocalist James Righton married Keira Knightley earlier this year), they are not prepared to put an end to the good times and start getting all introspective on us. A new album awaits, scheduled to land in our parts just as spring crackles into our lives, and the guys have been using their recent sporadic performances to introduce some of these fresh tracks. “There have been five [new songs] of the minute, which seems a bit heavy – it’s a bit of a half and half – but we’re in this in-between period where we’re [in the middle] of what we’ve done in the past and what we’re going to do in the future so we just thought, ‘Let’s chuck it all in there’. And it’s going pretty well,” a chipper Reynolds informs. The saccharine-voiced Englishman has been loving the reactions of fans thus far, surprised at the instant appeal the new music holds. “It’s even a bit weird because it’s going down a bit better than some of the older songs,” he proclaims, “and people don’t even know them yet. It’s surprising but it’s going really well. I think that we’ve basically made a leap into doing what we’ve always said we were going to do and we’ve made a dance record,” he continues, “and that makes it a lot easier for people to tap their feet and go mental and jump up and down. We’re giving people dance music this time around and they’re definitely more than ready for that.” It almost seems like a strange statement: “we’ve made a dance record”, coming from a member of Klaxons. After all, this was the band proclaimed as the leaders of the ‘new rave’ movement in 2007. And considering they’ve worked with James Ford (Simian Mobile Disco) and been remixed by everyone from Justice and Erol Alkan and even our own Van She, it’s assumed they’ve always had a foot in club culture.
We sent the intern into the archives to select at random an old Time Off.
“Yeah, it’s always been there, y’know, in the distance,” Reynolds concurs, “and it’s always been like our [underage] little brother, and now we’re just [connecting with] him, y’know, by taking him out on the town. [In the past] I think we were in denial about what we really
are, but now we’re fully embracing it. And that’s come out really well – it’s cool man, we’re over the moon.” And embracing it they are, stepping up by bringing in one of dance music’s biggest names for their forthcoming first single, a past collaborator and somewhat oracle when it comes to block rocking beats. “I don’t think it will be out... Actually, it might just be out the same time we get down there – it probably will be,” Reynolds begins with trepidation. “[But] being so close and us having not made an announcement yet I’ll keep it quiet, but it’s a track that we’ve made with Tom [Rowlands] from The Chemical Brothers, and it’s a bit of a dancefloor banger and contains what I’d go as to say is the most euphoric moment I think I’ve heard in music.” Indeed, the Brothers Chem have done a couple of bangers in their time, and Reynolds can relate. In fact, he cackles at the sarcastic sentiment: “Yeah, absolutely! And getting Tom on board, he’s like my childhood hero, I grew up absolutely loving that guy and now we make records together, it’s absolutely brilliant. We loved working with each other so much [on All Rights Reversed from The Chemical Brothers’ 2007 LP We Are The Night], he’s good fun and [that was] like a dream, [so] we just thought: ‘Who do we want to work with on this record?’, and we reached out to him and it came back all positive, so it’s been incredible.” When their third full-length lands later in 2013, it will be three years since Surfing The Void first appeared, and pushing on seven since the release of era-defining debut Myths Of The Near Future. On paper, it looks like the quartet are running their own race, changing directions rather than going with the current. It’s an assumption Reynolds agrees with. “Definitely, I think we’ve probably turned our backs on things that are hot in the past. Last night we listened to a couple of remixes that we had made by people that we
didn’t put out at the time because like the genre felt like it was new, and there was a dubstep remix that came out, like really early days, and we kind of turned our back on it like, ‘Nah, nah, not having this’,” he reveals. “We’ve been notorious for not having what’s going on at the moment, it’s pretty silly really. We’re just kinda like in our own bubble just writing music constantly, and that’s what our existences are, and having a look at the outside world doesn’t really affect how we get our [ideas], we just crack on in our own funny little world.” Luckily for fans Down Under, they have never turned their backs on our country. The band return this July as part of the massive Splendour In The Grass festival, making amends for their cancellation in 2007 – mere weeks out from the event – after Reynolds fractured his ankle during a gig in France. (“We’ve all had a few beers in our time,” he admits somewhat sheepishly.) And Klaxons are committed to coming full circle, with this show (and a special DJ set as headliners of FBi Radio’s tenth birthday party) signalling the start of progress for the future. “I hope that we’ll be back at the level we were at with regards to festival play, like we were headlining festival stages across Europe wherever we’d go and doing big performances, and I hope that’s where we are come this time next year,” concludes Reynolds. “We’re back doing club shows, we’re back doing smaller shows, we’re getting the feeling back. It’s not back to square one but it’s really establishing ourselves [again] with where we are, and it’s perfect. We’ll hopefully get to see it all grow over the next year.” WHO: Klaxons WHEN & WHERE: Friday 26 July, Splendour In The Grass, North Byron Parklands
The Presets, Cold War Kids, Alice In Chains, Ryan Kwanten, Crystal Castles
ALBUM OF THE WEEK Easy Come, Easy Go, Marianne Faithfull
He’s not scared to chop and change, but The Mohawk Lodge’s Ryder Havdale is more concerned with the journey than the destination, as Steve Bell discovers.
GIG OF THE WEEK Texas Tea, The Troubadour
WE ART THE WORLD
Street artist Herr Nilsson has created a collection of post ups called Dark Princesses, which are poping up in the streets of Stockholm.
yder Havdale – frontman for Canadian-bred rockers The Mohawk Lodge – seems something of a restless soul. For years he’s been adjusting the fluid line-up of his outfit depending on where he is at the time and his specific musical requirements, both of which change rather often. He’s still managed to release four quality albums on his own indie imprint, White Whale Records, and regularly tour the world, so this reliance on chaos rather than stasis seems perfect.
“I’ve just been moving cities so much,” the affable Havdale offers. “I started the band in Vancouver about nine years ago, and then I lived in Toronto for three years so I ended up with a different line-up there. Different people have played on different records, but the record I’m putting out right now was recorded with the band that I did three European tours with – it was a pretty solid band, they’re the dudes that I play with in Toronto when I’m there. But I’ve been living in Berlin for the last year so I play with different people there. “It’s definitely got it’s pros and cons. I couldn’t have afforded to fly a band down here, so there’s that. Plus I did a whole bunch of solo shows last year – about fifty of them in Europe – so it’s until you get a band to a
16 • For more interviews go to themusic.com.au/interviews
point where not only can you afford to get them around, but for them to afford a month off work – you have to make it enticing. It’s a big commitment for a band to be at the mercy of what shows we can book – it’s basically out of necessity that I’m doing it this way right now.” Havdale has now assembled a band in Australia – with ex-Pollyanna member Matt Handley on drums and Larissa Tandy on bass – to tour here for the first time, on the back of The Mohawk Lodge’s fourth album, Damaged Goods. It’s a collection of anthemic, punchy rock’n’roll – like a bar band with an arena bent – and quite removed from the band’s earlier material. “The band kept getting heavier and I wanted to capture that,” he reflects. “The band I went to Europe with a number of time just became nuts – it was off the hook. We came back and it was just the songs that came out of that experience. And I was listening a lot to one record in particular which was hugely inspirational for me, there’s this band called Ladyhawk – not Ladyhawke from down your way, but a Canadian band – and the singer did this record that’s like nineteen minutes long [2010’s Scriptural Surprise by Duffy & The Doubters], and I listened to it relentlessly. I just wanted to make
that record basically. I was into two records at the time and they were both the complete opposite – the other one was Destroyer’s Kaputt (2011), which is synthy, twenty-minute long songs, and then the Duffy album was just minute-and-a-half bangers, so I went that route. Who knows what the next one will be; I’ve been working on this record back at home which is all cut-up beats and synths and the rule is ‘minimal guitars’. I kind of like going down different roads with different records. “I’ve been running a record label for the last nine years and that’s been my focus – I’ve been touring about a month a year maybe – but now I just want to play music again, so all of my energy has been going into writing and playing, which is why these different flavours are popping up.” WHO: The Mohawk Lodge WHAT: Damaged Goods (First Love) WHEN & WHERE: Thursday 25 July, Black Bear Lodge
HEAR THEM ROAR They’re the biggest thing to come out of Iceland since Björk. Cyclone Wehner chats with Of Monsters And Mens’ Ragnar Pórhallsson about the highs and lows that come with rapid stardom, and why home is the hardest word to say.
ustralia is becoming a home away from home for Iceland’s mythic indie-folk outfit Of Monsters & Men. They’ll hit our shores for the third time this winter, headlining their second Splendour In The Grass. Already the band, last here for Laneway, have been selling out side-shows. “It is crazy, absolutely,” extols Ragnar ‘Raggi’ Pórhallsson, who sings lead vocals with OM&M’s founder Nanna Bryndís Hilmarsdóttir, both also playing acoustic guitar.
ESSENTIAL TOUR ITEM ERIN HARRINGTON FROM MISS ELM
The group, touring across North America, are in Seattle – the birthplace of Jimi Hendrix, grunge, and the altrock Sub Pop Records that has neo-folkies Fleet Foxes on its roster. “It is a great city – I really like it,” says Pórhallsson. Seattle’s college radio station KEXP did much to expose OM&M internationally when it uploaded a live ‘living room’ performance of the stirring Little Talks (in fact, a song about “loneliness and insanity”). OM&M’s formation was the initiative of Bryndís Hilmarsdóttir, the band’s sole chick. Though she had developed a solo vehicle, Songbird, Bryndís Hilmarsdóttir sought other musicians for gigs. She’d connect with Pórhallsson, the pair enjoying harmonising together, guitarist Brynjar Leifsson and drummer/percussionist Arnar Rósenkranz Hilmarsson. On winning Iceland’s Músíktilraunir band competition in 2010, and recognising their viability as a collective, they brought in bassist Kristján Páll Kristjánsson and keyboardist/accordionist Árni Gudjónsson. The following year OM&M debuted with the charmingly eccentric – and notably selfproduced – My Head Is An Animal (its title is a lyric from the introductory Dirty Paws) on Iceland’s indie Record Records. With US radio, and blogdom, picking up on Little Talks, OM&M signed to Universal. Today in both Australia and the US OM&M, not Björk, is the highest-ever charting Icelandic act. Here, Little Talks is now multi-platinum – and it placed at No. 2 in triple j’s 2012 Hottest 100. After over 20 weeks in the charts, My Head... went to No. 1 in February – and, again, is platinum. OM&M have lately released an anthemic fourth single, King And Lionheart.
The lives of the OM&M members have changed overwhelmingly in three years. They’ve barely seen their Reykjavík base. Not that Pórhallsson is complaining. “I think we’re doing good,” he says of the adjustment. “We kind of have to just deal with it, but it’s more fun than it is hard – so it’s very easy to deal with, I would say.” Noah And The Whale’s Charlie Fink felt compelled to write the nostalgic Heart Of Nowhere on realising that he’d lost contact with old friends while travelling. “You miss out on a lotta things,” Pórhallsson concedes. “I haven’t been home for almost a-year-and-half – just little stops here and there – but I try to keep in touch with family and friends over Facebook and Skype and stuff, so that makes it a bit easier.” Bands had a tougher time
pre-Internet, he adds. Nevertheless, it was because of that upheaval that Gudjónsson discreetly parted OM&M in 2012. “I think he just found that it wasn’t really his deal. He didn’t really enjoy the environment – and the whole travelling around... he really likes being his own boss, in a way. He just really wanted to go back to school and get his Masters in Musical Arrangements or whatever it’s called in English. But he just wanted to focus on that. We supported him in that – and we’re all still very good friends.” Presumably, then, Gudjónsson will help OM&M with arrangements in the future. “Yeah, I’m counting on him!,” Pórhallsson agrees. A bigger problem? OM&M’s popularity on the live circuit has meant that they’ve put off beginning their second album. Pórhallsson admits it’s a challenge. “It is kinda [hard] because this is all so new to us,” he says. “We look at it as, we’re doing this now and we’re touring – [but] it’s hard to find time to do the other thing, which is writing. But just with time we’ve found a way to write more on the road. We have some good ideas, as we’re making new songs. When we get home from touring, I think that’s where the real stuff will happen. Right now we’re just throwing ideas around and stuff like that.” Pórhallsson is unsure about the direction of their next album. “I just wanna try to make good songs. I think where it will go, how it’ll sound, depends on what the five of us do together when we get home. We definitely will do something that will sound different.” OM&M harbour an ambition to contribute music to soundtracks – something like The Hunger Games: Catching Fire. Has anything come up? “Nothing at the moment,” Pórhallsson says coyly, “but there are some maybe in the works.” Audiences haven’t tired of Little Talks, which has attracted over 60 million YouTube views. OM&M are keeping it fresh for themselves. “Just last night we did an alternative version of Little Talks, so we’re trying to change it up and do different things.” At any rate, there’s always the electro remix of Little Talks by fellow Splendour drawcards Passion Pit that Pórhallsson considers “cool” – even if OM&M can be relied upon to avoid EDM. OM&M have had the most success in Australia and the US, the UK slow to embrace them – although they were booked for Glastonbury this year. “I never understand how these things work – but the markets are a very complicated thing,” Pórhallsson says. “How
music comes on the radio and how it all works is a very complicated business... But we’re very happy with just being successful in these places.” While OM&M’s breakthrough has coincided with a folk-pop resurgence, led by Mumford & Sons, they’ve actually been likened to Grammy-approved baroque rockers Arcade Fire. (In the past Pórhallsson has played down OM&M’s folkiness, instead deeming them “a very big rock band”.) “People always have to compare you to something,” Pórhallsson says, unfazed. He reckons the main reason the bands are bracketed together is because both have a multitude of musos on stage, OM&M sometimes accompanied by a trumpeter. “That’s enough for people to compare us,” he quips. Pórhallsson laughs, too, at the suggestion that journos often compare acts to demonstrate their musical knowledge. “I would be a horrible journalist because I don’t know any names – I’m horrible with names!” This accounts for why media types drop references so obscure that the bands themselves have never heard of them. “But it’s good,” Pórhallsson counters. “I can maybe discover new music by reading my own interviews then!” However, Pórhallsson readily lists his current favourite acts. He’s listening to Half Moon Run, the Canadian band supporting OM&M in North America. And he digs at least one vintage Australian group. “One of my all-time favourite bands growing up was Silverchair – though it was mainly [2002’s fourth album] Diorama,” Pórhallsson reminiscences. “That’s been one of my favourites for many years.” It’s an ironic choice given that he’s in Seattle and, early on, Silverchair, then impressionable teens, were accused of being Nirvana wannabes. “I hate grunge,” Pórhallsson confesses, “but I really like Diorama by Silverchair, because it’s not that grunge.” Why the antipathy to the Seattle sound – doesn’t every ‘90s indie kid love it? “It’s just something about the melodies – they don’t catch my attention,” Pórhallsson responds. “I don’t know why!” Not even Nirvana’s? “Well, of course, there are a lot of songs that are classics and [that] I like, but nothing that I can really get into.” OM&M are truly unique.
WHAT ITEM MUST TRAVEL WITH YOU ON TOUR? Nintendo DS and my poncho Miss Elm is touring. Check The Guide for dates.
HUMAN HURRICANE We have two DVD copies of music doco Last Days Here up for grabs. The film tells the story of Bobby Liebling, lead singer of ‘70s metal band Pentagram, and his struggles with drug addiction and abusive behaviours that led the band’s demise. With the band having a modern day cult following, Pentagram fan Sean Pelletier attempts to clean Bobby up so that he can take to the stage again. The DVD hits Australian shelves on Wednesday 24 July. To enter this and check out heaps more head to the Time Off Facebook page.
WHO: Of Monsters & Men WHEN & WHERE: Sunday 28 July, Splendour In The Grass, North Byron Parklands;
BEACH TOWN BLUES
JESS FINLAYSON FROM THE MIS-MADE
It’s a tough gig playing a sullen teen when your onscreen mum is Allison Janney. AnnaSophia Robb talks to Dave Drayton about The Way, Way Back. didn’t get to go to Sundance,” AnnaSophia Robb is in the midst of explaining how it is that she has only seen the movie she stars in the night before our interview. Robb, who has graced screens previously in Tim Burton’s remake of Charlie And The Chocolate Factory, Sean McNamara’s Soul Surfer, and Gabor Csupo’s Bridge To Terabithia, missed the film’s premier at the festival but is still reeling from watching the final product.
“I think I would be a terrible editor, or director, because I would be so overwhelmed!” Robb jokes. “It felt just like the script, it transitioned so well and so beautifully. The film looks exactly like how I saw the script, and how it felt when we were filming it.” The Way, Way Back marks the directorial debut of Jim Rash and Nat Faxon, the Academy Award-winning writers of 2011 film The Descendants who also co-wrote this beachside coming of age tale. Robb came on board a few years ago having fallen in love with the script, and after some notoriously difficult funding setbacks, found herself in enviable company. “It took a couple of years and it was like, what’s going on? Different things happened with the financing, and then I got a call and they said, ‘We have Steve Carell,
Toni Collette, Allison Janney, Sam Rockwell, all these people are attached, and we’re filming now’. It was crazy, it’s amazing how things work like that with a lot of time and energy put into it,” says Robb. Her awed proclamation of an inability to direct is understandable; The Way, Way Back plays out like a vulnerable warts and all Brady Bunch for the broken family generation: on summer vacation adults recently separated or revealingly seductive frolic while forlorn teens are forced into new family formations, forgotten, left to navigate their ‘awkward stage glory’ – as Janney’s character puts it – all own their own. Robb plays Susanna, a teen stuck with her outgoing mum for the summer, in the vacation house next door to protagonist Duncan, whose own mother has brought him to her boyfriend’s holiday house alongside his significantly more popular step-sister to be. “The both of them are in their shells, they’re reclusive, moody,” explains Robb, “And I think because Duncan’s character is so removed it ends up bringing Susanna out of her shell because she’s forced to reach out in order to make a friend or in order to be a friend.” Despite a chaotically short filming schedule, Robb can’t understate how fun the time on set was in the
beachside town, which, coupled with the comedic talents of her onscreen mum, made staying in character as a closed-off sullen teen tough. “It was so much fun; I’m supposed to play this surly teenager and I had the hardest time because I was trying to keep a straight face,” Robb laughs. “Every single take she would do something different; she would come up with a new line, or a new way of saying it, or something different and just really unexpected and entertaining and put so much energy forth. It was such a pleasure working with her and watching her.”
WHAT WOULD WE FIND IN THE STUDIO FRIDGE WHEN YOU’RE RECORDING? Beer, vodka, tequila and stacks of yummy food. The Mis-Made’s EP House Of Cards is out now.
WHAT: The Way, Way Back In cinemas Thursday 1 August
For more interviews go to themusic.com.au/interviews • 17
SACRED CIRCUS PERFORMANCE
WELCOME TO COUNTRY GYUTO MONKS WITH UNCLE OPENING THE ATHOL COMPTON SAND MANDALA & FRIENDS
TIPI FOREST GLOBAL VILLAGE
BOLLYWOOD DANCE WORKSHOP WITH
THE BOLLYWOOD SISTERS 4.15-5.15
BEATT POETRY WITH
LUKA KA LESSON
TOMMY FRANKLIN WITH DJ CHRIS BRADLEY
DESTROY ALL LINES
JERRY BLAM TEEN SPIRIT VS DJ NORMAN DJS PILERATS DJS 9.00-10.00
HAND GAMES DJ SET
BOY & BEAR
TV ON THE RADIO
MUMFORD & SONS
CLAIRY BROWNE ROWNE & THE BANGIN’ ANGIN’ TTES RACKETTES 5.15-6.15 6.15
FLIGHT YOLANDA YOLANDA DARWIN DEEZ BE COOL FACILITIES BE COOL
D CUP 6.15-7.00
UNKNOWN MORTAL ORCHESTRA
PORTUGAL. THE MAN
(SOUND AS EVER)
ARCHITECTURE IN HELSINKI
9.00 - 10.00 9.00-10.00
10.30 10.30-11.30 - 11.30
BEAT POETRY WITH
11.30 - 12.30
BEE AMPERSAND vs MADDIE J
I OH YOU DZ DEATHRAYS STREETPARTY VS BLEEDING KNEES VS NORTHEAST VS JEM DE LA PARTY HOUSE DJS CREME CLUB DJS
YOU AM I
WELCOME TO COUNTRY
NEW YORK HÜSLA VS CATS JAMES DE BONO RATS
BOLLYWOOD DANCE CULTURE & DANCE
TIPI FOREST GLOBAL VILLAGE
BAPTISM OF UZI
GW McLENNAN TENT
KUNDALINI DANCE JOURNEY WITH
FIERCE LIGHT DOCUMENTARY
FIRE FX - FIRE SHOW
DWIGHT CHOCOLATE ESCOBAR
GYUTO MONKS CHANTING & MEDITATION
OPENING ACTIVATION CEREMONY
SNITCH DJS HOT DAMN DJS
FIRE FX - FIRE SHOW
ELECTRIC GARDEN DJ’S 12.15-2.00
JUST LIKEE HONEY
RA FEAT. GOLD ON GOLD
BAD NEWS TOILET
BENSON VS MIKE METRO
FLIGHT FACILITIES DECADE DJ SET
FIESTA VIVA MARIACHI
FIESTA VIVA MARIACHI
FIESTA VIVA MARIACHI 9.30 -10.00
DWIGHT CHOCOLATE ESCOBAR 10.00-2.00
CHARLES ES MURDOCH
FUTURE CLASSIC DJS
INTERVIEW AND Q&A WITH SENATOR CHRISTINE MILNE
APRA PRESENTS: SONGWRITERS SPEAK
DEBATE: CAN WE TRUST THE MEDIA?
