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Secret Sounds presents

Special Guests






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One off Gentlemen of the Road Stopover date to be announced


Pre-Order the new Mumford and Sons album. More details soon at

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rock music news

welcome to the frontline: what’s goin’ on around town... with Nathan Jolly

he said she said WITH



s a child I tried to play many instruments, and sadly failed at most of them. My mother is a cellist so I was constantly exposed to classical music. At a very young age I started piano and guitar lessons, but my teacher gave up on me quickly. Then I developed a passion for French horn which I played throughout my schooling years. I first started to play drums in year seven, as I liked the idea of not having to read music or tune – but they both caught up with me in the end. I’m never sure what inspires our music. I think we just try to write music that we would enjoy listening to. We never set out to write a certain type of track; it has a way of finding us. It’s almost a surprise whenever we write a new song. A big inspiration for me is to try and write what I call ‘timeless music’; something that would have been cool years ago and will continue to be cool and relevant years into the future. In reality, Snakadaktal has about 20+ members. Our wonderful management, label guys, agents, sound crew and close friends have helped us out in more ways than we could have ever imagined. We are a big family. As a band, we like to hang out with our old

school buddies and best friends Northeast Party House. They are our brother band. We play dream pop dance rock electro fast slow guitar fun music. Every song of ours has a different style – we aren’t sure if that’s good or bad, but it’s what we do. We’ve released one self-titled debut EP, written, recorded and produced by us in a basement/ kitchen. Our brand new single ‘Dance Bear’ was produced by a friend, Malcolm Besley. Our live show is one of, if not the, most important parts of Snakadaktal: expect girls, boys, glitter, music, dancing, chilling and hip shaking. The music scene is incredible right now. Everywhere we look we find great new artists. We’re pretty new so it seems strange trying to give advice, but I think persistence is a huge part of being in a band. If you’re starting out, play as many gigs as you can and put your music up everywhere. What: ‘Dance Bear’ is out now With: Sures, Fishing Where: The Metro Theatre (all-ages) When: Saturday August 11 Xxxx


PUBLISHERS: Adam Zammit & Rob Furst EDITOR IN CHIEF: Adam Zammit 9552 6333 EDITOR: Steph Harmon 02 9698 9645 ARTS & ASSOCIATE EDITOR: Dee Jefferson 02 9690 2731 STAFF WRITER: Caitlin Welsh, Alasdair Duncan NEWS: Nathan Jolly, Alasdair Duncan ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Katrina Clarke, Rasa Juskeviciute, Ashley Mar, Daniel Munns, George Popov, Thomas Peachy, Tim Whitney, Rocket Wiejers ADVERTISING: Ross Eldridge - 0422 659 425 / (02) 9690 0806 ADVERTISING: Les White - 0405 581 125 / (02) 8394 9027 ADVERTISING: Meaghan Meredith - 0423 655 091 / (02) 8394 9168 GIG & CLUB GUIDE CO-ORDINATOR: Conrad Richters - (rock) (dance, hip hop & parties) INTERNS: Verity Cox, Dijana Kumurdian, Andrew Geeves REGULAR CONTRIBUTORS: Benjamin Cooper, Alasdair Duncan, Max Easton, Christie Eliezer, Murray Engleheart, Andrew Geeves, Chris Honnery, Nathan Jolly, Anna Kennedy, Sheridan Morley, Jenny Noyes, Hugh Robertson, Romi Scodellaro, Jonno Seidler, Rach Seneviratne, Roland K. Smith, Luke Telford, Rick Warner Please send mail NOT ACCOUNTS direct to this address 8a Marlborough Street, Surry Hills NSW 2010 ph - (02) 9552 6333 fax - (02) 9319 2227 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of The BRAG. ACCOUNTS RECEIVABLE: Stephen Forde : ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121

Every now and then someone releases a song that everyone likes, from painters to dockers, from hunters to collectors; from jokers to smokers, to midnight tokers – even mums. EVEN MUMS! At the moment that song involves Gotye with lashings of Kimbra, but back in 1996 it was ‘Even When I’m Sleeping’ by Leonardo’s Bride – and the main reason was Abby Dobson’s beautiful, fractured vocals. Since then, she’s released a multitude of wonderful records, the most recent being her classic-French-song collection Baby et Lulu, which is both the name of the record and the duo she has formed with FourPlay’s Lara Goodridge. Catch them playing it live on Saturday July 14 at the Basement. Tickets are on sale now from the venue – and bring your French dictionary, s’il vous plaît.


Yes, yes, we all remember Nada Surf’s novelty hit ‘Popular’ which ironically made them so, but if you delve into their catalogue, you will find seven records of impressive power pop. Among them is their latest, The Stars Are Indifferent To Astronomy; the first time ever that meaning has been affixed to a celestial body. The guys are coming out to perform tracks from the record (they’ll probably play ‘Popular’, too) on September 20 at the Annandale.


Lime Cordiale is both a pun that makes us think about Cottees and French political relations (our two favourite subjects here at BRAG HQ), and an interesting, baroquetinged pop band from Sydney’s Northern Beaches who are launching their new EP Faceless Cat this Saturday July 7 at The Standard – the only venue in town which reminds us of The Bronze from Buffy and The Bait Shop from The OC (our other two favourite subjects here at BRAG HQ).


The Gate collective are all about putting on shows in living rooms, lobbies, cafes, and other places where most promoters fear to

DEADLINES: Editorial: Wednesday 12pm (no extensions) Artwork, ad bookings: Thursday 12pm (no extensions). Ad cancellations: Tuesday 4pm Published by Cartrage P/L ACN 104026388 All content copyrighted to Cartrage 2003 DISTRIBUTION: Wanna get The Brag? Email distribution@ or phone 03 9428 3600. PRINTED BY SPOTPRESS: 24 – 26 Lilian Fowler Place, Marrickville NSW 2204 Win a giveaway? Mail us a stamped and addressed envelope, and we’ll send your prize on over...

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Mumford & Sons


The worst thing to happen to Sydney since the closure of Australia’s Wonderland was when The xx and Mumford & Sons’ playing times clashed at Laneway a few years ago. It meant that many fans of Mumford missed out on seeing them, and have continued to miss out every day since. Fans take this stuff hard. Marcus Mumford and his tangled family tree (are they actually his sons? There’s no way we’ll ever know...) are making amends with a huge Entertainment Centre show on October 18, which will feature Edward Sharpe And The Magnetic Zeros and Willy Mason. More than that though, they’ll be showing off tracks from their ridiculously anticipated second record, which will be out this September... Tickets on sale Monday July 9 at 9am. Get up early.

tread – and after a sold-out gig at Pablo’s in Epping a few weekends back, they are upping the ante and putting on a special event called Sound/Light/Stone in a gorgeous 1850s church in the city (York Street Anglican Church). They’ll be cramming the stage with sets from Single Twin (Marcus Teague),

Tash Parker (Melbourne songwriter), Jordan Ireland (from The Middle East, doing incredible new solo joints), and Seaworthy + Charge Group (an ambient, organ-driven collaboration). It happens Saturday July 14, and tickets are $17.50 from thegatepresents. com. Play the church organ between sets – they’ll love it!



Twerps’ debut album is one of the finest Australian records released in the past decade: it has the warm chorusy guitar, lazy melodies and inherent Australian-ness that classic records from The Saints (‘80s version, not ‘70s punk version), Paul Kelly and The Triffids et al. possessed in spades. No wonder the record is universally adored by critics and punters alike – even Pitchfork loved it. They are playing their first Sydney show since ruling at SXSW on August 11 at GoodGod Small Club. It’s a while away and no support has been listed yet, but tickets are on sale now, and they will sell out.

I heard a song from Jonathan Wilson’s debut record Gentle Spirit coming out of a jukebox last year, and I assumed it was some old Laurel Canyon folk song written by a singer who was either in love with Joni Mitchell or had recently been dumped by Joni Mitchell. Turns out the record came out just last year – but Wilson has been perfecting that twangy drawl and those serpentine melodies for a while now. He’s getting set to head to Australia for the first time, stopping in at The Standard on September 15 – and although he does rent a house in Laurel Canyon (across the road from Rick Rubin! True!), and hosts loose ‘60s-esque jams with members of Wilco, Bright Eyes and Rilo Kiley, he’s far too young for Joni… Tickets at Moshtix.

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rock music news

free stuff

welcome to the frontline: what’s goin’ on around town... with Nathan Jolly


five things WITH


Rescue Ships

and has become a delicious long con, much like the ones Sawyer from Lost used to carry out. Nathan is the cheekbones one, Rhys is the dreamy-eyed one and James has a robust beard that we all enjoy. I’m Locke. The Music You Make We make power pop. Jangly, with 4. Hanson harmonies. We realised there was no crossover between Blasko’s ‘Perfect Now’, Frenzal’s ‘Never Had So Much Fun’ and ‘Beds Are Burning’ by Midnight Oil, and figured we could fill this gaping hole in the market – so we got producer Rob F Cranny and engineers Jay Whalley and Jim Moginie to record our debut album, and make our lofty dream an indie pop reality. Music, Right Here, Right Now 5. I tend to be a little out of step with what is

Growing Up Inspirations I remember liking that ‘Slice Of Heaven’ I have listened to the first Smith St 1. 2. song, but mostly because of the film Band album about a billion times and I clip with footage from Footrot Flats in it. And ‘Hungry Eyes’, which was from Dirty Dancing. I use to chase my brother around the house trying to bite his eyes. It sounds intense but I assure you it was actually a wonderful childhood memory. My dad liked Culture Club and ABBA, so you can make what you want of that.

really like that. The best album I have heard recently is Attack On Memory by the Cloud Nothings; it’s all melodic and ‘90s and I am really jealous of that band and that record. Oh, and I like Toto, but who doesn’t? Crew Love Parade started as a bit of a joke 3.Your

going on in the Sydney live scene (TV’s good now), but I really like The Laurels and Sures. As far as I’m concerned, the biggest obstacles bands have to overcome are things like getting large amps through small doorways and remembering to not leave your brother’s keyboard stand in the back of a taxi and then having to go buy him a new one and talking the guy from Allan’s down to $20 for a used stock item. I’m sure other bands can relate. It’s the human condition. With: Medicated Youth Where: Green Room Lounge, Enmore When: Friday July 13



Strange city folk and dreary weather getting you down? Tired of squelching home in wet socks, or sharing a bus seat with a mouth breather? Let The Rescue Ships save you from drowning in winter blues with their City Life Tour, supporting their latest single – ‘City Life’ – that celebrates the weird and wonderful aspects of living in the city (and features an excellent moment at 1:42). The musical marriage of Sydney folk veterans Brian Campeau and Elana ‘Sister of Jake’ Stone, The Rescue Ships’ songs are filled with rich accordion and gentle harmonies that will warm the cockles of you heart (and all the other crustaceans that you insist on keeping in your body). To score yourself one of two double passes to their show at The Red Rattler on Friday July 13, tell us what kind of phone Brian is using in the song’s quirky video.


What do you mean you haven’t planned your New Year’s Eve yet? It’s JULY! What are you, some kind of unorganised hermit? You’d better jump on the Peats Ridge Festival ticket presale, which starts at 10am this Monday (yes, the July 2 Monday), because it’s the cheapest way you’ll get the tickets you know you’re going to want once they announce the three-day lineup. If you miss out (and most of you will – these are going to sell out in a snap), we have a double pass to giveaway. For your chance to win it, tell us all about your best New Year’s Eve. Bonus points for nudity, but try not to scandalise us too much. We’re delicate flowers.

my music and created an odyssey of Super Space Dope Funk.” Holy shit, Jack Prest, you had us knitting you a hibernation jumper but before we could even finish the sleeve, you threw “Super Space Dope Funk” at us, and now all we wanna do is dance like nobody is watching... We’ll get a chance to do that when Prest launches his new tune ‘Let You Down’ this Saturday at 338 Kent St, Sydney. Ecstatic Yours Truly, his debut LP, is due later this year.

When I went to school in a pocket of regional Australia known for dead boxing heroes, steam trains and other such delights, anyone who couldn’t hold their liquor was referred to as a “Toucan Sam” (two-can phonetic lols), as if manliness can be directly measured by the amount you spend on alcohol without it affecting you. Toucan, the band, know nothing of this extremely boring backstory however, and cannot be held responsible for the fact you had to endure it. Less so once you hear their new buoyant single ‘Mr Television’, which they are touring in support of Jungle Giants – who are themselves launching their She’s A Riot EP. They both hit Beach Road Hotel on August 22 and GoodGod Small Club on August 25. Go to both shows.

fuck yeah Grinspoon! Regurgitator



Fat As Butter have finally dropped their lineup, and as ever it splits neatly into two categories: rock, and dance/hip hop. Rock, you say? Good Charlotte (those Madden lads from the telly), Grinspoon (play ‘Bad Funk Stripe’, please), Yellowcard (SoCal pop punk with violins!), Wheatus (teenage dirtbags), Mystery Jets (whoosh), Marianas Trench (damn Canadian), Hungry Kids Of Hungary, Pond (incredible), The Rubens, and loads, loads more. The beats lineup is equally impressive, including 360, Yacht Club DJs and Bombs Away, and headlined by Eiffel 65 and N-Trance – which will mean a lot to those of a certain age... Tickets are already on sale; see you September 22 at The Foreshore, Newcastle (for sure).



Alpine have let us know to let you know that their debut album A Is For Alpine (out through Ivy League on August 10) is a lot more fun than you may expect. If the lovely ‘Villages’ was your favourite song of 2011 (one million YouTube visitors cannot be wrong), then this record will offer a wider view, with rock moments, dance moments and loads of harmonies all filtered through the warm, evertasteful production of Dann “I’m in Evermore, guys” Hume. Check out the new sound on August 31 at Oxford Art Factory, with Clubfeet and Georgi Kay in support.


“Listen out to the wind, babe,” is pretty much all Ian Moss has to sing of the classic ‘Bow River’ before a tidal wave of fans rush in

and complete the song for him. We tell you this because Mossy sat atop the first lineup announcement for the Sydney Blues and Roots Festival, which happens October 25-28 in the Hawkesbury region. Others also announced include Charlie Musselwhite (Google him, he has done everything!), our favourite Lanie Lane, Mia Dyson, Ray Beadle, Canadians The Trews, Captain Matchbox Whoopee Band, Backsliders, Chase The Sun, and about twenty other acts. Second round is announced later this month, too; first release tickets are on sale now, and don’t forget to request ‘Tucker’s Daughter.’


“After my quarter-life crisis, I found myself mentally broken and emotionally bankrupt. Left to pick up the pieces, I hurled myself into

So that ‘90s pop revival is in full force at this point – The Real McCoy are pretty much the only dance act yet to announce a reunion tour, although realistically, it’s only a matter of time. There is, however, one bit of ‘90s pop nostalgia that you can get excited about in an entirely non-guilty-pleasure capacity: Regurgitator are reuniting to play two of their classic ‘90s albums back to back. The Retrotech 2012 tour sees the band revisiting Tu Plang and Unit – playing both of them in full, just like in your dreams. The guys are doing this partly to celebrate their 19-year anniversary as a band (perfect milestone), and partly because it’s just a really good idea to play tracks like ‘Polyester Girl’ and ‘Everyday Formula’ again. On a related note, you should all go to YouTube and search for the video of them playing ‘Everyday Formula’ live on Recovery, and marvel at Quan’s lustrous hair.

“I’m a street walkin’ cheetah with a heart full of napalm, I’m a runaway son of the nuclear A-bomb” - IGGY & THE STOOGES 12 :: BRAG :: 466 :: 11:06:12


If you hate vocals, you’ll love Tortoise. The ‘90s prog-post-rock pioneers took a look around at the desolate grunge scene with their nail-gargling vocal attempts and decided to hide all their microphones lest the temptation to rhyme “better man” with “Veddermaaan” ever took hold. We could argue all day about whether they are prog-rock, post-rock, jazz-tinged protorock or just heroes in a half-shell, but with six highly acclaimed records and passionate fans scattered throughout the world, including a handful at BRAG HQ (it’s an HQ, ok?!), you’d better believe we are all pretty excited that the Chicago legends are heading out to play the Hi-Fi on October 11. Tickets are on sale now.



SATURDAY 7TH JUly Spenda C / Go Freek / Emoh Instead / A-Tonez Devola / King Lee / Athson / Brown Bear / Big Slim



friday 13tH JUly



Jeff Drake / fRew / A-ToneZ / RELOAD / Bassriot Def Tonez / king lee / Murray Lake / Mike Hyper




FRIDAY 27th JUly Neon Stereo / A-Tonez / Detektives Donald Crump / Disarmed


SATURDAY 21ST JULY The Mane Thing / Ember / Samrai / Kraymer Whitecat / Raulll / Devola / Athson

SATURDAY 28th JULY J-Trick / The Slips / Spenda C / DJ Moto / MATT Nukewood A-Tonez / Cassette / King Lee / DJ EGGO BRAG :: 469 :: 02:07:12 :: 13

The Music Network

Music Industry News with Christie Eliezer


* In what sounds like an “ouch” moment, US popette Ke$ha tattooed the words ‘Suck It’ on her bottom lip. * They swear it’s true: during a performance of Ziggy: The Songs Of David Bowie at the Dunstan Playhouse in Adelaide, things got so, umm, sensual that a couple did it right there on one of the seats… * Radiohead might postpone their European dates following the crashing of the stage which killed their drum tech. Promoter Chugg Entertainment emphasises that the Australian tour has not been effected. * The Used are banned from performing


With the support of Dendy Newtown, Newtown Neighbourhood Centre is again calling on musicians, singers and filmmakers to enter the Sydneyvision Song Contest 2012. Contestants must submit a video of an original song in which the name of a Sydney suburb features in the lyrics. ‘Do You Know The Way To San Souci’, anyone? ‘Doin’ The Eagle Vale’? ‘Last Train To Forestville’? ‘I See Red(fern)’? But there is one other requirement: to maintain the high cultural standards set by the Eurovision Song Contest which inspired the event, entrants must blow a kiss or wink shamelessly at the camera, or remove a piece of clothing while performing. For contest entry rules visit or email projects@; entries close July 31, and the grand final will be held at Dendy Newtown on August 22.


A US man has filed a lawsuit against Kanye West and Kim Kardashian. He claims the glam couple participated in an “Al-Qaeda secret training camp.” He says they pledged allegiance to the organisation, promised all profits of their careers to it, burned the U.S. flag and stomped on a picture of President Obama before West did a show for them. The plaintiff is Jonathan Lee Riches, which the Guinness Book Of World Records lists as “the world’s most litigious man” (he sued them for that, too), who has filed 5,000 lawsuits during the past five years.


Hermitude signed a worldwide deal with UK-based Regal Parlaphone, home of Lily Allen. Their single ‘Speak Of The Devil’ has been released there, and already been playlisted by the likes of Zane Lowe and Nick Grimshaw on BBC Radio 1. Hermitude did a one-off show in London at Barfly, Camden on the weekend – and in the wake of Australian festival appearances, their HyperParadise album re-entered the ARIA Charts at #48.


Was Jessie J’s biggest hit ‘Domino’ nicked? Californian singer Will Loomis is suing her and her record label, claiming it took a huge portion from his 2008 song ‘Bright Red Chords’. To show their similarity, Loomis uploaded a video to YouTube, placing the vocals from his track with the backing track of ‘Domino’.

in Canada for ten years due to singer Bert McCracken’s criminal record from his teens. The band did some U.S. shows near the Canadian border so Canadian fans could come see them. * Newcastle City Council plans to release a draft policy on small bars and its late night economy by the end of the year. 4000 people have signed a petition demanding a policy more conducive to late night bars. * Jay-Z’s security guys kicked in the door trying to get at Jessie J after she and a girlfriend got locked in the backstage toilet at an open-air festival. * Kill City Creeps’ keyboardplayer Nina B is back from travelling the world; the band is playing its first 'welcome home' show at the Vanguard on August 11.


Canberra nightclub Mooseheads has to shell out $889,000 over an incident in 2011 where a patron got injured while being ejected. Allan Wormald was celebrating his 35th birthday with friends when one of them was told to leave the club. Wormald remonstrated to a bouncer and was also told to leave, at which point he swore at him, according to the ACT Supreme Court. He was marched out of the club at such a brisk pace that he fell down the stairs, and bouncer Steve Vosnakes landed on him. Wormald dislocated his hip, suffered a fractured femur and suffers back and hip pain. Mooseheads owner Caftor argued that Wormald contributed to his own injuries as he was drunk, belligerent, and tried to assault the bouncer.


News Ticketing CEO Adam McArthur has left to set up a start-up in the e-commerce area. Chief operating officer Harley Evans has been named acting CEO. News Ticketing comprises Moshtix and Foxtix, and McArthur expanded the market share and client list of both agencies. Evans, who worked in ticketing at Ticketek and Fulham Football Club, joined News in 2010.


Fenton (Crow): Black N More. Meantime, The Music Network revealed that Kiss’ Destroyer Beer (4.7% alcohol, since you asked), brewed in Sydney, is now available in Perth and Adelaide. Presumably the Swedes will work out there are other cities in Orstrailia as well…


In a blow to the Australian music press, Brisbane weekly Rave closed after 21 years. Publisher Colin Rankin attributed the sudden decision to a drop in advertising. Late last week, Rankin was sussing out the possibility of a new owner taking over. Rave had an online presence, but its low revenue from that prevents it from continuing as a digital-only publication.