WALRUS & CARPENTER
1.20 - 2.00
2.20 - 3.00
3.20 - 4.10
6.00 6.00-- 7.00 7.700
9.00 9.00-- 10.00
BAD EZZY JAGWAR MA BAD EZZY CHET FAKER OTOLOGIC
CLOUD CONTROL ONTROLL
11.30 - 12.30
FIESTA VIVA MARIACHI 12.00 -12.30
FORUM BUSKER STAGE
YUNG FRANCO NO HOPE DJS 8.00-9.00
FIESTAA VIVA HI MARIACHI
DWIGHT CHOCOLATE ESCOBAR
COMEDY: A RATIONAL FEAR
THE JUNGLE GIANTS
OF MONSTERS AND MEN
PEKING TYLER THE TOUCHE BAMBOOS DUK
LITTLE GREEN CARS 2.45-3.30
YOU AM I
THE GYUTO MONKS KS DERS & MINJUNGBAL ELDERS ONY CLOSING CEREMONY
WELCOME TO THE WORK
FIERCE LIGHT DOCUMENTARY
JAMES FAVA ANDY MURPHY LIGHT YEAR 6.00-7.00
VIVA DWIGHT CHOCOLATE ESCOBAR VIVA DWIGHT CHOCOLATE ESCOBAR MARIACHI MARIACHI 4.30-5.00
DJ LEYOLAH ANTARA
ECSTATIC DANCE SET
ELECTRIC GARDEN DJ’S 12.15-2.00
LA LA ALL STARS
BYRON HOUSE MAFIA
FIESTA VIVA MARIACHI
GOODGOD SOUND UNLIMITED
TONI TONI LEE
SHANTAN WANTAN ICHIBAN
THE SCHOOL OF LIFE PRESENTS: SECULAR SERMON WITH JOHN SAFRAN
PANEL: AYAHUASCA & ALTERED STATES OF CONSCIOUSNESS
COMEDY: STORY CLUB
AYSHA KILLED A SAILOR
(HI FI WAY)
WHAT SO WHAT SO NOT NOT JAMES BLAKE
BEAT POETRY WITH
NG EVERYTHING NG EVERYTHING
SACRED CIRCUS PERFORMANCE
FIESTA VIVA MARIACHI
LA LA LAND
DJ CHRIS DECKKER ELECTRO GYPSY SWING
FIERCE LIGHT DOCUMENTARY
KIRTAN WITH MEL DOBRA
GW McLENNAN TENT
LAST DINOSAURS RS DJ SET VS AMPLIFIREE
DESA MANI CLIQUE
THE JUNGLE GIANTS DJ SET VS AMPLIFIRE
DOCUMENTARY AND Q&A THE SUNNYBOY
THE POLYPHONIC SPREE ROCKY HORROR 8.15-9.30
WELCOME TO THE WORK
WOMEN OF LETTERS
ZENTHAI YOGA WITH
ART OF SLEEPING
ALISON FAT FREDDY’S ALISON WONDERLAND WONDERLAND DROP DJ SET DJ SET 8.00-8.45 9.45-10.30 8.45-9.45
FIRE FX - FIRE SHOW
THE GATLING RONESWORTHY MILLIONS DJS GUNS FRIENDS
12.30 - 1.00
EMPIRE OF THE SUN
BEAT POETRY WITH
BIRDS OF TOKYO
COLD WAR KIDS
SACRED CIRCUS PERFORMANCE
SOMETHING FOR KATE
BOLLYWOOD DANCE CULTURE & DANCE
SPLENDOUR PEACE PARADE WITH TOMMY FRANKLIN
TIPI FOREST YOGA SYNERGY
GW McLENNAN TENT
FIRE FX - FIRE SHOW
GYUTO MONKS CHANTING & MEDITATION
THIS IS GROWING UP Sydney folk punk singer-songwriter Isaac Graham sits down with Tom Hersey to talk about his second long-player Glorious Momentum and how great, and embarrassing, it was growing with mid-‘90s skate punk.
here’s often a sense of embarrassment among people that grew up listening to [pop punk]. And I feel that as well when people ask me what I listened to as a kid, there’s a sense of hesitation to say ‘I grew up with Blink-182 and The Offspring’ because then it’s like you might somehow lack authenticity. But they are really great albums, we shouldn’t be ashamed of them at all. They’ve really stood the test of time.”
To enter this and check out heaps more giveaways head to the Time Off Facebook page.
A song is like a smile. If you meet people from another country, even if you don’t speak the same language, you know what a smile means. A song works the same way. Music produces feelings that need no translation.” - Clay Aiken
The music on Glorious Momentum furthers the agenda Graham showcased on 2009’s Empty Vessels; the singer’s voice holding centre stage for most of the piece, supported by a lush bed of diverse arrangements and an ever-present acoustic guitar. Graham says the album was largely a collaboration between him and his drummer, so now that he’s going on tour with a full band, how are these songs going to sound? “When I get up there with just an acoustic guitar, it becomes more about the lyrics, and just listening to stories. Whereas the live show with the band is more about having a good time, and having a dance and a sing-
along. I’m not necessarily making punk rock music, but I like to have that punk rock vitality and energy.” Discussing the live show he plays with his band The Great Unknown, the conversation turns to a pair of shows the group played earlier this year. In Sydney, the band decided to cover Blink-182’s Dude Ranch, start to finish, in their folk punk style. Will fans coming out to these shows get to hear some of those classic ‘90s pop punk tunes again? “We’re talking about it. We had only intended to do one of those shows, but because it was so successful people kept saying to us, ‘You’ve got to do this show again’. So we did, and we’re definitely going to try and play with the arrangements again for this tour. They’re such great songs.” When all is said and done, you can’t escape your childhood. You may as well embrace it. WHO: Isaac Graham WHAT: Glorious Momentum (Independent) WHEN & WHERE: Thursday 1 August, Crowbar
INDIVIDUAL BY DESIGN He is one of the most polarising figures in heavy music, but with Falling In Reverse’s second record, Ronnie Radke and his cohorts are serving up songs for every taste. Benny Doyle gets introduced to music’s newest genre.
hether he’s been beefing with former bandmates, going to battle with keyboard warriors or casually ditching microphone stands into fans, drama storms have followed Ronnie Radke like clouds follow Garfield on a Monday. But that all seems set to change as he’s recently become a father. There’s no ranting during the course of our interview and he barely speaks ill of anyone. He just seems content with music and life.
In a desert drawl he explains where he was coming from with Fashionably Late, the new record from his band Falling In Reverse . “I just sat for a long time and thought how am I supposed to be innovative? I don’t want to be like anyone else, ever. I just thought how can I do this? I’ve been rapping for a long time and nobody really knows about that. I’ll just do demos and see if I can try and mix rap without sounding like Linkin Park or Limp Bizkit or any type of what you would call ‘rap rock’; try to not sit in that form of what they were.” Radke’s flow can be found on tracks like Rolling Stone, Champion and Self-Destruct Personality. “I took the best of the best and tried to blend it together. I made sure I separated the rap in the songs from the metal
THE TIME OFF CREW ARE...
If you’re in your mid-20s and you’ve ever ridden a skateboard, chances are you can relate to Isaac Graham’s sentiment. Maybe it’s simply a by-product of growing up, where we need to experience some ambivalence about our childhood so as to be propelled into adult lives. Or maybe it’s because Sum 41 came along and left the genre irreparably tarnished. Despite his conflicted relationship with the punk rock of his youth, the genre’s influence can be heard all over Glorious Momentum. Not in the music – Graham sticks pretty closely to folk with the odd bluegrass influence thrown in for good measure – but there’s a cover of NOFX’s Punk In Drublic ditty Lori Meyers (Graham has the album mixed by punk legend Bill Stevenson at his revered Blasting Room studio; it’s a dream of his that Stevenson will pass the cover onto Fat Mike) in the tracklist and plenty of songs about girls.
The final chapter of the ‘Cornetto trilogy’ which also includes Shaun of the Dead (2004) and Hot Fuzz (2007), The World’s End is the highly-anticipated sci-fi comedy drama starring Simon Pegg, Nick Frost and Martin Freeman. Reunited after 20 years to repeat a legendary pub crawl that they embarked on when they were young, five friends quickly realise that their town has been taken over by robots. Soon, their journey to The World’s End has become the least of their worries. Thanks to Universal we have ten in-season double passes to give away.
“I grew up with the ‘90s pop punk, punk rock stuff. That was the [stuff] that really got me excited when I was younger, so I still hold that music close to my heart and I still listen to it a lot. But the music I’m producing doesn’t necessarily sound like that, but I think at the core of a lot of that music [are] really interesting stories, and for me, the core of the song has always been lyrics. It’s been about being able to tell a story and relay something that’s either funny or emotional or sad. So I don’t really think too much about the music side of things until I’ve structured the lyrics, then I find that the music tends to flow on from that.”
[though], so it wasn’t together on purpose, [but] it pretty much [takes] you on a rollercoaster ride in each song.” Radke levels: “[Rap] will never be the main thing in Falling In Reverse, but it will have its [place].” Painstakingly, Radke wrote this sophomore offering twice before his bandmates arrived in the studio to add what he calls the “flair”. Producer Michael ‘Elvis’ Baskette and “the best mixer in the world” Chris LordAlge then used their studio wizardry to give the LP a sonic sheen that illuminates through the speakers. And although, like most everything Radke has a hand in, it divides opinion, it succeeds in the rocker’s quest to stand as a round peg in a world of square holes. “Growing up people were telling me what I can and can’t be,” he relates. “I’ve always been the type that’s tried to do everything different. I just want to be a different breed of band where we can do everything.” With this considered, his following statement comes as no surprise: “I’d describe Falling In Reverse as a genre of music; it’s just a genre now,” Radke says genuinely. “Every genre that you could think of has one band; some guys call us ‘everything-core’, but
I just say that Falling In Reverse is an actual genre now because it’s everything that you could possibly think of. And my voice, it just ties it all together.” Radke has mentioned that Fashionably Late is the album he should’ve made years ago. However, as a founding member of Escape The Fate he never had such creative liberties. “My band, my old band, they would dull me down,” he reveals. “I had so much eccentric writing capabilities... [But] I’m not here to talk crap; I won’t talk crap about them anymore. They were just not letting me use my full potential of writing. [Now], I can’t believe the response that we’re getting, it’s astronomical; everywhere I go someone is talking about [the record] – it’s cool to see.” WHO: Falling In Reverse WHAT: Fashionably Late (Epitaph)
TURNING VIOLET British buzz-band and reformed technophobes Palma Violets are certainly on the up, but ahead of their Splendour sideshows guitarist Sam Fryer lets Justine Keating know that they’re keeping it real.
LISTENING TO New Moon, The Men
GOING TO Splendour In The Grass
CHECKING OUT Last Days Here DVD
WATCHING Ugly Americans
EATING Southern-style BBQ
DRINKING Coopers Extra Stout
20 • For more interviews go to themusic.com.au/interviews
t the mention of Palma Violets, it seems like the word ‘hype’ isn’t too far to follow. And would you believe it or not, since their formation in 2011, the British band steered completely clear of the internet – that is, up until fairly recently. With the cyber-world being something quite foreign to them, the success of Palma Violets relied on the quality of their performances and good old fashioned gossip – an old-world approach that’s worked heavily in the band’s favour.
“We didn’t really know how to work computers or anything like that,” guitarist Sam Fryer admits. “We went against the grain of putting ourselves out there, and at the time, people would talk, and it all became word of mouth. Eventually, things kind of exploded. Then the NME was writing about this band, and everybody wanted to come down and meet us. Then, it all got a bit out of control.” And to think it was no more than a couple of years ago that the lads were performing to a host of familiar faces at regular impromptu parties thrown at their house just beneath the railway tracks. Now, their touring schedule sees them traversing hemispheres in just a matter of days, with a recent appearance
at Glastonbury and a slot at Lollapalooza following their short stint in Australia for Splendour. Things may be looking out of control for Palma Violets, but the days of the underground shows at their old house in Lambeth haven’t been laid to rest entirely. Speckled in among the sold out shows and frequent festival slots, the band still make a conscious effort to include shows much like those of their early days; played to however many punters and fans can possibly fit in the small venue – be it someone’s house or otherwise. Fryer explains that it’s not quite the same as the days of yore. “If we were to play parties, it’s a lot harder to manage and quite often there’s more demand and it’s sad for us, because all we want to do is go out and play a little room that nobody’s ever heard of. “We’re trying to keep it how we’ve always wanted it to be. We love the small venues, they’re our favourite gigs. We don’t want to stop that just because of our success.” Playing packed out venues or tiny rooms, the reckless abandon that their fanbase take to their shows remains unchanged from the band’s beginnings. Most recently, at The Great Escape Festival in Brighton, Palma Violets’ fans swarmed the stage they were playing on by the
dozen. “With us being away for so long, and with us finally coming back, everybody just decided to completely let loose and throw themselves all over the place. Stage invasions aren’t really a rarity for us now,” Fryer recounts. “It happened at Glastonbury as well. It’s what we want really. About three years ago, we were the kids going to gigs and just wanted to throw ourselves around, get on stage and crowd surf and cause havoc, so we’re totally for that.” “That’s something we wanted to do – we wanted to throw ourselves around, we wanted to basically throw ourselves towards the stage at any given opportunity. We love [our fans] – they remind us of ourselves. It’s just a good relationship.” WHO: Palma Violets WHAT: 180 (Rough Trade/Remote Control) WHEN & WHERE: Saturday 27 July, Splendour In The Grass, North Byron Parklands
MAKES ME WONDER Alison Wonderland came to prominence through EMI’s She Can DJ competition – but there’s a lot more to the Sydney DJ than a talent contest. Matt O’Neill speaks to the mysterious producer as she prepares her debut album.
or anyone sitting on the sidelines, Alison Wonderland’s blinding debut single Get Ready must have come as something of a surprise. The Sydney DJ is best known through her second-place position in EMI’s inaugural She Can DJ competition and her genre-hopping party-friendly DJ sets. Yet, contrary to expectations, her debut single is toughas-nails hip hop – with an audible trap influence.
“Nope,” she laughs, when pressed for info. “I can tell you that I did get played on [BBC’s] Radio 1 quite a bit for it. I never put my name up or who I was because I just wanted people to like the music because they liked the music. It always meant more to me like that, I think. I really just like being private with my stuff. I try to keep it about the music as much as possible.” What’s known about her background only adds to the mystery. She was originally intent on becoming a classical cellist, even studying abroad. Except, while in Europe, she found herself more drawn to festivals and concerts than classical recitals. Returning to Sydney, she killed time as a bassist before being drawn into DJ culture.
It’s the first hint that there’s something a bit unusual about Alison Wonderland. The second’s when it becomes apparent that she won’t give up her actual name. Or any specific details about her musical past. It’s widely known that she has already (quite successfully) produced under other aliases and she’s rumoured to have played bass in a number of Sydney bands – but she won’t be giving any details up about that, either.
“When I got back to Australia, I found I just didn’t really enjoy playing the cello anymore,” she admits. “Which was incredibly weird for me, because all I’d ever wanted to be was a classical cellist. I ended up joining some indie bands as a bassist just to keep that musical fix and from that ended up DJing at indie clubs. I really enjoyed it. And, when I really like something, I hyper-focus on it. I just sat in my room for hours DJing for fun.”
“Well, they should come to my sets, then,” Wonderland says. “I play mostly hip hop and trap music. But, my record is influenced by a lot of things. For example, my top five artists would be The Knife, LCD Soundsystem, The Beatles, OutKast and Prince. So, I don’t really have one genre that I love more than the other.”
It’s an intriguing collection of facts for someone in Alison Wonderland’s position. Since taking She Can DJ’s runner-up title, Wonderland’s been sprinting towards global ubiquity. She signed with EMI, played at the Grammy and BRIT Awards after-parties and will be releasing her debut album later this year. She’s on the verge of stardom, yet she’s clearly a pretty private artist.
HIGH ROTATION JEREMY KELSHAW FROM CLOUD CONTROL
“I try to keep it as real as I can. That’s what I want to do. And I always want to make sure everything comes from an honest place,” Wonderland says. “You know, if I’m making a beat and I’m getting really excited, I know that it’s the right thing to do and keep making and keep doing. I think people can smell bullshit a mile away and I’m not into that.” WHO: Alison Wonderland WHEN & WHERE: Thursday 25 July, Beach Hotel, Byron Bay; Saturday 27, Splendour In The Grass, North Byron Parklands; Saturday 10 August, Playground, Sunshine Coast; Wednesday 14, Oh Hello
WHAT ALBUM IS ON HIGH ROTATION WHEN YOU ARE ON TOUR?
Anything by The Feelies or The Bats. Cloud Control touring from August. Check The Guide for dates.
Melbourne four-piece Polo Club live in an interesting zone between genres, and as MC Dylan Thomas tells Tyler McLoughlan, that’s where they do their best work. ith their genre-melding ways, Polo Club are at first a tricky listen given that most will look for indicators to place them neatly into one category or another. However, like other electro-hip hop experimentalists before them, they soon become an intriguing listen across their second EP Live For Tonight released this month.
“Some people stand back and go, ‘Are these guys hip hop or are they indie? Are they dance? What are they?’” laughs MC Dylan Thomas. “We don’t really like to tie ourselves down to anything. Whatever we’re inspired by at the time, ‘cause there’s four people in the band and everyone listens to completely different music. That can sometimes not work when you’re together writing but it seems to work alright with Polo.” Evolving from a production duo with the release of their first album The 13 in 2009, Thomas explains how this changed the sound of Polo Club. “When me and Cam [Chapman] first hooked up we were both listening to different stuff; I’m more from the hip hop side of things and he was more from the dancey sort of indie background.
“The new stuff’s very different,” says Thomas of Live For Tonight and its companion EP She Will Never Know released last year. “We didn’t sit down and say, ‘We’re
gonna write this type of music’, we just sort of started writing together and it just turned out the monster that is Polo Club; there was never too much conscious thought about the direction and sound, it just sort of evolved as we were listening to different things and we got the other two guys on board – Adam [Fitzgerald] and Aidan [McLaren]. Adam’s got such a distinct style and he’s got the more indie style; it just fits well with the band and I s’pose that’s what makes Polo Club stand out from a lot of other hip hop that’s coming out of Australia – the aesthetics, and that everything track’s a bit left of centre for hip hop. But people seem to dig it which is good.” Regardless of audience or genre, Thomas declares that the premise of Polo Club is very simple. “I would just say that it’s just about four dudes tryin’ to write music that they enjoy and having fun with it – that’s really all we’ve ever been about. As soon as you lose those things I think the arse end can fall out of stuff, so as long as you keep it tight and fun and enjoy what you’re doing all will be well. That’s the motto that we live by. And you know, like any other band we take the piss out of ourselves and all that sort of jazz, but to sum it up Polo’s just about fun I s’pose. There’s also a bit of Jekyll and Hyde ‘cause there is a split personality in there – there is some dark shit as well.”
Heading out on a seven-date east coast tour to show off the new EP, Thomas is audibly hyper as he explains his level of excitement for getting on the road.
PRESENTS THE DRONES
“I can’t wait – it’s gonna be awesome. I love goin’ on tour; it’s the second best part, apart from writing music – I just love playin’ shows,” the MC enthuses. “We’ve been together a while now so we’ve got a pretty decent show goin’ if I do say so myself, so if people come down they can always expect fun, that’s for sure. Even if there’s one person in the room it’s high energy – I can’t help myself. I hope there’s some shit there to jump off!” WHO: Polo Club WHAT: Live For Tonight (Independent) WHEN & WHERE: Thursday 25 July, Coolangatta Hotel; Friday 26, X&Y Bar Friday 27 September, The Hi-Fi
SMART SEX Don’t be fooled by the name, alt rock three-piece The Androgyny are very much defined by their chromosomal calibration. Guitarist/vocalist Tessa Richards explains some of the finer points of the finer sex to Tom Hersey.
ou look at something like Cyndi Lauper’s Girls Just Wanna Have Fun, and that song wasn’t even written by her, it was written by a man and stuff like that is exactly what I want to change.”
Fellow members of the loud-farting, butt-crack-hairgrowing gender, take a second to consider Tessa Richards’ sentiment, because it’s probably foreign to you. There’s no shortage of material in the pop cultural pantheon that explores masculinity; from Hemingway to Henry Rollins, the dudebro experience has been delineated by countless dudebros prior. But what if that wasn’t the case? The Androgyny were born out of a situation where there weren’t a lot of people making music from positions which they could relate to “After the nineties I had so much hope for women in rock’n’roll,” Richards says. “But, if anything, I feel like the number of girls in alternative bands has died down. And we want to inspire women, and also show everyone what women in bands are capable of.” Richards says that’s the point of latest single, I’m Not Your Heroine. It captures a riot grrrl influence colliding with an obvious appreciation for the last thirty years of alternative rock. “It’s really important for us to empower women
through our music, and that song is a real statement that sums up what we’re about.” It’s the latest single from EP, I Don’t Desire Your Empire, which dropped late last year. Currently, the band’s touring both the single and the record, after line-up troubles put the brakes on late-2012. “The EP was getting a great response and we really wanted to get out and tour it. Unfortunately, we had two line-up changes around the drums, and that put a stop to us being able to promote I Don’t Desire Your Empire,” Richards recalls. “Then we met Laura, our new drummer, and since then the momentum’s definitely back.” With their all-girl line-up secured, Richards says that The Androgyny are doing everything in their power to capitalise on the momentum that’s starting to build. Along with their current tour, they’re already getting set up for what’s coming next. “We’ve already been in the studio and we’ve recorded our next EP,” she reveals. “We recorded in January/February this year and it should be ready around the end of the year. We’re really excited about it, we think it could take us to a whole new level.” In regards to the band’s feminine perspective on music, it has to be asked: how can a band defined by their gender refer to themselves as The Androgyny?
TRAILER OF THE WEEK “In order to be in a band you have to be physically and mentally androgynous,” she offers. “I think you need to have a lot of traits that are quite stereotypically male to want to be in a band. I mean, the reality of the situation is we’re lugging heavy equipment, we’re travelling, it’s hot and sweaty. When you start out you might have these aspirations of looking beautiful onstage – with beautiful make-up and all glamorous – but the reality is that you’re playing music and your make-up’s going to run. “I’ve always been so frustrated by the lack of women in bands, and then sometimes I think about it when it’s late at night and we’re lugging equipment to cars and there’s a long drive ahead of us; it’s not comfortable, it’s hard work. Maybe women are just smarter than men, they know better than this.”
VERONICA MARS THE MOVIE
Watch at: vulture.com, and with a 4.49 minute running time get ready to settle in for some trailer-tastic fun
WHO: The Androgyny WHAT: I Don’t Desire Your Empire (Music Fix) WHEN & WHERE: Friday 26 July, Beetle Bar; Friday 27 September, The Brewery, Byron Bay
For more interviews go to themusic.com.au/interviews • 25
SINGLED OUT SINGLE OF THE WEEK
WITH CHRIS YATES
LACE CURTAIN Falling/Running Mexican Summer The second 12” single from Mikey Young, Dave West and James Vinciguerra does the impossible and actually betters their debut for DFA Records. The first track Falling somehow manages to marry every New Wave cliché into a track with house-lite beat and turn it into the most compelling record of the year so far. When you break down the various elements of the track it really shouldn’t work so well, but much like the group itself, the sum of its parts becomes extraordinary. The alternate version on the B-side offers some variation to the ideas but keeps the central vibe and energy of the track in check. The two versions of Running are not as immediate as the predecessor, but it sleeps and grows and will probably eventually become the one I listen to most.
STRAIGHT ARROWS Never Enough/Can’t Stand It Hozac This is some heavy shit from Straight Arrows. An almost doomy riff twangs in with guitars bordering on the out of tune signalling the start of Never Enough, one half of the pair of absolute classics on this 45. The vocals are so deep in the mix you can barely make them out, and then the epic layers of reverb almost completely blend them in but what isn’t lost is the fantastic dynamic between the two vocal tracks. It creates a hypnotising effect that shouldn’t be as beautiful as it is.
ALBUM OF THE WEEK
[REVIEWS REVIEWS] a l b u m
JOSH PYKE The Beginning And The End Of Everything Ivy League Josh Pyke doesn’t feel the need to reinvent himself; in the same way that the stamp of Neil Finn or Paul Kelly is inimitable, so too is Pyke’s deft approach to refined, layered melody and clever storytelling. The title track of his fourth record is classic Pyke – citing the metaphorical wolf that pops up regularly throughout his discography, his graceful lyrical style shines with ease. The instrumentation is near-perfect; intricate guitar and intelligent percussion overlay tinkling key flourishes and a wandering bassline, complementing the chugging pace of Leeward Side and speaking volumes of his intuitive construction style. As the opening vocal of ballad Haunt You Love recalls Sam Cooke momentarily, Pyke takes leave with a slight country sweetness to lead into a chorus of immaculate harmonies. Co-writing All The Very Best Of Us with childhood friend Holly Throsby, the pair draw the best out of each other; Pyke’s open vocal style forces Throsby to use her full voice rather than those forced whispers, while Throsby encourages space in her friend’s normally chock-a-block lyricism. Pyke keeps the album fresh by experimenting with new methods; he mixes in home-studio recordings, shares instrumentation with producer John Castle, embraces harmonica and banjo and tinkers with his trademark folk cadence. While somewhat lacking the immediacy found in his past efforts, it’s still impossible for this bloke to write a crap song. ★★★★
Between The Walls
Between The Walls marks the third album from the experimental super-group of John Coxon (Spiritualized), Charles Hayward (This Heat), Pat Thomas and Alexis Taylor (Hot Chip) – About Group. Known for their spontaneous recording process – which is to basically hit record and see what happens – the songs found within the walls of this latest album have more structure than their previous work, yet their spontaneous and improvised style still carries through for the most part.
Scotland and chamber pop infused with wit, whimsy and a lashing of twee go hand in hand. Belle & Sebastian, The Spook School, Teenage Fanclub and a plethora of others all deal out hooks, harmonies and hope to an apparently limitless degree. Glaswegians Camera Obscura also fit the bill, having virtuously mined every facet there is about the theme of love for over ten years. With fifth album Desire Lines there’s little that deviates from their tried and tested formula, which in this day and age might frustrate some, but their consistently eloquent, warm songwriting skills continue to energise.
The album kicks off with After Video, which is almost like an ode to their concept – a mish-mash of tinkering guitar and synth, crashing cymbals, static feedback, random cowbell and psychedelic guitar. With such a diverse and unbalanced mix of sounds, it’s amazing that the transition into Walk On By is absolutely seamless. It’s here that we get our first taste of Taylor’s nowiconic vocals, and while the sound of this band is a far cry from that of Hot Chip, it’s difficult to remember this is a different band, as his voice is so familiar. All Is Not Lost features more structure than most of the songs on the album, possessing a steady beat, Taylor’s smooth vocals, funky organs and synths and a composition with verse, bridge and chorus. On the other end of the scale there’s Untitled, which possesses minimal structure, yet features some of the most interesting sounds on the record and could be considered one of the more compelling tracks. There’s a lot to listen to on Between The Walls, and while it might take a few spins to get a complete grasp of everything going on, it’s definitely worth the effort. ★★★½
This is almost entirely due to the unique vocals from Tracyanne Campbell, a chanteuse who etches beauty with disarming lilts and inflections of her voice, immediately relatable and set to swoon. There are slightly darker tinges to some of these tales, implying that the four-year break may have brought some of life’s baggage along with it. Ebullient ballad Cri Du Coeur finds chagrin in its string arrangements; Fifth In Line To The Throne lays its soul bare (“You treat me like a queen/But like a queen I don’t know when I’m slain”). But Campbell and co. can’t stay maudlin for the duration – William’s Heart seems immaculately conceived, all heart-warming, hip-swaying notes in the universe imbued within – this is a song impossible to dislike. I Missed Your Party is infectious, while the band embark on erotic side streets, with Campbell begging her “insatiable” lover to “do it again” on Do It Again. Above all, Desire Lines strips away the pomp and keeps things low and steady, an easy-listening record for those who hate easy listening. ★★★½
KIMENCE Never Give Up (ft K21) Obese If there’s one thing the world needs, its more female MCs muscling in on the male dominated world of hip hop – this is even truer in the Australian scene. Kimence’s flow is tight and borderline angry on Never Give Up, her great lyrics sitting comfortably on top of classic old school horns and stab loops courtesy of the ever impressive Simplex. Kimence will earn a lot of new fans from this track and her album One View should go some way in addressing the gender imbalance of her chosen genre – not as token quota filler but as a genuine talent on the scene.
KINGS OF LEON Supersoaker Sony Kings Of Leon – more like Kings Of The World am I right? No, I am not and neither are they. A more concrete case of a band becoming too big for their boots too young and then becoming well accustomed to the rock’n’roll lifestyle and churning out the same stuff for the masses year after year is hard to imagine. So if you’re looking for more of the same, you’re in luck! If you’re expecting some development or artistic progression, then you probably stopped caring about Kings Of Leon quite some time ago so carry on.
THRIFTSTORE MASTERPIECE The Railroad (ft Isaac Brock) SideOneDummy/Shock This is an awesome idea. Thriftstore Masterpiece are a revolving group of musicians who are tackling underdog classic albums to give them a new life and audience. The Railroad comes from the 1963 Lee Hazlewood album Trouble Is A Lonesome Town, and features the one and only Brock Isaac of Modest Mouse fame. He might seem like an unusual choice for this kind of track, but to say he nails it is an understatement. His erratic vocals work so well over the bombastic production as he ebbs and flows with the horns and dense musical arrangements. The album will be fantastic.
26 • For more reviews go to themusic.com.au/reviews
Some artists wear their influences proudly on their sleeves. Melbourne-via-Brisbane singer-songwriter Dan Parsons is one of them. When the bearded lad’s debut Firestarter, produced by John Castles (Washington, The Bamboos) hit the shelves in 2010, ghosts of 1970s folk greats littered its tracks. But with the liberating freedom that only an old-school four-track can bring, Parsons’ self-titled sophomore release celebrates a more intimate homage to his cited influences, like James Taylor (an inevitable comparison) and a stripped-back, organic approach to album production. It’s as gently absorbing as it is powerful.
Unreal, the debut album from Hebronix – headed up by ex-Yuck frontman Daniel Blumberg – is smooth sailing. The singer-songwriter brings a suitcase of ‘90s alt.rock revival modicums salvaged from his previous venture, and stretches them out long and languid like a sunny afternoon.
There are a number of different elements at play here that make this far more than just another folk album to be loved and shelved. Parsons possesses genuine warmth for his genre of choice and it’s more than evident, particularly in Americana-tinged opener Old Man/Young Man. If the title itself isn’t evocative enough, Parsons’ quiet energy behind his feather-light, clear-cut vocal bleeds through more than just the speakers. His dedication in playing and recording most of the instruments has resulted in a clarity of purpose throughout not only the album but straight through the songs themselves. With so many lines at work in Oh Baby, When You Say It Like That, Parsons maintains a firm grip on sections that could become unwieldy without smothering the life out them. Rather, he breathes life into well-worn paths, amping up in Lay It All Down and donning his auteur hat in the lush, reflective meanderings of Shoalhaven Night.
For the most part, these tracks are in no hurry, meandering through familiar guitar fuzz and into the unchartered territory of flutes and strings. If you’re searching for something in these layers of chaos, it’s unlikely you will find it – mess and mayhem abounds at times. If, on the other hand, you sink deep into the pool of sounds, there’s plenty of hazy gratification. The Plan is almost hypnotising in its melodic repetition. Viral is the most accessible and structured of the tracks, clocking in just under six minutes. Rolling bleeps and a simple guitar hook provide a soft pillow for vocals that verge on saccharine, reminiscent of dream pop icons Real Estate. While this track will probably be revisited most often, it’s not the most compelling piece on offer. Blumberg’s voice thrives when it is given room to breathe. The title track chants the mantra “I feel unreal” with all the melancholic conviction of musical siblings Kurt Vile or Mac DeMarco. It reeks of nostalgia; faded t-shirts, basement bedrooms and cassette tapes. But where Vile and DeMarco provide a history of their own, Hebronix opts for musical magnitude over rich storytelling, leaving a hollow at the core of this record.
Parsons’ second offering is a quiet, intimate experience and its rich sparseness demands attention. You won’t be left wanting, but you’ll be aching for more from the man himself.
But, where it lacks lustre, Unreal provides reveries aplenty. Each groove plays out to completion, like slow moving waves gently rolling into the next.
MINDLESS SELF INDULGENCE How I Learned To Stop Giving A Shit And Love Mindless Self Indulgence Uppity Cracker/3Wise On first impression, the fifth full-length from New York synth-punk nutbars Mindless Self Indulgence seems to be all balls and no teeth. Both opener Witness and follow-up Fuck Machine have the grunt and aggression that we’ve come to expect from MSI, but they lack edge and feel safe in terms of accessibility, with none of the schizophrenic instrumentation and programming that’s long been their hallmark. Thankfully, by the lyrically depressing-as-hell third cut, It Gets Worse, they suddenly remember what they’re supposed to be doing, and Little Jimmy Urine’s trademark vocal make a welcome, if belated, entry alongside frantic arrangements and crunching guitars. The frontman’s lost none of his talent for puerile and borderline insane wordsmithery, with particular glee to be taken from his lamentations on ageing (Hey Tomorrow Fuck You And Your Friend Yesterday), internet hacking collectives (Anonymous) and the declining quality of rap music (Kill You All In A Hip Hop Rage). To make this LP, the band crowdsourced funds through Kickstarter, which is fair enough – MSI was never a money-making project. But curiously, the album offers two of the least challenging songs they’ve ever written followed by another 11 that, while enjoyable, really amount to much of the same thing they’ve always done. Still, any album that concludes with a cheery British woman signing off, “Well, that’s all for now – goodnight, stupid children”, is at least worth a spin. ★★★
a l b u m [REVIEWS REVIEWS]
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THE DARLING DOWNS
In The Days When The World Was Wide
Young Sydneysider Lachlan Nicolson – aka Pluto Jonze – arrived on the scene a couple of years back in a flurry of colourful, catchy pop gems, with 2012’s breakout single Plastic Bag In A Hurricane in particular doing copious rounds on the national broadcaster. Now that riff-laden, buzzy tune finds itself in good company on the personality de force’s debut long-player Eject. These dozen indie-pop nuggets are a veritable billboard for all the polarising elements that make Pluto Jonze so undeniably charming: loss, good times, wide-eyed optimism blindsided by pessimistic escapism – all to the tune of sunny, retrospective instrumentation and lush motifs.
Don’t expect thumpers like Magic Fountain or ParlezVous Francais from Vydamo – the side-project of Art vs Science’s Jim Finn – for this is, all-in-all, is his straight up “pop” project that draws heavily from the blatantly infectious melodies, soaring harmonies and the classic song structures heard on records from The Beach Boys and The Beatles. In fact, kudos ought to be slung in Finn’s direction for not turning this debut offering into an utter cheese-fest, for more than once can you hear potential for a big Beach Boys, multi-layered harmony outbreak.
The title of The Darling Downs’ third album sounds like a prescient statement on the shrinking scope of the modern age, but it’s fittingly the title of a 19th century Henry Lawson poem – Oz rock legends Kim Salmon (The Scientists, Beasts of Bourbon et al) and Ron Peno (Died Pretty) have been looking to the past for this project since its inception, bringing refinement and reflection where they once peddled decibels and debauchery.
“This release is really a document for the fans, but if anyone asks if Jane’s Addiction are a great live band this will provide the answer.” Chris Familton
Near impossible mouthful, Hispedangongonajelanguiro (Capiche?), makes unrestrained joy of all things odd, spouting gibberish lyric-wise on top of crunchy guitars and snappy, percussive sound matter. It all somehow evokes the Thin White Duke, apart from his dandy Beck-cum-Thurston Moore looks; no, it’s an honest, carefree revelry in this quite unique lyric and vocal style. Punctuated with wails, Love The World Like A Child is innocent fun made all the more effective for the juxtaposing sentiment of the title track that soon follows it. Eject even sounds a bit Wings-ish, but it’s not to be instantly embraced as an upbeat, sanguine guitar strummer; a way out is the only thing Pluto Jonze wants here and this is why Eject as an album is so rewarding. You may think you’ll know what to expect, but there’s an equal amount that surprises. While there’s nostalgia galore, making you feel as if you’ve always known these songs, it’s above all an entry into the strange, new world of Pluto Jonze and you’d be a fool to ignore it. ★★★★
You already know the brilliant Gonna Make It, the multi-hooked anthem that’s saturated airwaves since November, but it’s pretty much on its own here as that big obvious party tune. The rest of Becoming Human is Finn at his most honest; for example, his confessing, “I don’t think you’re the one” on the beautiful pianoballad Little Monster is so honest it’s almost awkward. Equally beautiful is the album’s title track and I See You – these three providing a poignant, stunning, occasional Disney-esque middle to the overall record. Elsewhere are the radio-ready hooks (Hurricane, Every Now And Then, Bare Feet) and occasionally the oddball – Living In The Sunshine is The Cops meets Regurgitator, while Long Long Day is in possession of a monster guitar-riff and Little Things snatches the synth right from Van Halen’s hands.
Their first album together in six years focuses more on the folk than the country, starting slowly with the languid pairing of Saved and Forever Night – Peno’s still luxurious voice abetted by Salmon’s deft instrumental skills – the tempo lifting only slightly for Down To The River, making for a considered and ruminative beginning. The Stones-y Wish You Were Her cranks things up a gear, before There Were Tears strips back to banjo and fiddle, riding atop a captivating vocal melody. The mournful I Don’t Care leads into the Triffidsesque Between The Forest And The Trees, which in turn segues into the bluegrass-tinged pomp of Higher When They Fall. The bright build of the beautiful Light Of The World and the sparse, banjo-riddled Like Desire bring things home, before closer Your Face reminds of the zenith of Ed Kuepper’s recent (excellent) work.
Becoming Human is a publisher’s wet dream and a triumph for the ever-optimistic and incredibly prolific Finn. Don’t expect this set of songs to necessarily challenge the musical spectrum as such, but do expect to have a guilt-free listen to a damn fine pop record.
In The Days... possesses a spiritual and somewhat cerebral power, much of the punch derived from deferred reflection rather than direct reaction, but that doesn’t lessen its impact. Considering the artists involved it’s unsurprising that they’re triumphant once more; facing the march of time has never seemed so graceful.
BAREFOOT DIVAS: WALK A MILE IN MY SHOES STORIES AND SONGS OF SURVIVAL FROM ABORIGINAL, MAORI AND PAPUA NEW GUINEAN SISTAS.
BRISBANE POWERHOUSE FRI 26 & SAT 27 JULY 7:30PM BOOK NOW 07 3358 8600
Live In NYC
ZOMBY With Love 4AD/Remote Control “Ventures through the good and the bad; recalling points of his earlier work and at other points referencing the work of others.” Brad Armstrong
TUSK TUSK Ease Up A Little Illegitimate Children “It evokes a perfectly acceptable sadness and reflection that needs a few listens through to sink in.” Lorin Reid
MERENIA / WHIRIMAKO BLACK / EMMA DONOVAN / URSULA YOVICH / MAISEY RIKA / NGAIIRE
VICKI GORDON CO-DIRECTOR AND PRODUCER ALANA VALENTINE WRITER AND CO-DIRECTOR ADAM VENTOURA MUSIC DIRECTOR
Barefoot Divas: Walk a Mile in My Shoes is part of Esperanto, 26- 28 July at Brisbane Powerhouse. Visit qmf.org.au for more information on Esperanto. Originally co-commissioned and produced by Sydney Festival and New Zealand International Arts Festival in association with Vicki Gordon Music Productions 2012. Presented by Queensland Music Festival, Brisbane City Council, Brisbane Powerhouse and 612 ABC Brisbane.
For more reviews go to themusic.com.au/reviews • 27
[REVIEWS REVIEWS] l i v e Opening tonight is Adelaide trio The Kin, who deliver a somewhat convincing and enthusiastic set of pop/ rock to a fidgety crowd. But it’s Pink’s night tonight and, as the lights go down, the crowd goes utterly and predictably nuts. First though, we’re subject to a pretty amusing MC who rants on about the ins and outs of love – it is The Truth About Love tour, after all. Finally, the megastar herself is onstage amidst a spectacular stage, an array of dancers and a shotgun team of musicians. To say “onstage” though is somewhat of a misnomer as Pink du Soleil kicks off with the artist dangling from the ceiling, indulging acrobatics and not dropping a single note of Raise Your Glass. This show marks Pink’s first visit to this country as a mum and she’s slightly watered down proceedings since the last time we saw her – while songs like Fuckin’ Perfect and Slut Like You make it into the setlist, she seems reluctant to vocalise the naughty words, instead leaving it to her pair of backing vocalists. Regardless, it’s the arena-anthems that are simply made for environments like this, raising the roof with not only Pink’s remarkable voice, but also the delirious crowd – Just Like A Pill, Leave Me Alone (I’m Lonely), Trouble and Who Knew all packing a weighty punch.
BERNARD FANNING, BIG SCARY, VANCE JOY THE TIVOLI: 20/07/13 The vibe among The Tivoli masses tonight seems to be a mixture of anticipation and curiosity; the latter emotion pinned to the two supports for the evening, with Vance Joy channelling the bright lights early. Wearing a loose flannelette and a charming smile, the Melbourne songwriter quickly shows why he’s one of the most talked about new artists in the country. Songs like Emmylou and From Afar are utterly arresting in solo mode, with Joy’s voice swelling through the venue, holding power and tenderness in equal measure, while his turn of Springsteen’s Dancing In The Dark makes sure everyone is holding full attention when he rounds things out with a ukulele-driven Play With Fire and Riptide. Making flawless look effortless, it would take a brave person to bet against Vance Joy utterly exploding in the next 12 months. After a welcoming stanza of Invest and Luck Now, it’s clear that no one told Big Scary they weren’t the headliner this evening. Tom Iansek and a bleach blonde Jo Syme, along with the assistance of a bearded bassist/synth slayer, genre hop with freewheeling abandon, make completely intricate parts look simple and throw choice banter in between it all that moves from obvious inspiration behind their track Phil Collins to eating from Bernard’s cheese platter. Their latest Not Art material is presented across the front of the set, while older cuts from the canon are delivered late, with elements exaggerated: the bouncy soul of Leaving Home; the shoegaze shredding of Gladiator. It’s the garage funk punk freak out of closer Purple that sets the stage alight, though, with Iansek’s chords dancing like a prize fighter while Syme channels her inner Bonham with bombastic crossovers on the skins. Phenomenal stuff. Adulation rains down and Bernard Fanning can’t hide a smile as he strolls out on his lonesome, reacquainting himself with a home crowd for the second time in three nights with Wash Me Clean. A limited backing band then appears in the shadows for Hope And Validation before the full five-member spread is making noise on Battleships. Featuring members from his old solo ensemble, Powderfinger’s extended touring group and local roots rockers Band Of Frequencies, the group lock in with Fanning tight and true, and on songs like Inside Track and Here Comes The Sadist, they are shaking their leg with swagger, breaking up delicate odes like Departures (Blue Toowong Skies) perfectly. Watch Over Me and Wish You Well are met as rapturously as you’d expect late in proceedings, before the night concludes with a cover of George Harrison’s What Is Life, a song title answered by the evening played out before it. Benny Doyle
BABAGANOUJ, JOHNNY AND THE FEMBOTS, THE GOOD SPORTS SOUTHSIDE TEA ROOM: 19/07/13 It couldn’t be cosier inside Southside Tea Room tonight; a saviour from the rain outside, the lights are set suggestively low, old school desks and retro chairs make up the furniture, and the general vibe is welcoming. The Good Sports spark a playful tone from appearances alone – one of the guitarists is donning what looks like a Russian ushanka, while the drummer sports a very glam set of sunglasses. Instead of causing grievance, space constraints actually instills a homely feel, with many punters sitting on the floor around the band, whose surfy pop sound suits the venue infinitely. Looking in complete control, the band treat spectators to some highly refined renditions of tracks including Early Riser and Disappearing Lover; a fine start to the evening indeed. To say that Johnny and The Fembots are a swell group of kids should not be interpreted as patronising; rather, it’s just the kind of language these guys inspire due to their ‘50s style of pop. Johnny looks pretty pleased to be surrounded by such a rockin’ group of women (can you blame him?), and because he
28 • For more reviews go to themusic.com.au/reviews
A tender moment is offered in the form of Try, an epic ballad complete with circus-like choreography that slips right into a surprisingly stellar cover of Chris Isaak’s Wicked Game. Nate Ruess from Fun. ‘joins’ her on the big screen for another poignant moment in Just Give Me A Reason and an acoustic trio of tunes sees Cyndi Lauper’s Time After Time slipped in for good measure. But you can’t help but feel the setlist is secondary and a little disposable these days – there’s no Get The Party Started or Family Portrait and it’s the circus element that now rules. It is, however, utterly incredible watching Pink suspended from the middle of the room, literally flying from end to end overhead – nothing has been seen like this in a pop show and she executes it with gusto and ambitious conviction. Louis Stone
BRODSKY QUARTET & TOPOLOGY BRISBANE POWERHOUSE: 19/07/13
Bernard Fanning @ The Tivoli Pics by Freya Lamont doubles as the drummer for The Good Sports, it’s amusing that he takes the time to say in an interlude, “Thanks to The Good Sports, except for me!”. Hey! Don’t! has the audience swooning and swaying to its serenely sweet beat, and the group look to be enjoying themselves as well – the girls take moments to dance with each other amongst the audience, while the tambourine player is jumping up and down like a free-spirited gypsy for the entirety of the set. While a little more volume in the vocals would not have gone astray, Johnny and The Fembots prove to be crowd pleasers with their light-hearted performance. By the time Babaganouj take the stage the venue is packed tight, and because the audience is comprised mainly of musical peers, there’s a real sense of camaraderie and support for ‘The Nouj’. While opening acts have been satisfying, Babaganouj amp up the party with their harder-hitting rock refrains. As the set wears on it’s evident the crowd are becoming more uninhibited, and the venue now seems to be pulsating; it’s so joyful and free that it almost feels like a celebration. Their latest single Love Loathe Love You really shines, and feels as though it is only meant to be performed live, as it takes on a more carefree tone than its recorded counterpart. Babaganouj have been so mesmerising with their set that you almost feel a little empty once it all comes to an end. Another half hour of fun times like these would have been just the ticket. Jazmine O’Sullivan
SAINT VITUS, MONARCH!, AGONHYMN THE HI-FI: 18/07/13 Despite having a catalogue filled with pearlers about the more depressing side effects of alcohol abuse, the drinks are flowing freely and the crowd is jubilantly toasting the first ever Australian show for LA doom metal pioneers Saint Vitus. Melbourne two-piece Agonhymn kick things off with a hearty drone dirge, quickly finding the right tone for their set as the leaden rhythms crawl from the PA: they bust guts and melt faces with their doom madness. A ‘health concern’ keeps Monarch!’s lead singer from making the trip from France to play the Vitus tour, but the legion of lonely-hearted doom nerds needn’t worry,
there’s another woman behind the table of effects pedals and candles, serenading us with blackened doom hatred. The 11th hour vocalist change doesn’t detract from Monarch’s always potent live show. Saint Vitus’ back catalogue feels like Raymond Carver prose set to music; the band’s earlier records deal with the crushing banalities of reality, and the hardships of addiction, in the sparsest, most straight-forward terms. Their records feel like the perfect storm of bleakness, sorrow and regret that must be as much a bummer to play as it is to listen to. And in 2013, when things seem to be going pretty well for Vitus – they’re down in Australia for the first time ever, their first album in 17 years is getting a great, greatly-deserved response and they seem to have a lot of their former demons in check – it would seem ungenuine for the band to focus on the past. So as much as the crowd wants to hear the old stuff, the band focuses their effort on last year’s Lillie: F-65 record. It pays off too, Blessed Night is a molten barn burner and The Bleeding Ground plays superbly. It takes a very special band to tour somewhere after 30-plus years and play a set supporting the new album instead of a greatest hits tour, but Vitus are that band. Scott ‘Wino’ Weinrich stands behind the mic in double denim, no shirt, his voice as powerful as his stare towards the back of the room; guitarist Dave Chandler’s riffs are evil and heavy regardless of their vintage and the axeman is clearly getting a kick out of slinging them in front of the crowd, while the rhythm section of Mark Adams and Henry Vasquez finds the perfect equilibrium between dirge and boogie. With a near-perfect (no, Thirsty And Miserable, guys?) encore of Dying Inside and Born Too Late to keep fans of old happy, Saint Vitus take their leave from the stage. Whatever your take on the setlist, there’s no denying the staggering power of what this band can do. Tom Hersey
PINK, THE KIN BRISBANE ENTERTAINMENT CENTRE: 19/07/13 It’s wall to wall women at the Entertainment Centre tonight. Pink is quite seriously a phenomenon here in Australia amongst the female contingent – young, old, all shapes and sizes – it’s utterly bewildering.