Hot-water tap giant Zip Industries has signed on for the third year as sponsor of the music and performing arts event Sydney Festival in January 2013. Zip executive chairman Michael Crouch said he was pleased to be involved in funding and promoting it, “and contribute to Sydney’s reputation in this way.”


The mystery of the 1994 near-fatal shooting of Tupac Shakur in a New York recording studio which launched a coast to coast hip hop feud may have been solved. Tupac accused a drug dealer James Rosemond, aka “Jimmy Henchman”, of being responsible in his song ‘Against All Odds’, before his violent death in Las Vegas in 1996. Rosemond apparently made the admission during an interview over a multi-million dollar cocaine syndicate, which cops held on the proviso that what he said would not be used against him.


Melbourne hip hop label Obese Records has unveiled a new website (www.obeserecords. com) which will host the web-based TV show Obese TV. Set to go launch on Thursday July 28 and hosted by Huw Joseph, it will each month offer behind-the-scenes insights of the label through shop segments, artist interviews, live shows and label news. The new streamlined website also hosts a store, a retail blog, twitter feeds and later music videos, as well as the ten-year anniversary compilation Obesecity 2.

Last Saturday, 2,000 discotheques in Germany went silent for five minutes at 23:55 in protest against German Collection Society GEMA’s rise in music performance fees. The discotheques say that a 1400% rise in fees from 2013 will force many to close down or increase admission charges. They predict a loss of 100,000 jobs and a rise in illegal outdoor raves. GEMA sniffs that it is asking for 10% of admission charges, a standard rate through most European countries. The venues are now paying 30 or 40 euros a day for music to play all night.




Front End Loader have teamed with Young Henry’s Brewery to release an “evil” 6.66% pale ale: Fresh Six. The band shamelessly call it “a dream come true, a career high… and it absolutely shits all over winning an ARIA.” Young Henry’s is a local brewery run by Richard Adamson (Blue Phoenix) and Oscar McMahon (Hell City Glamours) – and they have another collaboration with Peter

In a major rebranding, Sydney’s first FM stereo radio station 2MBS-FM will change its name after 40 years: it becomes Fine Music 102.5 from this week. The new name reflects its classical and jazz playlist. The rebranding came after a 2010 McNair research study showed that its listeners were much younger than they thought (40% of them are aged 25 to 39). The rebranding includes a new logo, website, social media channels and, later this year, the opening of a new studio.

The PanelPicker interface is a new initiative from South by Southwest (SxSW) to allow the public to have a significant input to programming the various panels for the music, film and interactive conference (March 8—17 in Austin, Texas). You have until July 20 to submit proposals via panelpicker.sxsw. com; the SxSW community will vote on which proposals are good between August 13–31.


Hospitalised: R. Kelly, midway through interviews for his new memoir SoulaCoaster, for complications due to surgery on his vocal chords last year. Hospitalised: Pete Doherty checked into The Cabin Chiang Mai rehab centre in Thailand to beat his smack and crack coke addiction for good. Hospitalised: 50 Cent has been released after undergoing tests on his neck and back following a horrific car crash in New York. Injured: Michael Cini of Melbourne band Money For Rope broke his arm during a spectacular tackle at the Reclink Community Cup. Injured: Athol Guy, double bassist with The Seekers, received 12 stitches to his forehead and was treated for shock after a car slammed into the back of his car when he pulled off to take a phone call. Suing: US basketballer Tony Parker of the San Antonio Spurs is hitting the New York club where Chris Brown and Drake fought over Rhianna for $20 million, saying he suffered eye injuries during the dust-up. In Court: Anthrax settled their lawsuit with former singer Dan Nelson, who sued for $2.65 million in damages after they reunited with Joey Belladonna. He’ll get cash and royalties for some tracks from their album together. In Court: UK boy band One Direction are counter-suing the US band with the same name, accusing them of cybersquatting and unfair competition. In Court: Flo Rida has to pay $7,000 to his former personal assistant Mahogany Miller. She says he paid her a measly $3.08 an hour, and sacked her when she complained. Flo didn’t respond to the suit in time, and told the judge the papers were wrongly sent to some woman called Stephany Nelson whom he didn’t know, at the wrong address. Turned out she worked for him, and the judge sussed that he was being lied to.


Matt Corby’s Into The Flame EP has been certified four times Platinum, in the wake of a sell-out national theatre tour which sold 15,000 tickets in just a few days. The EP’s lead track ‘Brother’, which has exceeded two million streaming views on YouTube, is starting to break in Europe.

Over the next few months in Sydney, we’ll be installing new equipment which is designed to bring you a better experience than ever before from Vodafone and to prepare for 4G. If you are a Vodafone customer there is likely to be some disruption to your service. However, we’ll mostly be working throughout the night between 11pm and 8am to minimise any inconvenience. We apologise sincerely for any inconvenience. If you have any queries or experience any issues please visit or call us on 1300 650 410.

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VBRA VBRA0013 A00 0013 13/BM/ / /NSW/ /BM SW/ W//1/4

Vodafone’s new network is rolling through your area now




Thu 11 Oct


Regurgitator plays Unit & Tu Plang


Sat 29 Sep

The Living End Thu 12 July Fri 13 July 2


21 - 27 Nov Show Added


Say Anything

Thu 26 July

Sat 14 July

Fri 17 Aug

Se llin g


Fa st

w/ The Getaway Plan

Fa st

Sat 7 July 18 + Sold Out Sun 8 July All AGES

Seven Shows in a row One Album per Night


Se llin g

Hardcore 2012


Sat 18 Aug

House Vs Hurricane

Dilf Party – The Suit




Sat 4 Aug

Sat 28 July

Sat 25 Aug

Fri 31 Aug

w/ Psycroptic



Russian Circles


District 7 Fest

Fri 12 Oct

Fa st

Sat 6 Oct

Sat 15 Sep

Se llin g

Sat 1 Sep

Thu 13 Sep

Sat 27 Oct

So ld O ut

Dream On Dreamer

Fri 21 Sep

Leb I Sol Sat 3 Nov


BRAG :: 469 :: 02:07:12 :: 15


Rewriting His Story By Lachlan Kanoniuk

made. I feel like I can bare my soul a lot more than I can touring with a 19-piece crew and a six-piece band. It allows me to feel really connected to my music again.” As you would expect, the acoustic setting exposes hidden meanings that are tucked into Wolf’s extensive back-catalogue. “Sometimes in production and packaging and with music videos, people are distracted by all these layers and can’t really hear what I actually do. That’s fine, it’s just that people can sometimes only take one piece of information at a time,” he says. “For this [tour], I can literally recompose the song on the spot and focus on what I feel – whether it be something in the newspapers, a letter from a fan. I take requests from Twitter and Facebook while we’re there; it’s about forgetting about the theatre of it, forgetting about rehearsals, and just becoming a vessel for the audience for two hours. It’s a bit like being possessed by past work and with what people want from you that night. Some messages really come to the forefront, and it’s just a time to forget about the rest of it.” Buoyed by a distinctly erudite perception of his career to date, Wolf offers metaphors of bereavement and graduation when reflecting on the narrative that led to where he is today. “I think that I rationalise it by seeing [the first ten years] as my ‘training’ time. These are my stabilising years – I’ve managed to come out of those ten years with a few nervous breakdowns and a couple of bad habits. But I’ve managed to knock it all on the head and overcome public aggression,” Wolf explains. “I had a moment of egomania, a moment of manic depression, and I’ve gone through spats with journalists and pop stars – just making a fool of myself publicly. Then I get to 28 and all I want to do is just forget about all that stuff and just focus on my work – which is what I’m doing now, to re-hone my craft… Unfortunately, or fortunately, I’ve left a bit of a destructive trail behind me, and now’s my time to reassess that before I move on. I feel like I’ve been in university and now is my time to graduate and really take control of what I do, [with] a better understanding of the music industry and the world as a whole. I’m just starting. This album that is coming out with this tour is just me putting a gravestone on what has happened before. I can look at it and enjoy it, but I’m still forgetting the past and moving on into the future.”


hough a relative veteran of the music industry, Patrick Wolf is still a young man in most of the world’s eyes. 2012 marks the tenth anniversary of the UK singersongwriter’s recording career, and presents a resolute conclusion to a somewhat turbulent formative epoch. In many ways, Wolf is a survivor. At 28 years of age, he has conquered the morbid construct that is the ‘27 club’, all the while managing to rise above the follies of the oft-rabid British press. As it turns out, surviving is what Wolf does best. “When I was 12 I fell out of a coach on a motorway in Belgium with one other choirboy, and everything changed from then on. I survived that moment, and then I survived a period of bullying. But at the end

of the day it’s not just survival instincts – you have to toughen up,” he says. “If you want to do something original, or if you’re going to put yourself in a place of ridicule from those people, then it’s going to help you later on in life. If you’re experiencing it all throughout your 20s – trying to straddle some ground between the underground without compromising to the mainstream – you may as well be wearing a t-shirt saying ‘asking for it’. You have to realise you’re wearing that t-shirt, and be proud of it. I have regrets, but they’re the things most people wouldn’t think I’d be regretful for.” It’s a reflective age for Wolf, one that will be articulated by a stripped-back acoustic tour and a complementary full-length record. Touring without a full band allows him to get

“I’m totally dissatisfied with everything in my life, but that’s something between me and my psychiatrist... I think life is about being dissatisfied and continuing – otherwise you’re dead in your heart.”

back to basics – but at the same time, it is a testament to how far he’s come as an artist. “This whole [tour] is about this year being the ten-year anniversary of the release of my first EP. Back then I used to have no money and just go busking with an accordion on the bridges in London. I didn’t really have the idea that I would ever have a band; I would just take whatever instruments I could carry to different places around England. Then I’d be invited to places overseas, and I’d just bring a suitcase full of portable instruments. “I guess this tour is quite cyclical, going back and readdressing the way I want to move forward in the future,” he continues. “The first ever show I did like this was actually in Sydney in 2007, when I couldn’t afford to bring the band over. So I booked a little show and went back to how I started off communicating: no computers, no record company, nobody breathing down my neck. All the pressure’s off: it’s just me and 200 people a night. It gives me a chance to go through the back-catalogue, of which there are five albums of work. I don’t have a setlist, I don’t think about it – it’s just a recital from the bottom of my heart. I talk about the stories of the songs, how they were

As for his next album, the follow-up to last year’s Lupercalia, Wolf reveals that it will be a revisionist retrospective of sorts, subverting the notion of the Greatest Hits package. It’s basically all from his catalogue, he says, but the old songs have been rewritten. “It came from doing these acoustic shows, when I sat at the piano and forgot about what it sounded like on record or with a band… New lyrics would come up, some of them retrospective or things I was too scared to say at the time. Some lyrics feel wrong, like ‘Hard Times’ – I’ve rewritten that, as I feel the message is screwed up with that song, promoting aggression rather than resolution. So I’m readdressing and rewriting the back catalogue. I’m not really choosing the most obvious songs for the record. I think it came from the notion that after ten years you do a Greatest Hits – but I don’t have any hits,” Wolf smiles. “So I thought it was better to readdress the back catalogue as sort of a songbook.” Where: The Studio, Sydney Opera House When: Saturday September 8 (sold out), Sunday September 9 (on sale now)

“Raw power is a guaranteed O.D. Raw power is laughin’ at you and me” - IGGY & THE STOOGES 16 :: BRAG :: 469 :: 02:07:12


For an artist so accomplished, Wolf still projects an endearing level of selfdeprecation. “I do have days where I have no motivation,” he says. “It comes from an overwhelming feeling that I haven’t achieved anything with my life – a crippling feeling that I’m sure everyone in the world feels, no matter what they’re doing with their life. You have this driving ambition, and no matter how hard you flex that muscle of ambition, sometimes you just end up with disappointment. I’m not talking about money, career or chart positions; I’m talking about artistically. That’s a wonderful feeling as well, because it gets you out of bed and into the world to keep on creating. I’m totally dissatisfied with everything in my life, but that’s something between me and my psychiatrist, I guess,” he laughs. “It’s something most people feel, and you just have to utilise the feeling to do greater things with your life. When I’m lying on my deathbed I’ll be saying, ‘I still want to make that one more album, I still need to make something from the bottom of my heart’. I think life is about being dissatisfied and continuing, otherwise you’re dead in your heart.”













BROWN HORN ORCHESTRA + THE MYTYâ&#x20AC;&#x2122;S )3<,:-96474




WORDLIFE. + Dysphemic & Miss Eliza (Melb) ELEFANT TRAKS


SKYâ&#x20AC;&#x2122;HIGH. + Dj Morgs (Thundamentals)


BRAG :: 469 :: 02:07:12 :: 17

Bob Dylan Night A 50th Anniversary Concert By Hugh Robertson


y favourite Bob Dylan story doesn’t actually involve Bob Dylan. Well, not directly. The year is 1963, and The Freewheelin’ Bob Dylan has just come out. Ahmet Ertegun and Otis Redding – in some versions of the story it’s Berry Gordy and Marvin Gaye at Motown, or Isaac Hayes and Booker T. Jones at Stax – are sitting in the office at Atlantic Records, listening to Dylan’s new record. Otis/Marvin/Isaac isn’t feeling it. “Don’t you get it?” asks Ertegun/Gordy/Jones. “You don’t have to be a great singer anymore if you can write songs!” I first heard that when I was about fourteen, and it blew my mind – because the ‘50s and early ‘60s were all about great singers, and nobody paid much attention to the songwriters. But almost overnight Dylan changed the whole game, and ever since songwriters have been elevated above singers as more ‘authentic’, more ‘genuine’, more deserving of our praise. 50 years since his first album, Dylan’s cultural cache has never been greater. He has won 11 Grammys, an Oscar and a Pulitzer Prize, and been inducted into the Rock and Roll Hall of

Fame, the Songwriters Hall of Fame and the Nashville Songwriters Hall of Fame, and just this year was awarded the Presidential Medal of Freedom – the highest possible honour for an American civilian. I mention this not to establish Dylan’s bona fides. I mention this because next month, Josh Pyke, Holly Throsby, Patience Hodgson, Kav Temperley and Kevin Mitchell are all going to get up on stage and sing Dylan’s songs – and a couple of them are slightly awestruck at the idea. “I’m terrified! And I haven’t even been to the Opera House before, so the whole thing is really intimidating,” says Hodgson. “And there are so many bloody lyrics to remember. I’m wondering whether anyone will notice if we sneak an autocue in...” Josh Pyke’s feeling the pressure, too: “It is slightly intimidating, in that there’s a lot of lyrics to remember,” he says. “But it’s actually really beautiful playing the songs because they are so amazing, and you get to get inside them a little more when you’re learning how to play them.” It’s always fascinating asking songwriters about their history with The Bob. He looms so large over popular culture that it’s almost impossible not to have an opinion on him, especially if you’re a songwriter in that confessional, acoustic, folky sort of style – as almost all of the musicians involved in this concert are. But occasionally, you do get thrown a curveball, like this one from Pyke: “I grew up with Dylan in the background of my subconscious, because my dad is a massive fan. But I wasn’t that into it as a kid – I was really into punk and metal, and that confessional singer-songwriter thing wasn’t really floating my boat,” he says. “But I worked in a record store for about ten years, and around the time the Scorsese doco [No Direction Home, 2005] came out we all went on a Dylan bender, and it really cemented how great he was. And that was the tipping point for me to start getting into him and exploring the myth of Dylan as a person, let alone as an amazing singer-songwriter.” The ‘myth’ of Dylan is almost as important as his music, and has been throughout his career. Born Robert Zimmerman in Minnesota, he moved to New York in 1961 and created the persona of ‘Bob Dylan’, a wandering minstrel in the tradition of Woody Guthrie, seemingly belonging to a bygone era. Many have pointed to his creation of the persona as inauthentic or fake, and it is. Unquestionably. But really, doesn’t it make the music even more remarkable to know that it was so studied? That this particular style wasn’t the natural inclination of Robert Zimmerman, but after burying himself in the work of an earlier generation of country and folk musicians, he was able to reinterpret their traditions for an entirely new world? It’s pretty badass, really. Don Letts, a key figure in the British punk movement, always argues that Dylan is one of a long line of people who were promoting a ‘punk’ ethos long before it was applied to a style of music. And Hodgson certainly sees that attitude in Dylan’s life and music. “A lot of the folky, singer-songwriter stuff is different to what I normally do,” says Hodgson, best known as the irrepressible ball of energy at the front of The Grates. “But Dylan can be so punk at times – he’s always done whatever he wants, regardless of what anyone else thought. I think that’s pretty fucking cool.”


It’s something that Holly Throsby – not known for her punk ethos – notices too. “That’s the one thing that stands out for me,” she says. “I think you get an impression that he doesn’t give a shit, even though he obviously does. You get this impression that it’s all coming out of his mind in a really unfettered way.” And when playing his songs live, that attitude and philosophy in Dylan’s work makes it easier for performers to take a chance on something. Even if it’s a total disaster, says Pyke, you know that Dylan would prefer a spectacular failure to someone just impersonating the record: “He doesn’t compromise on what he wants to do,” Pyke says. “And doesn’t consider the album’s version to be the definitive version of the song. I really like that, and I think most Dylan fans do get that: for him, it’s more about the construction of the song than the delivery or the recording. It’s more about what he’s presenting in the song, or – I hate using the word ‘journey’, but it’s more about the journey that happens within the song.” What: Bob Dylan Night – 50th Anniversary Concert With: Kav Temperley (Eskimo Joe), Josh Pyke, Holly Throsby, Patience Hodgson (The Grates), Kevin Mitchell (Jebediah, Bob Evans) Where: Concert Hall, Sydney Opera House When: Sunday July 8

The Dandy Warhols Highs And Lows By Miki McLay


long time ago, we used to be friends, but we haven’t heard much from The Dandy Warhols in the last five years. Although the silence was interrupted by a brief Australian tour last year, their latest release This Machine has been a long time coming. Reaching rock icon status with anthems like ‘Bohemian Like You’, ‘Not If You Were The Last Junkie On Earth’ and ‘We Used To Be Friends’, the Portland-based four-piece are returning to Australia this year to join the lineup of Harvest Festival – but they want to clear up a few things first. This Machine is a decisive step into new territory for The Dandys, more melancholic and strippedback than a lot of their previous work – but frontman Courtney Taylor-Taylor takes issue with claims that it marks a radical change for the group. “We always go into the studio needing to experiment with the sound we’re making,” he points out. “I don’t think it’s a darker record, like some have said – there are just less zingy moments to it. Certainly there’s nothing on this record darker than the song ‘Sleep’ (Thirteen Tales From Urban Bohemia, 2000), you know?” he continues. “I like The Who and a lot of ’60s stuff... it gets confused with being bright and cheerful, which it’s not. I mean, ‘Not If You Were The Last Junkie On Earth’ is about my girlfriend of three and a half years basically becoming a junkie in one weekend and going down that path, becoming, basically, a crack ho. It’s not cheerful; it’s really cynical. Historically, I think there’s been a lot of confusion around my band.”

already. “You have to re-approach it, and it takes a bit,” Taylor-Taylor explains. “We tried playing songs from it a couple of years ago – in Australia, actually – and that helped. We started to really focus on what parts of this are the thing; how to handle it, and get the most depth and emotional power and beauty out of it. It’s amazing. [This Machine] fits seamlessly with the rest of our songs, but we don’t know how many people there are gonna be fans of us, or give a shit about our new record. At some level, you have to give the people there what they want: ‘Godless’. ‘Bohemian Like You’. ‘You Were The Last High’. We’ll only play a couple of songs from the latest record, just so we can go, ‘Look, this is fucking amazing, it’s our new record. Buy it.’” What: This Machine is out now on The End Records, through Inertia With: Beck, Sigur Ros, Grizzly Bear, Ben Folds Five, Mike Pattton’s Mondo Cane, Beirut, Cake, Santigold and loads more. Where: Harvest Festival @ Parramatta Park When: Saturday November 17

This Machine may represent a newer, “less zingy” sound for the band, but the name of the album itself has been with Taylor-Taylor for over a decade. “Woody Guthrie had a sticker that said ‘this machine kills fascists’ on his guitar,” he explains. “And I dunno, thirteen years ago I put one on mine that said ‘this machine’. It’s been there forever and it started feeling really appropriate for this record. At first just because we’ve been together for so long; what a strange machine we are. As we went along living with it, it really just became [about] ‘what isn’t ‘this machine’?’ What on earth does it not apply to? A sky? The stars? People have fucked up ideas. The army... I mean, it just applies to everything.”

“‘...The Last Junkie On Earth’ is about my girlfriend of three and a half years basically becoming a junkie in one weekend. It’s not cheerful; it’s really cynical. I think there’s been a lot of confusion around my band.”