Visiting Brisbane as the world’s foremost interpreters of the works of Soviet Russia composer Shostakovich, the Brodsky Quartet’s first Queensland Music Festival show has the British group pairing with Topology, local chamber music inspired, genre-melding ensemble-inresidence. It’s a rare treat to have two such distinctly styled outfits in collaboration, and the evening begins with the Brodsky Quartet – original childhood founders Jacqueline Thomas and Ian Belton on cello and violin, with Paul Cassidy on viola and Daniel Rowland on violin – joining Topology double-bassist Robert Davidson’s composition written especially for the Stradbroke Chamber Music Festival. Honouring his late uncle’s resting place of North Stradbroke Island, it’s an emotional piece that brings the landscape duly to mind. As the rest of Toplogy join the stage, saxophonist John Babbage’s Dance Of The ‘80s presents some darker, more robust themes with a definite era bent before composer Andrew Ford emerges from the audience to introduce String Quartet No.3, a new work commissioned last year for the Brodsky’s 40th anniversary. In four movements, the first emerges with the wonder and glee of Thomas and Belton’s childhood explorations, leading to the second Cradle Song movement dedicated to the memory of young Brisbane violinist Richard Pollett. The quartet’s pent up energy spills into a vibrant and intense high-end pitch shift led by Rowland’s mesmerising and very physical performance style before a fitting reference to their Northumbria home is inserted into the slowest movement in the form of the traditional Maa Bonny Lad. Speech melody work Three Men And A Blonde has been composed by Davidson especially for this occasion; during various phone calls he asked each member separately: “So who are the Brodsky Quartet?”, recording their answers and developing a sequence of melody to enable both a musical and verbal response. It’s intriguing to watch the quartet individually interact with the recordings, adding emphasis and oodles of charm as each play up to the wonderful words spoken about them, and by them. As the relative newcomer, Rowland’s recorded contribution identifies their characteristic bond: “The three of them, they understand each other without words.” Having worked extensively with Elvis Costello, the quartet recreates part of his acclaimed ballet suite Il Sogno alongside Topology, alternately playful, choppy and mournful. A toe-tapping swing emerges between Thomas, Davidson and Topology’s violia player Bernard Hoey with grins exchanged as the double-bassist’s bear-like hands offer a percussive interlude. An encore nicknamed The Beast demands the full attention of all nine performers who cleverly weave Rick James’ iconic Superfreak bass melody into the mix, leaving the audience enthralled, soothed and moved in equal measures. Tyler McLoughlan
HAVE YOU BEEN TO RIDER MUST HAVE CLARE BOWDITCH
SOUNDLOUNGE Answered by: Chasca Summerville What’s the capacity? 800 Ben Salter @ Black Bear Lodge Pic by Freya Lamont
BEN SALTER, SEJA, MACHINE AGE BLACK BEAR LODGE: 19/07/13 It’s nice and cosy in the stately Black Bear Lodge tonight as Adrian Mauro takes to the stage under the nom de plume Machine Age. It’s a strangely fitting moniker, as Mauro marries together glistening guitar loops, warbling drone and electronica with a more generic songwriting compositional style. It’s something of a jarring mix though – Mauro’s vocals at times feel more inclined for traditional folk troubadour fare as opposed to the intricacies he is playing – but there are enough curveballs, eccentricities and confronting noise here that suggests this age may only be beginning. After a hot toddy, Seja takes the floor with her newlyminted backing band and launches into a brace of songs from her new album All Our Wires. Starting with a three-keys frontal assault (bandmates stand alongside her, with guitarist Tass Greenwood seemingly playing the tiniest keyboard known to (grown) humankind), the set is full of colourful peculiarities, pop nous and unaffected delivery. Like Fireflies and C’mon appear early and artfully showcase the adroit songwriting skills that Seja possesses and how much her confidence as a solo performer continues to grow, while other instrumental
flourishes augment the notion that she will never leave her Sekiden roots behind her – an eminently good thing. After taking to Melbourne then overseas, local boy Ben Salter drags himself on stage to promote latest release European Vacation, and it’s clear from the sell-out crowd that he is the prodigal son returned. He doesn’t leave them wanting either, playing a set that showcases tracks both new and old, a seamless transition for a performer who continues to surprise and delight. The concept of the EP – that he travel across Europe, collaborating with a variety of people on lyrics and compositions – means that Salter has been pushed, which even includes a spot of electronica for a couple of tracks, especially notable in the excellent The Prophetess. Of course it’s the tracks from 2011 album The Cat that receive the most adulation – the title track produces grins, West End Girls produces a singalong (although notably most people sing the chorus’ first two lines then hum out the rest), and Dollar Bar’s Dale Peachey sings over Salter’s shoulder for Opportunities. Combining such strong songs with typically droll, self-deprecating banter, Salter is a consummate performer who always strives to make the audience part of the experience.
Why should punters visit you? To get up close and personal with their favourite artists, in an intimate, ambient setting. What’s the best thing about the venue? The relaxed atmosphere, laidback vibe, and of course the eclectic range of national and international, signed and indie artists that grace our stage. What’s the history of the venue? We started hosting live gigs almost a decade ago and have helped put the Gold Coast on the map for touring artists, providing a great live music venue with quality sound.
WHAT’S THE FIRST ITEM ON YOUR RIDER FOR THIS TOUR? A private movie theatre (only happened once, in Perth). Clare Bowditch touring nationally. Check The Guide for dates.
What is your venue doing to help the local music scene? Our Original Seeds events showcase local emerging talent. We also have local acts support national and international headliners. What are some of the highlights? Some great acts include Sarah Blasko, Kate Miller-Heidke, Boy & Bear, Passenger, Angus & Julia Stone, Blue King Brown. Address: 165 Duringan Street, Currumbin, Gold Coast, Queensland 4223
WARM UP FOOD JOEL QUARTERMAIN FROM ESKIMO JOE
Website link for more info:BD soundlounge.com.au
ARTS WE STEAL SECRETS: THE STORY OF WIKILEAKS FILM Let’s begin at the beginning, shall we? In a tale so fraught with twists and turns, director Alex Gibney (Enron, Taxi To The Dark Side) traces Julian Assange’s renegade activism way-back-when to the WANK Worm (Worms Against Nuclear Killers), which was used by Australian hackers in the late ‘80s to break into and destabilise NASA’s database.
Gibney charts Assange’s rise from unknown overgrown student, to one of the most wanted men in the world. Wikileaks’ earlier ‘success’ stories are explored, from the leaking of documents surrounding the Peru Oil Scandal in ’08, to its role in Iceland’s financial crisis, before hitting upon its greatest leak – classified US military documents. Hundreds of them.
WHAT DO YOU USUALLY EAT BEFORE A GIG? Something light, like sushi, is good. Never eat steak or curry, because with steak you can’t get moving and with curry you may not make it through the show.
THIS IS THE END FILM
That said, taken as a whole, Blak is still probably one of Bangarra’s most comprehensive productions. Page’s sedate and evocative work actually acts as a nice complement to McKinley’s angry violence and there’s a progression to the sequencing of the pieces that previous BDT shows have often lacked. Regardless of the subtly differing quality of each component, it’s definitely a work worth seeing.
The sexual assault charges filed in 2010 against Assange are briefly explored at the end, with Gibney drawing a link between how they were filed eerily close to the time those pesky foreign diplomatic cables were leaked. For whatever reason, Gibney has major beef with the silver-haired hacker, ultimately demonising Assange as a cavalier renegade, and in the process, attempting one of the most obtuse character assassinations ever.
Think about how you might react if the world started crumbling around you. Would you face it with stoicism and dignity? Or would you resort to all manner of debauchery and unsavoury behaviour? Surprisingly – or not – a few of your well-known movie stars choose the second option in The Is The End, a wildly outrageous, gleefully dirty and unexpectedly thoughtful end-of-days comedy that mashes up Hollywood, heaven and hell. Seth Rogen and long-time writing partner Evan Goldberg (the pair penned Superbad and Pineapple Express together) make their directorial debut here, displaying a very pleasing sense of ambition and audaciousness alongside their trademark witty vulgarity. This Is The End has Rogen and his celebrity chums – the likes of James Franco, Jonah Hill and Danny McBride among them – portraying themselves, although it’s likely we’re seeing somewhat exaggerating versions of these stars... unless sweetly nerdy Michael Cera is in actual fact a sex pest with a yen for cocaine. They’ve all come together for a big bash at Franco’s swanky Hollywood pad, but things get out of hand in all the wrong ways when beams of blue light start sucking people into the sky and the ground cracks open to unleash all manner of demonic torments. Alongside the fearsome doomsday scenarios and the comically awful reactions to said situations, This Is The End has some interesting (and hilariously profane) insights into the nature of friendship and character. After all, the good people of the world have apparently ascended to the afterlife. So why have Rogen and his pals – who seem to have it all – done so wrong to get left behind?
QPAC Playhouse to Saturday 27 July
In cinemas now
In cinemas now
If there’s a specific reason to see Bangarra Dance Theatre’s Blak, it’s Daniel Riley McKinley’s Scar. One of three works showcased by the production, McKinley’s Scar is a bruising, spectacular piece that sees the young choreographer taking a massive leap forward. A contemplation of urban Indigenous identity creates fertile conceptual ground while design elements from Paul Mac and David Page (music) and Matt Cox (lighting) are consistently inventive, sophisticated and visceral. The remainder of the production is still remarkable, but somewhat more predictable. Consisting of two works from Bangarra Artistic Director Stephen Page (Yearning and Keepers), Blak’s other works overflow with strong choreography and evocative visual motifs. A piece chronicling a grandmother coping with her granddaughter’s suicide is crushing in its simplicity. Similarly devastating, a multimedia-enhanced meditation on domestic violence. Still, Page’s more segmented and considered work lacks the uninterrupted flow or brawling energy of McKinley’s contribution.
Gibney introduces us to Bradley Manning, the US Army Private accused of leaking the documents to Assange, and explores his tortured personality and troubled stint in the army. A great deal of time is spent on Manning and Gibney makes an effort to justify Manning’s decision to leak the now infamous ‘collateral damage’ video and thousands of foreign diplomatic cables to Assange. The film doggedly tries to chronicle Manning’s descent beside Assange’s assent, with Gibney interviewing those who helped Assange in his whistleblowing mission, along with US Army Officials, and the elusive hacker, Adrian Lamo, who ended up handing Manning over to authorities after the Army Private reached out to him online. Questions are asked about Assange’s promise to ensure whistleblowers’ anonymity after Manning’s arrest, and Gibney works hard to paint an unflattering picture of Assange as a selfish, power-hungry media whore, who begins to believe his own press.
Eskimo Joe’s new album due for release later this year.
VIDEO OF THE WEEK MOBY FT COLD SPECKS A CASE FOR SHAME
For more reviews go to themusic.com.au/reviews • 29
[COLUMNS COLUMNS] a r t s THE LOOKING GLASS
A JOURNEY THROUGH ARTS WITH HELEN STRINGER
ARTS NEWS WITH MANDY MCALISTER
Wayne’s World The media has gotten all self-referential this week with various fuck-ups and controversies. Over in the US, Rolling Stone has sparked outrage and boycotts for putting alleged Boston bomber Dzhokhar Tsarnaev on this month’s cover. The magazine’s crime was to choose a photo of Tsarnaev in which he looks less like an accused terrorist and more like your regular high school dreamboat. But swiftly retreating from that quagmire, back home the media has been in the media too. An industrious but ethically deficient advertising dude had the bright idea of offering youth focused websites interviews with Prime Minister Ruddy in exchange for placement of political advertising. This ads-for-editorial barter system is generally frowned upon, no less by those in the youth market and especially when the guy initiating the bartering is representing a major political party in an election year. Rest assured, over here we’ve totally got a handle on complex ethical issues that may affect the youth of today, which is why I’m only allowed to talk about blowjobs and porn once a month; more than that would just be inappropriate. But why would an advertising agency contracted (but since fired) by the ALP bother with the kind of media outlets that have gleefully disclosed this Tin Tin-for-banners scheme in the first place? Why not just go straight to publications from which an entire cover can be bought outright in cash and/or publicity? Clearly, ethically deficient advertising dude just wasn’t thinking outside the proverbial box; K-Rudd could be the September cover girl of a youth focused publication.
Try Rolling Stone Australia for instance. I have no hard evidence that anybody can purchase the cover of Rolling Stone with cold hard cash or any other tender. Nonetheless, I have been saving up to purchase my own cover ever since I concluded that neo-hair-rockers Short Stack bought one for themselves back in 2010. There’s no verifiable proof at my disposal that the Stack’s record label threw a bucket-load of cash at Rolling Stone to guarantee that the hair-straightener happy lads got their Clearasil-clear faces on the magazine. And I’m not deliberately attempting to offend those who, for reasons unfathomable to me and 100 per cent of real musicians, thought that Short Stack had some pretty sweet tunes. But in my humble opinion, Short Stack were so completely lacking in talent, skill, relevance and longevity that the only rational explanation for their appearance on the cover of Australia’s purportedly premiere music magazine is that the privilege was paid for. And if I’m wrong and someone over at Rolling Stone actually thought that Short Stack possessed the requisite qualifications to earn a place on the gloss then God help us all, because music died the day issue #709 went to print. Short Stack were about as relevant and long-lasting as the career of that guy who took his shirt off a lot in Twilight, and they could procure a cover. I logically assume, therefore, that with the right currency anyone can get their face on the cover of Rolling Stone, even me. If you’re out there, Rolling Stone affiliated peeps, I may not have the cash, but I’m completely comfortable with meeting the monetary deficit with shameless advertising. To that end I will happily be photographed naked but for a strategically placed slice of delicious Pizza Hut pizza and two refreshing cans of Pepsi-Cola. But I digress. If Short Stack can get a cover I hardly think it’s going to be difficult for Prime Minister of the nation K-Rudd to get one too – and probably in the preferred Rin Tin Tin for ads exchange. Here’s a free marketing tip: K-Rudd wearing nothing but a slice of pizza on the cover of Rolling Stone? Youth focused websites will catapult that shit to meme saturation status in 0.042 of a second. That’s the youth market tied up in a pretty red bow and covered in Vodka Cruisers and vaporisers. You’re welcome, ALP.
board as exec-producer, no doubt we can expect the same gritty aesthetic that has flowed through the latest Batman films and Man of Steel. However, given the unequal distribution of powers among our heroes, if the traditional action film model doesn’t hold up you have to wonder what Snyder has up his sleeve. As usual, I have some ideas.
Man of Steel Last week at Comic-Con, director Zack Snyder announced that he and co-writer David S. Goyer will pen a Batman-Superman film as follow up to Man of Steel. You can’t be blamed if your first reaction is to wonder what the hell is Batman going to do in this movie? Standby in case Kryptonite farming takes off? As a mortal man Bruce Wayne has done glorious things, but even if Tony Stark built jets into the Batsuit Wayne’s warehouse of gadgets can’t compete with the alien anatomy of Superman. He can shoot lasers from his eyes for Christ’s sake. It really is a case of anything you can do, he can do better. In making the announcement, Snyder referenced Frank Miller’s graphic novel The Dark Knight Returns in which the two caped heroes go tête-à-tête, as adversaries rather than allies, a decade after Bruce Wayne retires his suit and Superman has flipped to become a government agent. However, Snyder took pains to point out that while The Dark Knight Returns makes for loose source material, his Man of Steel sequel of sorts would not be a direct adaptation. So that brings us back to square one. Back to figuring out how Supes and the Bat work in a film without the former making the latter look like Arnold Rimmer. With Christopher Nolan on
Let’s start with Mi Cape es su Cape, the ultimate identity swap comedy. In an experiment gone wrong, while trying to make Superman kryptonite proof, Wayne’s development team accidentally swap the minds of our two heroes. Clark Kent learns how hard it can be to get in and out of a superhero costume and discovers that without super speed, getting dressed in a telephone booth makes for embarrassing YouTube viewing. Wayne stops giving a shit about everything. He’s worked hard his whole life to maintain a crime fighting body, develop baddie-catching gadgets, and honour the integrity of his family name. Now that everything is so effortless, he just can’t be arsed. Gotham can go fuck itself. He’s moving to California to become best friends with T-Pain. How about a conspiracy film? Given the Christian iconography in Man of Steel is it really such a stretch to envision Superman as born again? Sure he’d struggle with the knowledge that there is alien life, and he is it, but those yahoos can believe around any evidence. Brainwashed by Westboro, Superman starts fronting up for all kinds of insane causes making them no longer a bothersome force fit for meme-making purposes but a true worry to life as we know it. It’s up to his level-headed friend Batman to bring him back to the real world where flesh and bone fight crime, not prayers. But can Batman retrieve Superman before his soul, and reputation are irreparably compromised? I suppose calling it Holy Flypaper might be a bridge too far? I’m sure Snyder et al will concoct something at least three times classier than the synopsis I put to you but hey, I’ll keep myself available for rewrites. The last thing you want to do is under-develop such a big film. To a lot of fans that’d be a real sucker punch.
DELECTABLE SHELTER A Hayloft Project and Critical Stages production Written and directed by Benedict Hardie
A black comedy about white terror, Delectable Shelter is a no-holds-barred portrait of the privileged, facing the end of the world as they know it. A new play from multi-award winning theatre renegades The Hayloft Project and Critical Stages, Delectable Shelter is a laugh-out-loud funny production that speaks directly to our modern society in a sharply clever way. “Highly entertaining, well acted and laugh-out-loud funny.”
**** THEATRE NOTES
THEATRE/COMEDY Tickets from $30, packages available
THE HAYLOFT PROJECT
30 • For more opinion go to themusic.com.au/blog
m u s i c [COLUMNS COLUMNS]
QMUSIC IS A NOT FOR PROFIT ORGANISATION SUPPORTING QUEENSLAND MUSIC, MUSICIANS AND INDUSTRY WORKERS. THIS COLUMN WILL PRESENT YOU WITH INFORMATION ON GRANT AND EXPORT OPPORTUNITIES, CONFERENCES AND THE GENERAL LOW-DOWN ON THE STATE’S MUSIC INDUSTRY.
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POP CULTURE THERAPY WITH ADAM CURLEY
The Gifted is a solidly intelligent effort from Akintimehin, even if any eccentricity is limited to the artwork, a bizarre mash-up of sand and tattoo art, or Black Heroes/ Outro About Nothing – which catches the dude bantering in the studio with his comic idol Jerry Seinfeld about a long-canvassed collaborative album (yes, really). Only it’s not so funny: Akintimehin is merely showing off. Wale
COURIER-MAIL PEOPLE’S CHOICE AWARDS NOMINEES ANNOUNCED The Queensland Music Awards and The Courier-Mail are pleased to announce this year’s group of nominees for The Courier-Mail People’s Choice Awards. This special honour registers the votes of the state’s public in deciding the awards’ most popular artists. Vote now for your chance to win a festival prize pack valued at over $2,500! The prize includes passes to Queensland’s hottest events: Splendour In The Grass, Big Day Out, Soundwave, Harvest, Woodford, BIGSOUND and of course the 2013 Queensland Music Awards. Go to qldmusicawards.com.au/cmpca to vote.