The Dandy Warhols photo by Eliot Hazel

Taylor-Taylor’s irreverent and witty lyrics have referenced the work of writers from Friedrich Nietzsche to Kurt Vonnegut in the past, and literature remains a major interest of his to this day. He has a graphic novel under his belt called One Model Nation (which Keanu Reeves, of all people, gave him a hand with), and the press notes for This Machine were carefully authored by novelist Richard Morgan. “I love books,” Taylor-Taylor says simply. “[I have] for an entire grown man’s lifetime, so I’d imagine it’s pretty heavily influential. Also because I didn’t grow up being a songwriter – I inherited this job because people talked me into it, really. So there isn’t a history of being in highschool and sitting and trying to imitate poets or songwriters; I was drawn into it in my twenties. “It’s hard to say, even,” he continues. “I don’t even feel like I write my songs – I feel like I work with someone else: Miles Zuniga, David J, anyone I’ve ever worked with. It’s a great relief to have them both writing songs. I’m not a prolific songwriter; If I had to write all the songs on this record, it would have taken another two or three years. By myself, I have to wait for them to happen to me – I don’t sit down and write them. And then I’m really dealing with my subconscious, so I don’t know how literature, art and things [influence my songs]. It comes out, it’s how I feel about certain situations; it’s something I can’t get off my mind, something I need to work out emotionally for myself. That’s the part music plays in my life.” Harvest Festival’s run of dates in November will give fans a chance to catch the band in action, with their brand new album in tow – but although it was only just released, This Machine’s music has received a solid live workout in Australia BRAG :: 469 :: 02:07:12 :: 19

The Night Terrors Theremin Theory By Lachlan Kanoniuk


or most of their near decade-long existence, The Night Terrors looked destined to nestle perennially ahead of their times. The dark synth lines that defined their body of work didn’t exactly fall in line with what was then a guitar-dominated Australian musical landscape, but the Melbourne band garnered a fervent following nonetheless. After discovering a bevy of likeminded contemporaries

through Europe, the band returned home to work on their sophomore LP, the first taste of which comes in the form of double A-side 12-inch, ‘Monster’ / ‘Lasers For Eyes’. As the band prepare to launch the single with an East Coast tour, thereminist Miles Brown recounts the band’s evolutionary process. “We were very much a weird little prog band for a long time,” he says. “We’ve been in the band a long time and had a lot of people come in and out of it, and every time that happens things change a little bit. The [last] album [Back To Zero, 2009] took us around the world a few times, and we managed to meet some of our heroes and all that fun stuff. Just being in other towns and listening to other music is how we evolved in a more electronic direction. We also just got better at using our gear.” Unlike many of their peers, digital programming still hasn’t found its way into The Night Terrors’ musical philosophy. “The [forthcoming] album

doesn’t have any MIDI on it at all; it’s entirely old-school sequencing. I definitely prefer the sound of organic things,” Miles says. Calling Night Terrors “a rock band with electronic elements”, he clarifies that they’re not really analogue purists: “There is a lot of great electronic music that’s made with computers, but we come from a background that is so much more punk that it’s natural for us to play with bits of gear rather than computer programs.” For The Night Terrors, presenting that captivating mix of moods – a human element that runs alongside cold, otherworldly distance – is the prominent employment of a nonstandard instrument: the theremin. “Apparently it’s the second-hardest instrument in the world – the harp is the hardest,” Miles says. Upon first listen to the single ‘Monster’, it’s difficult to distinguish whether a theremin or an operatic falsetto is producing the soaring tones; it’s an impressive sound which Miles honed with one of the masters. “I went and studied with Lydia Kavana, who is the grandniece of Léon Theremin. She’s the world’s best classical theremin player, and has been on the Ed Wood soundtrack and done other Hollywood work. I taught myself then spent a couple of months with her, then played a theremin festival in Germany with her. “Most theremin players who are really

good – and there are some incredible ones – mostly play classical or new music kind of areas. There aren’t too many people doing it successfully in the rock context,” Miles explains. Making it harder, the actual instrument is really the player’s body. “It’s quite a fallible thing – you can hear the person’s mood, how much sleep they’ve had. It’s very sensitive to all that stuff, which is a bit perilous when you’re on tour. But that’s part of it. I spent a lot of time worrying that it was so sensitive to all of that and it was making the shows a little bit unpredictable, but that’s what’s cool about it as well. It’s a bit of a tightrope act.” Expect to hear plenty more theremin on The Night Terrors’ forthcoming full-length, which we can expect to drop some time this year. “It’s completely finished. We recorded it last year and got Tony Espie to mix it – he did Since I Left You by The Avalanches and worked with Cut Copy,” Miles says. “The way it turned out was a lot more psychotic and aggressive than we thought it would be, which is quite interesting. There’s a lot less of the slow, pretty stuff that was on the last record and a lot more of this dance-y stuff. I’m interested to see the response.” With: Forces, Null Object, DJ Kirin J Callinan Where: FBi Social, Kings Cross Hotel When: Friday July 6

The Offspring Original Pranksters By Laurence Rosier Staines

“When we grew up, obviously we were really into punk rock,” Dexter says. “The Ramones, Sex Pistols, Dead Kennedys… But there was this band called TSOL – True Sounds Of Liberty. They were kind of a seminal punk rock band in Orange County that never became super-famous, but it was something we really got into. It was the band that made us go, ‘We have to start a band now.’” It was a decision that came naturally, and Dexter recalls a few defining moments after making it: “I remember being in a band and after a week straight of travelling around, I thought, ‘Hey, I really am in a band for a living now!’ …Of course no one was watching us,” he laughs. “So another moment was the Big Day Out [1995] in Australia – all of a sudden there were these huge crowds, and we thought, ‘Wow, this is really happening for us now.’” Their new album includes ‘Dirty Magic’, a reprise of the best song on their second album, Ignition. Twenty years on from that record, are The Offspring raking over their history a little self-consciously? “I don’t think it’s that thoughtout, actually,” Dexter answers. “That song isn’t really known by our wider audience, so we put

it on this record and tried to make it sound a little better.” But along with paying homage to their past comes a contentment to do what they do best: probable single ‘OC Guns’ is a combination of novelty Spanish, reggae riffs and mariachi horns that’s so Offspring-esque it’s almost strange they hadn’t made it already. “With ‘OC Guns’ we had a reggae riff, added drums, tried to turn it into a song, kept building and said, ‘What about this mariachi horn bit?’ We’d never heard anyone try to combine reggae with mariachi before, but it worked out and we were stoked when it was finished.” Ultimately, the band just don’t take anything seriously – epitomised by their gleeful enraging of Axl Rose when they pretended to steal the name of Guns n’ Roses’ repeatedly-delayed record, Chinese Democracy. The Offspring’s 2003 album title was announced on April 1 (note the date) as Chinese Democracy (You Snooze, You Lose). “It’s always easier to make up jokey names for albums, like Offspring VII or Offspring Bloody Offspring, than real ones,” Dexter says, “and when someone suggested Chinese Democracy, we cracked up. I don’t know those Gn’R guys, but they weren’t happy about it,” he laughs. Almost 30 years old, The Offspring have lost a few travellers – like long-time drummer Ron Welty nearly a decade ago, and Chris Higgins, the backup singer/guitarist/percussionist best known for his “Gotta keep ‘em separated” refrain. “He was a high school buddy who just gradually started doing stuff [with us],” Dexter explains. “But sometimes you just get tired of being on the road. He just didn’t want that kinda life anymore.” Does Dexter? “It can be a strain for me, for sure,” he replies, “but we know when to take breaks. Gotta take time to recharge.” What: Days Go By is out now through Sony

The Tea Party photo by Kate Nutt


f your adolescence didn’t include The Offspring in some way, your parents probably didn’t let you watch Video Hits. The California punks responsible for ‘Pretty Fly For A White Guy’, ‘Why Don’t You Get A Job’, ‘Original Prankster’ and ‘Self Esteem’ pretty much wrote the blueprint for post-grunge novelty megahits in the ‘90s and early ‘00s (as well as following the blueprint of very goddamn well-paced punk albums) – and, remarkable though it may seem, they’re still making pretty cool songs for a 15-year-old you. I spoke to the blonde, spikeyhaired frontman Dexter Holland about the band’s history on the eve of the release of their new album, Days Go By.

The Tea Party Heaven Coming Down (Under) By Rick Warner


e’re not a ‘90s band,” Jeff Martin explains in his rich baritone, as The Tea Party sit amongst the last splashes of afternoon sun. On the verge of their first Australian tour in almost a decade, the band is going to great lengths to explain their continued popularity throughout their sevenyear hiatus. “There’s not another rock band around like us. This is the big exotic thing,” he explains. “It transcends those time barriers. It’s timeless music.” Rewind back to 2005 however, and things weren’t so chipper. After a 15-year career and seven albums, an abrupt break-up sent the lead singer on a sabbatical across continents pursuing a solo career; drummer Jeff Burrows became a radio jock, while bassist Stuart Chatwood ended up creating the music for the Prince Of Persia video game series (selling ten million units and counting, he says). But like many bands before them, the calls from promoters didn’t stop. Every summer their manager was inundated with reformation requests; for six years it didn’t matter, and then in 2010, it all changed. “It was just sort of like telepathic thoughts, like all three of us just felt, ‘OK, seven years...’,” Martin explains. “We got the phone call from the agents and it just felt right to do it right now; let the past be in the past. We got back together in a rehearsal room in June 2010, played ‘The River’, and it was just like BANG!” From the opening chords of that one song, the band knew they had unearthed something that had lain dormant for too long. Their first reformation tour was in their home country of Canada. “We had grown men crying,” Martin laughs. “For a lot of people, The Tea Party records are like soundtracks of their lives. It’s very passionate, the response that we get.” But although the adoration of the fans hasn’t changed, the bandmembers themselves

certainly feel like they have. “The band is more powerful now than it was at its height. So the time away did us a lot of good,” Martin says. “It’s the musicianship, or the confidence, or the fact that we’ve all gone through different experiences over these seven years – it made the bond somehow stronger when we got back together.” It’s this new-found vitality and focus that the band will bring back to Australia this month. They’ve always had an affinity with the country, visiting our shores more frequently than most in their career, and it hasn’t gone unnoticed by the band. “There’s a really educated listenership in Australia. I think it starts with triple j and 3RRR, who get people at an early age,” says Burrows. Stu Chatwood elaborates further: “There’s a level of spirituality [in Australia] where music means more than just background noise. In the end, we go where we’re wanted. We never forced ourselves onto Australia ever. Like, as soon as the last date [of the last tour], promoters were like, ‘When are you coming back?’” The reformation tour is the first that The Tea Party will play where they won’t be touring a new album – meaning the band will be able to focus on their back catalogue, appraising each song at its merit. “I think it might be one of the fullest, roundest shows we’ve done,” Chatwood says. “It’s a nice way to re-introduce the band,” Martin adds. “It’ll be quite familiar for the people that have followed us, and hopefully it’ll reignite their passion for the band. Then, there are quite a few younger kids getting into us. It’s truly great to see. It’ll definitely be a Tea Party fan’s dream show.” What: Australia 2012: The Live Double Album will be out in September Where: Hordern Pavilion When: Saturday July 21

“Gimme danger little stranger and I feel with you at ease. Gimme danger, little stranger and I feel your disease” ” - IGGY & THE STOOGES 20 :: BRAG :: 469 :: 02:07:12

Hanson Don’t Call It A Comeback By Caitlin Welsh


’m on the phone with Taylor Hanson. I am a capable, experienced music journalist with an ABN and mild tinnitus to prove it, but I was still slightly worried that my highly-strung tween self would erupt in a shower of butterfly clips and TV Hits lyric cards to fawn over my flaxenhaired one-time idol. (This doesn’t come to pass – I expect she’s fainted.) At 29, he’s been in his band for nearly twenty years; a veteran of chart domination, major label strife, Beatlemania-style crowds, and the hard slog at the coalface of running your own label. He has a short back and sides, facial hair, and four kids (plus another on the way). If you haven’t been checking in on Taylor, Ike and Zac over the years, you’ve missed five albums; sweet, surprisingly great pop singles like ‘Penny & Me’ and ‘If Only’; and tongue-incheek covers of Slipknot’s ‘Wait & Bleed’ and Infant Sorrow’s ‘Furry Walls’. Hanson are playing nine shows around Australia this September, including two in Sydney, of which one has sold out. A lot of lazy news writers have lumped this in with the inexplicable tours by S Club and Big Brovaz, or N-Trance and Eiffel 65, as a big old ‘90s-nostalgia cash-in. Taylor is neither surprised nor particular ruffled by such accusations. “Well, we are a band that came out of the ‘90s,” he says mildly. “But I think it’s pretty fair to say that most of these bands are doing ‘comeback’ tours, or ‘reuniting’ tours. With us, that’s not the case – we’ve made records and have toured for the last 15 years… It does happen that there’s been the right amount of time for people to get nostalgic for the previous era, but for us it’s been a continuous build.”

to survive success. Say you put out a business, or a record, and it doesn’t work – nobody knows that it didn’t work, that it wasn’t a hit, or wasn’t successful. But if you really do succeed with something, then you have to continue to be that, and live that, so it had better be something you really like. And for us, it was, so that made it really easy. But for somebody like Justin Bieber, or anybody who has huge success early, I hope it’s music that they wanna do. If he doesn’t feel authorship on a song like ‘Baby’, then it will be frustrating for him fifteen years down the line.” Yes, Taylor Hanson really is this grounded. The rock star only comes out when I mention Bieber’s chrome-wrapped Fisker Karma and ask if, as a teenage millionaire, he ever gave in to the urge to splurge. “No, we didn’t,” he laughs, before getting serious for a moment: “I mean, on a taste level, I’m not a huge fan of the chrome wrap. I’m just too snooty for it. I would much prefer a Maserati, a matte finish, brown leather – that’s my style.” Where: The Hi-Fi / The Enmore Theatre When: Saturday September 15 (sold out) / Sunday September 16 (all-ages)

“I think it’s hard to survive success... If Justin Bieber doesn’t feel authorship on a song like ‘Baby’, then it will be frustrating for him fifteen years down the line.” Most people will still remember Hanson as “the MMMBop guys” (or “the ones that look like chicks hurr hurr”) – and Taylor’s well and truly at peace with the idea of playing a song he wrote at 13 forever. “Does it bother me? No. But it is part of the package,” he explains. “We were a garage band. Those were songs we banged out, and dreamed that one day people would know – and then you turn around and realise that millions of people love a song that you wrote in your garage. So I guess it’s just a double-edged deal. I realised a long time ago that getting frustrated with people knowing certain songs was just pointless... I don’t think any band gets into making records saying, ‘We want to do decently well’,” he continues. “Everybody wants to conquer the world, everybody wants to have influence over people and have hit records… And the first record was a completely rare situation, to have that kind of over-the-top success.”


Selling 10 million copies of your Dust Brothersproduced debut album before you’ve finished high school (or even puberty – 12-year-old Zac is still the youngest Grammy-nominated songwriter ever) certainly has its advantages, even if you never quite hit those heights again. Apart from setting Hanson up with loyal fanbases all over the world, it gave them the financial security to bail on their obstructive major label, start their own (3CG Records), and pursue the RnB-inflected songwriting style they preferred. On their most recent record, 2010’s Shout It Out, they worked with Funk Brothers bassist Bob Babbitt, who played on ‘Signed, Sealed Delivered’, ‘Tears Of A Clown’, ‘War’ and over 200 other Top 40 hits. “The truth is we’ve always been music nerds – and that was the only reason we ever did this,” says Taylor. “One of the best things, aside from Bob’s amazing skills as a player – and he really has an incredible touch, and has played on so many classic records – was sitting around and just talking about sessions he did: talking about being with Little Stevie Wonder, when Stevie Wonder was 16 years old; Marvin Gaye, on and on. And the things that people think we would be excited about – stardom, flying in private planes, crazy rock star stuff – that’s fun, but the stuff we really get over-the-top about is sitting with people that you really have that awe for.” So Taylor much prefers actually making music to being the Bieber or Jonas Brothers of 1997? “I don’t sit around – and none of us do – saying, ‘Man, those were the days!’” he says with an audible grin. Later, he offers an insight into what lies ahead for a former teen idol: “I think it’s hard BRAG :: 469 :: 02:07:12 :: 21

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five minutes WITH NATH VALVO

Have you ever had to endure an excruciating walk of shame yourself? Is there a dignified way to do that? I have done so many walks of shame that I am campaigning to the he Olympic Committee to make ke it an official sport. The amount unt of experience I have in thiss specialised event would assure another gold medall for Australia. As for the dignity… Walk with your head ead held high – another human n just agreed to have sex with th you! Congratulations!

How did you get your start in comedy? When I first left high school, two mates and h I started a show sho called The Shambles. We did some community TV. After that, we did some live shows for the so Melbourne Comedy Festival. It was Co really fun, and then I had my Beyoncé moment and decided to go solo. The other two, two much like Michelle and Kelly Kell from Destiny’s Child, now n have jobs at Subway. A lot of stand-ups say that they use their comedy as a form of therapy – how about you? Absolutely! When the shit stuff happens, like getting fired or getting shot down by a hottie s on the dancefloor, it does help he to think, ‘At least this is good goo material for my next show’ sho . I fell in love once and that guy broke my heart. I was devastated until I jumped d on stage sta telling strangers in comedy clubs how much of a prick he was – not everyone has that luxury! luxu I’ve heard you say that you once lost a job for not being ‘gay enough’ – what’s the story there? w Just to be cle clear, it was the decision of one person that got me fired from Joy FM for not being ‘gay enough’ –

the other 99% of people who volunteer there are legends. I have Kylie Minogue’s signature tattooed on my forearm, so that makes me a bloody great gay. Your Twitter profile says you’re a Belieber. Why? Justin Bieber has immaculate hair. Who are your favourite comedians? There are so many. Let me be patriotic for this question and list some Australians that I’ve loved for a long time: Shaun Micallef, Tony Martin, Judith Lucy, Barry Humphries... I’ve always laughed a lot at Daryl Somers, but for different reasons. How do you feel about audience interaction? And hecklers? Audience interaction will always be a part of my live shows. It adds an element to the room that no amount of prep can match. I’ve had a few hecklers – I really enjoy them, as most of the time they are pissed as goats and are a very easy target for retaliation. When it comes to comedy, do you have boundaries? I don’t have boundaries. One of the reasons I love stand-up so much is the freedom to say whatever I want without having to worry about pissing off the lawyers or the ratings, like TV and radio. Plus, how boring is it when you see a comedian for an hour who doesn’t shock you a few times? – AD What: Nath Valvo’s Walk of Shame Where: Happy Endings Comedy Club / 154 Brougham St, Kings Cross When: Friday July 13 & Saturday July 14


Performance Space has two new artistic directors – Jeff Khan and Bec Dean – and a new season. Opening July 25 with Applepiel’s new work, Applespiel Make A Band And Take On The Recording Industry, the season will run the gamut of new works by Force Majeure, Back to Back Theatre, Aphids, and Victorian theatre-maker Tamara Saulwick. It’s a genuinely kickarse program of works, including Saulwick’s critically acclaimed and Green Room Award-winning audio-sensory work Pin Drop, which charts the phenomenon of fear in our daily lives, and Aphids’ audience-generated extravaganza Thrashing Without Looking – which will apparently involve "video goggles, champagne and a lot of loud music.” Full program details and tickets at

BEATS, RHYMES & LIFE – CAN YOU KICK IT? This month sees the long-awaited release of critically acclaimed, Sundance-selected documentary Beats, Rhymes & Life: Travels Of A Tribe Called Quest. For most, A Tribe Called Quest needs no introduction: hip hop pioneers who went on to become one of the most influential groups in hip hop history as a central part of Native Tongues Posse, alongside the legendary De La Soul. Beats, Rhymes & Life examines the group’s genesis and lasting influence, featuring interviews with Beastie Boys (RIP MCA), Mos Def, Common and many more (all the good ones, basically).



ath has endured more ore than his share of humiliations, tions, both professional and nd personal. He’s been fired from rom jobs, passed kidney stones, s, been rejected by the objects cts of his affection, and that’s barely half of it. Luckily for us all, he chose stand-up comedy medy rather than mass murder as an outlet to express his emotions. Valvo has a quick wit and a refreshingly foul mouth, and puts both of these to very good use in his newest one-man show, Walk of Shame.

To get you hands on one of five copies of this utterly engaging doco on DVD, send us in the names of all three Tribe members (plus the fourth, if you can dig it up). & Costello in Buck Privates, Paul Newman and Robert Redford in The Sting, and Boris Karloff in Frankenstein; on August 5 you can catch E.T., Out Of Africa and Bride Of Frankenstein; on August 12 you can catch Doris Day and Rock Hudson in Pillow Talk, Gregory Peck in To Kill A Mockingbird, and Bela Lugosi in Tod Browning’s Dracula. Tickets via Ticketmaster.

Emporer Vespasian looking angry



Coming soon to LO-FI Collective is two series of photographs by Angus Plate. Series 1, shot across Sydney throughout 2010, “focuses on the point where portraiture, photography and the manipulated landscape intersect”; Series 2 was shot in and around the remote Indigenous NT desert community of Willowra, in 2011. “I was interested in ideas of waste when spray painting and photographing the treasure trove of discarded classic 1970s Australian cars that litter the desert landscape,” says Plate. Opens Thursday July 5 at LO-FI @ The Standard (Lvl 3, 383 Bourke Street, Taylor Square.)


If you see theatresports once this year (or just once at all), make it a Celebrity Theatresports event – they're funnier, they have more at stake in terms of humiliation, and your ticket price raises money for CanTeen, who help young people living with cancer. The next event features The Chaser’s Craig Reucassel, broadcasting troublemaker Dan Ilic (A Rational Fear), Claire Hooper and Gabby Millgate, and beautiful people like Home & Away’s Lisa Gormley and Neighbours’ Scott Major – plus local heroes Carlo Ritchie and Dave Bloustien, and Bridie Connell and Dave Callan from Cranston Cup winners The dysleXia Men. Saturday July 21 at Enmore Theatre.