VOLUNTEER AT BIGSOUND 2013 QMusic is calling for expressions of interest for a range BIGSOUND 2013 volunteer positions. Volunteering at BIGSOUND provides an opportunity like no other to gain industry experience, network, and work alongside a team of driven and like-minded peers. Applications are open for a range of roles, from registration desk to stage management, running 10-13 September. For more information, and to apply, go to bigsound.org.au.
DEADLY AWARDS FINALISTS Finalists have been announced across all categories for the 2013 Deadly Awards. With voting open now, the public is encouraged to get their votes in for finalists across music, sport, the arts and community categories. Finals voting is open now and to lodge your vote, head to deadlys.com.au/vote.
QUEENSLAND POETRY FESTIVAL AROUND THE CORNER
Kanye West offered a punk prayer to himself in Yeezus and Jay-Z is mounting a corporate takeover of hip hop (or a presidential bid) with Magna Carta... Holy Grail. But these hip hop ‘event’ albums have overshadowed traditionalist releases from J Cole and now Wale (aka Olubowale Akintimehin). The Gifted, Akintimehin’s third album, entered at number one in the US charts, suggesting that the post-backpack MC has finally fulfilled his ambition – which (happily for him) makes its opener The Curse Of The Gifted somewhat redundant. Akintimehin, born to Nigerian immigrants, initially created a noise in his hometown of Washington DC with go-go-influenced tracks like Dig Dug (Shake It). From the outset, he also circulated cred mixtapes. Akintimehin was then ‘discovered’ by DJ/producer Mark Ronson, who signed him to his (now defunct) Allido Records. Here he joined Chicago’s Rhymefest, who co-wrote West’s Jesus Walks, plus Australian neo-soulster Daniel Merriweather. Akintimehin rapped on Merriweather’s hit Change. The MC – like Ye, a college drop-out – premiered with 2009’s Attention Deficit, his steez soulful ol’ skool hip hop. Ronson produced a few cuts – and, coincidentally, Cole was a guest. More astonishingly, Lady GaGa let rip on Akintimehin’s Australian Top 30 single Chillin, which flipped the enduring Na Na Hey Hey Kiss Him Goodbye, a hit for Bananarama in the ‘80s, but originally recorded by the ‘60s rock outfit Steam. Interscope, which distributed Attention Deficit, purportedly bungled the release, not shipping sufficient units Stateside and so it failed to crack the Top 20. The underdog Akintimehin subsequently switched to Rick Ross’ Maybach Music Group, his current home, for Ambition, which generated his first big crossover single, Lotus Flower Bomb, featuring Miguel. Ambition reached number two.
BIGSOUND has unveiled another 80 artists joining its line-up for 2013. Presented by Oztix, BIGSOUND’s Live program takes over Fortitude Valley over two nights and 12 stages this year from 11-12 September, with performances from some of the world’s most exciting new acts. Leading the charge in this new announcement are a host of artists industry insiders are chasing including Melbourne Ska Orchestra, Jonti, Kingswood, Darren Middleton, Gossling, Blue King Brown’s Natalie Pa’apa’a, Canada’s Yukon Blonde, Calling All Cars, The Trouble with Templeton, Chance Waters, Regular John and many more! For more info and tix, see bigsound.org.au.
2013 QMA TICKETS NOW ON SALE The 2013 Queensland Music Awards is shaping up to be one of the most memorable nights on the Queensland music industry calendar, with QMusic announcing an outstanding full list of finalists and live performances for the event. This year’s QMAs will also showcase performances from some of Queensland’s most talented acts, including The Jungle Giants, The Trouble With Templeton, Violent Soho, Seja, Thelma Plum, Harmony James, Pigeon, BlaqCarrie, and Chukale. Tickets are on sale now for just $30, or $25 for QMusic members at qldmusicawards.com.au.
Akintimehin has again secured elite guests – his labelmate (and Nas fave) Meek Mill shines on the conscious ‘90s rap Heaven’s Afternoon, and Cee Lo Green elevates the (deceptively) breezy retro funk Gullible (also graced by The Dap-Kings’ Horns). The Gifted has already spawned a hit in the alt-R&B Bad, featuring new arrival Tiara Thomas – thought to be down with Akintimehin’s own imprint The Board Administration until she contentiously jumped ship to Rico Love’s Division 1. Ironically, it’s a ‘bonus’ here. The main album version is a remix with the more famous Rihanna on the hook – and no acoustic guitar. In fact, Bad (Remix) isn’t unlike RiRi’s Lana Del Reybiting Stay. While some trancey riffs infiltrate Cardiak’s Bricks, Ye’s studio protégé Travi$ Scott brings more experimental beats with the Drakey yet ultimately monotonous Rotation, Akintimehin accompanied by Wiz Khalifa and 2 Chainz. Vanity samples Mad World – alas, not Tears For Fears’ haunting New Wave record, but a counterfeit. However, the album’s obvious smash has gotta be the most mindless joint – Clappers, about big booty. American Idol judge Nicki Minaj forgets throwing shade at Mariah Carey and hits the strip club with Akintimehin and Three 6 Mafia’s Juicy J. Clappers mines Akintimehin’s beloved DC go-go, but is still essentially pop – and hella fun.
ADAMANTIUM WOLF METAL, HARDCORE AND PUNK WITH LOCHLAN WATT released Make It Happen EP. Check the Brisbane pop punk antics out over at killyourstereo.com.
Queensland Poetry Festival is a celebration of live poetry in all its forms. Featuring poets from Brisbane, Australia, and across the seas spinning stories from our own backyards to the reaches of the northern hemisphere, epic classics retold to tales of domesticity, from love and loss to laughter and light. Setting the words alight with a diverse and eclectic showcase of the dynamic power of poetry. For information on the 2013 program, see queenslandpoetryfestival.com.
BIGSOUND 2013 TICKETS ON SALE NOW
Akintimehin’s producers have crafted an album that owes much to the ‘90s epic hip hop, Jay-Z’s The Blueprint the template with its soulfully funky vibe. There are samples and live instruments. Curiously, one of the names in the production credits is that of Stokley Williams, frontman of the ‘90s R&B band Mint Condition – straight outta Minneapolis. He’s involved in the album’s suitably bittersweet LoveHate Thing with Sam Dew. It’s in the same vein as the Marvin Gayelaced Music from EPMD’s Erick Sermon. Just Blaze, who worked on The Blueprint alongside West (and will DJ at the Listen Out festival!), chips in with the grand 88.
Adelaide’s Truth Corroded recently began recording their fifth full-length. It will be the thrash/groove metal band’s first effort without founding guitarist Mark Lennard, who was replaced by Wayne Batters after 2011’s Worship The Bled. Entitled The Saviours Slain, it’s set to be mixed and mastered in the USA by Mark Lewis (Arsis, Whitechapel), with a late-2013 release through Truth Inc. being eyed. Behemoth Behemoth have confirmed their return to Australia this October. The Polish masters of death metal will be bringing Italian group Hour Of Penance along for the ride. Since frontman Nergal’s recent recovery from leukemia, the band has been hard at work on their tenth studio effort, which will be titled The Satanist and is due out before the end of the year. Tickets are on sale now, and if you purchase through Soundworks Touring or Prime Cuts you’ll be sent a free Behemoth sticker. Catch them at The Hi-Fi on 27 October. Me First & The Gimme Gimmes are returning to Australia this October. The Californian punk rock supergroup (members of NOFX, No Use For A Name, Swingin’ Utters, Foo Fighters) released two albums in 2011 – Go Down Under and Sing In Japanese – and the upcoming run will be their first Australian visit since 2010. Catch them at The Hi-Fi on 4 October. Voyager from Perth will finally make their way to headline a Brisbane show next month. Having already visited previously in support of Alestorm and Children Of Bodom, the band’s second album of progressive power metal The Meaning Of I was released last year. Catch them at Crowbar on 23 August with The Matador.
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The Smith Street Band have announced the supports for their forthcoming tour with Joyce Manor and Cheap Girls, and Brisbane is lucky enough to get local math-rock group Seahorse Divorce on 29 August at The Zoo. The Smith Street Band’s new EP of anthemic punk rock, entitled Don’t Fuck With Our Dreams, will be released on 9 August.
For these stories, memberships and more, go to qmusic.com.au.
Sunsets have released a new video clip for their song It Aint Easy Bein’ Hebezy, taken from their recently
Hoodlum Shouts from Canberra recently dropped a video clip for their song Guns Germs Steel, taken from last year’s debut album Young Man Old Man. Check out the band’s antics on Vimeo. Lord have announced a new 12” that expands upon this year’s Digital Lies album. The Sydney band has confirmed the release will feature an extended version of the album’s title track on side A, as well as the album version and a remix on side B. Limited to 250 copies, the triumphant power metal will be available on 26 August via lord.net.au. Jen Buxton and Lincoln Le Fevre will release a split-7” in September. Based in Newcastle and Hobart respectively, the acoustic folk-punk styled artists will both contribute two new tracks for the effort, which will be available via Poison City Records.
GIGS OF THE WEEK: Thursday: Party Vibez, Bitter Lungs, Wretched, Stellar Green – Surfer’s Paradise Beergarden. A Loss For Words (USA), Monuments, One Vital Word, Sidelines, Postblue – X&Y Bar. Friday: Party Vibez, The Mercy Beat, Gorefield, Vomit Bullets, Scumguts – Fat Louie’s. Orpheus Omega, Before Nightfall, Chronolyth, Irukandji, Dark Relic – Stones Corner Hotel. Deez Nuts, Driven Fear, The Lane Cove, Deadlights, Daybreakers – Crowbar. Saturday: Party Vibez, Miazma, Malakyte, Deadyet?, A Hero To Some – 4ZZZ Carpark. Deadlift, Deathgrip, Restrictions, The Struggle, Charlie Banana – Sun Distortion. Ignite The Chamber, Miazma, Svedica, Icarus Complex – The Transcontinental Hotel. Orpheus Omega, Chronolyth, Dark Relic, Upside Downside, Asyra, Haedom – Beaudesert High School. Deez Nuts, Driven Fear, The Lane Cove, Deadlights, Daybreakers (all ages) – Crowbar.
Pharrell Williams Pharrell Williams is on a branding mission. Aside from his existential legal dispute with will.i.am over the establishment of Williams’ I Am Other company (or “cultural movement” as the confusing company’s promo copy states), his publicist has been hard at work securing column inches about his pop legacy. The timing is right. Williams turned 40 this year and has in recent months secured two Billboard chart-toppers alongside Daft Punk and Robin Thicke. He’s also smartly involved himself in the marketing mega-push of Jay-Z’s Magna Carta… Holy Grail. Billboard’s industry-targeted rag has been the most vocal about Williams’ ‘comeback’ and career highlights, last week going so far as to publish a CV of his successes. But there’s something being overlooked in the mass celebration of the former N*E*R*D member’s gifts to popular culture: his shining representation of women. Beautiful/Drop It Like It’s Hot/Let’s Get Blown, Snoop Dogg (2003/04) It would perhaps be too obvious to begin with Williams’ guest appearances on Mystikal’s Shake Ya Ass in 2000 or his penning of Britney Spears’ Boys (“sometimes a girl just needs one”) single of 2002, or even N*E*R*D’s own 2001 single Lapdance. The Pharrell name really swept the charts on the coattails of Snoop Lion (nee Dogg). Together they upped the ratio of bikini-clad bottoms to rappers like no one before. “I don’t know which one I want, dog,” the Dogg said. Williams replied he need not worry: “Eligible bachelor/Million dollar boat/ That’s whiter than what’s spilling down your throat.” Can I Have It Like That, Pharrell (2005) Williams’ own solo single engaged Gwen Stefani in a heated discussion of sexual politics. “Can I have it like that?” Stefani offered in the chorus. “You got it like that,” Williams countered. But how does one get it? “Drop your purse and grab your hips/And act like you’re tryin’ to get this money right quick.” That Girl, Pharrell (2006) The clip to the song began with a girl scrolling through the many beautiful faces in the contacts list of Williams’ well-placed Nokia. “You should start by deleting some of these,” she told him. “Amber, Akira, Ashley, Autumn… I’m not even done with the As yet,” she said, listing off the products in alphabetical order. Money Maker, Ludacris (2006) What? Williams suggesting a woman give it up for money? Need we revisit the lyrics to Can I Have It Like That? Work That!, Teriyaki Boyz (2009) Granted, Williams looked pretty confused as to why he was in the clip for this piece of shit, but that didn’t stop him approving five minutes of headless women on a backdrop to five douchebags yelling, “Work that!” Hypnotize U, N*E*R*D (2010) “Just close your eyes and let me hypnotise you,” Williams began fairly benignly on this track from N*E*R*D’s Nothing album. “If I’m not beside you, I’m behind you,” he went on, and then, “You feel the breeze because your clothes off.” It’s the repetition of these lines that makes the song creepy. Oh, and the chorus: “Touch it girl/Touch it girl/Touch it girl/Ahh!/ Touch it girl/I’m behind you.” Where’s that whistle? Get Lucky, Daft Punk (2013) Press for the track had Williams suggesting his lyrics were about “finding chemistry with someone”, but the lyrics themselves told a slightly more onesided story. “She’s up all night to the sun/I’m up all night to get some/She’s up all night for good fun/I’m up all night to get lucky.” Ahh, science. Blurred Lines, Robin Thicke (2013) In case you didn’t hear the man, ladies, Robin Thicke is here to “liberate ya”. With a clip that features Thicke repeatedly pulling a woman by her hair like a leash, a woman on all fours acting like a ramp for a toy car, numerous undressed women amongst a group of fully clothed men, and Thicke blowing smoke in a woman’s face, all Williams really needs to do here is stalk around the set watching it unfold. But, bless the little scamp, he can’t help himself and has a go at pulling some hair, too. It’s really a wonder where Thicke got these ideas.
For more opinion go to themusic.com.au/blog • 31
[THE GUID IDE]
SLIP-ON STEREO Member answering/role: Clint Wallace – guitar/vocals
How long have you been together?
in front of our friends. It’s hard to not feel inspired by being in Brisbane. It’s a beautiful city from the buildings to the city lights – we live it and love it here.
A year-and-a-half. We formed at Easter 2012.
What reality TV show would you enter as a band and why?
How did you all meet?
The Footy Show because we can pass a footy. If we were not a band we would be a footy team.
Zeek and I are cousins and we have grown up together. Zeek and Ash met through friends and Phil is Ash’s uncle.
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? Usher or Owl City.
Would you rather be a busted brokebut-revered Hank Williams figure or some kind of Metallica monster? We would rather be a Bono.
If your band had to play a team sport instead of being musicians which sport would it be and why would you be triumphant? Touch footy.
What’s in the pipeline for the band in the short term? Releasing our EP in September. Releasing our new music video to our single Mercury. Buying a puppy. Coming up with some long-term goals.
What part do you think Brisbane plays in the music you make?
Slip-On Stereo play the Turbine Platform at Brisbane Powerhouse on Saturday 27 July (from 5pm) as part of the QMF Esperanto program. New single Mercury (Independent) out now.
It’s our backyard. It’s where we get to test out our tunes
Photo by TERRY SOO.
continues, “but had really been waiting for the right songs and the right person to record with before I was happy to put out my first release. The experience has been very positive all round. I’ve played shows with a wider variety of artists at a greater variety of venues. I’ve also been more engaged with the Brisbane music scene since releasing it and more excited about doing creative things in general.”
Local singer-songwriter Emma White talks to a slightly star struck Tony McMahon about her recent EP, Rome, and whether or not her new album will follow a similar path. “It’s been great to finally release the Rome EP after such a long period of songwriting and gigging,” says White. Rome came out in February this year, and White has had some time to think about what it’s all meant. “I’d done demos over the years,” she
WHAT: Rome (Independent) WHEN & WHERE: Saturday 27 July, The Hideaway
have to sing about, and there is no need for metaphors or feelings in the lyrics, because we’re not trying to be obscure or demonstrate that we’re emotional and thoughtful songwriters. We just write about cats.”
“Ah, Woodford. Incessant rain, so much dampness! The wood in my guitar swelled and the bridge popped off. I’m sure many have felt the wrath of Woodford in the rain. Albeit the awful weather, Woodford is like a big family and someone kindly lent me a guitar. All went along as planned.” What can punters thinking of coming along to The Hideaway expect from a Hannah Karydas live show? To meet new besties, for a start.
Up-and-coming local chanteuse Hannah Karydas has recorded a single before, but her new song, Heavy, is her first ‘real’ release. Tony McMahon finds out all about it. “Scrutinize [Karydas’ first release] was a big experiment. It was the first song I worked on with Robin Waters. I remember us sitting on the floor scraping our fingernails down the back of anything that had a cool textural sound. Things like that created a backdrop for the song. I also put the song out with a self-made video, again an experiment. I found that Frankie wrote an online blog about it! That motivated me to continue experimenting with the same sort of colour
B FOR BANDIT
We’re all cat people here at Time Off, so we know that the well is limitless, but does Rodino think he’ll ever run out of things to say about cats? Possibly so, but he does have a killer plan B.
Surfer Cats play songs only about, well, cats. Guitarist/vocalist Gonzalo Rodino promises Tony McMahon that it’s not as ridiculous as it sounds. “It’s actually super easy,” says Rodino, when asked about how hard it is to keep coming up with songs on the same subject matter. “By having a topic to write about, it makes the whole songwriting process so much easier, because you know exactly what you
BEARS WITH GUNS
“We’re about to release our first film clip for our single Vampire Cat which we recorded at a house party, and later in the year we plan on releasing our first album titled The Best Of Surfer Cats, which will just have every song about cats that we can come up with. I’d just like to point out that none of us actually surf and we’re all allergic to cats.” WHAT: Vampire Cat (Independent) WHEN & WHERE: Saturday 3 August, 4 Walls Festival, Queensland Academy Of Creative Industries
assumption to bed. “Not at all, we write songs about a lot of different subjects. Problems are a fact of life, and they conjure up strong emotions, and music is a great way to express that level of emotion.
It was online chemistry that brought B For Bandit together, but as lead guitarist Maui Whaanga informs Benny Doyle, it’s been musical cohesion that’s kept them tight. “When most people go into a fragrance store, they use the little tester cards to check each aroma. When you find the right one you know it straight away and have to buy it. Well, that was similar to our first jam,” Maui Whaanga recalls, remembering B For Bandit’s first sessions after coming together through community website Gumtree.
PLIGHT OF THE MYSTICAL DUGONGS
To do this they enlisted the help of ARIA Award winning producer Wayne Connolly, a man who has been at the helm for everyone from Josh Pyke and Youth Group to You Am I. Saunders is forthcoming in his praise for the man, saying the band benefitted from his ear, as well as his individual charm.
Survival. Adaption. What allowed us humans to get a foothold in this world, and what’s kept us here for so long. These are the themes that make up the second EP from Parkes-birthed, Sydney-based five-piece Bears With Guns. “The concepts for the songs are pulled from the stories and evolution of our lives, on more levels than one,” explains frontman Rob Saunders. But as far as needing personal drama to write more honest music, Saunders is quick to put that
“It was amazing, that man is a wizard. Wayne was an absolute pleasure to work with, not only because of his undeniable talent as a producer, but because of his ability to make the recording experience to feel warm, creative, and full of potential. The environment Wayne provided allowed us to really open up and delve deeper into the songs. We certainly learnt a lot working with him.” WHAT: Only The Quick And The Hungry (Independent) WHEN & WHERE: Sunday 28 July, Black Bear Lodge; Saturday 3 August, The Loft, Gold Coast
WHAT: Heavy (Independent) WHEN & WHERE: Thursday 25 July, The Hideaway
“The first session was an instrumental [one] as four members of B For Bandit had responded to each other’s ads; we played both original tracks of our own and also covers most people know. Once the sound was out there, all of us could relate to the strong feel of reggae accompanied by a bit of funk, topped off with some rock undertones.”
That was at the tail end of 2012, and since then the guys have wasted no time crafting a “fresh blend” of sound that touches on jazz, funk, rock, skank and the aforementioned reggae. This electric fusion and natural versatility has already landed them some solid support slots for overseas visitors such as Pacific-vibed Brown Hill, Monsta and Swiss, and the experience has left them hungry for more. “The show was in one word: ‘amazing’,” smiles Whaanga. “Especially to share the stage with artists who are absolutely incredible at their craft to the point where they are playing internationally. From this experience we feel inspired to work hard and make sure that we are on point with everything we do, including our live performances.” WHEN & WHERE: Wednesday 24 July, The Zoo
reasons, discussing what shocks punters the most when they encounter this wild beast writhing on stage. “Generally band nights are set up with similar styles so people have an idea of what to expect.” Far from similar, the young duo from Sydney first formed out of school time boredom, and rather than expand their line-up alongside their ambition they’ve simply looked to enhance and refine what they already had access to. “The sound has definitely changed over time,” remarks Flecknoe. “The pedal board has grown [but] the drum kit has actually shrunk: kick, snare, floor tom, one crash, one ride and hi-hats. It’s at a point now that we feel sounds like us.”
“In the recording process, we wanted to capture a particular energy that conveys our feelings towards these concepts,” he continues. “We also wanted to emulate a certain rawness to the material. We wanted it to sound like we were performing to you live.”
Rob Saunders, the lead singer of young folk rockers Bears With Guns, shines a light on their sophomore EP, Only The Quick And The Hungry, for Benny Doyle.
“Firstly, I’m so eager to debut these songs I’ve been recording and honing the past few months. But also, in my band are some of my closest friends. To be surrounded by these wonderful musicians I know and love is a big part of why performing is so fun. Opening the night is my good friend Tori Lee; she’s also a part of my band. I think that aspect of friendship takes away the sometimes-lonely and stern separation between the ‘support’ and the ‘headline’. So, expect to walk into a warm bar and meet your new best friends-to-be.”
The south-east Queensland five-piece spent the next three hours interspersing chord progressions and improvised solos. “We all felt in balance with the sound we were trying to achieve,” says the 32-year-old. “From there we advertised for a singer and once we heard Vince we knew he was the right fit for the group.”