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Opening at aMBUSH next week is a group show presenting variations on the theme ‘vacation’ by a lineup of local and emerging artists with increasingly ridiculous names – Dejon, Birdhat, Tdub, Wet Lungs, Wolfkid, David Crystalface, Mr French/Refic, L E W, Skulk, Jael, Guy Verge Wallace and DABS BMX – and a lighting display by the Optic Soup collective. It’s a nice mix of National Arts School and SCA students rubbing shoulders with more established street artists, all washed down with live music by Guerre, Albatross and Vacation. And complementary Viking Beer. So many reasons to head down Thursday July 12 to aMBUSH gallery (4A James Street, Waterloo).


Since 2008, the graduates of the Design Centre Enmore’s Jewellery & Object Design department have been holding annual exhibitions under the collective banner Ten More Girls – with each show being a neat snapshot of fresh talent, across a range of styles and mediums. This year, the ten graduates have chosen the theme ‘glory box’ – with each designer exploring the contemporary incarnations of the ‘hope chest’. Glory Box features the work of Radka Passianova, Jo Piper, Bernadette Trainor, Tenille Evans, Danielle Butters, Majella Beck, Doris Jurzak, Linda Blair, Sarah Maree Mills and Kaoru Rogers – and all pieces will be available for purchase! Opens August 27 and runs til September 8 at Salerno Gallery (70 Glebe Point Road).


Best! As part of Universal Pictures’ 100th Anniversary, they’re re-releasing a bunch of their catalogue on Blu-ray and hosting special screenings at the State Theatre – kicking off on Sunday July 22 with a triple-bill of Jaws (1.30pm), Academy Award-winner All Quiet On The Western Front (4pm) and Hitchcock’s The Birds (7pm). Tickets are $20 a pop, and include use of seat for the duration of the film. On July 29 you can catch Abbott


And finally, some good news: a Lego replica of Rome’s Colosseum has been made – 250,000 bricks and measuring approximately 2m X 1.5m. Sounds too good to be true, but you can check it out – alongside various non-Lego ancient Roman sculptures, coins and artefacts circa 80AD – at Sydney University’s Nicholson Museum from now until January 31. Secondly: there’s such a thing as a ‘registered Lego builder’, and there’s only one in the Southern Hemisphere, and his name is Ryan McNaught, and he’s the guy behind the Colosseum (and those cool Lego artworks you’ve been seeing posters of around the city, and which are now on display at the Powerhouse Museum). Facts! Check out his other skillz at Xxxx

The great thing about arts festivals is that no matter how many there are, the world keeps turning and no-one gets hurt. The newest to Sydney’s burgeoning roster is BEAMS Arts Festival; focusing on the Chippendale arts precinct, it's partially funded by Frasers Property (behind the recently defunct FraserStudios) and helmed by NG Art Gallery owner Nicky Ginsberg.

The program will have a strong focus on visual arts – including sculpture, video and performance works – as well as works across the theatre, dance and performance spectrum, with live music, and a large-scale light display designed by UTS Masters of Design students. BEAMS will take place on Saturday September 22, within the Central Park development along Balfour Street and up to Little Queen Street in Chippendale.

30 of Australia’s most talented artistic couples will be cuddling up to each other in upcoming group show In [Two] Art – including Sean Cordeiro and Claire Healy, Christopher Hodges and Helen Eager, South Australian photographers Deborah Pauwe and Mark Kimber, Alun Leach-Jones and Nola Jones – and 26 other couples, ideally alongside some kind of advice about how to tactfully give feedback to your creative loved one… In [Two] Art is showing from July 6 to August 12 at S.H. Ervin Gallery, Watson Road, Observatory Hill, The Rocks.


igger and more expansive than ever before, the 18th Biennale of Sydney provides enough distraction and food-for-thought to take up your spare time from now til September. Below we’ve laid out a sampler of this year’s program – some of our favourites from the lineup. Our first bit of advice: download a map from the BOS website (especially for Cockatoo Island) – you’re going to need one if you don’t want to miss out. Secondly: take your time. With a theme of ‘All Our Relations’ and a focus on interactive, experimental and cross-disciplinary works, many of these works suit savouring. Thirdly: don’t over-think it. Art is fun! Enjoy.


Our City Suits Up for the 18th Biennale Of Sydney By Dee Jefferson [WANDER]


[BE MESMERISED] Watching a guy walk across a glacier in front of a massive steamer as the ice crumbles behind him doesn’t sound like much – but it’s strangely compelling, and eerily beautiful. It’s the work of Dutch performanceturned-video-artist Guido van der Werve. [AGNSW]


[BE MESMERISED] Victorian twins Gabriella and Silvana Mangano have two video works in the Biennale, screening next-door to each other. Bypass the colourful one in favour of the three-screen-wide black-and-white Between Near And Far, which plays with reversed footage and a vertical axis of symmetry to create a haunting, otherworldly tableaux. [MCA]



10. 3. Li Hongbo’s rainbow-coloured installation Ocean Of Flowers looks like the daycare centre of the future – until your realise that his paper-creations are all out-fanned versions of different guns and bullets. Delightful. [Cockatoo Island] [SMALL WONDERS] This intricate, sprawling responsive light sculpture by architect/newmedia artist Philip Beesley took a team of twenty people to install – and it looks like it. Part of the fun is working out how the different kinds of flower-appendages respond to your presence – some by motion sensor, others by touch, and yet another set releasing perfume just for the hell of it. [Cockatoo Island] [BE MESMERISED] In Steadfast, American video artist Phil Hastings takes 30-seconds of awe-inspiring footage taken on a storm-beset lake, and extenuates it into a beautiful, moody and slightly surreal testament to the power of nature. [AGNSW]

This creepy chamber of horrors by Brisbane artist Judith Wright is best traversed slowly, fully soaking up the twisted details: the topless woman in the canoe with a voodoo-doll homunculus in her lap, the demon ballerina, the disconcerting wooden mannequin in the wheelchair, the pygmy twins, the horse-headed boatman… [MCA] [TOUCH THIS]



4. Forget functionality – Yuken Teruya creates exquisite tableaux and tiny universes out of and inside paper bags, from Chanel’s couture-carriers to your plain groceries variety. It’s the kind of thing that will inspire parents and kids to take their crafternoons up a notch. [AGNSW]


7. Canadian philosopher and artist Erin Manning invites you to slow down and consider the value of your time in her attic installation; wander under a canopy of suspended fabric pieces, then choose one from the hanging baskets and take a seat at the ‘sewing rectangle’ to make yourself a garment. Lemongrass tea is provided (in suitably mad-hatterish chinaware) and you can take your project home at the end of the Biennale. [Cockatoo Island] [TOUCH THIS] Run amok down the rainbow hallways of Tiffany Singh’s Knock On The Sky Listen To The Sound installation – with your arms stretched out on either side, obviously. There’s something wonderful about creating this kind of woody racket. [Pier 2/3]


[WANDER] Fujiko Nakaya’s water-fog installation envelopes you as you pass over the threshold of the turbine hall, momentarily disorienting you – and gently recalibrating your senses for the wonders within. [Cockatoo Island]



Liu Zhuoquan’s army of black bottles is beautiful – until a closer look reveals a reptilian mass grave. Sort of. Incredibly, the pickled snakes are handpainted onto the insides of the salvaged bottles, using a variation of an ancient Chinese artistic technique. [MCA]


1. Philip Beesley: Hylozoic Series: Sybil (detail) 2012 – photo by Dee Jefferson. 2. Phil Hastings: Steadfast (2009) – video still. 3. Li Hongbo: Ocean Of Flowers 2012 (detail) – photo by DJ. 4. Yuken Teruya: Notice-Forest (Fendi) 2010 (detail) – courtesy the artist and Shoshana Wayne Gallery. 5. Fujiko Nakaya: Living Chasm 2012 – photo by Sebastian Kriete. 6. Judith Wright: A Journey 2011 (detail) – photo by Ben Symons. 7. Erin Manning: Stitching Time 2012 – photo by SK. 8. Tiffany Singh: Knock On The Sky Listen To The Sound 2012 – photo by SK. 9. Guido van der Werve: Nummer Acht: Everything is going to be alright 2007 – video still / photo by Ben Geraerts. 10. Gabriella & Silvana Mangano: Between Near and Far 2008-09 – video still. 11. Liu Zhuoquan: Two-Headed Snake 2011 (detail) – photo by DJ. 12. Binh Danh: Military Foliage #3 2010 – courtesy the artist and Lisa Sette Gallery.


[SMALL WONDERS] Vietnamese-American artist Binh Danh left his homeland by boat at the age of 2. He returned as an adult, drawing artistic inspiration from the country’s lingering memories of war. His chlorophyllprint leaves are easy to overlook if you’re in a hurry, but quite remarkable – a kind of darkroommeets-science-lab project involving photographic transparencies and a natural process of photosynthesis that takes around one week per leaf/print. [AGNSW] What: 18th Biennale Of Sydney When: Until September 16 Where: The Museum Of Contemporary Art / The Art Gallery of NSW / Cockatoo Island / Pier 2/3 / CarriageWorks More:


s improbable as a comedy about testicular cancer sounds, Peter Templeman’s debut feature is indeed really funny – and kinda sweet too. Ryan Kwanten stars as party-starter, ladies-man and generally loveable larrikin Jonah, whose fun is cut short by the news that he has cancer and will soon be infertile. Panicking, he decides to hit up every lady he knows – and then some – to find a parenting partner, with a little help from his bestie Stevie (Emma Stone lookalike Sarah Snook) and no help whatsoever from his housemate Gus (Packed To The Rafters’ Ryan Corr).


Not Suitable For Children opens in cinemas on July 12. Thanks to Icon Films, we have 15 in-season double passes up for grabs to check it out. To get your hands on one, tell us what blood-spattered show Kwanten is best known for. Email: BRAG :: 469 :: 02:07:12 :: 23

Spanish Film Festival: Highlights [FILM] The BRAG Taste-Tests A Cinematic Tapas By Tim Milfull (Tacho González) as he comes to terms with his senility and the various quirks and dysfunctions of his nursing-home neighbours.

Ricardo Darin (centre) in Chinese Take-Away


he 15th Spanish Film Festival opens this week, running from July 4-15 –plus a sneaky extra three nights from the July 16 for repeat screenings of the most popular films. This year’s opening-night offering has a promising pedigree, coming from edgy Spanish writer-director, Álex de la Iglesia, whose film The Last Circus—a gobsmackingly dark dramacomedy about the Spanish Civil War—left audiences reeling at last year’s festival. This time around de la Iglesia turns his attentions to the media, marketing, and publicity industries, in As Luck Would Have It, with Salma Hayek playing the wife of a washed-up publicist whose career is suddenly rehabilitated after a gruesome accident. While not as explicit, Jaume Balagueró’s

Salma Hayek in As Luck Would Have It Sleep Tight should have audiences squirming in their seats when they realise exactly what is going on inside this quiet urban apartment. If the setting sounds vaguely familiar, it’s because Balagueró shot to international fame with two terrifying films also set in an apartment building: REC and REC2. There may not be any bloodthirsty zombies in Sleep Tight, but the nocturnal behaviour of the building’s dodgy concierge, César (Luis Tosar), may leave some reconsidering their next snooze. If César were to have a daughter, she might be just as messed-up as the main character of The Bad Intentions, which is set on the outskirts of the Peruvian capital, Lima in the

In Chinese Take-Away, hardware store proprietor Roberto (played by Latin American legend Ricardo Darín) faces similar challenges – particularly since he cannot cope with the fact that living in urban society means that he must interact with people he would otherwise avoid. When a chance encounter leads him (albeit reluctantly) to offer shelter to hapless Chinese tourist Jun (Ignacio Huang), Roberto is forced to grit his teeth and endure living with someone who cannot speak his language.

early-1970s. Cayetana (Fatima Buntinx) is the highly imaginative, but slightly screwy product of a broken family. Living with her mother and her new boyfriend, she is appalled to discover that she will soon have a baby brother, and through a twisted logic, decides that she is destined to die on the same day that her brother is born. Set beneath the grim shadow of urban guerilla terrorism, The Bad Intentions is a subdued but viscerally challenging experience.

And if all of these sound a little too challenging, there’s some lighthearted relief to be found in Cousinhood, from writerdirector Daniel Sánchez Arévalo. In this very European farce, two brothers accompany their jilted cousin on a pilgrimage back to their childhood village to capture some of the innocence of their past, and perhaps reignite an old romance.

Slightly less stressful, but confronting some universal themes, Ignacio Ferreras’ beautiful animated film Wrinkles reminds us of the perils of becoming old and infirm. This adaptation of Paco Roca’s acclaimed graphic novel follows the final years of the hapless Emilio

When: July 4-18 Where: Palace Norton St & Chauvel Cinema More: for the full program and tickets, see

The Amazing Spider-Man [FILM] Origin Of A Species By Michele Manelis


ollowing the record-smashing success of the The Avengers (grossing US$1.3 billion in its first month), it’s clear that audiences have sustained their enthusiasm for high-profile superheroes. As part of the second wave of spandex-clad crime-fighters, expectations are high for The Amazing Spider-Man, followed by that other comic book legend, Batman, who bids farewell in his final appearance in Christopher Nolan's The Dark Knight Rises. The Spider-Man franchise encompasses three films already, grossing nearly $2.5 billion worldwide. Directed by Sam Raimi and starring Tobey Maguire, Spider-Man debuted in 2002, followed by sequels in 2004 and 2007. Originally a fourth 'Raimi' instalment was in the pipeline, but the studio decided to go another route and a reboot was planned with a new director, Marc Webb (500 Days of Summer). His modus operandi was to go younger and grittier, with a fresh cast that includes Andrew Garfield as Peter Parker, Emma Stone as Gwen Stacy, and Rhys Ifans as the villainous Dr. Curt Connors. Unlike the trilogy, which is based on the ‘90s television cartoon, The Amazing Spider-Man is rooted in the original comic series of the early ‘60s. According to the tag line, the film promises to tell ‘the untold story.’ For a fan of the genre, what kind of ‘untold story’ can there be? Avi Arad, producer and CEO of Marvel Studios, explains, “We all know Peter Parker, but we didn’t know what made him Peter. So we went [back] to the origin-origin, in which Peter actually lost his parents, encumbered by the fact that he didn’t know what really happened. Were they dead or alive, and were they good or bad people? [We’re exploring] all the things that form the character of a child. So, we started with the earlier years, and when you meet Peter you see the complexity of an orphan or a child of adoption. “But, we also have an amazing love story, a new one,” he adds. “Gwen is the true love story of Peter: she fell in love with Peter Parker, whereas, as you remember, Mary Jane (played by Kirsten Dunst) fell in love with Spider-Man.”

“I think when Stan Lee created the mythology, he was more interested in the private lives of the super heroes than the crime-fighting aspect.” 24 :: BRAG :: 469 :: 02:07:12

Andrew Garfield, inverted, stars in The Amazing Spider-Man For the producers, it was important to exploit the love story and leave the action behind – and for this reason, Marc Webb was chosen to helm the project. “He was an unusual choice,” Arad admits, “but what he did with 500 Days of Summer proved that he can make a relationship movie, and that’s what this movie is. In all fairness, almost anybody can make an action movie – but an action movie that is driven by character is a big challenge. I think when Stan Lee created the mythology, he was more interested in the private lives of the super heroes than the crime-fighting aspect,” he says. “And those relationships need to have a specific currency in order for us to invest.” Producer, Matt Tolmach, adds, “This SpiderMan has to do with realism and serious relationships. Even our heroine – unlike in the early years of Marvel, [when] women were well dressed, now we’ve moved into the future and women are very smart. Actually, Gwen thinks she’s smarter than [Peter]. She’s first in the class, and he’s second.” Having directed only one film (albeit critically and commercially successful) and a handful of music videos, it’s perhaps surprising that Webb was entrusted with a film with an alleged budget of over US$220 million, let

alone in 3D. It’s an incredibly fast rise for the 37-year-old Indiana-born director. “There’s a part of you – the 17-year-old version of yourself – going, ‘Are you kidding? I’m going to do a Spider-Man movie!?’” he acknowledges. “And yes, it’s scary. Of course it is. It’s intimidating and exhilarating, but I believe nervousness and excitement are always walking side by side.” Ultimately, for Webb, the mythology of Spider-Man (and the reason it’s endured over decades) is a classic underdog story. “There are many layers in Spider-Man,” he says. “I think moral fulfillment is part of it, but for me, it’s about a skinny kid, an underdog, and everybody identifies with that idea; everyone identifies with having to overcome things by becoming stronger than you ever thought possible. There’s something that’s just really appealing about that, and I think that’s where the idea of wishful fulfilment comes from.” This version of Spidey seems a little hipper than past incarnations. “Yes, well, musically, there’s a couple of parts in the movie that give the character a bit more context and awareness of his surroundings,” Webb agrees. “Like, the Ramones shirt he has. There’s a level of specificity to that which is part of this

idea of trying to create a more realistic world. When people walk out of the theatre, I want them to recognise [this world] and feel it’s a little more grounded.” On the ongoing appeal of superhero films, Webb says, “I suppose it’s because they’re bigger than life and we desperately want the good guy to win. The first part of the fascination is that the good guy doesn’t win oftentimes, and then what really drives it home is that they have to sacrifice a big part of themselves to make it happen. There’s a tragic, bittersweet quality to which we can all relate. … [Christopher] Nolan said that superheroes are gods, in a way – they’re our mythology, and for whatever reason we have a spiritual connection to these characters – and I agree with him.” Speaking of Nolan, is Webb worried about The Dark Knight Rises opening hot on the heels of The Amazing Spider-Man? “Well, put it this way,” he smiles, “I’m glad we’re not coming out at the same weekend.” What: The Amazing Spider-Man When: In cinemas from Wednesday July 4




MUSICIANS / FILMMAKERS WHAT: Submit an original song + video containing a Sydney suburb within the lyrics

First Prize:

$300 + Performance slot at the Newtown Festival 2012 Second Prize: $200 Third Prize: $100 THE SCREENING: Finalists will be screened at the Sydneyvision Grand Final at Dendy Newtown 22nd August 2012 MORE INFO: visit email






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Arts Snap

Film & Theatre Reviews

At the heart of the arts Where you went last week...

Hits and misses on the silver screen and the bareboards around town.

■ Theatre


safari launch party


Until July 28

21:06:12 :: 13 Cambridge Street The Rocks

Art, it is often suggested, is suffering. We like to laugh at artists – their foibles, their self-seriousness, their strange rituals and coded language, so far away from our brief encounters with them in the dark of the theatre or concert hall or gallery – and there’s a strong history of performance that simply makes fun of performance, keeping its audience secure in the belief that art is something a bit silly and not worth too much thinking about.

In confusing the form of the play – farce – with the style, McNamara deprives her actors of the chance to illuminate the uncomfortable moral questions thrown up by the story and Orton’s sophisticated, rapid-fire dialogue. The production plateaus early and never reaches the heights of absurdity or depths of depravity that lurk in Orton’s text.

The Histrionic might look like that kind of play, but it is gloriously so much more. Over 90 minutes, playwright Thomas Bernhard and translator Tom Wright slowly unravel the world of Bruscon, a once-glorious actor on the European circuit, now reduced to hauling his reluctant family/acting company around the country playing in pubs. In a virtuosic performance from Bille Brown, Bruscon is revealed to be, by turns, pompous, needy, self-important, desperately insecure, cruel, loving, deluded and tragically self-aware. He is every cliché of the has-been thespian and yet he is ultimately a deeply sympathetic figure. Bruscon’s tragedy is that he just wants to make beautiful art in a hostile environment: that his art probably isn’t very good only turns the screws on an already excruciating situation.

■ Film

This is a complex play, with dense layers of language both verbal and visual forming a rich and textured tapestry from which multiple meanings unfurl. Marg Horwell’s set design contains more meta-theatrical references than you can shake a stick at, and there’s some excellent jibing at the flaccidity of audiences at bourgeois venues like the STC. The mostly-silent ensemble support Brown’s performance with dexterity, and Barry Otto as the hapless landlord is utterly charming. The pace is bracing, with ideas, concepts and plots perpetually threatening to collapse into chaos but always managing to hold on. In the final moment, the sheer futility of art – perhaps of life – is realised in a tableaux Beckett himself could be proud of. The 90 minutes swerve expertly between the hilarious and the harrowing, and your time would be well spent on the journey. Rebecca Saffir


■ Theatre

blackartprojects: sarah hendy 21:06:12 :: Chalk Horse gallery :: 8 Lacey St Surry Hills 92118999

Arts Exposed What's in our diary...

DEATH OF A SALESMAN by Arthur Miller Until August 19 / Belvoir Street Theatre

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ENTERTAINING MR SLOANE Until July 14 / New Theatre The drawing-room farce is a familiar form: mismatched characters careen in and out of rooms in genteel houses while everyone struggles not to be caught with their pants down, both metaphorically and literally. It’s comfortable, entertaining stuff – except when it’s not. Joe Orton’s Entertaining Mr Sloane is a discomfiting riff on the genre, a darkly funny play that exposes the cruelty and hypocrisy at the centre of his social milieu. Or at least, that’s how it should go. Sloane centres on four equally unlikeable but fascinating characters who become embroiled in a competition for each other’s love and affection. They’re deeply manipulative, highly contradictory and utterly heartbreaking. Unfortunately, in this production at the New Theatre, they are reduced to stock characters in an episode of Carry On, only without any of the raucous fun. Director Rosane McNamara has opted for a wide, deep stage, giving the characters a lot of room but not much reason to parade and pronounce theatrically amidst the chintz cushions. Only Pete Nettell, as closet-bound Ed, manages the necessary vocal energy to fill the space, crisply enunciating his moral judgements and flicking cigarette ash judiciously over his sister’s freshly-

Rebecca Saffir

THE AMAZING SPIDER-MAN Opens July 4 A few weeks back, the trailer for The Amazing Spider-Man came up ahead of a feature film I'd gone to see, and the couple next to me began muttering about whether the series needed a reboot so soon after the Sam Raimi trilogy. If two strangers in a movie theatre are thinking it, other people are probably thinking it too, and indeed, the box office for this film may well suffer due to a general sense of Spidey fatigue – and the perception that this movie is just a blatant attempt by Hollywood to cash in on a recognisable character. Hopefully this doesn’t happen, though. The Amazing Spider-Man is not a great film, but it’s a pretty darn good one. It’s an enjoyable popcorn flick with a topnotch cast and plot that cracks along, and unlike many recent blockbusters, it doesn’t feel the need to be dark and edgy in order to be taken seriously. The real reason to see The Amazing Spider-Man, however, is its star, Andrew Garfield (The Social Network). He was born to play this role, and his performance is great on a number of levels. Firstly, his version of Spider-Man is true to the character of the comics – he’s a wiry, nerdy guy who relies on his brains and his quick wit just as much as his physical dexterity when it comes to catching baddies. Secondly, and crucially, Garfield is a really good actor. He is slight of frame but he inhabits the character from head to toe, and it’s just as exciting to watch him swinging between buildings as it is to see him in quieter moments of dialogue. He’s not your typical action star, but that’s kind of necessary for a role like this, and he skirts the line between comic and dramatic with ease. Plot-wise, The Amazing Spider-Man is Origin Story 101. Peter Parker is a nerdy, picked-upon high-school student who develops superpowers after a bite from a spider that may or may not be radioactive. There’s a villain (in this case, a lizardman ably played by Rhys Ifans) and a love interest (played by Emma Stone, whose comic timing makes her a pretty good match for Garfield), and of course, there’s a beloved uncle (Martin Sheen), whose fate sets the whole thing in motion. Without Garfield, this would have been a decent-enough, special effectsheavy comic book flick, but thanks to his performance, it’s one of the year’s most surprising must-sees. Alasdair Duncan ■ Film

THE THREE STOOGES Released June 28 For the longest time, brothers Peter and Bobby Farrelly have had a Three Stooges revamp in the pipeline. The Farrelly’s are long-time fans who grew up watching reruns on TV in the '60s, and it’s been pretty well established that this is a labour of love more than a commercial venture, and that probably nobody on earth wants to see this film as much as they do. Because while we’ve all heard of the comedy trio – and they certainly have their cultist fan-base – very few people under the age of forty will have

See for more arts reviews

Death Salesman photo by Heidrun Löhr

Simon Stone’s reimagining of Death Of A Salesman is a fine way to discover one of the dramatic canon's most influential works, and one of the most soul-crushing pieces of theatre you’re like to see. Colin Friels tears the stage up as Willy Loman – unlucky in work, life, love… The less you know the better, just get a ticket. All presales are sold out, but they’re releasing tickets each morning for that night’s performance, which you can get by queuing outside the Belvoir Warehouse Box Office from 9.30am weekdays and Saturday, or 2.30pm on Sunday. Hamish Michael, Colin Friels and Patrick Brammall in Death Of A Salesman

swept carpets. But audible plosives aren’t enough to sharpen the end of what feels like a rather blunt instrument repeatedly striking the same target.

Film & Theatre Reviews Hits and misses on the silver screen and the bareboards around town.

seen any Stooges material or have any reference point for this particular brand of vaudeville slapstick. For us, the Farrelly’s faithful recreation of the trio will recall aspects of their breakout hit Dumb & Dumber and perhaps Benny Hill reruns (hello children of the ‘80s). The closest brand of injury-comedy we have these days is Jackass – if you took out all the toilet humour, replaced the very real injuries with rubber hammers and dinky sound effects, and twisted it into a farcical plot. So it’s no surprise that the Stooges don’t translate to the modern screen. The Farrelly’s give it their all, however, wrangling their cast of top-notch imitators (Chris Diamantopoulos as the irascible Moe, Will Sasso as the irrepressible Curly, and Sean Hayes, aka Jack from Will & Grace, as mopheaded Larry) and cameos (Jennifer

Hudson as a singing nun, Jane Lynch as a beatific Mother Superior) into a three-episode plot that sees the Stooges ineptly try and raise cash to save the orphanage where they were raised – without any of the sweet naivete or pathos the Farrelly’s have previously mustered in films like Dumb & Dumber, Me, Myself & Irene or There’s Something About Mary. With the exception of Hall Pass, these are probably the Farrelly’s least likeable characters – and certainly the least comic. Expect eye-pokes, nun-drag, a big-breasted bimbo with dollar-signs for eyes, a dynamite joke… I laughed a few times in spite of myself – mostly in the parts where the Stooges interact with the real-life morons of Jersey Shore – and it’s actually hard to hate a film with intentions this pure.



Dee Jefferson

Chris Diamantopoulos, Will Sasso and Sean Hayes as The Three Stooges

Street Level With Frankie Faux


4B Burlesque are taking on the land of love for their next soirée, paying tribute to everything from the Belle Epoque to 1920s Paris, the Moulin Rouge and X-rated Montmartre, the Nouvelle Vague… It’s a French frolic! Your belles du jour will be Holly J’aDoll, Rita Fontaine, Bijou Belle, Baby Blue Bergman, pole-dancing queen Electric Dreams, newcomer Mystique Rose – and Frankie Faux, a former model turned theatre designer, and one of the newest and youngest additions to Sydney’s neo-burlesque scene. Were you always a show pony? I think I’ve been training my whole life to be on stage – the amount of hours I spent in my room as a kid making up routines and singing to myself in the mirror... I always fantasised about being in the limelight. Growing up I loved anything retro from movies to music and art, which lead me to discover go-go and burlesque dancers. How’d you get into burlesque? When I was 17 years old I began studying an Advanced Diploma of Live Production, Theatre & Events at the Design Centre Enmore, creating sets, costume and props, surrounded by people who have the same love for the stage. It was only a matter of time before all these things came together and I had the realisation that not only did I want my designs to be on stage, I wanted to be up there with them. So that was the first thing I did when I turned 18 – become a burlesque dancer. What’s your signature routine? My Pink Routine – just because it was the first. When I created it I never thought I would stick with it, but it has really evolved in the past year and I’ve become quite fond of it. I wear pinkfeathered showgirl attire and shake it up to dubstep, putting a modern twist on traditional burlesque.

What are you performing for 34B’s Frenchy soirée? An 18th century-style routine – think Marie Antoinette. The students at Enmore Design Centre have made me a fabulous costume, which was showcased at their annual costume extravaganza, Mayhem. I don’t want to give away too many secrets but I’ll be breaking it down – very old school. Any clothing or prop fetishes we should know about? I think I have a heel fetish – I can’t go with out wearing heels on a daily basis. Maybe because I’m trying to fool everyone into thinking that I’m naturally tall – or maybe because they look so damn good. Where do you generally draw your burlesque inspiration from? I’m constantly looking for things to inspire me. It could be anything from architecture to films, mythology or art. I can’t see enough – my worst fear is to feel uninspired. Music is my biggest inspiration – usually when I hear a song that I particularly like, I’ll listen to it on repeat and draw up a costume, set etc. I now have about 200 songs I want to do acts to. Have you hads any special Paris moments? I’ve never ever been to Paris – YET. A dream of mine is to go see a show at Crazy Horse; that would be the first thing I’d do if I were in Paris. Who are you creatively crushing on at the moment? I’m a big fan of Surrealism – particularly Max Ernst and Dali. But right now I’m taking a strong interest in fantasy art. I have a major creative crush on Zdzislaw Beksinski at the moment; I’m in love with his dark and extremely detailed oil paintings.

Find us on

Where: 34B @ 44 Oxford St Darlinghurst When: Friday July 13 (Bastille Day eve) Tickets: from

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Album Reviews

What's been crossing our ears this week...

DIRTY PROJECTORS Swing Lo Magellan Domino

Whether it’s the deconstructed chamber music on Slaves’ Graves And Ballads, the appropriation of source material (ranging from Eagles’ founding member Don Henley to 9/11) on The Getty Address, or Rise Above’s revivification of Black Flag’s Damaged, randomly sampling Dirty Projectors’ back catalogue reveals frontman David Longstreth is thoroughly qualified as an exemplar of the postmodern musician.  This frenzied, discombobulated nightmare-pop is all the more enjoyable thanks to the meticulousness with which it is managed.

It's a title that remains unchallenged on the sixth studio album produced by the innovative Brooklyn residents; 12 stunning tracks that came from 40 demos which the newly-minted five-piece culled from 72 songs, produced over 12 months in an



The Money Store Epic/Sony

Death Grips is not hip hop. They may be fronted by a tattooed black dude (Stefan Burnett) spitting spoken rhymes in varying states of aggressive rapture, and may have an electronic, beat-focused backing. But this record has more in common with the palettes of Chicago dance genre footwork or the darker, less sociable extremes of UK dubstep than with Killer Mike or DOOM. Sonically, Death Grips is maximal stuff. There are few tracks here that don’t sound as though they’re trying to push the limits of your speakers and psyche. The music implies a series of principles held by the band that will remain unarticulated for the benefits of the listener, and that will not be sacrificed under any circumstance. ‘Lost Boys’ is underpinned by caustic, crudely edited beats that shuffle and syncopate over a deeply fulsome, snarling bass. “It’s such a long way down!” calls Burnett through the bristling clutter. ‘Get Got’ sees him ranting dismissively over a loping attention-deficit Middle-Eastern two-step that would make Omar Souleyman proud. ‘I’ve Seen Footage’ sounds like a punkier Vanilla Ice, the absurdity of its old-school hip hop lampoon diffused by sobering lyrics that relate a police execution: “What even happened ‘til you seen that head blow / Off his shoulders in slow mo / Rewind that, it’s so cold.” The only real difficulty is how brutally unremitting this music is. By the time the Bollywood samples that buoy ‘Punk Weight’ bubble out of your speakers, you’re so desensitised by the onslaught and themes of oppression and disaffection that it’s difficult to appreciate any kind of reprieve. The Money Store is thrillingly hyperaggressive. If you can stomach it, it’s an enormously rewarding piece of music. Luke Telford

In the video, Zachary Cole Smith – frontman of the Brooklyn shoegaze, krautrock, indie-dream-pop four-piece known until last month as Dive – channels a mad-hipster-scientist in a makeshift basement laboratory. Footage of bassist Devin Perez, ex-Smith Westerns drummer Colby Hewitt and guitarist Andrew Bailey rocking out is interspersed with Smith – bleached hair, denim shirt, cream apron – taking apart anything from a smart phone to a lava lamp before fragments of the disassembled items are added to a blender. Smith opts to ignite the mixture with a Roman candle firework (hipster rule #348: blenders are for pussies), and scrapes some of the remaining pink goo into a tiny capsule he ingests nonchalantly. In real life, after playing guitar on tour with fellow Brooklynites Beach Fossils, Smith holed himself up during a stifling New York summer in a Bushwick studio without air-conditioning and running water. Sweating and stinking it out, he listened to musicians ranging from Lucinda Williams to Nirvana, read authors including N. Scott Momade and Marianne Moore, and combined their influence (via blending/explosion?) before neatly channelling the end result into the easily digestible Oshin. Oshin beckons its listener to be whelmed in the reverb-saturated repetitive guitar hooks and floaty melodies that characterise its indistinguishable 13 tracks. With an easily identifiable Brooklyn sound not dissimilar to that of New Jersey neighbours Real Estate, one can easily see Girls’ Marnie Michaels crushing on Smith and dragging Hannah to see DIIV play in a Williamsburg warehouse. Equally appealing and niche. Andrew Yorke

Unsurprisingly, Longstreth excels at juxtaposition, exercising an iron whim over his onanistic indulgence in ruthless creativity. The clinical rigidity of perfectionism paradoxically shapes what could be mistaken on first listen for spontaneity – but the listener benefits immensely


Oshin Spunk Records There is neat analogy between the narrative of DIIV’s video for ‘How Long Have You Known’ and the way in which their debut album Oshin came into being.

upstate New York homestead. At times reminiscent of fellow pioneers like Beck (‘About To Die’), Belle and Sebastian (‘Impregnable Question’ – sweetest ever love song), Os Mutantes/Janis Joplin (‘Maybe That Was It’) and ex-collaborator Björk (‘Offspring Are Blank’), schizoid melodies carry Longstreth’s trademark caterwaul falsetto and impassioned id against jarring, sanitised, female harmonies, which are constructed around suspended chords and sung with all the wide-eyed vigour of a blow-up doll. All this, accompanied by beats reminiscent of West African dance rhythms and DnB (‘See What She Seeing’).

‘Moonrise’ opens the record with a chorus of chiming marimbas and sublime, muted piano. ‘Beautiful Son’ follows with optimistic keys, susurrus guitars, and resigned vocals dappled in sun-kissed reverb. It’s basically dubby folk-rock. ‘Cosmic Tides’ is the most overtly ‘dub’ tune here, rippling with tape flutter and upstroke organ jabs. ‘Lo Hi’ pitches muted, disorienting keys over a head-nodding lower register synth workout. Elsewhere, lo-fi drum machines work the pedals beneath the bittersweet, quasi-oriental melody of ‘Live Long’, the vocal track drenched in tape delay. The mood on Lucifer is almost irritatingly breezy the first time you hear it, but this is music that improves exponentially with each listen. It’s affable the second time around, and infinitely comforting by the third or fourth spin. More than that, its glowing haze goes a fair way to actually making you feel warm. Put it on, crank the bass, turn on your heater and pretend it’s not winter. It’ll cheer you out of what ails you, I guarantee it. This record is beautiful in a simple, unassuming way. The less you expect of it, the happier you’ll be with where it takes you. Luke Telford

Talupo Mountain Music Vol. II Independent Exploding out of the speakers like a major label A&R person’s wet dream, The Delta Riggs are the complete package: four good-looking young lads dressed in retro rock star threads, playing edgy-but-not-too-edgy rock‘n’roll. The production on this EP, their third, is slick, heavily compressed and super bright. After their triple j Unearthed win last year, such shiny production may seem like a calculated attempt at achieving a broader

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audience, but the fact that they selfrecorded this EP live in one day should give them more than enough street cred. The songs on this EP come across as pretty dumb at times, lots of “yeahs” and “babys”, but that’s the beauty of it – it takes very well-written songs to make an EP seem so effortless. Lead single (and the song that won them a spot on 2011’s Splendour In The Grass) ‘Counter Revolution’ is killer, and deserving of the airplay it has received from the national youth broadcaster. ‘Billy Black’ is a piano-driven soul rock number, complete with a “Testify!”-esque breakdown and soul sister backing vocals in the chorus. ‘Tractor Beat’ gets heavy on the southern-fried

THE TALLEST MAN ON EARTH There’s No Leaving Now Dead Oceans

Here Shock

Best known for the uplifting single ‘Home’ from 2009 debut Up From Below, Alex Ebert returns with his life-loving jamboree for the band’s latest release, Here. Compared to their previous effort this album feels more focused, demonstrated not only by the shorter tracks and album length but also the consistency of musical styles. While Up From Below was a jack of many musical trades, punctuated with greatness, Here is a more coherent piece. And while it never reaches the highs of its predecessor, it never quite reaches the lows either. Although second track ‘That’s What’s Up’ wades unconvincingly into territory covered by Home, a late gospel interlude gives the song a unique flavour. The inclusion of horns is also welcome, most notably on reggae-tinged ‘Mayla’ and flowerchild folk number ‘Dear Believer’. The concept of rising action is prominent, with pseudo-Evangelical ‘I Don’t Want To Pray’ and steadilypaced opener ‘Man On Fire’ both reaching stirring crescendos. Indeed, media speculation around the album has questioned its unmistakably transcendent nature, doubting the sincerity of the themes. This is mainly due to the recent and drastic change in lead singer Alex Ebert’s persona – from frontman of electronic rockers Ima Robot to Messiah-like, worldly superhero Edward Sharpe. But to overanalyse the disparity of his incarnations runs the risk of overlooking the very candid positivity, joy and inclusiveness that is the record’s focus. Taken at face value, this ‘60s folkpop throwback continues the band's tradition, making running away to join their crazy, blissful circus a highly appealing prospect. Lee Hutchison

For a writer, I have very little patience for acoustic dudes emoting wordily – I find singer-songwriters to be, as a breed, aesthetically lazy. But Kristian Matsson’s crinkly, creaky voice scratches an itch you never knew you had; his lyrics are wonderfully cryptic, a cocktail of layered imagery and brutal flashes of raw truth that owes far more to Dylan (to whom he is repeatedly, reflexively, tiresomely likened) than his singing style does. Matsson’s vocals and the spindly immediacy of his guitar are so intertwined that he is said to rarely record them as separate tracks. This is the first record where he’s even used multi-tracking, but he still keeps it simple, with picked banjo, smoky flute and Vaseline-on-the-lens reverb threaded through a couple of songs, one at a time, to take the mood further toward that dreamy Nick Drake/Arthur Russell territory – but always with the unfiltered, polysyllabic exuberance of his voice to cut through any hints at sentimentality. The decision to experiment a little with a fuller production style feels almost like a small betrayal at first – you were pretty enough before! You don’t need those tricks! (At least he hasn’t gone electric.) But Matsson's gift for surprising melodic quirks and turns comes through soon enough, each note following on from the last as devastatingly logical as ever. It’s hard to imagine him sitting on the edge of a bed scribbling things in a notebook; they sound like they were made by a master craftsman enamoured with the old ways, tiny perfect parts turning neatly against each other like a pocket watch. Dylan reinvented himself over and over again. Matsson has more in common with John Darnielle – fullformed, sure of his strengths, and always sounding like himself. Caitlin Welsh


Andrew Yorke


Lucifer Domino

It’s hard to imagine Peaking Lights being even remotely popular in any decade other than this one. Their exactingly stoned dub-pop exhumations pour fresh treacle over the already stale retro-fetish that’s been in vogue over the past couple of years. Although their music sounds like the lost work of two British expats to Jamaica in the early ‘80s, the careful affectedness of it makes it feel very much of 2012. That’s not to say it’s bad or even generically exploitative – just a little manipulative, maybe. In truth, Lucifer is a considerable improvement on the shimmering beauty of last year’s 936.

from Longstreth’s inability to let go unless it is guaranteed he will remain in control.

groove, and is reminiscent of early Wet Willie. The welcome inclusion of piano separates The Delta Riggs from other bands who may have thought that their guitar, bass, drums and vocal attack would be enough to get them over the line. All the bandmembers play their parts well, particularly singer Elliott Hammond, whose vocal delivery has a similar fluidity to that of Mick Jagger. Yes, it’s derivative, but the delivery is so sincere that any nicked riffs or stolen sounds are forgiven. Reliable rock’n’roll doesn’t get much better than this. Roland Kay-Smith

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... REGURGITATOR - Unit HENRY CHINASKI - Sleepy Bedtime Mix For Young Ones DZ DEATHRAYS - Bloodstreams

CROOKED FINGERS - Dignity & Shame METRIC - Synthetica

Dirty Projectors by Jason Frank Rothenberglores



More Than The Cure Since 1989 with Murray Engleheart


T Model Ford, one of the last remaining real bluesmen who hasn’t been tainted with crap like Grammy awards, suffered a stroke recently – so his 92nd birthday celebration last week in Clarksdale, Mississippi doubled as a benefit show for the man who claims to have travelled to Chicago with Robert Johnson, and still has scars on his ankles from his days chained up while working as part of a prison gang.


The 2012 American NFL season doesn’t even begin for another four weeks, but there’s already talk that Van Halen will be the half-time entertainment at the Super Bowl, in February 2013. 'Diamond' David Lee Roth motor-mouthing for a TV audience of millions – perfect.


There was a three-page spread on The Stones in – of all places – the Financial Review on June 22, to mark their 50th anniversary. It included a full-page rave by their former mastermind manager Andrew Loog Oldham, who is about to release the third in his brilliant trilogy of books on the Stones, Stone Free.


Veteran UK producer and manager Gerry Bron, who worked with Uriah Heep, Motörhead, The Damned and Hawkwind, has died at the age of 79. He managed the Heep in their heyday in the ‘70s (when they actually had something going for them with albums like Look At Yourself), and is even credited with naming the outfit after a Charles Dickens character.


The late Ian Rilen was right; X really does mean never having to say goodbye. It took them 30 years to make it to America, and now X look set to be hitting Europe.


Late-‘70s oi-punks The Cockney Rejects have been celebrated as part of various other movies, but now they have one of their own – titled East End Babylon. The Rejects carried with them the same inked-up street-gang vibe of early Rose Tattoo (less, of course, the slide guitar of Pete Wells, but with the addition of their death-beforedishonour affection for the West Ham United football club). This is a warts-and-all effort

with no punches pulled – quite literally – and as such, is a fine testament to a bunch of working-class rebels whose only cause was Saturday nights out on the terraces.


John Lydon might be keen to distance himself from The Sex Pistols nowadays, but that didn’t stop the release of a limited-edition picture-disc version of the ‘Pretty Vacant’ single on July 2, to mark 35 years since the original was gobbed down. It’ll be followed in September with a re-issue of the Never Mind The Bollocks album – to this day, some of the greatest real rock’n’roll guitar playing ever recorded – in expanded form, to mark its own 35th birthday.