“Maybe one day... But for the moment, our options are limitless. We just find a topic or word that we like and make a song out of it. For example, our next single is called Schizophrenic Cat, and it’s just about a cat that’s schizophrenic. Simple as that. And if we ever run out of songs about cats, we might just start a new band called Surfer Dogs and just change the lyrics in every song to say ‘dog’ instead of ‘cat’. Pretty innovative.” Rodino finishes up by filling us in on his band’s plans for the rest of 2013, as well as making a stunning admission.
of music. So to answer your question, my first ‘single’ is called Heavy, due to be released on July 17.” Given she recently played Woodford, Time Off is duty bound to ask Karydas what the experience was like. It seemed it was wet.
For those of us who know Rome, it would be interesting to know if White plans on her upcoming debut album being a departure, a continuation, or perhaps none of the above. Interestingly (and excitingly), it’s not something she seems 100 per cent sure of herself quite yet. “I think it will be interesting to see which way it goes,” she ponders. “Originally when I began recording, the idea was to have a really simple, stripped back feel to it and that is still the plan, however, I’ve met some awesome musicians of late who could definitely bring something really vibrant and dynamic to the songs. So I might add a bit of cello here or there, but it will remain authentic to the live experience that my audience hears when they see me play. So I think there will be some similarities with Rome, particularly the themes of the songs around heartbreak and loss, but I also think it will continue to build on the sparks of hopefulness in Rome.”
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Alongside frontman Zac Fowler, the Dugong dudes are currently capturing their apocalyptic garage punk chaos on a double EP. “Tracks generally start in two ways: someone comes to practice with a riff and we jam it out, or something just comes from mucking around on the instruments. Always music first then lyrics last.”
Don’t be fooled by the name, Plight Of The Mystical Dugongs are anything but majestic. Jackson Flecknoe helps Benny Doyle back up off the floor. Nothing will prepare you for the mammoth wall of riff and beat that crashes into you when Plight Of The Mystical Dugongs plug in. It’s fierce, it’s volatile, it’s without a fucking six-string guitar. “I think people are more surprised at the volume and noise that comes from a two-piece,” drummer Jackson Flecknoe casually
They’ll then be using their upcoming Brisbane show to collect new converts and adjust some faces in the process. “Dugongs shows are pretty rowdy,” Flecknoe confirms, “we yell, scream and get very sweaty, and we expect the crowd to get involved. We’ve had people on stage singing, standing on the kit,even acting as roadies. Hopefully Queensland will get [amongst it]!” WHEN & WHERE: Saturday 27 July, The Waiting Room
For more interviews go to themusic.com.au/interviews • 33
FROM PADDOCK TO PLATE
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DIY: A VEGGIE PATCH
n today’s fast paced world, you may be forgiven for being too busy to think about where your food came from and how that food effects the environment around us; but a new breed of Australian chefs have been putting these ideas at the forefront of their cuisine. In an effort to change the ways we think about the things we eat, these chefs are developing direct links with their producers and cooking with ingredients direct from the farm. From farm to fork, Chef’s all around Australia are starting to think about the sustainability of an industry built around the idea of consumption. How many people realise the damage that their food choices can cause?
Kurt Medenbach learns what it takes to eat healthy, while saving the planet. Pics by Holly Engelhardt. Engelhardt
Everything from apples to soup comes wrapped and packaged at the supermarket; this packaging generates mountains of waste and tear up our limited resources. Every minute, Australians dump 7,150 recyclable plastic bags into landfills; it’s estimated that there is enough petrochemicals in 8.6 plastic bags to drive a car for one kilometre.
Environmental damage is being caused by what we choose to eat. Making informed choices about the food you eat and buy is an achievable step towards helping the environment.”
Vegetables and fruit are shipped from the other side of the globe even when there are locally produced alternatives, while a constant stream of delivery trucks fouling the air with exhaust. Some of our most common food items travel more than 70,000 kilometres before reaching us; nearly twice round the world. Up to twenty per cent of food purchased in Australia goes unused, and them dumped into landfill; that’s
NEW CHEF NEW MENU COMING SOON $15 LUNCH & DINNER MENU
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1 2 3
Veggies don’t like growing in the shade – you’ll get the best results from a growing patch which gets at least five hours sun a day.
Give your plants room to move. Plants hate being crowded and will be weak and small if they haven’t got enough space.
Give your patch a good digging over to break up the soil and get rid of any weeds. Make your own super soil! This involves digging in a good load of compost and/or soil conditioner.
You could plant some flowers among the veg, as they discourage pests.
around four million tonnes of food, not even including what goes to waste before our produce hits the shelf. The organic landfill rots, releasing methane into the atmosphere; a gas that is twenty five times more potent than the carbon that comes out of your car exhaust. Environmental damage is being caused by what we choose to eat. Making informed choices about the food you eat and buy is an achievable step towards helping the environment. Perhaps in the future, foods will come with listed carbon footprint figures right next to nutritional information. Chefs like Matt Stone are addressing these concerns with some clever and effective methods. Silo may seem like another hip Melbourne coffee shop but, at its core, it is driven by the belief that a restaurant need not be a burden on the environment it relies on. Head chef Matt Stone says that he aims to “minimise the waste of the hospitality industry,” adding that they buy, “farm direct food delivered in reusable black crates.” A poster on the front of the café states that the business produces no garbage... All organic waste is treated in a food waste dehydrator and steriliser then sent back to the farm to be forked back into the dirt as rich compost and so, every unused nutrient goes back into the soil it came from. Stone proudly states that one farmer grows, “80% of the food [they] serve… he picks on Wednesday, he forages on Thursday, he delivers on Friday.” The chef adds that they have to use food, “when it’s in its peak season and abundance rather than chasing ingredients.” Although, he adds, “labour cost is higher, stuff is not cleaned, not polished, they can pay the farmer a better price than he gets and they can get a better price, and they ca afford to have ingredients they might not usually afford to have.” Farmers can earn as little as 35c a litre for milk, whereas a café buying direct can pay the farmer more like $1.80 per litre. Stone reveals that he can pay, “three or four times of what he would usually get.” Meaning, the farmer doesn’t have to produce as much to make cash and so can focus on quality over quantity. The business wins, the farmer wins, the environment wins and the customer wins. Other restaurants are starting to learn some of these lessons; Neil Perry’s Sydney and Melbourne restaurants, Rockpool, are now getting all their produce delivered in the same re-useable crates We too should make some of the same choices restaurants are starting to make; Buy less packaged food, bring your own bags, start a compost pile. You can find farmers’ markets in most parts of the country with over 160 nationally. They are a great place to get local food direct from the farmer. Ask where your food came from. Green food is not a fad; it is the first leap forward towards making the food industry sustainable.
FOOD TRIPPIN’ EATING AROUND THE USA WITH SOFIE MUCENIEKAS AND LLOYD HONEYBROOK
Portt landd Another delicious breakfast: breakfast burrito, 4 tacos (carnitas, chicharon, steak & onion, carne asada), amazesauce at Los Gorditos. with @lloydhoneybrook#mexibreakfast
BACKLASH IT’S ONLY NATURAL? Even if he may have inadvertently helped Qld win, the streaker during last week’s Origin decider certainly left a bad taste in a lot of people’s mouths. Why would you nude up on national TV with physical attributes like that? You almost have to begrudgingly admire the guy…
SUPPORTING THE NUTS
SHAKE A LEG
Hardcore hip hop heavyweights Deez Nuts have announced a full bill of supports for their two upcoming Queensland shows, happening Friday 26 (18+) and Saturday 27 (all ages) July, Crowbar, with other bands taking part on both nights including Driven Fear, The Lane Cove, Deadlights and Daybreakers. Tickets can still be purchased through Oztix for $20+BF.
After channelling her voodoo during recording sessions in New Orleans (while 20 weeks pregnant no less), Monique Di Mattina has crafted another jazz boogie gem with her brand new record Nola’s Ark. The radio personality and startlingly good pianist will showcase the long-player at The Box, Sunday 11 August.
Outgoing long-term manager Gary Morris is adamant that Midnight Oil won’t reform now that Peter Garrett has stepped away from Federal politics. But if he’s not manager anymore then he doesn’t have any say, right? Just do it and play some more shows already!!
It’s a good weekend to hole up at Beetle Bar with two big bills happening. Head along Friday and catch The Androgyny, Death By Dance, Love Hate Rebellion & Galapagos and Esther Belle, then push through the hangover and back up on Saturday for Blender In The City, featuring the likes of Twin Haus, The Feels, Shady Bliss and Red Cat Yellow Cat. Both shows are $10 with tickets available on the door.
RIGHT THERE ON MY TV
FRONTLASH 8-PEAT!! They said we’d never make it (NSW experts, that is) but last week the mighty Maroons made it EIGHT STATE OF ORIGIN SERIES IN A ROW! Count ‘em! That’s gotta sting! Can you remember last time we weren’t reigning Origin champs, we sure can’t! Let’s go for nine!
KILLER PSYCHOS! We finally got to catch the new Cosmic Psychos doco, Blokes You Can Trust, and the verdict? Un-fucking-believable. One of our great underground bands exposed (in more ways than one) as the legends they are, catch the flick and then catch the band when they tour in August!
NORTHERN FALLS Cool news that Falls Festival is expanding up our way for the first time, with a Falls Festival kicking off at Byron Bay on NYE and running into the New Year. If even some of the rumours we’ve heard for this line-up turn out to be true it will be a ripper way to see in 2014!
HAVE YOU HEARD
TICKLE YOUR CREATIVE SIDE
Brissie duo Love Like Hate will be charging your conflicted emotions with a couple of special shows later next month, removing themselves from the studio to give fans another hit of the good stuff. They play two free shows, happening at Ric’s Bar on Friday 23 August and The Rails, Byron Bay, Saturday 24.
Arriving in Brisbane for the very first time, Art Party will bring together local and interstate artistic minds, the end result a community jam full of music, painting, five shows, burlesque and more. Taking place on Friday 26 July at 73 High Street, Highgate Hill from 7pm, local spoken word poet Darkwing Dubs will be in the house, as well as local favourite Guyy Lilleyman and youngster Brigit Murane.
LADY LOVE It’s that Ladyfest time of year, so at this Sunday’s Rock N Roll BBQ a bunch of very fine men will come together to discuss their feelings and celebrate their appreciation of all things Ladyfest. Obliterati, White Devil, Fun With Explosives, Eat City, Holidays For Hoods and Binary Derivative are all lending their support of this fine initiative, showing their hairy chests for Ladyfest! Happening at 633 Ann, get free entry from 2pm.
WINDING BACK THE CLOCKS Pencil Friday 2 August into your calendar as some fine vintage musical fare is going to be thrown out at Beetle Bar, with a five-band bill that includes The Freudian Slippers, Dirt Petty and The Drinkin’ Posse, Weezal, The Phil Monsour Band and Delirium Seeds. With members formerly doing time in acts such as Toxic Garden Gnomes, Horny Toads and Purple Avengers, the crew know their way around the rock and will be letting it all hang out from 8pm – $10 on the door.
TWISTING CONTEMPORARY Get involved with the roots revival by heading along to Southside Tea Room on Saturday 27 July, where bearded brothers of song Karl S. Williams and Jimi Beavis will come to life in the middle of the venue. Singing, banjo, piano, harmonica, stumbling, loving, drinking. Get it all and more.
Stephen Smith has bolstered his sound with four additional players, and will be fronting the group at Black Bear Lodge on Wednesday 24 July where they will be presenting a collection of folk rock gems that make up Smith’s new EP.
NO FRILLS, FULL VOLUME
How did you get together? Jay Sibthorpe (guitar): We grew up playing together in church, decided one day to form a project. Sum up your musical sound in four words. Bright. Powerful. Fun. Rock. If you could support any band in the world – past or present – who would it be? Paramore. You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be? Underoath – Define The Great Line. Greatest rock’n’roll moment of your career to date? First show, supporting Matt Corby Why should people come and see your band? Not only do we have a fun and energetic live show but we love to meet new people. Come hang out! Hey Denise play The Zoo on Thursday 25 July.
PUSHING AND PULLING
MORE IN THE FAMILY
HAVE YOU HEARD
DON’T BEET(LE) AROUND THE BUSH
OILS AIN’T OILS
Why is everyone so pumped about Sharknado? It’s not even the best recent schlock shark horror! What about the mighty 2-Headed Shark Attack? Who could forget Mega Shark Vs Giant Octopus and the inevitable Sharktopus? Even Swamp Shark was a classic in the field. Get with it folk…
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Rock’n’roll is on the menu at Coorparoo RSL on Friday 26 July, with an indie night featuring Brisbane bands Zombie Apocalypse Theory, Pyre and Ice, Har Vton and Stone Vandals. Things get underway from 7pm, with drink specials all night. Stay south of the river and give the rockin’ suburbs a good hard shake!
GET INSIDE THEIR HEAD Finding inspiration from a ‘60s mass murderer, Astrid & The Asteroids will launch their new single Autopsy – a track which ponders the division between good and evil and how one can find themselves on the wrong end of the bargain – with a headline show at The Hideaway on Saturday 3 August. Tickets will be available on the door for $5, with support coming from Hailey Calvert and Isabel.
CHANNELLING STORIES OF THE MASTER Just in case you weren’t getting enough of a Paul Kelly fix in the coming months with his Conversations With Ghosts shows for Brisbane Festival, you can hear all the songs presented with love at a tribute show by Giovanni Porta, entitled A Celebration – The Music Of Paul Kelly. Featuring a full six-member band to bring all of the songwriter’s classics to life, the two-set show will happen Sunday 4 August, Alhambra Lounge from 5.30pm. Door tickets for $15.
MUSIC IN ITS INFANCY
How did you get together? Ben (guitar/vocals): Well I guess the Hello Hokkaido story starts after Isaac, Brenton and James reunited in Brisbane after a staggered migration from Dalby (where they met in high school) into the ‘big city’. Then the all too common question, ‘Does anyone know a (decent) guitarist?’ was asked, and eventually led to Ben (aka Olly) joining the boys for Hello Hokkaido’s first band meeting – though he was over two hours late. Sum up your musical sound in four words. Fun we-don’t-take-ourselves-too-seriously pop rock (technically four words… right?). If you could support any band in the world – past or present – who would it be? This is probably cliché, but I think our answer would have to be Queen. Just watch a video from one of their shows at Wembley – incredible! You’re being sent into space, you can’t take an iPod and there’s only room to bring one album – which would it be? That would probably depend on why we were being sent into space, right? But I think a top option would have to be The Rise And Fall of Ziggy… Bowie in space… Greatest rock’n’roll moment of your career to date? We won this band comp thing (Emergenza) at The Hi-Fi and they flew us to Sydney to play at The Metro in their Australian final. Planes, hotels and a decent rider – good times! Why should people come and see your band? Come and see us for our fun songs and to enjoy the happy vibe – without all that stuck up rock star, ‘our egos don’t fit on the stage’ paraphernalia. We do what we do because we love it, and we hope you will too! Hello Hokkaido play The Zoo on Saturday 27 July.
Under the banner of Uncomfortable Sciences, Lachlan ‘Laneous’ Mitchell will be bringing a new concept to the Black Bear Lodge stage this Saturday, 27 July. Calling together a group of musicians, Mitchell will act as the spontaneous composer, writing chord progressions and melodies live on a white board while the band reads and creates the tracks of the moment, showcasing the first seeds of a song in a live setting. A unique opportunity for any music fan, get along to this free evening and be inspired.
OTHER OPTIONS APPEARING Can’t get a ticket for Splendour? Broke? Don’t like crowds? Case of the CBFs? Well here’s an option for you. Head to The Hideaway on Saturday 27 July to catch We All Want To who’ll be stripping it back as a three-piece for a rare intimate performance, Flying Nun-style janglers The Bell Divers, pictured, and soloist Emma White. $10 entry on the door.
PHIL SMITH Single title: Avenue Girl
LIKE AN ELEPHANT
What’s the song about? It’s a song about what could have been, a best case scenario with a woman that never was.
GC strummer Ella Fence never forgets. She’s been playing gigs throughout Europe, appearing on Norwegian radio, but it’s clear that she’ll always hold onto her roots here in Australia. She brings her recent adventures and more to life through song and will play a couple of Gold Coast dates in August. Head to Little Beans at Nobby Beach, Thursday 1 August, or The Loft, Chevron Island, Friday 23 with Sam Brittain, Marcus Blacke and Eilish-Ellen, and enjoy the tuneful melodies of this young performer.
How long did it take to write/record? It took about an hour to write, and about a year to record, maybe longer. Is this track from a forthcoming release/existing release? It’s a track from a forthcoming album, working title Year Of The Dog.
GRACIOUS WITH A GUITAR Bouyed by his recent nomination for Most Popular Male Artist at The Courier Mail’s People’s Choice Awards, local legend Asa Broomhall will be putting on a few Queensland solo shows to give a big thank you to all his supporters. He plays Solbar, Maroochydore, Thursday 15 August; Cafe Le Monde, Noosa, Friday 16 and Live Spark, Brisbane Powerhouse, Sunday 18 from 3pm with Jack and The Giant Killers.
NOTHING UNNECESSARY Sunday 11 August sees the humbling songwriting skills of Josh Rennie-Hynes take centre stage at Dowse Bar, with She, the guise of Kate Bergman, supporting on the afternoon. The gig kicks off at 4pm, with $5 entry getting you through the doors.
What was inspiring you during the songs writing and recording? In terms of music? Nick Drake, Bruce Springsteen, Van Morrison. In terms of life: usual stuff, finding love, memories, etc. We’ll like this song if we like... Nick Drake. Phil Smith launches Avenue Girl (Independent) at The Old Museum on Saturday 3 August.
For more news/announcements go to themusic.com.au/news • 35
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LONG PLAYER SESSIONS
ON TIME OFF STEREO Smashed On A Knee POWDER MONKEYS Pokey LaFarge POKEY LAFARGE The Hynotiser CASH SAVAGE & THE LAST DRINKS Street Punk HUNX AND HIS PUNX Trouble Is A Lonesome Town THRIFTSTORE MASTERPIECE HIStory: Past, Present and Future, Book 1 MICHAEL JACKSON One True Vine MAVIS STAPLES
Jah No Dead BURNING SPEAR Dream Cave CLOUD CONTROL
SWINGING FOR THE BLEACHERS
Trouble Will Find Me THE NATIONAL
Major Leagues are set to get it done on their Endless Drain east coast tour, kick-starting proceedings with Babaganouj and Rinse at Black Bear Lodge, Friday 9 August. Send the gang down south feeling the right vibes by heading along and having a little dance – tickets are available through Oztix for $13+BF.
PERSONAL BEST RECORDS TYLEA
KYLE HARVEY FROM BLACK ISLAND Best record you stole from your folks’ collection? In amongst some shockers – Neil Diamond, Carole King, Dire Straits and Bread – was The Atlantics’ Bombora. Classic. First record you bought? I think it was Regurgitator’s Tu-Plang. I thought it was weird at the time. Record you put on when you’re really miserable? The Stooges’ Fun House. Played really loud, it can cure any ailment. Except crabs. Record you put on when you bring someone home? TISM’s Hot Dogma is always reliable. The spoken word diatribe at the end of Life Kills where it segues into Pus Of The Dead never fails to get the juices flowing. Most surprising record in your collection? Smashing Pumpkins, Mellon Collie And The Infinite Sadness. What a colossal pile of wank. Less ‘surprising’ and more ‘embarrassing’ really. Last thing you bought/downloaded? Batpiss, Nuclear Winter. Killer punk sludge from Melbourne. Black Island (from Sydney) play The Waiting Room on Saturday 27 July.
BACK TO BACK There’s a couple of great nights of local music pencilled in at The Zoo this week, with Thursday 25 July seeing Hey Denise headline over Timber Bones and Zeek Power, while Friday 26 sees the TIME Charity Fashion Show taking place. As well as showcasing some of Brisbane’s finest fashion and photography talent, there’s also sweet live music set to accompany the style, with Sleepy Circus playing on the night. Door tickets can be purchased for both shows, with pre-sale available for the Fashion Show now from Oztix for $15+BF.
Answered by: Caitlin von Berky EP title: Lights How many releases do you have now? This will be our first! Was anything in particular inspiring you during the making? To be honest... dreams! Most songs on the EP are written about particular dreams I’ve had, others are about friends. Musically, I was listening to a lot of folk music at the time. What’s your favourite song on it? Electric Storm.
Artist Name: Tylea (and special guests Rachael Dixon, Jamie Tresvaskis, Stewart Barry, Trent Bryson-Dean, Ant Aggs, Cassandra Croucher)
We’ll like this EP if we like... Sarah Blasko, Dark Dark Dark, Cold War Kids, Harvard.
Album covering: Twin Peaks soundtrack
Belltalk launch Lights (Independent) at Southside Tea Room on Saturday 3 August.
Why did you choose this album? Despite the dark narrative running through the storyline of Twin Peaks, there is something moving and appealing to me, the idea of loss, tragedy and grief coupled with an innocence of the ‘50s – a meeting of darkness and light. The series also delves into the idea of dreaming and how symbols and messages can be decoded to help solve life’s mysteries and the things which simply can’t be explained. I believe the soundtrack is a great representation of all of these themes. I love the jazz, dark, ambient feel of the record and associate it with many pleasant and unpleasant memories of seeing Twin Peaks in my adolescence. When did you first hear this album? I was first exposed to the album when I saw the series in 1990. Since then, I have played the record religiously and revisited the series at different points in my life. Does playing this album in its entirety present any specific challenges? Rehearsing for the show has been a lot of fun. Is that a challenge? There were some challenges, in the sense that most of the record is made up of instrumental motifs and tracks. As a vocalist, there wasn’t really a great deal for me to do. As a result, we’ve added three more vocal tracks, two from the Fire Walk With Me soundtrack and another track which was featured in the TV series but not on the soundtrack. Hopefully this will give the set a more vocal direction and also please the Twin Peaks aficionados. Fave song from record? My favourite song on the record is Falling because it is dramatic and atmospheric. The fragility and vulnerability in Julee Cruise’s voice is empowering and emotional. Cruise doesn’t have a classically trained sound, but what she does have is a voice with character, personality and originality. Tylea covers the Twin Peaks soundtrack as part of the Long Player Sessions at Brisbane Powerhouse on Friday 9 August (with The Cheap Fakes doing the Pulp Fiction soundtrack).
36 • For more news/announcements go to themusic.com.au/news
SENSES SUPPORTS DOUBLEBLACK Member name: Matt Black Home ground: Melbourne Describe your live music/performance style as succinctly as possible: A Jacked-up rock’n’roll cocktail with a dash of rockabilly and punk. We’re a musical hot rod!! Is this your first foray to Brisbane? If not how many times have you performed in our midst? This is DoubleBlack’s third trip to Brisbane – but we have all been here before with previous bands The Living End and Fireballs.