The Black Keys seem to have become the new kings of telling it exactly how it is when it comes to the current state of play in rock’n’roll. Somebody has to do it – and there are no sacred cows for these guys, thanks. Who else has dared to question what the fuck Eddie Van Halen’s son is doing in the reunited VH? And in a further display of balls, this month they’re putting out their own tribute record, Black On Blues: A Tribute To The Black Keys, with an impressive lineup of guests that includes Iggy Pop, Ginger Baker, blues master Walter Trout, Mountain’s Leslie West and The Kinks’ Dave Davies. Personally, we still have trouble getting our heads around the BK’s duo format – in as much as: two dudes does not an Entertainment-Centreheadlining band make. To us, it’s kinda like Moby doubled. (But in a good way.)


There’s a new book out about a magazine that isn’t Playboy. It centres on the longtime Brit music weekly NME (aka The New Musical Express) and is called The History Of The NME – High Times And Low Lives At The World’s Most Famous Music Magazine. Written by Pat Long, it’s as much about the characters that shaped the publication (including greats such as Nick Kent and Charles Shaar Murray) as it is the evolving cultural environment the mag exists in, reflects and at times dictates. Books on the history of the now-defunct Melody Maker –which evolved from a jazz mag to pop ultra-coolness – and the also dead and buried Sounds, which was the punk and metal precursor to Kerrang!, would also make for interesting reading... The Black Keys

ON THE TURNTABLE On the Remedy turntable is Janis Joplin’s The Pearl Sessions, which knocked us sideways. JJ was often a bit too full-on for us (which might sound weird given our long-established tastes): her delivery was almost too raw at times, too soulful, and hit nerves that went beyond the beyond. That didn’t necessarily make it bad, just hard to take in at times. This twin-disc affair is drawn from the sessions of her best and biggest seller, and connects some of the previously scattered dots to ironically create a far better picture of one stunning talent than the original release ever did. Included are alternate versions and takes – some even in mono. A great package.



It’ll be duelling sludgsters at twenty paces when Clagg (VIC) and Summonus (NSW) deliver two heavyweight shows next week: on July 13, they’ll be at The Pot Belly Bar, Canberra with Law of the Tongue (ex-Pod People) – $10, doors at 8pm; then on July 14, they’ll be at the Sandringham with Chroma and Unknown To God – $12, doors at 8pm.

After returning from a sadly unproductive recording session in Svalbard, Mother Eel will soon be hitting local roads. Dates so far are September 21 at the Valve Bar, Tempe and September 28 at The Basement, Canberra. But their new album will still be titled Total Fucking Svalbard.

Send stuff to by 6pm Wednesdays. Pics to BRAG :: 469 :: 02:07:12 :: 29

live reviews what we've been to see...


Civic Hotel Thursday June 21

Ah, the Civic Hotel. It has been too long. I’d almost forgot the cracking wall tiles, the unsavoury and unsanitary unisex bathrooms, the CBD suits drunk and forlorn, staring at their beers. But all it took was an allfamiliar waft of vomit to bring it all back, and you know? It was kind of comforting. Whether it was a techno party in the Civic Underground or getting dragged to an Asian RnB club upstairs by my friends, there was one common denominator at this place: the ensuing trashiness. That’s what the Civic has always been about, and what better way to revisit this place than with an underground hip hop show with Californian MC Fashawn, along with the producer of his acclaimed Boy Meets World album, Exile. This being his first tour here, the 23-yearold rapper was provided a wealth of local talent to warm the crowd up. I arrived to an already packed club to catch a DJ Morgs party set, and watched Dialectrix get it done, jam-packing his abridged set with some new stuff produced by the celebrated


The Gate / Pablo & Rusty’s Espresso Bar, Epping Saturday June 23 It is something of a rarity to find a venue like The Gate (curated by Joe Hardy) nestled in Sydney’s north – Epping, no less. It is even more of a rarity to witness experimental electronic acts like Swimwear, Fishing and Collarbones instead of run-of-the-mill indie/ rock outfits, on a makeshift ‘stage’ pressed up against the street-side of a cafe. Instead of wafts of vodka-cranberries, you can smell single origin beans, and a faint hint of mixedberry muffins. So starkly sober, in a cafe teeming with drum-pad punters, Swimwear (Tim Derricourt from Dappled Cities) opens up the night. He has an air of cheesy-MC-at-a-white-wedding about him, conjuring up a ‘70s disco vibe


The GoodGod stage is littered with DCM’s vintage electronic gear, and the first minutes of their set seems like the sound of two boys with too many toys. The sonic depth of field is cluttered and confusing – the main rhythm track is too quiet, and the sweeping arpeggios are far too messy to create their desired hair-raising effect. The set eventually hits home when the duo settle into a single rib-rattling riff that repeats beneath the gradual bloom of quietly coruscating keys. Though their music is gripping, the most strikingly intense thing about Forces’ set is the devotion they show to their aesthetic. The already dark room is further dimmed. They’re dressed fully in black, with Lennonesque dark glasses, and play ‘80s v-drums and analog synths. Their sound is a sort of uncompromising dancefloor industrial that’s utterly potent – the singer’s gauche gyrations and fist-pumps filter easily throughout the slowly filling room. If you squint, it’s not tough to pretend you’re in a Berlin techno dive circa ‘91. After a painful wait, Kirin J Callinan’s new three-piece band file on stage wearing surgical masks. As a moody collage of electronic drums and gauzy synths boils to life, Callinan himself stalks onto the stage, dressed in camo pants and a dictator’s jacket, the toothpick of an Australian cocktail flag gritted between his smiling, crooked teeth. 30 :: BRAG :: 469 :: 02:07:12

with his choice of beat samples, but his crescendos and climaxes are masterful, and his Morrissey-esque contralto sits beautifully atop a well-mixed set. It's worth mentioning how excellently contained the venue is; the lack of any wash or echo lends itself to each element of the music being articulated – again, something refreshing for the genre being showcased. Joe Hardy ushers the audience towards the stage five minutes into Fishing’s set, and then, BAM – the half-time thrusts resume. This duo are flip-finger maestros, wowing the crowd with their sophistication and restraint. They have a deft ability at sticking with a tangent for far longer than expected, while still commanding interest, with progressions that call to mind ‘La Femme D’Argent’ by Air. They are two of the whitest boys alive with a penchant for soul-shaking grooves – or as Russ Fitzgibbon, one half of the duo, says, their music is “like... us.... in your stomachs.

M-Phases, as well as the fan favourites ‘Outcast’ and ‘Pieces Of A Puzzle’. His flow was tight as always, and gave the crowd a good jolt before the headliner. As a preface, Exile gave a quick DJ set before Fashawn bounded on stage. Someone had already taught him the Aussie vernacular – the first thing the crowd heard was “You bunch of sick cunts!”, which was met with a roar of laughter, before he launched into ‘Intro’, ‘The Ecology’ and ‘Sunny California’, all from his debut album. The diverse crowd of bearded Bondi types and hip hop head-nodders all cheered in unison as Exile got onto the MPC. He delivered a couple of interludes during the show that were truly amazing, with lightning-fast triggering that veered from hip hop to growling electronica to drum’n’bass, and he never once missed a beat. When Fashawn got back on the mic, he treated the crowd to hits like ‘Life As A Shorty’, his revamp of Snoop’s ‘G’z And Hustlas’ called ‘4 The G’s’, and even a couple of cuts from his 2010 Nas tribute mixtape Ode To Illmatic. But it was a new song called ‘Champion’ that drew some of the biggest cheers – and when the final notes of his biggest hit ‘Samsonite Man’ faded out and Fashawn said his goodbyes, the reaction from the crowd let him know to come back real soon. Rick Warner INA CLARKE


Oh God.” Collarbones also had a soft spot for RnB mash-ups, but use vocals more as an instrument rather than a back-of-the-mix texture. Marcus Whale, the lead vocalist, has some decent pipes, although he would’ve benefited from some meee-meee-mooomooo-meows, landing just under the note at times. Still, he and Travis Cook are exciting; Sydney’s response to Flying Lotus? Their Facebook page describes their music as “long distance internet teen pop”, but in actuality, they’re on-your-lap laptop sample stars; they display a healthy dose of Beiber-fever with their rendition of ‘One Time’, and channel J.Lo with the heritage-listed ‘Jenny From The Block.’ Everyone in the room is gyrating by this point, yet the boys balance the atmosphere with wistful, treated string samples and reverbdrenched beats. Elizabeth Kennard


It’s no surprise that Constantine and Tina – lead singers of Tehachapi and Planet Love Sound respectively – are related: both have a lust for spectacle and an undeniable talent for generating atmosphere. The two Melbourne bands showed up at FBi Social armed with a shitload of effects pedals and stylishly dishevelled op-shop shirts, even bringing with them a projectionist to soak the venue in Mogwai-meetsMazzy-Star ambience. Following local support Batterie’s impressive one-man rendition of Battlesesque math rock, Planet Love Sound took to the stage in a wash of jangly tremolo and confronting Fever Raystyle vocals. The crowd was noticeably captivated by Tina’s performance: she writhes almost epileptic against the mic stand in a display that would be uncomfortable if it weren’t so intoxicating. The band recently scored supports with the likes of Holy Fuck and Warpaint in Europe, and if you’ve seen them live, you’ll understand why. Their recordings don’t nearly do justice to their ethereal melodies, frenetic guitar solos and grounding rhythm section, which are driven by booming toms and cerebral basslines. Tehachapi’s psychedelic post rock, with its lush guitar tones and reverbdripping vocals, flowed on seamlessly from PLS’ set. The songs were spacious and evocative, and though long, they seemed to build and swell rather than peter out. Constantine’s midrange vocals were moody and dead on, somewhat reminiscent of PVT circa-Church With No Magic. They also did an endearing cover of Radiohead’s ‘Last Flowers’, sung by the charming drummer Laura, which probably helped to win me over. In fact, I was a little disappointed when Tehachapi cut their set short to make way for The Grunge Safari, the headline act comprised of all members of the two prior bands. The eight of them squeezed onto the stage and although the songs were reasonably tight, I had a sense that as with most improvised/ jam performances, the musicians were enjoying playing their gypsy-inspired version of The Velvet Underground more than we who had to endure it… Dijana Kumurdian

The first piece is dense and brooding, his guitar tracing fluorescent harmonics over a soundscape that would’ve matched Blade Runner well. As he casts it aside, a bass synth begins to pulse simple changes laced with bittersweet melody. Gesturing theatrically, Callinan begins to sing, his impassioned baritone revealing a beatific, elating electropop song as simple as it is perfect. The set continues in kind – brooding, tempered instrumentals punctuated with piquant, cerebral pop. The elements of his former one-man shows are still present, but more careful; the sonic chaos builds in layers rather than snapping to and fro. His painfully elegiac guitar passages are more vertiginously beautiful buoyed with careful synths and quiet acoustic guitar. At one point, a fourth band member, who turns out to be Sarah Kelly of theredsunband, joins him onstage. She removes her surgical mask to wring Ono-esque histrionics over a tune dubbed ‘Masturbate And Wait’. “I know he’s waiting…” intones Callinan earnestly, over an icy acoustic and synthetic ambience; “I know he masturbates…” Kangaroo Skull’s abrasive techno proves a worthy nightcap. The duo is Ben Andrews and Rohan Rebeiro of My Disco, who stoop over laptops and a smoke machine in a room now almost pitch black but for a rapid strobe. The set is loud and disorienting – the few punters left dance listlessly to pointillist pulses and playful walls of aural sandpaper. Luke Telford



snap up all night out all week . . .



Calling ts all artisand e iv L r fo Locals! Contact: es. ott events@liz

YDNE LIZOTTE’SReS ” staurant in Sydney

tertainment “Awarded Best En

02 9984 9933


Champagn 5 Daniel


McLeod 6 Sarah


nn 7 Tim Fi


h with Lazy Sunday Lunc 8 Harmony James l JUL ts Live and Loca Lizotte’s presen



JUL xon 12 Nick Sa JUL Neeson 13 Doc JUL ccy Cole 14 Be

COAS17T L A R T N E C ’S E T 02 4368 20 LIZOT JUL

nn 3 Tim Fi

Showcase e Butler’s Studio at N 5 JUL ony James 6 Harm


rah McLeod 7 Sa h with Aleyce Lazy Sunday Lurinc JUL sty Cox 8 Simmonds & K


ve and Local tte’s presents Li zo Li 11 rah Mark Moldre, Saike McCarthy JUL M 12 Humphreys & JUL son 14 Doc Nee h Lazy Sunday Lunc JUL le Co y 15 with Becc

select music 7th birthday



21:06:12 :: OAF :: Upstairs Beresford :: The Standard :: Phoenix Bar

rock lily

02 4956 2066

tertainm “Awarded Best En

coustic Sessions Rose Carleo – Aer 5 with Mark Trav s JUL The Beatnix


It’s called: Rock Lily

party profile

STLE A C W E N ’S E T T O LIZ Australia” ent Restaurant in 6

It sounds like: Rock’n’roll, bands, a bit of rockab illy, and blues on Sundays. Who’s playing? Faker (Thursday July 12), Thirsty Merc frontman Rai Thistlethwayte (Thursday July 19), Deep Sea Arcade (Thursday July 26) and Glenn Cunningham (Sunday 15, 22 and 29 July). Sell it to us: A live music hub stocked to the ceiling with the world’s most sought-after tequilas, and big international acts and local bands lined up to play. Come and see your favourite bands up close know who you might find next to you after dark.. and personal; you never . The bit we’ll remember in the AM: The rockin g music, the floor-to-ceiling tequila wall, and whatever was captured in the photo booth snaps. Crowd specs: Come as you are.

mony James 7 Har


Finn 8 Tim


ts Lizotte’s presen 11 Live and Local JUL Sarah McLeod JUL


JUL ccy Cole 13 Be

Wallet damage: No cover charge – and $5 house spirits, wine and beer from Monday to Friday between 5-7pm.

JUL baFrog 14 Sam

Where: Rock Lily @ The Star / 80 Pyrmont St, Pyrmont

JUL Neeson 15 Doc

When: Wednesdays to Sundays from 5pm until late


Lizotte’s Sydney 629 Pittwater Rd Dee Why

Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber

Lizotte’s Newcastle 31 Morehead St Lambton

WWW. LIZOT TES.COM.AU BRAG :: 469 :: 02:07:12 :: 31

snap sn ap up all night out all week . . .


bubsy marou

It sounds like: Quality disco, soul and funk in the afternoon, through to deep house, tech and old skool in the evening. Who’s spinning? DJs Tricky and Nick Law, Danny La Ru, Simon P. Three songs you’ll hear on the night: Something by Maceo Plex, FPI Project and Chaka Khan. And one you definitely won’t: Anything by Michael Jackson. Sell it to us: The idea is simple: local parties by music lovers for music lovers. If you love quality dance music and you love a good party in Sydney’s Eastern suburbs with likeminded people, then you’ll love DISKTRICT! Plus, it’s a fundraiser – every single dollar of profit will go to the Royal Randwick Children’s Hospital. The bit we’ll remember in the AM: Laughing, dancing and partying with your best mates. Crowd specs: 20- to 40-year-old smiling guys and gals from da Eastside! Wallet damage: $20 (moshtix) – $25 (on the door) Where: Eastern Suburbs RU Club / 22 O’Sullivan Rd, Rose Bay When: Saturday July 7, from 4pm-midnight


22:06:12 :: The Hi-Fi :: Entertainment Quarter 122 Rd Moore Park

party profile

school of seven bells


It’s called: DISKTRICT

the bamboos


mosman alder


22:06:12 :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711

22:06:12 :: The Metro :: 624 George St Sydney 9550 3666

grey ghost


23:06:12 :: FBi Social :: Kings Cross Hotel 248 William St 9331 9900

the celibate rifles


23:06:12 :: Upstairs Beresford :: 1/354 Bourke St Surry Hills 8313 5000

23:06:12 :: Beach Road Hotel :: 71 Beach Rd Bondi Beach 9130 7247 32 :: BRAG :: 469: 02:07:12


BRAG :: 469 :: 02:07:12 :: 33

g g guide gig g send your listings to :

Holly Throsby



Concert Hall, Sydney Opera House

Bob Dylan Night: The 50th Anniversary Kav Temperley, Josh Pyke, Kevin Mitchell, Holly Throsby, Patience Hodgson $99–$139 (+ bf) 7pm MONDAY JULY 2 ROCK & POP

Bernie The Observer Hotel, The Rocks free 8.30pm Open Mic Night Hard Rock Cafe, Darling Harbour free 8pm Unherd Open Mic Downstairs, Sandringham Hotel, Newtown free 8pm


Doig Big Band 505 Club, Surry Hills $10 8.30pm Monday Jam: Danny G Felix The Lansdowne, Broadway free 9pm


Carrie Underwood, Damien Leith Sydney Opera House $99 (+ bf) 8pm

ACOUSTIC & FOLK Russell Neal, Senani, Carrie Tong, Massimo Presti, Chris Brookes Kellys On King, Newtown free 7pm


Adam Pringle and Friends Downstairs, Sandringham Hotel, Newtown free 8pm Bondi Jam

Beach Road Hotel, Bondi free 8pm Lawrence Arabia The Green Room, Enmore $8.20 8pm The Songwriter Sessions Sandringham Hotel, Newtown free 8pm

Andy Mammers Duo Maloney’s Hotel, Sydney free 9pm Bears With Guns, Castlecomer, Little Napier The Vanguard, Newtown $13.80–$48.80 (dinner & show) 8pm Catcall, The Fabergettes, The Khanz Beach Road Hotel, Bondi free 8pm Dan Spillane Coogee Bay Hotel, Beach Bar free 9pm Gemma The Observer Hotel, The Rocks free 9.30pm Hitseekers The Three Wise Monkeys, Sydney free 10pm I Am Giant (UK) Spectrum, Darlinghurst $15 (+ bf) 8pm JP Duo O’Malley’s Hotel, Darlinghurst free 10pm Kerri Lewis Duo Club Rivers, Riverwood free 12pm Matt Jones Novotel Homebush, Homebush Bay free 4.30pm Michele Madden, Terry Serio, The Return Of Blackie, Marcus de Pasquale Sandringham Hotel, Newtown $10 8pm Musos Jam Night Bald Faced Stag, Leichhardt free 8pm Paul Hayward’s Punk Rock Karaoke Downstairs, Sandringham Hotel, Newtown free 8pm Tim Freedman’s Fireside Chat The Basement, Circular Quay $35 (+ bf)–$89.80 (dinner & show) 7.30pm


Dave Ades Group, Zac Hurren 505 Club, Surry Hills $10 (conc)–$15 8.30pm Peter Head Harbour View Hotel, The Rocks free 8pm

ACOUSTIC & FOLK Folk Club Gallery Bar, Oxford Art Factory, Darlinghurst free 7.30pm


Jazzgroove: Matt Keegan Trio, Dave Ades Group, Mark Lewis Quartet 505 Club, Surry Hills $8 (conc)–$15 8.30pm


Carrie Underwood, Damien Leith Sydney Opera House $99 (+ bf) 8pm

ACOUSTIC & FOLK Andrew Denniston, Bec

Georgia Fair

TAOS, John Chesher, Gavin Fitzgerald Coach & Horses Hotel, Randwick free 7pm World Music Wednesdays Macquarie Hotel, Sydney free 8pm


Big Dumb Kid, Rapaport, Subsketch, Future Love Hangover GoodGod Small Club, Sydney $8 (+ bf) 8pm B-Massive, The Desert Sea, This Dance Floor The Lansdowne, Broadway free 8pm Collarbones, Bon Chat Bon Rat, Mr Maps FBi Social @ Kings Cross Hotel, Darlinghurst $12 8pm Craig Thommo RG McGees Hotel, Richmond free 7.30pm Daniel Champagne Lizotte’s Restaurant, Dee Why $24 8pm Geoffrey O’Connor, Swimwear, Caitlin Park, The Mountains, Conrad Greenleaf Annandale Hotel free-$10 7pm Hatemail, After Thirteen, Red Whiskey Valve Bar, Tempe 7pm Hooray For Everything Brighton RSL Club, BrightonLe-Sands free 7.30pm Hot Damn!: Make Them Suffer, Signal The Firing Squad Spectrum, Darlinghurst 8pm Jamie Hutchings & The Goldfish Memories, Melodie Nelson, Family Sandringham Hotel, Newtown $12 (presale)–$15 8pm Krishna Jones Gymea Hotel free 7.30pm Marty From Reckless Coogee Bay Hotel, Beach Bar free 10pm A Night On The Town With OAF: The Brow Horn Orchestra, Holland, Hello Vera, Enerate, Belle & The Bone People Oxford Art Factory, Darlinghurst free 8pm No Dice Paradise, Polographia, Embassy Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Party Central The Three Wise Monkeys, Sydney free 10pm Red Room Sessions: The Skimps, James Willing Trio, Alex Gibson Band Hotel Steyne – Moonshine Bar, Manly free 8.30pm Steve Tonge Marlborough Hotel, Newtown free 8.30pm

Susannah O’Leary, Rebecca Henry Notes Live, Enmore $18.54 7pm Venus Fire, Georgia Juliette, mcArtney The Vanguard, Newtown $15 (+ bf) 7.30pm Wildcatz Paragon Hotel, Sydney free 7.30pm


El Orqueston Blue Beat, Double Bay $12$15 (+ bf) 7pm Lionel Robinson Dee Why RSL Club free 6.30pm Peter Head Harbour View Hotel, The Rocks free 8pm Ray Beadle 505 Club, Surry Hills $10 (conc)–$15 8.30pm