New York post hardcore crew Senses Fail will be returning to Brisbane in a few weeks and have just announced supports for their only Queensland show, happening Wednesday 7 August at The Zoo. Take Us To Vegas, Dollarosa and Young Lions will fatten out the bill quite nicely, with tickets still available through Oztix for $40+BF.
SET TO EXPLODE Things are going to ramp up at The Tempo Hotel this Friday, 26 July, with the Escalate Showcase dragging loud rock’n’roll out kicking and screaming. On the bill for the evening will be Archetypes, Say Do Now, Midnight Show, ARC, Will Day & The Alibi and District Of East pair Mick Pringle and Chris Dowdle. Music kicks off from 6.45pm and this one’s a freebie.
Please relate your impressions of performing in our fair city: Brisbane is a true rock’n’roll town! Brisbanites always turn it on for touring bands. Some of my best live experiences have happened there... Geez you even name your bridges after your rock’n’roll heroes! What can we expect different this time around? Some new songs along with our new single Renegade. Has anything exciting been happening in your world of late? Releasing our new single, and Jason (double bass) bought a new pick-up truck. He’s a bad-arse. What will you be taking home as a souvenir? I’ll be chipping off a piece of the asphalt at Rocklea Showgrounds. Greazefest memorabilia. And guitar damage. Always guitar damage. DoubleBlack launch Renegade (Independent) at Prince Of Wales Hotel, Nundah on Friday 2 August and then play GreazeFest, Rocklea Showgrounds on Saturday 3 August (4pm).
ON THE ROCKS Settle in for a warm night of music with the irrepressible Sue Ray when she leads her band through a collection of her best loved songs at the Old Museum on Saturday 3 August. The musical equivalent of some mulled wine and a snug blanket, Sue Ray will shine her light down with support on the night coming from Brissie singer-songwriter Phil Smith and ukulelestrengthened two-piece thewhiskeyarchive.
321 BRUNSWICK STREET MALL, FORTITUDE VALLEY WEDNESDAY 24TH JULY
LE PARTY SOUL WITH DJ REDBEARD FEATURING ROAD TO RANSOM (10:30PM) + BODIES IN BARRELS (9:45PM) + QUESTIONS (9PM) THURSDAY 25TH JULY
BONEZ (10:30PM) + BARE WHITE KNUCKLES (9:30PM) + DJ VALDIS FRIDAY 26TH JULY
DOWNSTAIRS – ANTI-THESIS (9PM) + MJOOTMN (8PM) + DJ VALDIS UPSTAIRS – DJ RYAN – 9PM–5AM
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2 SHOWS 18+ ONLY
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FEATURING SARAH MCLEOD AND STUART RUDD
FRI 2 AUG DJ HELENA
WED 7 AUG KARNIVOOL
SATURDAY 27TH JULY
DOWNSTAIRS – CORPUS (9PM) + LITTLE SHADDOW (8PM) + DJ VALDIS UPSTAIRS – DJ CUTTS – 9PM–5AM SUNDAY 28TH JULY
UNDERWOOD MAYNE (9:30PM) + MACE & THE MOTOR (8:30PM) MONDAY 29TH JULY
BREWING THIS WEEK Thursday 25 July
Sundown Jury Georgia Rose Dre
WHITE FAWN (9:30PM) + THE LOVE (8:30PM) TUESDAY 30TH JULY
KICK THE BUTTERFLY (9:30PM) + AGES OF EARTH (8:30PM)
FREE LIVE MUSIC AND INDIE DJS
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Sunday 28 July
Moski Jo Bridgette Winten
Lower Burnett Ln . Brisbane CBD 07 3211 4242
FRI 16 AUG
TIM FINN & BOB EVANS
WITH SPECIAL GUESTS 18+ ONLY
FRI 30 AUG
DJ HAVANA BROWN $10 AFTER 8PM
SAT 7 SEPT
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1,000’s of gigs at your fingertips. The Guide at
TOUR GUIDE BARDO POND: Friday 2 August, The Zoo
PRESENTS KARNIVOOL: Eatons Hill Hotel Aug 7 SHAPESHIFTER: The Hi-Fi Aug 10 CLARE BOWDITCH: The Hi-Fi Aug 16, Byron Community Centre Aug 17 CLOUD CONTROL: Spotted Cow Aug 21, Coolangatta Hotel Aug 22, The Tivoli Aug 23, King’s Beach Tavern Aug 24 PLUTO JONZE: Alhambra Lounge Aug 22 THE STIFFYS: Surfers Paradise Beer Garden Aug 22, Spotted Cow Aug 23, Ric’s Bar Aug 24 OPEN FRAME 2013: Brisbane Powerhouse, IMA, LRAG Aug 22–Sep 28
INTERNATIONAL ONRA: Coniston Lane Jul 25 THE MOHAWK LODGE: Black Bear Lodge Jul 25, The Loft Jul 27 A LOSS FOR WORDS: Snitch Jul 25, Tall Poppy Studios Jul 26 (AA) BARDO POND: The Zoo Aug 2 MAMMOTH GRINDER: Sun Distortion Aug 3 SENSES FAIL: The Zoo Aug 7 SHAPESHIFTER: The Hi-Fi Aug 10 ATTILA: Thriller Aug 10 MDC: The Zoo Aug 13 ALESANA: X&Y Bar Aug 14, Studio 454 Aug 15 (AA) FLYLEAF: The Hi-Fi Aug 15 CARTEL: The Zoo Aug 21 ASH: The Hi-Fi Aug 21 BEING AS AN OCEAN: Crowbar Aug 22, Studio 454 Aug 23 (AA) DAVID TOOP: Institute of Modern Art Aug 22, 29 DON MCLEAN: QPAC Aug 23, Twin Towns Aug 25 LINDSEY STIRLING: Brisbane Powerhouse Aug 24 OBEY THE BRAVE: Thriller Aug 24, Tall Poppies Studios Aug 25 (AA) ALL TIME LOW: The Tivoli Aug 28 (AA) AKIO SUZUKI: Institute of Modern Art Aug 29, Lismore Regional Art Gallery Aug 30 P!NK: BEC Aug 29, 30, Sep 7, 8 GUTTERMOUTH: The Northern Aug 29, The Tempo Hotel Aug 30, Parkwood Tavern Aug 31 FAT FREDDY’S DROP: The Tivoli Aug 30 JAPANDROIDS: The Zoo Sep 1 ANBERLIN: The Hi-Fi Sep 4, Coolangatta Hotel Sep 5 THE REAL MCKENZIES: Shark Bar Sep 6, Prince of Wales Sep 7 THE COMMITMENTS: Eatons Hill Hotel Sep 7 CYNDI LAUPER: Jupiters Casino Sep 10, QPAC Sep 11, 12 KELE (DJ SET): Oh Hello! Sep 12 VOLUMES: Crowbar Sep 12, Eagleby Community Hall Sep 13 AMANDA PALMER AND THE GRAND THEFT ORCHESTRA: The Tivoli Sep 12 FRANCISCO LOPEZ: Brisbane Powerhouse Sep 12 MARK MCGUIRE: Brisbane Powerhouse Sep 13 HIT THE LIGHTS: Crowbar Sep 13, Trinity Hall Sep 14 (all ages) GHOSTPOET: The Spiegeltent Sep 15 CALEXICO: The Spiegeltent Sep 17, 18, Byron Theatre Sep 20 MURPHY’S LAW: The Zoo Sep 18 BEACH FOSSILS: The Spiegeltent Sep 19 LAUREL HALO: Brisbane Powerhouse Sep 19 PANTHA DU PRINCE: The Spiegeltent Sep 20 RUDIMENTAL: Eatons Hill Hotel Sep 20 LAMB OF GOD, MESHUGGAH: The Tivoli Sep 20 FOR THE FALLEN DREAMS: Thriller Sep 21 OLAFUR ARNALDS: The Spiegeltent Sep 22 PEACE: The Zoo Sep 23 SWERVEDRIVER: The Zoo Sep 26 ALAN JACKSON: BEC Sep 26, 27 WOLF MAIL: The Joynt Sep 26; Bangalow Bowling Club Sep 27; Joe’s Waterhole Sep 28; Royal Mail Hotel Sep 29 RIHANNA: BEC Sep 28 THE CULT: Eatons Hill Hotel Oct 1 FOALS: The Tivoli Oct 2 SOILWORK: The Hi-Fi Oct 2 DAVID LIEBE HART BAND: Crowbar Oct 4 ME FIRST AND THE GIMME GIMMES: The Hi-Fi Oct 4 BRING ME THE HORIZON, OF MICE & MEN: The Marquee Oct 5 ROLO TOMASSI: Crowbar Oct 10, Sun Distortion Oct 11 (AA) DEVIN TOWNSEND PROJECT: The Auditorium Oct 10 (AA)
DIALECTRIX: Coniston Lane Aug 23 COSMIC PSYCHOS: The Hi-Fi Aug 24 JOSH PYKE: Kings Beach Tavern Aug 29, SoundLounge Aug 30, The Tivoli Aug 31 HUNGRY KIDS OF HUNGARY: Coolangatta Hotel Aug 30, The Spotted Cow Aug 31, The Spiegeltent Sep 24 JAPANDROIDS: The Zoo Sep 1 THE PAPER KITES: SoundLounge Sep 5, The Hi-Fi Sep 6, The Northern Sep 7
WED 24 JULY 2013
Stephen Smith: Black Bear Lodge, Fortitude Valley Locky: Irish Murphy’s, Brisbane Mark Sheils: Royal George, Fortitude Valley Bree De Rome: Southside Tea Room, Morningside Open Mic feat. various: The Loft, Chevron Island Tempo Acoustic Sessions feat. Marty Melville + Owen Van Larkins + Casey Fogg: The Tempo Hotel, Fortitude Valley B For Bandit + thebeforeparty + Unsought Duke: The Zoo, Fortitude Valley
THU 25 JULY 2013
Slap Dogs & Dead Horse: Beetle Bar, Brisbane The Mohawk Lodge: Black Bear Lodge, Fortitude Valley Elbury: Brisbane Brewhouse, Woolloongabba Wizard & Oz: Brisbane Jazz Club, Kangaroo Point Allan Kelly Duo: Cafe Le Monde, Noosa Onra + special guests: Coniston Lane, Fortitude Valley Polo Club: Coolangatta Hotel, Coolangatta Amy Vee + Hannah Jane + Mardi: Dowse Bar (Iceworks), Paddington Non Cents feat. Architect DJs + Sessionkatz + Six Shooter Cahill + Chris Miller: Elsewhere, Surfers Paradise
38 • To check more gigs online go to themusic.com.au/theguide
Jabba: Irish Murphy’s, Brisbane Stormy Weather: Lock ‘n’ Load Bistro, West End Ballad Boy: Loving Hut, Mount Gravatt Open Mic feat. various: Mick O’Malley’s, Brisbane Andrew Nason + James Tinniswood + Stephen J Whiteley: Sit Down Comedy Club, Brisbane Bitter Lungs: Surfers Paradise Beer Garden, Surfers Paradise Hannah Karydas + Tori Lee: The Hideaway, Fortitude Valley Clashing Colours + Nathan Ortado + Sarah Frank + Lane Harry + Ike Campbell: The Loft, Chevron Island Open Mic Night feat. various: The Retro Bar, Kenmore The Common Deers + Apollo & The Sun: The Tempo Hotel, Fortitude Valley Hey Denise + Timber Bones + Zeek Power: The Zoo, Fortitude Valley Blow + Ted Vining + James Ryan 4tet: Turnaround Jazz Club, Bowen Hills A Loss For Words: X&Y Bar, Fortitude Valley
FRI 26 JULY 2013
Art Party feat. Guyy Lilleyman + various: 73 High St, Highgate Hill The Androgyny + Death By Dance + Galapagos: Beetle Bar, Brisbane David Galea: Brisbane Jazz Club, Kangaroo Point
TWELVE FOOT NINJA: Tempo Hotel Sep 6, Parkwood Tavern Sep 7 THE REAL MCKENZIES/THE GO SET: Miami Tavern Shark Bar Sep 6, Prince Of Wales Sep 7 RED DEER FESTIVAL 2013: Mt Samson Sep 7 JINJA SAFARI: Woombye Pub Sep 11, Spotted Cow Sep 12, The Hi-Fi Sep 13, Coolangatta Hotel Sep 14 DEAD LETTER CIRCUS: Kings Beach Tavern Sep 12, Spotted Cow Sep 13, The Hi-Fi Sep 14 RUDIMENTAL: Eatons Hill Hotel Sep 20 GANGSTERS’ BALL: The Tivoli Sep 21 BIG SCARY: The Spiegeltent Sep 21 THE DRONES: The Hi-Fi Sep 27 PEACE: The Zoo Sep 23 FOALS: The Tivoli Oct 2 BOOMERANG FESTIVAL: Tyagarah Tea Tree Farm Oct 4-6 XAVIER RUDD: The Tivoli Oct 8 THE BREEDERS: The Tivoli Oct 29 HORRORSHOW: Spotted Cow Oct 31, The Zoo Nov 1, Solbar Nov 2, Beach Hotel Nov 3 BOY & BEAR: Beach Hotel Nov 7, Coolangatta Hotel Nov 8, The Tivoli Nov 9 GOLDEN DAYS FESTIVAL: Coolum Sports Complex Nov 9 MULLUM MUSIC FESTIVAL: Mullumbimby Nov 21–24
Esperanto feat. Ursula Yovich + Emma Donovan Band + Kate Miller-Heidke + John Rodgers + Gypsy Jazz + Simon Tedeschi + Ian Cooper + The Mouldy Lovers + The View From Madeleine’s Couch + Darren Percival + James Morrison + Gerard Mapstone: Brisbane Powerhouse, New Farm Darren J Ray: City Golf Club, Toowoomba Open Mic feat. Rob Rushton: Coorparoo Bowls Club, Coorparoo Pyre & Ice: Coorparoo RSL, Coorparoo Deez Nuts + Driven Fear + The Lane Cove + Deadlights + Daybreakers: Crowbar, Fortitude Valley Akmal + guests: Eatons Hill Hotel, Eatons Hill The Boogie Show feat. Grivs: Elsewhere, Surfers Paradise Nick & Greg: Gazebo Restaurant, Hotel Urban, Brisbane B-Rad + Jabba + TackyLand DJ: Irish Murphy’s, Brisbane Out Of Abingdon + Le Breeze: Lambert’s Restaurant, Kangaroo Point
Splendour In The Grass feat. Mumford & Sons + TV on the Radio + Klaxons, Babyshambles + Architecture In Helsinki + Matt Corby, Flight Facilities + Boy & Bear + Darwin Deez + You Am I + Haim + Clairy Browne & The Bangin’ Rackettes + Portugal. The Man + Daughter, Wavves + Robert DeLong + Unknown Mortal Orchestra, Deap Vally + more: North Byron Parklands, North Ocean Shores Fatem + Trinatyde + Adnate + Final Thought + Miazma + Wisdoms Realm: Prince of Wales Hotel, Nundah Angry Penguins: Saltbar, South Kingscliff Andrew Nason + Stephen J Whiteley + James Tinniswood: Sit Down Comedy Club, Brisbane Kooii: Solbar, Maroochydore Wes Carr’s Buffalo Tales: Southside Tea Room, Morningside A Loss For Words (all ages): Tall Poppy Studios, Brisbane Berst: The Elephant Arms, Fortitude Valley
KOOII: Friday 26 July, Solbar
Ingrid James + Julian Jones: The Lido Cafe & Restaurant, Ascot Kenny Slide + Tuesday’s Good + Akova + Blake Daymond: The Loft, Chevron Island Paul Kelly + Urthboy: The Pilbeam Theatre, Rockhampton Escalate feat. District of East + Will Day & The Alibis + Archetypes + Arc + Midnight Show + Say Do Now: The Tempo Hotel, Fortitude Valley Time Fashion Show feat. Sleepy Circus: The Zoo, Fortitude Valley The Bootleg Beatles: Twin Towns, Tweed Heads Friends feat. Polo Club + Guests: X&Y Bar, Fortitude Valley
SAT 27 JULY 2013
Twin Haus + The Feels + Shady Bliss + Red Cat Yellow: Beetle Bar, Brisbane
Splendour In The Grass feat. The National + Empire Of The Sun + Flume + Birds Of Tokyo + Bernard Fanning + Drapht + Polyphonic Spree + Fat Freddy’s Drop + Sarah Blasko + MS MR + Cold War Kids + Cloud Control + Something For Kate + Chet Faker + Palma Violets + Vance Joy + Whitley + Jake Bugg + more: North Byron Parklands, North Ocean Shores Ecstatic Visions feat. Queensland Symphony Orchestra + James Morrison + Julian Bliss: QPAC Concert Hall, South Bank Shotgun Duo: Saltbar, South Kingscliff Andrew Nason + Stephen J Whiteley + James Tinniswood: Sit Down Comedy Club, Brisbane Jimi Beavis + Karl S. Williams: Southside Tea Room, Morningside Alter Egos: The Elephant Arms, Fortitude Valley Nejo y Dalamta + Guest DJs: The Hi-Fi, West End
ONRA: Thursday 25 July, Coniston Lane
Uncomfortable Sciences + Bris Springstein: Black Bear Lodge, Fortitude Valley The Soundscapes Trio + Lauren Lucille: Brisbane Jazz Club, Kangaroo Point Mzaza: Brisbane Powerhouse, New Farm Thriller feat.+Secret Headliner + A Breach Of Silence + Payne Road + Sevenskies: Coniston Lane, Fortitude Valley Body & Soul - Sandy Beyon & Sean Mullen: Craft Restaurant & Bar, Milton Deez Nuts + Driven Fear + The Lane Cove + Deadlights + Daybreakers: Crowbar (All Ages) , Fortitude Valley Akmal + Guests: Eatons Hill Hotel, Eatons Hill Saturday Night Show feat. various: Elsewhere, Surfers Paradise Locky + Berst + WKD DJ: Irish Murphy’s, Brisbane Wes Carr’s Buffalo Tales: Kings Beach Tavern, Caloundra Astrid & The Asteroids: Lock ‘n’ Load Bistro, West End
We All Want To + The Bell Divers + Emma White: The Hideaway, Fortitude Valley Brisbane Emerging Art Festival +Various: The Judith Wright Centre, Fortitude Valley The Mohawk Lodge + Love Cannons + Kuma + White Lodge: The Loft, Chevron Island Love Hate Rebellion + The Molotov + Triplickit: The Tempo Hotel, Fortitude Valley Hello Hokkaido + The Royales + Artisan Kin: The Zoo, Fortitude Valley Miazma + Icarus Complex + Sevidica + Ignite The Chamber: Transcontinental Hotel, Brisbane Todd Rundgren: Twin Towns, Tweed Heads Todd Rundgren: Twin Towns, Tweed Heads
SUN 28 JULY 2013
Rock n’ Roll BBQ feat. Binary Derivitive + Holidays for Hoods + Eat City + Fun With Explosives + White Devil + Obliterati : 633 Ann, Fortitude Valley
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[THE GUID IDE]
GIG OF THE WEEK
KATE MILLER-HEIDKE & JOHN RODGERS SATURDAY 28 JULY, POWERHOUSE THEATRE Not heading to Splendour In The Grass this weekend? Never fear, there’s plenty still happening in SEQ, especially the Queensland Music Festival’s Esperanto program, an immersive cultural experience of the highest order. This Saturday afternoon at Brisbane Powerhouse’s gorgeous Powerhouse Theatre, you can catch Kate Miller-Heidke & John Rogers presenting Heart & Craft – one of Queensland’s finest voices Kate Miller-Heidke (and her longtime collaborator Kier Nuttall) joins forces with award-winning Brisbane-based multi-instrumentalist John Rodgers, the trio exploring the fluidity of music by reinterpreting selections of Miller-Heidke’s material (as well as some apt covers). It all kicks off at 5pm and is bound to be both fascinating and heaps of fun – get your tickets from the Brisbane Powerhouse website now!