ACOUSTIC & FOLK Andrew Denniston Ettalong B/C free 7.30pm Russell Neal Kogarah Hotel free 7pm


AM 2 PM Padstow RSL Club free 7.30pm The Arachnids, The Nectars, The Rude Heads Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Armchair Travellers Duo Coogee Bay Hotel, Beach Bar free 10pm The Bride, Wish For Wings, Trainwreck, Your Weight In Gold Liverpool PCYC, Miller 8pm all-ages Bushwackers Empire Hotel, Annandale $15 (conc)–$20 8pm The Capitols Celebrity Room, Blacktown RSL Club free 8.30pm Casino Rumblers, Batfoot, Nudist of the World Town Hall Hotel, Newtown free 9pm The Castaways Penrith Gaels Club free 8pm Dancing Heals, Holland, Iluka, PhDJ Upstairs Beresford, Surry Hills free 6pm The Deep Gymea Hotel free 7.30pm Double Whammy Engadine RSL & Citizens Club free 8pm Endless Summer Beach Party Eastern Suburbs Leagues Club, Bondi Junction free 7.30pm Express Wentworthville Leagues Club free 10pm Flight Of The Conchords (NZ) Sydney Entertaiment Centre, Darling Harbour $50-$86.20 8pm Georgia Fair, Dirt Farmer, Jack Carty The Standard, Darlinghurst $12 8pm Goatwhore (USA), Impiety (Singapire), Ruins, Anno Domini Sandringham Hotel, Newtown $40 (+ bf) 8pm Gunface, Paper Crane, The Belle Havens, Triangle Skies Sydney Livehouse @ Lewisham Hotel $12 8pm Happy Hippies St George Leagues Club, Kogarah free 8pm

“Baby, wanna take you out with me. Come along on my death trip” - IGGY & THE STOOGES 34 :: BRAG :: 469 : 02:07:12


pick of the week

O’Brien, Brian Manning Harbour View Hotel, The Rocks free 7pm Russell Neal, 2 Picks No Sticks, Shane Coombe, Renee Jonas Taverners Hill Hotel, Leichhardt free 7pm

g g guide gig g send your listings to : Hayley Sales Bankstown Hotel free 3pm Heroes For Hire, Luca Brasi, Carry Me Home Oxford Art Factory, Darlinghurst $15 (+ bf) 8pm Hudson Arc, Golden Fear The Newsagency, Marrickville $10 (+ bf) 8pm JJ Duo Seven Hills Toongabbie RSL Club free 8.30pm Keep The Faith – Bon Jovi Show Heathcote Hotel free 9.30pm Kingswood, Money For Rope, Damn Terran Lansdowne Hotel, Chippendale free 8pm Krishna Jones Royal Oak Hotel, Parramatta free 8pm Limited Head Space, Fortune Fails, Release The Hounds Excelsior Hotel, Glebe free 7.30pm The Lonely Boys Mercantile Hotel, The Rocks free 8.30pm Macson East Hills Hotel free 7.30pm Make Them Suffer, Signal The Firing Squad, Buried in Verona Manly Youth Centre 8pm allages The Medics, Sticky Fingers, Underlights, Rapids Annandale Hotel $15 (+ bf) 8pm MUM: Oscar Lush, The Shooters Party, The Demon Parade, She Rex, Maids, Swim Team DJs, Wet Lungs, Wolfden DJs, 10th Avenue, DJ Boy, Cries Wolf DJs, Cam Anthony The World Bar, Kings Cross free $10-$15 8pm The Nectars, The Arachnids, The Rude Heads Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm The Night Terrors, Forces, Null Object, DJ Kirin J Callinan FBi Social @ Kings Cross Hotel, Darlinghurst $10-$15 8pm One Hit Wonders Club Central Hurstville free 8.30pm Peppermint Jam The Three Wise Monkeys, Sydney free 10.30pm Perry Keyes, The Aerial Maps The Vanguard, Newtown $33.80 7pm Rapture Club Rivers, Riverwood free 9.30pm Repressed Records 10th Birthday: Straight Jacket Nation, Loose Grip, Lowlife, Raw Prawn The Red Rattler, Marrickville $12 8pm The Rough Diamonds Live At The Brewhouse, King St Wharf free 8pm Sabotage: Bandintexas, Mr Maps Forbes Hotel, Sydney $10 8pm Sarah McLeod, KJ Lizotte’s Restaurant, Dee Why $25 8pm Shannon Noll Revesby Heights Ex-Servicemen’s Memorial Club $35 8pm Shezbot, Winslow’s Cancer, Grandville, Er Among The Ether Valve Bar, Tempe $5 7pm Shimma Marlborough Hotel, Newtown free 10.30pm The Shivon Duo Parramatta Leagues Club free 8pm The Shuffle Brass Monkey, Cronulla $14.30 7pm Simply Barbra – Barbra Streisand Tribute: Steven Brinberg Riverside Theatres,

The Preachers

Parramatta $36 (conc)–$40 7.30pm Swingshift Cold Chisel Show St Marys Band Club free 10pm Tim Freedman’s Fireside Chat, Kim Salmon The Basement, Circular Quay $35 (+ bf)–$89.80 (dinner & show) 8pm Tom T Duo St George Leagues Club, Kogarah free 7pm Wildcatz Dee Why Hotel free 10pm Winslow’s Cancer, Shezbot, Grandville, ER Among The Ether Valve Bar, Tempe 7pm World’s End Press, Ben Browning, Olympic Ayres, Joey The Saint & Bad Jackson GoodGod Small Club, Sydney $12 (+ bf) 9pm


Lee McAllistair Band The Sound Lounge, Seymour Centre, Chippendale $10 (student)–$20 8.30pm Martinez Brothers 505 Club, Surry Hills $15 (conc)–$20 8.30pm


Simone Felice (USA), Josh Ritter Notes Live, Enmore $46.95 7pm

ACOUSTIC & FOLK Russell Neal, Simon Marrable, Black Diamond Bowral Hotel free 7.30pm


2 Of Hearts Revesby Workers Club free 9.30pm AM 2 PM Seven Hills Toongabbie RSL Club free 8.30pm The Blacklist Marlborough Hotel, Newtown free 10.30pm The Cairos, The Preachers GoodGod Small Club, Sydney $12 (+ bf) 8pm Craig Thommo Club Menai free 8.30pm Creedence And Beyond Celebrity Room, Blacktown RSL Club free 9pm Daily Meds, The Last Kinection, Herb, Yun Nooky, DJ 2Buck Annandale Hotel $15 (+ bf) 8pm Dave Tice & Mark Evans Downstairs, Sandringham Hotel, Newtown free 4pm The Deep Coogee Bay Hotel, Beach Bar free 10pm Double Barrel Three Swallows Hotel, Bankstown free 9pm Drew Gymea Hotel free 7.30pm

Endless Summer Beach Party Rooty Hill RSL Club free 8.30pm Foreday Riders, Bridie King Empire Hotel, Annandale $15 (conc)–$20 8pm The Good Stuff RG McGees Hotel, Richmond free 9pm The Guilty Party Botany View Hotel free 7pm Hardcore 2012: Terror (USA), Mindsnare, Ceremony, Miles Away, Break Even, I Exist The Hi-Fi, Moore Park $30 (+ bf) 6pm Heatwave Penrith Gaels Club free 7pm Heroes For Hire, Luca Brasi, Carry Me Home Annandale Hotel $15 (+ bf) 12pm all-ages Hey Geronimo, The Deer Republic, Sea Legs, Bert & Ernie Upstairs Beresford, Surry Hills free 6pm Holland Old Manly Boatshed 8pm Homeground Heroes Band Competition Valve Bar, Tempe 1pm Hooray For Everything Hornsby RSL free 9pm Hotel California – A Tribute to The Eagles Brass Monkey, Cronulla $23.50 7pm Ilias Live At The Brewhouse, King St Wharf $10 8pm JJ Duo Courthouse Hotel, Darlinghurst free 10pm Keep The Faith – Bon Jovi Show Scruffy Murphy’s Hotel, Sydney free 10.30pm Late Shift Cronulla Bowling & Recreation Club free 8.30pm Lime Cordiale, Iluka, Tim Fitz The Standard, Darlinghurst $10 8pm The Lonely Boys Mercantile Hotel, The Rocks free 3pm, 8.30pm Macson Parramatta Leagues Club free 8pm Mike Whitney Band South Sydney Juniors, Kingsford free 8.30pm Nova Tone The Belvedere Hotel, Sydney free 9pm One Hit Wonders Epping Hotel free 10pm Original Sin INXS Show Emu Plains Sporting & Recreation Club, Leonay free 8pm Party Vibe Wentworthville Leagues Club free 10pm Perry Keyes, The Aerial Maps The Vanguard, Newtown $33.80 7pm Rapture Coogee Legion Ex-Service Club free 8pm Repressed Records 10th Birthday: Damo Suzuki and The Holy Soul, UV Race, Per Purpose, Model Citizen,

Hair Hockman The Red Rattler, Marrickville $20 8pm The Rubix, Inciate, The Dead Sets, Halfway Home, Ruffle Feather Valve Bar, Tempe $12 7pm Sando Calling – A Tribute To The Clash: Not OK (NZ), Deadwood 78, Eager 13, Everything I Own Is Broken Sandringham Hotel, Newtown $10 8pm Saturday Night Live: The Jacks Oatley Hotel free 8.30pm SFX: Sounds Of Seasons, Love & Satellites, Breakaway, Divide & Conquer St James Hotel, Sydney $12$15 9pm The Shooters Party Gallery Bar, Oxford Art Factory, Darlinghurst free Smoking Ponies Beach Road Hotel, Bondi free 8pm Spasm Band, Alanna & Alicia Egan, Tully Tramshed Community Arts Centre, Narrabeen $20 7.30pm Swing vs Rockabilly: Eza Lee feat. Miss Pia Anderson, Kieron McDonald, Scotty Baker, Pat Capocci Combo, Drey Rollan Band, The Velvet Set, Hollywood Hombres, Matt Black & The Phat Kats, Jordan C Thomas and his Swing Sextet, Limpin’ Jimmy & The Swingin’ Kittens, DJ Goldfoot The Factory Theatre, Enmore $28 (+ bf) 7.30pm They Call Me Bruce Engadine RSL & Citizens Club free 8pm


Tim Finn (NZ) Lizotte’s Restaurant, Dee Why $68–$126 (dinner & show) 8pm Tim Freedman’s Fireside Chat, Kim Salmon The Basement, Circular Quay $35 (+ bf)–$89.80 (dinner & show) 8pm Tom T Trio Eastern Suburbs Leagues Club, Bondi Junction free 8.30pm Tour De Force Bankstown Sports Club free 8pm


Andrew Mackie, Paul Klezmer Rozelle Markets free 11am Blue Moon Quartet Supper Club, Fairfield RSL Club free 7pm Café of the Gate of Salvation feat. Members of Dig (Directions in Groove) Notes Live, Enmore $23.50 7pm Continental Robert’s ‘Soul Kinda Feeling’ Revue Blue Beat Bar & Grill, Double Bay $18 (+ bf) 7pm Nikki Crayson 505 Club, Surry Hills $15 (conc)–$20 8.30pm Peter Head Harbour View Hotel, The Rocks free 5pm Tight Corners: Phillip Johnston, Jex Saarelaht Quartet The Sound Lounge, Seymour Centre, Chippendale $10 (student)–$20 8.30pm Yuki Kumagai, John Mackie Well Co. Café / Wine Bar, Leichhardt free 7.30pm

ACOUSTIC & FOLK Black Diamond George IV Inn, Picton free 8.30pm


Bob Dylan 50th Anniversary Concert: Kav Temperley, Josh Pyke, Kevin Mitchell, Holly Throsby, Patience Hodgson Concert Hall, Sydney Opera House $99 – $139 (+ bf) 7pm Craig Thommo Oscars Lounge Bar & Restaurant, Pyrmont free 2pm The Drey Rollan Band, The Jordan C Thomas Trio The Vanguard, Newtown $18.80–$53.80 (dinner & show) 8pm Glam Rock Burlesque The Standard, Surry Hills $25 8pm Guilty Party, Nomis & I Botany View Hotel, Newtown free 6.30pm Happy Hippies Albion Hotel, Parramatta free 3pm Hardcore 2012: Terror (USA), Ceremony, Break Even, Miles Away, Extortion, Iron Mind, Warbrain, Vigilante, Survival, Civil War The Hi-Fi, Moore Park $35 (+ bf) 2pm all-ages Hayley Sales Parramatta Leagues Club free 1pm Holland, Whitefield, Sam Stephenson Brass Monkey, Cronulla $12.25 7pm


04 July


(9:30PM - 12:00AM)


05 July

(9:00PM - 12:00AM)


06 July (5:00PM - 8:00PM)

(9:30PM - 1:30AM)



(4:30PM - 7:30PM)







(9:00PM - 1:30AM)


(8:30PM - 12:00AM)

BRAG :: 469 :: 02:07:12 :: 35

gig picks

g g guide gig g

send your listings to : James Parrino Coogee Bay Hotel, Beach Bar free 7.30pm Lucy DeSoto and The Handsome Devils Downstairs, Sandringham Hotel, Newtown free 4pm Mark Hopper Artichoke Gallery Cafe, Manly free 7.30pm Matt Toms The Belvedere Hotel, Sydney free 4pm Nova Tone St George Leagues Club, Kogarah free 12pm Per Purpose, The Warm Feelings, Whores Hollywood Hotel, Surry Hills free 4pm Reckless Gymea Hotel free 4.30pm Salsa Night Hard Rock Cafe, Darling Harbour free 8.30pm Saraha Carrol & The Psychedelic Wildmen Marrickville Bowling Club free 4.30pm Simone Felice (USA), Josh Ritter (USA) The Basement, Circular Quay $42 (+ bf)–$96.80 (incl supper) 7.30pm

up all night out all week...

Yasujiro Ozu Riverside Theatres, Parramatta $30 3pm allages

Swim Team DJs, Wet Lungs, Wolfden DJs and more The World Bar, Kings Cross free $15 8pm

Flight Of The Conchords


PJB Trio Harbour View Hotel, The Rocks free 4pm

Perry Keyes, The Aerial Maps The Vanguard, Newtown $33.80 7pm

ACOUSTIC & FOLK Acoustic Evening: Nicholas Loveridge, Helen Perris, Terra Lexus, Hannah Matysek, Kimberley Aviso Valve Bar, Tempe 5pm Acoustic Sets: Bradley Primmer Oatley Hotel free 2pm Black Diamond, Mike Searson Corrimal Hotel free 3pm Harmony James, Lachlan Bryan Lizotte’s Restaurant, Dee Why $28 12pm Russell Neal Salisbury Hotel, Stanmore free 2pm Swish Dudes, Paul ‘Buck’ Buckberry Rozelle Markets free 10am

Simone Felice (USA), Josh Ritter Notes Live, Enmore $46.95 7pm

TUESDAY JULY 3 Lawrence Arabia The Green Room, Enmore $10 8pm

WEDNESDAY JULY 4 Catcall, The Fabergettes Beach Road Hotel, Bondi free 8pm

THURSDAY JULY 5 Flight Of The Conchords (NZ) Sydney Entertaiment Centre, Darling Harbour $50-$86.20 8pm Collarbones, Bon Chat Bon Rat, Mr Maps FBi Social @ Kings Cross Hotel, Darlinghurst $12 8pm

The Cairos, The Preachers GoodGod Small Club, Sydney $12 (+ bf) 8pm Lime Cordiale, Iluka, Tim Fitz The Standard, Darlinghurst $10 8pm

The Brow Horn Orchestra, Holland, Hello Vera, Enerate, Belle & The Bone People Oxford Art Factory, Darlinghurst $5 8pm


FRIDAY JULY 6 Flight Of The Conchords (NZ) Sydney Entertaiment Centre, Darling Harbour $50-$86.20 (+ bf) 8pm Georgia Fair, Dirt Farmer, Jack Carty The Standard, Darlinghurst $12 8pm MUM: Oscar Lush, The Shooters Party, The Demon Parade, She Rex, Maids,

Caitlin Park Repressed Records 10th Birthday: Damo Suzuki and The Holy Soul, UV Race, Per Purpose, Model Citizen, Hair Hockman The Red Rattler, Marrickville $20 8pm Swing vs Rockabilly: Eza Lee feat. Miss Pia Anderson, Kieron McDonald, Scotty Baker, Pat Capocci Combo, Drey Rollan Band, The Velvet Set, Hollywood Hombres, Matt Black & The Phat Kats, Jordan C Thomas and his Swing Sextet, Limpin’ Jimmy & The Swingin’ Kittens, DJ Goldfoot The Factory Theatre, Enmore $28 (+ bf) 7.30pm Xxxx

Simone Felice


Geoffrey O’Connor, Swimwear, Caitlin Park, The Mountains, Conrad Greenleaf Annandale Hotel free-$10 7pm

Tuesday July 3rd

Friday July 6th





7pm // FREE

8pm // $12 at the door

Thursday July 5th

Saturday July 7th



+ MR MAPS 8pm // $12 at the door

L2 Kings Cross Hotel 36 :: BRAG :: 469 : 02:07:12




BRAG’s guide to dance, hip hop and club culture

brag beats

dance music news club, dance and hip hop in brief... with Alasdair Duncan

he said she said WITH


tempo than his usual fare – but it’s all good shit. The EP also includes a live version of ‘New Lands’, as a reminder of Justice’s on-stage heft.

Rick Ross


And now, something that’s defi nitely happening for real and is not just a questionable PR stunt to drum up interest when the inevitable reunion comes in a year to 18 months... Swedish House Mafi a are calling it quits. There, they’ve said it. It’s for realsies, you guys – bar, no returns, nyah nyah nyah nyah nyah, etc. The trio, comprising superstar DJs Steve Angello, Sebastian Ingrosso and Axwell, announced that their upcoming tour is going to be their last, thanking fans for coming with them on their crazy journey of raving and loving. In response to the shock statement, UK rapper Tinie Tempah, a featured vocalist on the track ‘Miami 2 Ibiza’, took to his Twitter to praise the trio of “talented geniuses”. So yeah, this is it. Swedish House Mafi a are splitting up. Jeez, it’s HAPPENING, you guys. Just let it go already.



ne of my key childhood music memories would probably be getting my hands on a drum kit when I was around 13. The music journey kind of all really started from that point for me! My parents were into lots of different kinds of music; I used to spend Sunday afternoons sifting through their old vinyl, CDs and cassettes looking for obscure artists and sounds. I still do that to this day – but I’ve moved on from the parents’ collection. In the playground at school one day, a mate of mine played me a tune called ‘Recurring’ by Bonobo. Something about the broken beat pattern of the drums and the weird sounds used to create the main melody clicked with me, so I ended up running home to download the rest of the album and to try and create something similar, as you do – but I failed miserably. This failure definitely made me want to learn how to master making sounds and beats. Dark Sky is a permanent crew of three. We do a lot of DJing and producing together but recently we’ve been collaborating with Ben Westbeech aka Breach on some new stuff. His studio is pretty pimping, so it’s always fun to pop round to his and work on tracks. We all have different tastes in music but I think


PNAU’s Nick Littlemore is a man of mystery and intrigue, setting festival dance tents alight one minute, making collaborative albums with Elton John the next. Yes, this is a thing that has happened. To cut a long story short, Sir Elton acted as a sort of mentor to Littlemore throughout the writing and recording of PNAU’s album Soft Universe, and also gave Littlemore access to master tapes of his back catalogue, to remix and reinterpret as he saw fi t. Well, Littlemore did just that, and the resulting album, entitled Good Morning To The Sun, is credited to Elton John vs PNAU and is set for release on July 16. A single, ‘Sad’, has just been released, and that track is basically the audio equivalent of riding a sparkly disco unicorn while completely off your face on glitter and gak, so hopefully it’s a reasonable indication

it’s the disagreements that bring us together, weirdly. It’s hard to characterise the music we make, as we never try to stick to one genre or style. It’s kind of a mixing pot of influences past and present, which is always evolving. Dark Sky is definitely a project devoted to experimenting with and searching for new sounds and rhythms. We are currently working on a live show, which should hopefully be ready by the end of this year – it’s a whole new world for us, but we are definitely enjoying the challenge.

There was very big news for Chinese Laundry a few weeks back, with the announcement that the club will host its first ever pool party this September. Good for them and everything, but let’s face it: your 12-year-old cousin can probably throw a pool party... What’s doubtful is that your 12-yearold cousin could book it for the ivy and secure top-notch international headliners like Hernan Cattaneo and Fritz Kalkbrenner. She could try, for sure, but she’d probably just end up sitting alone in an infl atable pool playing Bieber off her iPod instead. Anyway, that’s neither here nor there. What matters is that Chinese Laundry’s Pool Party is going to be positively enormous – Cattaneo and Kalkbrenner are both known for playing to capacity crowds around the world, so when they get together, magic is sure to happen. It all goes down at the ivy Pool Club on George Street on Saturday September 22 – and tickets are still available.


To his mum, he’s William Leonard Roberts II – to everyone else, he’s Rick Ross. He’s the Teflon Don, officially declared The Hottest MC In The Game by MTV; the man behind such tracks as ‘So Sophisticated’, the guy Usher calls when he wants a guest spot for a track, and the founder of the Maybach Music Group. This September, Empire Enterprises – in conjunction with 31 Flavours and CDC – will bring Ross to Australia for his first ever tour of the country. Join him as he performs a series of songs from his extensive catalogue, stretching from recent hits like ‘Bag Of Money’ and Usher collaboration ‘Touchin You’, all the way back to his very first album. Ross will perform on Friday September 7 at The Big Top, Luna Park, with support acts to be announced.