Louise Isackson Trio: Belvedere Bar & Grill, Brisbane Bears With Guns: Black Bear Lodge, Fortitude Valley Nick Laganin: Brisbane Jazz Club (brunch), Kangaroo Point Heart & Craft feat. Kate Miller-Heidke: Brisbane Powerhouse (Theatre), New Farm Esperanto feat. The View From Madeleine’s Couch: Brisbane Powerhouse (Visy Theatre/ afternoon), New Farm Paul Kelly + Urthboy: Brolga Theatre, Maryborough The High Boys: Cafe Le Monde (afternoon), Noosa Rod Christensen Duo: Channel Sports Bar & Bistro (afternoon), Caloundra Wes Carr’s Buffalo Tales: Coolangatta Sands Hotel, Coolangatta The Jason Recliners: Coorparoo Bowls Club, Coorparoo The Clem Four: Coorparoo RSL, Coorparoo Royale Sundays feat. Stretch Paper Cranes + Guests: Elsewhere, Surfers Paradise Rag Doll Duo + Mick McHugh + Wasabi: Irish Murphy’s, Brisbane
Splendour In The Grass feat. Frank Ocean + The Presets + Passion Pit + James Blake + Of Monster and Men + Laura Marling + The Rubens + Hermitude + Airbourne + The Drones + Gurrumul + Everything Everything + Snakadaktal + FIDLAR + Alpine + Surfer Blood + The Bamboos + more: North Byron Parklands, North Ocean Shores The Snatchettes + Tusk + The Pretty Fingers + The Bumbacluts: Prince of Wales Hotel, Nundah Underwood Mayne: Ric’s, Fortitude Valley DJ Katch + Ashton Anning + Neil Hind + Jason Rouse + Dimik + Jen-E + Barking Boy: Ric’s, Fortitude Valley Jazz, Swing & Rock feat. various: Robina Bowls Club, Robina Lauren Grace & Lachlan Bell: Shucked Lane, Newstead Luke Heggie + Jacques Barratt: Sit Down Comedy Club, Brisbane Aaron Gocs + Cameron Duggan + David Scullion + Dan Rath + Davo + Michelle Janssen: Sit Down Comedy Club, Brisbane DJ Boogie Shoes: Stoke Bar, Southbank Scram Jet + Timbah: The Elephant Arms, Fortitude Valley The Wind Up Dolls: The Tempo Hotel, Fortitude Valley
AMORPHIS: The Hi-Fi Oct 12 EVERY TIME I DIE: The Hi-Fi Oct 18 CHELSEA GRIN: Brisbane Riverstage Oct 18 IMAGINE DRAGONS: The Hi-Fi Oct 19 MICKEY AVALON: The Hi-Fi Oct 24, Coolangatta Hotel Oct 25 YELLOWCARD: The Tivoli Oct 25 BEHEMOTH: The Hi-Fi Oct 27 BEYONCE: BEC Oct 28, 29 THE BREEDERS: The Tivoli Oct 29 ENSLAVED: The Hi-Fi Nov 3 SALT-N-PEPA: Jupiters Hotel Nov 12 SMOKIE: Brolga Theatre Nov 12, Empire Theatre Nov 14, QPAC Nov 15 NILE: The Hi-Fi Nov 14 FLEETWOOD MAC: BEC Nov 14, Dec 2 KATAKLYSM: Crowbar Dec 4 JILL SCOTT: The Tivoli Nov 21 NECK DEEP: Snitch Nov 21, Trinity Hall Nov 22 (AA) JUSTIN BIEBER: BEC Nov 27 (AA) DALE WATSON & HIS LONESTARS: Black Bear Lodge Nov 28, Morningside Services Club Nov 29 CITY AND COLOUR: Brisbane Riverstage Nov 30 PASSENGER: The Tivoli Dec 6, Dec 7 (AA) TAYLOR SWIFT: Suncorp Stadium Dec 7 MUSE: BEC Dec 10 (AA) THIRTY SECONDS TO MARS: Brisbane Riverstage Mar 30 (AA)
UNDERWOOD MAYNE: Sunday 28 July, Ric’s Bar
The Bootleg Beatles: The Tivoli, Fortitude Valley Small Change Sundays feat. various DJs: Victory Hotel, Brisbane
MON 29 JULY 2013
B-Rad: Irish Murphy’s, Brisbane Darren J Ray: Redlands Sporting Club, Wellington Point Wizard & Oz: Southport Bowls Club, Southport Rockaoke: The Tempo Hotel, Fortitude Valley
TUE 30 JULY 2013
Tensions Arise + Rome + Ignite The Chamber + Amicable Treason: Crowbar, Fortitude Valley
QPAC AND THE CON PRESENT
Woody Lives Here: Irish Murphy’s, Brisbane Pete Hunt: Lock ‘n’ Load Bistro, West End The Bug feat. The Whiskey Archive + Guitars Galore II: New Farm Bowls Club, New Farm Paul Kelly + Urthboy: The Arts Centre Gold Coast, Surfers Paradise
WED 31 JULY 2013
Jarrah & The Lionhearts: Black Bear Lodge, Fortitude Valley Locky: Irish Murphy’s, Brisbane Paul Kelly + Urthboy: Lake Kawana Community Centre, Bokarina Open Mic Night feat. various: The Loft, Chevron Island
ALISON WONDERLAND: Beach Hotel Jul 25, Playground Aug 10, Oh Hello! Aug 14, Elsewhere Sep 21 DEEZ NUTS: Crowbar Jul 26, 27 (AA) BUFFALO TALES: Southside Tea Room Jul 26, Kings Beach Tavern Jul 27, Coolangatta Sands Hotel Jul 28 KATE MILLER-HEIDKE: Brisbane Powerhouse Jul 28 BEARS WITH GUNS: Black Bear Lodge Jul 28, The Loft Aug 3 PAUL KELLY: Brolga Theatre Jul 28, Gold Coast Arts Centre Jul 30, Lake Kawana Community Centre Jul 31, QPAC Aug 1, Sep 7 ISAAC GRAHAM: Crowbar Aug 1 DIESEL: The Hideaway Aug 1 ELECTRIC HORSE: The Zoo Aug 1, The Northern Aug 16, Shark Bar Aug 17 ILUKA: Black Bear Lodge Aug 1, The Loft Aug 2, The Spotted Cow Aug 3, Cafe Le Monde Aug 4 (AA) WAX WITCHES: X&Y Bar Aug 2 THELMA PLUM: The SoundLounge Aug 2 PSYCROPTIC, KING PARROT: Crowbar Aug 3, Norville Hotel Aug 4 KARNIVOOL: Eatons Hill Hotel Aug 7 ADALITA: Black Bear Lodge Aug 8 THE WOOHOO REVUE: Solbar Aug 9, The Joynt Aug 10 SETH SENTRY: Kings Beach Tavern Aug 10, The Spotted Cow Aug 11, The Northern Aug 15, Coolangatta Hotel Aug 16 VIOLENT SOHO: Crowbar Aug 16 TIM FINN, BOB EVANS: Eatons Hill Hotel Aug 16 CLARE BOWDITCH: The Hi-Fi Aug 16, Byron Community Centre Aug 17 GLASS TOWERS: Black Bear Lodge Aug 21, The Loft Aug 22, The Northern Aug 23 CLOUD CONTROL: The Spotted Cow Aug 21, Coolangatta Hotel, Aug 22, The Tivoli Aug 23, Kings Beach Tavern Aug 24 PLUTO JONZE: Alhambra Lounge Aug 22 JEREMY NEALE, FEELINGS: Solbar Aug 22, Alhambra Lounge Aug 23, The Spotted Cow Aug 24 THE STIFFYS: Surfers Paradise Beergarden Aug 22, The Spotted Cow Aug 23, Ric’s Aug 24 COSMIC PSYCHOS: The Hi-Fi Aug 24 THE SMITH STREET BAND: The Zoo Aug 29 JOSH PYKE: Kings Beach Tavern Aug 29, The SoundLounge Aug 30, The Tivoli Aug 31 THE TROUBLE WITH TEMPLETON: The Spotted
A weekly ‘mini festival’ of FREE live original music from the very best local independent bands.
Cow Aug 29, The Zoo Aug 30, the Brewery Aug 31 PIGEON: Oh Hello! Aug 30, Coolangatta Hotel Sep 19, Beach Hotel Sep 20, Solbar Sep 21 MIDNIGHT JUGGERNAUTS: The Hi-Fi Aug 30, The Northern Aug 31 HUNGRY KIDS OF HUNGRY: Coolangatta Hotel Aug 30, The Spotted Cow Aug 31, The Spiegeltent Sep 24 VANCE JOY: The Zoo Aug 31 THE PAPER KITES: The SoundLounge Sep 5, The Hi-Fi Sep 6, The Northern Sep 7 SEEKAE: Oh Hello! Sep 5 THE GROWL: Black Bear Lodge Sep 5 THE GRATES: The Spotted Cow Sep 5, Elsewhere Sep 6 THE SNOWDROPPERS: Alhambra Lounge Sep 6 TWELVE FOOT NINJA: The Tempo Hotel Sep 6, Parkwood Tavern Sep 7 BOB EVANS: Byron Theatre Sep 6, The Spotted Cow Sep 7, The SoundLounge Sep 12 TONIGHT ALIVE: Alhambra Lounge (U18 matinee), The Zoo (evening) Sep 7 ROGER KNOX: The Spiegeltent Sep 8 RUSSELL MORRIS: The Spiegeltent Sep 11 JINJA SAFARI: Woombye Pub Sep 11, The Spotted Cow Sep 12, The Hi-Fi Sep 13, Coolangatta Hotel Sep 14 THE BASICS: The Spiegeltent Sep 12 DEAD LETTER CIRCUS: Kings Beach Tavern Sep 12, The Spotted Cow Sep 13, The Hi-Fi Sep 14 ILLY: Oh Hello! Sep 13 DOKU RAI BAND: The Spiegeltent Sep 13 DICK DIVER: The Spiegeltent Sep 14 SNAKADAKTAL: The Hi-Fi Sep 20, The Northern Sep 21 BIG SCARY: The Spiegeltent Sep 21 EMMA LOUISE: The Spiegeltent Sep 25, 26 THE DRONES, HARMONY: The Hi-Fi Sep 27 THE PREATURES: Black Bear Lodge Sep 27 SPIT SYNDICATE: Solbar Sep 28, The Loft Oct 10, Woody’s Surf Shack Oct 11, Alhambra Lounge Oct 12 PARKWAY DRIVE: The Tivoli Sep 29, 30 (AA), Oct 1 CHANCE WATERS, THE GRISWOLDS: Alhambra Lounge Oct 4 XAVIER RUDD: Byron YAC Oct 7 (AA), The Tivoli Oct 8 REGURGITATOR: Kings Beach Tavern Oct 10, The Hi-Fi Oct 11, Coolangatta Hotel Oct 12, The Northern Oct 13 ED KUEPPER: The SoundLounge Oct 11 THE AMITY AFFLICTION: Brisbane Riverstage Oct 18 HORRORSHOW: The Spotted Cow Oct 31, The Zoo Nov 1, Solbar Nov 2, Beach Hotel Nov 3 BERNARD FANNING: Sirromet Wines Nov 3 BOY & BEAR: Beach Hotel Nov 7, Coolangatta Hotel Nov 8, The Tivoli Nov 9 DEF FX: Beetle Bar Nov 9
FESTIVALS SPLENDOUR IN THE GRASS: North Byron Parklands Jul 26-28 BRISBANE EMERGING ART FESTIVAL: Judith Wright Centre Jul 27 GREAZEFEST: Rocklea Showgrounds Aug 2-4 LOUD FEST: Trinity Hall Aug 10 (AA) RED DEER MUSIC FESTIVAL: Samford Valley Sep 7 BIGSOUND: Fortitude Valley Entertainment Precinct Sep 11-12 MITCHELL CREEK ROCK N BLUES FESTIVAL: Upper Kandanga, Mary Valley Sep 20-22 SPRUNG FESTIVAL: Victoria Park Cricket Ovals Sep 21 ONE EPIC EVENT: Pine Rivers Park Sep 22 BOOMERANG FESTIVAL: Tyagarah Tea Tree Farm Oct 4-6 CALOUNDRA MUSIC FESTIVAL: Kings Beach Park Oct 4-7 LISTEN OUT: Cultural Forecourt Oct 6 GOLDEN DAYS: Coolum Sports Complex Nov 9 HITS & PITS 2.0: Coolangatta Hotel Nov 15, The Hi-Fi Nov 16 HARVEST: City Botanic Gardens Nov 17 WARPED TOUR: RNA Showgrounds Nov 29, Coffs Harbour Showground Nov 30 STEREOSONIC: RNA Showgrounds Dec 7-8 FALLS FESTIVAL: Byron Bay Dec 31-Jan 3
5–8PM FRIDAYS 9 August to 11 October
Melbourne Street Green, QPAC
funk | pop-rap | alt rock | folk | heavy metal | hip-hop To check more gigs online go to themusic.com.au/theguide • 39
The visionary engineer and inventor whose name became synonymous with high-quality portable audio systems, Amar Bose, has passed away aged 84. His choice not to float his company publically allowed Bose to pursue expensive long-term research into exploring his passion, innovative acoustic engineering, which resulted not only in concert hall quality audio to concert halls, but also the home, as well as noise-cancelling headphones and even an innovative car suspension system. During his studies at the Massachusetts Institute of Technology in the 1950s, the classical music buff realised that some 80% of the sound audiences experienced in concert halls was indirect, bouncing off walls and ceilings before reaching the listener’s ear. Basic physics of course, but it sent Bose off on the research that led to his inventing a new type of stereo speaker based on psychoacoustics. In 1968, he introduced the Bose 901 Direct/Reflecting speaker system and made his fortune. As well as leading his company, The Bose Corporation, he taught at his old alma mater, MIT, for more than 45 years.
DRINK TO QOTSA Queens Of The Stone Age have released their latest album, …Like Clockwork, as a limited edition eight-gigabyte USB flash drive that doubles as a bottle opener, complete with highres photos, original artwork, videos and lyrics. It’s bound to be available through their website if you want to crack a coldie on QOTSA.
SOUND BYTES Mixed by Joe Henry (Solomon Burke, Loudon Wainwright III) in Pasadena, the new album, Hully Gully, from Don Walker was recorded over several years and studio sessions with his band The Suave Fucks.
Keyboard player Bruce Haymes recorded, engineered, mixed and mastered the new album, Holy Roll, from Victoriana Gaye, at Parkside in Northcote, Melbourne, coproducing with the band’s Jeff Raglus.
CHARLES CILIA HALO GUITAR I’d like to introduce you to Cilia Guitars and their creator, Charles Cilia. After visiting his factory and show room at Chipping Norton in south western Sydney, where he has quite the range of acoustic and electric guitars including some nice resonator guitars, I took the Halo home to try out over the weekend. At a glance it looks like a PRS, but there are differences so nothing wrong with having both in your arsenal. I actually did like the simplicity of the one tone control pod, one volume dial and two pickups with three-way toggle. There are times, however, when a more complex set-up would be appealing. Talking about the pickups, they’re made in house – Cilia describes them as custom wound “Blue Murder Trinity” set with single coil tapping. The idea is that they work as a good-quality microphone that simply picks up the true sound of the instrument with all its nuances and subtleties. Cilia also told me he could certainly obtain pickups cheaper if he brought them in ready to go but his vision of sound production has been best served by inventing his own, and interestingly he uses words like “organic” when discussing tone. That’s enhanced by the mahogany body with maple top, while apparently you can get either a maple or African rosewood neck, depending on your budget.
IN TH E STUDIO
VALE AMAR BOSE
ENGLISHMEN IN NASHVILLE Pulling back from the brink of breaking up, Birmingham, UK’s Editors followed their dream of making an album in America. Not that they were thinking Nashville, as Michael Smith discovers.
espite two consecutive number one albums in the UK – their 2005 debut, The Back Room, reached number two – sell-out tours and plenty of festival headline spots, by 2010, Editors found themselves in a quandary. The choice was to break up or ask founding guitarist Chris Urbanowicz to leave. They opted for the latter. Though the band had originally planned to record fourth album, The Weight Of Your Love, with Mark Ellis aka Flood – who’d produced their previous album, 2009’s In This Light And On This Evening – it was eventually recorded at Blackbird Studio in Nashville with producer Jacquire King, whose CV includes producing records for, among many, Tom Waits, Norah Jones, Of Monsters & Men and, of course, Kings Of Leon.
“We did two sessions with Flood,” Editors singer, guitarist and songwriter Tom Smith explains. ”When Chris was in the band, and none of us thought the results were good enough, and we did a lot of rehearsing in between those two sessions, trying to work through the songs with Chris, and that wasn’t very fruitful and time went on, it kind of got darker and darker and it culminated in us going on without Chris. “It was obviously a very traumatic time for the band, but once we’d made that decision and the two new guys moved in, Justin [Lockey, lead guitar] and Elliott [Williams, keyboards, guitars, backing vocals], there was a new energy and things were working again and the songs felt quite straightforward and accessible, for us at least, and we’d all harboured dreams of making a record in America. We have a long-standing love of alt.rock from America and since things hadn’t gone well enough with Flood and it was a new band, it felt like the time to try somebody new and move on.” A late night session down the pub tossing around the names of potential American producers resulted in the choice of King, and it was his decision to use Blackbird, an obvious choice for a producer who, as his profile notes, “utilises traditional analogue techniques and equipment such as tracking to analogue tape
BEHIND THE LINES
“We’d never thought of Nashville as a location,” Smith points out with a chuckle, “but then we were there. We’ve been lucky – we’ve worked with a lot of great producers [besides Flood, they worked with Jim Abiss on their 2005 debut, The Back Room, and Jacknife Lee on 2007’s An End Has A Start] – but Jacquire’s very much a songs man. It’s quite simplistic, his production – he never complicates things – he’s very much about going for the songs and trying to get, certainly from his side of things, an emotional connection with the material from the way the songs are presented or performed. He’s about getting good sounds and great takes – quite simple stuff, really. Most of the songs were played all together in a room and it was about getting good performances and capturing something.” The band recorded in Blackbird Studio’s Studio B, which features a 48-channel API Legacy Plus console, with a 24/64 6 Card PTHD system and ATC 300 monitors, and includes a small live chamber. “Coming from doing a lot of sessions in London, us doing the aborted ones for this record, where the studios, if they’re not closing down they’re run down – and they’re great and there’s a charm in that too – but going to Blackbird where everything was just… It wasn’t a high tech studio – it was analogue and old-school in its set-up – but it was working, and beautifully maintained and plush! I remember walking in and thinking, ‘Make the most of this guys, ‘cause I don’t know if we’re ever gonna work somewhere like here again’. So, yeah, all the songs were done to tape, live takes, and we kept the basis of each song and went to ProTools from there.” King got Smith to use a Shure SM7B mic with switchable response to record all his vocals, which he approached more ambitiously than on previous albums. The strings you hear on the record are a mix of real and synthesised
Don’t be turned off by the price tag, these are no ordinary headphones. Originally a company that created accessories for PCs, the Swiss-based Logitech, which has diversified into the manufacture of microphones and computer speakers, has re-imagined the future of wireless devices with the Logitech UE 9000. They’re Bluetooth-enabled – allowing users to pair the headphones with up to eight devices. It’s easy, even the least tech savvy amongst us (ahem) can manage: simply unplug the cable and pair them with your phone or laptop. Voila. The Logitech UE 9000 has dual mics built in for clear, no-fuzz calling. Controls are conveniently placed on the right headphone for easy switching and clicking. The plush foam cushions are akin to a pillow for your ears, while the around the ear design gives you a comfortable, measured fit. There’s no chance of interference, as the Logitech UE 9000’s are noise-cancelling, turning down the volume around you to a low hum. The deal maker is their exquisite sound qualities – clear, ambient and thick. The bass is perfect – heavy and defined with zero distortion, while the sound of voices is crystal. Aesthetically, they may take some time getting used to: they’re marginally heavier than they look and the chunky-blocky design is a little obtuse at first, but they will grow on you – give them time. Plus, metal alloy-hinges give them a slick retro-feel, making them stylish enough to wear outside.
strings, the song, Nothing, in fact just Smith’s vocals atop a string arrangement that was recorded with composer and former Pop Will Eat Itself frontman Clint Mansell. “That was a bit of a dream, for us to work with Clint – we talked about Clint quite a lot over the years. We were trying figure out a way to develop the song for the record and we did have a version of it which was the full band – it was in a different time signature, quite straightforward and it was good and we played it live very well – but none of us thought it really suited the emotional content of the song. So we stripped the song back to the song I originally wrote on the acoustic guitar, which was in 3/4, and looking at developing it from there Jacquire started talking about Eleanor Rigby. “I’d met Clint Mansell at a wedding,” Smith laughs, “a year previously. We’re massive fans of what he does [including soundtracks to feature films Doom, The Fountain, Black Swan and Stoker, as well as arrangements for The Prodigy and Biffy Clyro] – he came from Birmingham and the band being from Birmingham and maybe one day our worlds could meet. So I sent Clint the song with our ideas and he came back with some ideas and that was that, really. We did that in north London – I was stood to the side feeling kind of awkward while the orchestra were playing. It was a wonderful experience. WHO: Editors WHAT: The Weight Of Your Love (PIAS)
LOGITECH UE 9000
Michael Dolce, the house guitarist on The Voice who also backs acts like Delta Goodrem and Keith Urban, plays Cilia guitars, so if you’d like to hear one at work, you can check out the various Voicerelated clips on YouTube or the CDs that the reality TV show has spawned by the bucketload.
40 • For more interviews go to themusic.com.au/interviews
combined with modern technologies like computerbased recording via ProTools and software plug-in digital signal processing that emulate classic outboard Universal Audio and Neve signal processing gear.”
MEET THE TIM ARMSTRONG ACOUSTICS Based on Tim Armstrong’s beat-up old ’60s Fender acoustic on which he writes for his band, Rancid, the Tim Armstrong Hellcat acoustic features a solid mahogany top, scalloped bracing and Fishman preamp. The Tim Armstrong Deluxe acoustic, on the other hand, is a more traditional take on Armstrong’s original ‘70s Fender acoustic, with a solid mahogany top, bone nut and saddle, dot fingerboard inlays and Fishman Neo-D soundhole pickup with end pin jack.
ACETA BUILDING CAREERS AT ENTECH 2013 ACETA (Australian Commercial and Entertainment Technology Association) has stepped up to help students and new graduates achieve that all too necessary right qualification in order to get a career in the field of entertainment technology with the Skill Zone at ENTECH 2013, happening in the Sydney Convention & Exhibition Centre, Darling Harbour, Tuesday 23 through Thursday 25 July, 10am-6pm. It’s not a job bureau,
but a way to learn about all the options in the industry and how to go about approaching an employer. At ENTECH 2013, ACETA are launching their new careers guide and holding a forum for students at which they’ll meet industry identities to talk about how they’ve built their own careers. The careers guide talks about the qualifications required for the various roles and how to best match yourself to a job that suits not only your interests, but also your lifestyle. The forum is interactive, so attendees get to ask questions as much as the panellists get to talk. There’ll also be visiting exhibitors available to talk about whether they can offer internships or work placements. ACETA is the industry association for the commercial and entertainment technology sector, with members including manufacturers and distributors. ENTECH is, of course, the nation’s most important entertainment technology industry trade show, with product displays and workshops from many of the sector’s manufacturers and distributors. Entrance is free but you do need to register your intention to attend online. Skill Zone Day at ENTECH is Thursday 25. For more information about ENTECH go to the ENTECH website.
THE ORANGE CRUSH CR120H AMP The new Crush range from Orange Amplifiers marks the company’s first foray into the world of high power, solid-state amplifiers. Orange have spent years researching, developing and testing a solid-state amplifier of which they could be truly proud, the design team feeling it was important to keep these amps simple and not bombard the player with hundreds of onboard features. The result is an analogue, solid-state, two-channel (dirty and clean) amp based on their Rockerverb range. The dirty channel uses a circuit based on four stages of gain and a three-band EQ that provides the player with a wide palette of overdriven and distorted sounds. The clean channel is based on a two-stage, two-band EQ design that gives the player a clean but warm sound which when cranked begins to break up, just like a Rockerverb.
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WANTED OTHER HI GUYS i am fundraising to volunteer for a months work with orphaned children in Nepal. please check out www.gofundme. com/ivhqnepal2013 to read my story and donate THANKYOU :) iFlogID: 21282
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www.roundmountainrehearsals.com.au 42 • For more interviews go to themusic.com.au/interviews
call Paul on 0412 478 247
Published on Jul 23, 2013
Time Off is Australia’s longest-running street press publication, and has positioned itself as an iconic Queensland brand. For past 18 years...