The music scene has been very exciting for the past year or so; it’s refreshing to hear so many artists experimenting with sound. I recently saw a performance by Rocket Number 9 – I was blown away by the vibe they created. No laptops on stage, just a drummer and a synth player. It really worked well! It’s also great to see so many independent record labels starting up who are also selling vinyl… Long live the analogue revolution! What: Dark Sky DJ set Where: One22 When: Saturday July 7

of what the album will be like. Elton John and PNAU will be performing together in Ibiza, because of course they will.


Dancefl oor-destroying Frenchmen Justice drew upon the gnarlier end of ‘70s metal and prog rock for last year’s album, Audio, Video, Disco. This month, Xavier de Rosnay and Gaspard Auge release the newest single from the record – ‘New Lands’ – and it comes with a handful of pretty sweet remixes. The first of these comes from classic first-wave French house producer DJ Falcon, who offers up a breezy and blissful version that reminds us all of why we lost our shit for that Gallic sound in the first place. A-Trak is up next, delivering an expectedly fresh take on the track, while Sebastian turns in a remix that is slightly more down-


Prepare yourself for a big day of beats. On Saturday August 4 at Oxford Art Factory, Niche Productions present the next instalment of Hold Tight, their eclectic celebration of all things electronic and hip hop. Previous instalments of Hold Tight have seen talent as diverse as Martyn, Flying Lotus, Hudson Mohawke and Gaslamp Killer take the stage, and this one promises to be just as interesting/huge. At the top of the bill is jonwayne, an LA producer who will make his first ever trip to Australia ahead of the release of his debut album on Stone’s Throw. Also on the bill are Mono/Poly out of the US, Germany’s Suff Daddy and Japan’s MFP. The BPMs may be a little lower this time around, but the lineup is stellar. Prepare to have your dial twisted.

BRAG :: 469 :: 02:07:12 :: 37

dance music news

free stuff

club, dance and hip hop in brief... with Alasdair Duncan


he said she said WITH




y stepfather was a musician, so I learnt how to play the guitar from a really young age. Music was always in my life – at first jazz and rock, but then as I got into my teens I discovered beats. My father owned a nightclub and I started to hear all these new sounds for the very first time. I knew from a very early age that I wanted to be involved in electronic music. I’ve never done anything else but music. I got a residency in a nightclub in Paris when I was just 15. I expected it to be my big break – even at that young an age – but the government closed down all the clubs for a long time in Paris due to drug laws. So there I was in Paris and my dreams were slowing vanishing, and there was nothing I could do. Then a friend of mine suggested I go to Miami and spend some time with him until the dust had settled and the clubs re-opened. I discovered what I now call home: for me, Miami was and still is the most amazing city. There’s huge cultural diversity, which effects everything – especially music. Because of its diversity, I just had this feeling that

it would become a really important city for the electronic music scene, a scene which I was so used to coming from Europe. I was lucky to play in some of the best clubs in Miami, like Crobar, Space (this is where I cut my teeth as a resident, and met so many DJs), Nikki Beach, and now my home Live, where all my friends hang – it’s one of (if not the) best club in the US. My track ‘Molly’ is out right now on One Love in Australia, and I’m looking forward to putting more records out with them this year. My sound varies from big house to electro, and I like to mix things up a little bit. It’s my first time in Australia so I cant wait. I’m coming over to make friends – I hear you guys like to party, so we’ll have a lot of fun. The music scene is amazing right now. There’s a lot of diversity, so everybody should be happy – there’s something for everyone. CID’s a new guy from NYC who you should look out for – amazing production and a great DJ.


Are you feeling fancy? Nic Fanciulli’s just dropped his instalment of the esteemed mix series Balance, Balance 021, featuring “deep and melodic grooves... stripped back bounce, rolling basslines, jacking beats and everything in between”. With tracks from Ricardo Villalobos, &ME, Loco Dice and loads more, the two-disc set works as well for your pre-game as it does for your wind-down – and to celebrate, the man himself is hitting up Goldfish on Saturday July 14. We’ve got five CDs to keep you going until then – if you want one, email us and tell us about a time you lost your balance. Nic Fanciulli

Where: Marquee, Sydney When: Friday July 6

been announced as support acts for the show, while Future Love Hangover will be DJing all night.

Yacht Club DJs

Hed Kandi is an old favourite – always consistent, always fun, always full of totally bangin’ tunes and even bangin’-er hotties. The newest incarnation hits Goldfish on Saturday July 7, with sets from Shaun Warner (Ireland), Phil Hudson, Frankie Romano, Emmet Green and Tom Kelly. We have three double passes to give away, which come with a bonus pack of goodies including a T-shirt, CD, wristbands, limited edition badges and lollies to keep you going all night… Email us with a picture of your favourite candy to be in the running!


The trio known as Disco Punx have been making noise and breaking hearts on the electro scene for some time now. Luke Yeah, Charlie Chux and Hentai specialise in proper, weird, freaky electro and have played pretty much every festival you can think of – not to mention running their own series of monthly parties in Sydney for a spell. This Friday July 6 the group will headline at The Spice Cellar, with support on the night coming courtesy of Andy Webb, Morgan and James Taylor. Things kick off at 10pm, and there is free entry before midnight if you register on Spice Cellar’s Facebook page.

BROKEN THOUGHT THEORY Friday the 13th is coming. If your plans for the night are thus far limited to throwing a

horror movie marathon, cutting a hole in a popcorn box and hoping for the best, then you clearly need something better to do. Why not head to Brighton Up Bar, Oxford Street, and party the night away with Broken Thought Theory? The group are releasing their brand new, self-titled EP, and it promises to be a cracker of an evening. MCs State Advanced and EaRelevant promise a “melodic hip hop utopia” with grimy beats and rhymes that will make your head bounce, as well as some powerhouse soul vocals courtesy of VCEE. Supports on the night include Barnzy, Curtis C + Psych The Passenger, High-Noon Crew, Hometeam and PaperToy.


Paris Hilton made her professional DJ debut at the Sao Paulo Pop Music Festival in Brazil last week. She played a remix of Gotye and danced around and gave shout-outs to the crowd and twiddled a couple of knobs at various points, and I’m sure she had a very nice time. Now let’s not talk about it anymore.

Paul Oakenfold


They’re one of the newer players on the festival circuit, but the Fat As Butter crew are determined to show you a good time – and the lineup for this year’s festival is chock full of huge artists. The ‘90s dance pop revival is still in full force, courtesy of Eiffel 65 and N-Trance – presuming the festival is big enough to contain both. Other dance-centric artists on the bill include electro-pop group RUFUS, Swedish duo Rebecca And Fiona, dubstep bros Bombs Away, the always-reliable Yacht Club DJs, 360, Seth Sentry and many more – with Good Charlotte, Grinspoon, Yellowcard and Pond fl ying the fl ag for rock. The festival takes over the foreshore in Newcastle on Saturday September 22. Get amongst it.


Canada’s Metric have quietly but determinedly become one of the best electronic acts out there at the moment. Singer Emily Haines brings a bruised but compelling toughness to her vocal melodies, while James Shaw keeps the synth arrangements locked down tight and provides the songs with stadium-sized hooks. Their new album Synthetica is just out and is easily one of the year’s highlights; it’s their most synth-based yet – hardly a huge surprise, given the title – and from the mysterious opener ‘Artifi cial Nocturne’ to the stomping ‘Youth Without Youth’ and beyond, it’s packed with great tunes. Metric fans will get to experience the band’s storming live show when they return to Australia for Splendour In The Grass, as well as a series of sideshows around the country. The one 38 :: BRAG :: 469 :: 02:07:12

most relevant to you happens Thursday July 26 at The Hi-Fi.


While I’m kind of jealous of him because he has a really excellent artist name that I wish I’d thought of first for the musical project I one day maybe plan to launch, I’m nonetheless obliged to report that Big Dumb Kid will be launching his debut album at GoodGod Small Club, Liverpool Street, this Thursday July 5. The album is called Chocolate, and is a follow-up to his EP of last year, Vanilla. Big Dumb Kid, real name Brogan Galceran, is a rising star on the Aussie hip hop scene, his tunes mixing bright synthesisers and electronic melodies with a laid-back fl ow and honest, down-to-earth lyrics. Rapaport and Subsketch have just


Three years after his last trip down this way, trance institution Paul Oakenfold has announced his plans to return to Australia later in the year. Future Entertainment will bring the DJ out for a series of shows around the country, including a stop-in at the Hordern Pavilion on Saturday September 30. He has recently spoken with excitement about producing new tracks and getting behind the decks after a period spent focusing on making music for fi lms and games, so the tour is looking like it’ll be a big one. In addition, fans can look forward to a new Oakey album at some point this year – the record is to be called Pop Killer and will reportedly feature cameo spots from the likes of Cee-Lo, Ryan Tedder of OneRepublic, The Red Hot Chili Peppers, and Matt Goss. Cee-Lo’s pet cockatoo has so far not commented as to whether he or she will also appear.

Van She Fun In The Sun By Alasdair Duncan


ife’s a beach when you’re in Van She – actually, if singer Nick Routledge is to be believed, it’s a whole damn tropical island. The year before last, Routledge took a retreat to the Caribbean, and it was here where the

band’s second album, Idea Of Happiness, began to take shape. “There was a time when I really needed to get away, so I went to visit some family there,” he says, “eating threedollar lobster, listening to a lot of Hall & Oates

and The Doobie Brothers. That’s kind of all you do.” That, and drink hard liquor out of coconuts. “There’s a thing you do where you cut open the top of a coconut, you put ice in it and then you add a bit of rum,” Routledge says with a laugh. “I remember sitting on a deserted island in the middle of an archipelago, just in my own little world, drinking this coconut drink…” True to its title, Idea Of Happiness is a joyous album – basically the aural equivalent of the experience that Routledge just described. It’s also Van She’s most heavily electronic release to date. That’s not something they planned, but it was a logical place to end up given their mutual love of electronic music. “We didn’t intend to make any particular type of record necessarily – we just jumped in,” Routledge tells me. “We were particularly inspired by Phoenix. They take an electronic approach to recording live music, essentially. In their live show, they keyboard player also triggers drum samples, so you get this mixing of the live and the pre-recorded and it just makes for a really powerful sound. We wanted to do something similar, and it was really interesting and fun and challenging for us.”   This emphasis on electronic sounds has, in turn, made for a much more electronic live show than before. Routledge talks me through the current state of Van She’s gear, and it sounds pretty formidable: “Well, for a start,” he says, “Tomek has this sick MIDI xylophone thing which triggers a lot of the sounds from the record off a sampler. We have an electronic kick pedal, with real toms

and high-hats. We’re trying to work out a way of incorporating looping pedals and maybe Ableton in the live show, so we can trigger different parts of the songs via foot pedals. It’s all getting quite complicated, actually, but I’m hoping we can figure it out by the time the tour comes around.” Travelling with all this gear can, of course, be a hassle. “It’s quite a complicated set-up, but it’s really important to us to have that electronic side to what we do,” Routledge says. “If we just played as a band, we’d get bored.” A year or so after the release of Van She’s debut album, the band put out a companion album, Ze Vemixes, featuring reworked versions of the songs. It was a cool idea, somewhat along the lines of Soulwax’s Nite Versions album, although Routledge tells me that they probably would never attempt a similar feat again. “That last remix album was more something the label asked us to do,” he says. “We’d been doing a lot of remixes at the time, so they sort of suggested that we have a crack at some of our own tracks. It was hard. How do you make a song you did yourself sound different? How do you get a different reaction from people? We toured it, and managed to sell out all the shows. I don’t think we’d do that again, though – we’d prefer to write new material than remix our old stuff.” What: Idea Of Happiness is out July 6 on Modular When: Saturday July 14 Where: The Metro Theatre

Xanthopan Heard And Unheard By Alasdair Duncan


rom his days as a young synth-toting upstart with Kid Kay Ferris to his current project, the electro-trance fusion act Xanthopan, Sydney producer Danny Muller has always known the value of putting on a storming show. “I think it’s important for most listeners these days to get a different, more intense experience from the live show,” Muller tells me. “In Xanthopan, we always completely reconstruct our songs for the performance. And that’s the beautiful thing about electronic music; there’s this tradition of blending songs into a sumptuous soundscape, remixing, reworking, but it’s great to be able do it with your own material, not just sample someone else.” Muller has been producing and performing for the better part of a decade, and has seen many changes in the electronic music landscape of Australia in that time. “In broad terms, we’ve seen dance music shift from the raves, to the clubs, to the festivals,” he tells me. “In specific terms, Australia has produced some of the most important dance music acts of the past decade – Cut Copy, Pendulum, The Presets – these guys are intrinsic to the state of contemporary dance music. I think the standard of production has gone through the roof, but let’s not forget the Aussie pioneers, people like Itch-e & Scratch-e, Southend, Vision Four 5 and Severed Heads!” It’s a reverence for all of these acts that feeds into the music of Xanthopan, a collaboration between Muller and singer/visual artist Anna Hien, who bonded over a shared love of The Neverending Story and ‘90s dance pop. Muller is a classically-trained musician, and elements of this bleed into Xanthopan’s chord progressions and melodies, but their sound runs deeper than that. “The challenge in electronic music is to come up with new sounds,” Muller says, “to hit the mark on the dancefloor with tight production, to blend the vocals and lyrics

to complement the instruments without being distracting. We’re always learning here, and the live show is a chance to show the audience some of the sonic offshoots of that process.” A committed gear-head, Muller has all kinds of toys that he pulls out in the studio as well as on stage, and he’s only too excited to tell me about them. “Well, if people out there remember the soundtrack to the early ‘90s TV series Twin Peaks, they will already be familiar with our special keyboard friend, the Yamaha DX-7,” he says. “We’ve also got a great selection of analogue and digital monsters – an old-school Yamaha QY300 sequencer, heaps of LFOs and distortion, and the odd bit of Juno bass for ‘80s flavour stabs. [But] the Kurweil K2000 is probably the most important member of the family, ‘cause it sounds completely different to everything else you hear out and about. So it’s about balancing heard and unheard sounds, and making it all as live as possible.” Xanthopan’s next show marks the launch of their new single, ‘Evolution’ – a track that puts it all out there for the band, singer Hien tells me. “The story is in the synths, lyrics and vocals combined,” she says. “No doubt you’ll discover the meaning when you hear it! We’ll be retaining our style but moving towards a lyrical base that screams ‘Holy mackerel! This really is a bunch of ‘90s kids!’” The dress code for the show is Animal Instincts, and I’m curious to know just what this might entail… “Think claws, scales, stripes, tails,” Hien says helpfully – “a mutation of animalistic costumes that don’t compromise the ability for gronky dance moves to some shweeet music. That being said, I still want to come as a narwhal...” What: ‘Evolution’ is out now When: Saturday July 7 Where: Brighton Up Bar, Oxford Street

Dirtyphonics Sound Vandals By Andrew ‘Hazard’ Hickey


s the music industry model continues to change, live performance is more important than ever for artists trying to reach their fanbase. From their live shows to their slew of tracks and remixes, the boys from Dirtyphonics are all about pure energy. The Paris quartet – Charly, Thomas, Pitchin and Pho – have been wreaking havoc in venues across the world with their blend of electro, dub and drum and bass, and are set to make their return Down Under, hitting up Chinese Laundry this Saturday for a DJ set. After their customary coffee and cigarettes, half of the group, Charly and Thomas, spoke to me with all the passion you would expect. “The last time we were down there was around October or November, so we’re really excited to be back,” Charly enthuses. Even the long flight down can’t dampen their spirits – Dirtyphonics aim to make the most of every minute. “Yes it’s a long flight, but we’ve got portable gear, so we can set up a studio on the plane and make some music.” The vision of four DJs banging out beats at high altitudes would certainly be something to behold. “We carry laptops, MIDI controllers, my keyboard. We try to make it as portable as possible.” It makes sense, too: as demand for their live shows has grown, the fellas want to still be able to create new music while they’re on the road. “In a way sometimes it’s better, because you don’t have so much time to do a track,” Thomas says. “We’ll have one idea and will be ready to record it, then you move on to another one.” While this approach could potentially result in some hit-and-miss efforts, more often the on-the-spot creativity spawns serious audio gems. “We always say ‘We’ll sleep when we’re dead’, so right now it’s all about making new

music, going overseas and hanging with the crowd,” Charly says. In many ways, the process of recording on the move also sparks inspiration for Dirtyphonics. “You get a vibe travelling in different cities around the world,” Charly says. “You hear some music on the road, you get new ideas coming from people, from architecture, whatever it is. Then we all come to the table to lay down ideas for tracks.” According to Thomas, that urge to keep creating new tunes never goes away. “Definitely after a show – you’ve been in the middle of the stage with all the fans, and for anybody that makes music, you just want to go back to the hotel and work. Then you wake up and work on it more.” Charly agrees: “The amount of adrenaline we get on stage from the fans for some reason brings so many ideas – so after a show it’s like, ‘I wanna try this! I wanna try that!’ It’s crazy,” he says. “Being able to feed off the crowd and feed off each other is definitely important for us.” And the band certainly do feed off each other, working together to take their ideas to the next level. “What makes it the most fun is bouncing off each other’s ideas and ending up with something great, which is what we’re all about,” Charly says. “There’s a lot of laughs, a lot of fights, and it really helps with our working and writing process.” After whetting appetites with hellraising anthems like ‘Tarantino’ and ‘Vandals’, Dirtyphonics are currently putting the finishing touches on their longawaited debut album – and they tell fans to brace themselves for a full Dirtyphonics invasion over the next couple of years. With: Dirtyphonics DJs – Charly and Pitchin Where: Chinese Laundry When: Saturday July 7 BRAG :: 469 :: 02:07:12 :: 39

club guide send your listings to :

club pick of the week Basic Soul Unit


Shantan Wantan Ichiban, Elly K, Yogi & Husky 8pm Kit & Kaboodle, Kings Cross Resident DJs free 8pm Q Bar, Darlinghurst Hot Damn Hot Damn DJs $15-$20 8pm Sapphire Lounge, Kings Cross Rack City DJ Tikelz, DJ Lenno, DJ Ziggy, DJ Lyrikz, DJ Rkays, Mista Cee 8pm Trademark Hotel, Kings Cross Swag Thursdays Resident DJs 9pm The World Bar, Kings Cross Propaganda Urby, Gillex, Dan Bombings free (student)-$5 9pm


Marrickville Bowling Club

Basic Soul Unit (CAN),

Simon Caldwell, Alphatown, Eric Downer, D&D $20-$30 10pm MONDAY JULY 2 Scruffy Murphys, Sydney Mother Of A Monday DJ Smokin Joe free 8pm The Sugar Mill, Kings Cross Makeout Mondays DJs free 8pm The World Bar, Kings Cross Monday Jazz & Latin Jam DJs free 7pm

TUESDAY JULY 3 Empire Hotel, Kings Cross Tight Resident DJs free 9pm Establishment, Sydney Rumba Motel Salsa DJ Willie Sabor free 8pm Scruffy Murphys, Sydney I Love Goon Tuesdays DJ Smokin Joe free 8pm Trademark Hotel, Kings Cross Coyote Tuesday DJs 9pm The World Bar, Kings Cross Jam Jam DJs free 8pm

WEDNESDAY JULY 4 The Bank Hotel – Velvet Room, Newtown Lady L, Resident DJs free 9pm

40 :: BRAG :: 469 :: 02:07:12

The Bank Nightclub, Kings Cross Money Talks DJs free 10pm Epping Hotel DTF Resident DJs free Flinders Hotel, Surry Hills Hip Hop Resident DJs free 8pm Lansdowne Hotel, Chippendale Frat House Meets Origin DJ Wolfgang free 9pm Valve Bar, Tempe Big Fun In Big Town 7pm The World Bar, Kings Cross The Wall Logistic, Jitter, A-Tonez, Pablo Calamari, Stu Turner, Ella Locca, Digital T, Light Out, Jack Bailey $5 9pm

THURSDAY JULY 5 Beach Road Hotel, Bondi Beach Champion Sound DJ Frenzie free 7.30pm The Cool Room, Australian Hotel & Brewery, Rouse Hill We Love Thursdays – National DJ Competition Heat 3 Dion Fishper, Ian Ramirez, LB Mathew, Arnold Packer, Daniel Wheeler, Ryan Banks 8pm GoodGod Front Bar, Sydney Girls Gone Mild Eliza & Hannah Reilly free 8pm GoodGod Small Club, Sydney Big Dumb Kid, Rapaport, Subsketch, Future Love

Hangover $8 (+ bf) 8pm The Greenwood Hotel, North Sydney The Greenwood Thursday Nights Resident DJs free 8pm Gypsy Lounge, Darlinghurst Naked Resident DJs 9pm Home Nightclub, Darling Harbour East West Dance Party DJ Taba, Steve Play, Mace Project, Rozika, Kazillion 9pm Ivy Poolclub & Changeroom, Sydney Changeroom Thursdays

Abercrombie Hotel, Broadway Totally Barry Bad Barry DJs free 9pm Beach Road Hotel, Bondi Beach Movement Wordlife, Dysphemic, Miss Eliza free 8pm Candy’s Apartment, Kings Cross Nightmoves Chick Flick, Intheory, Saudz, Wadeos, Le Bronx, Crux, Get Rad, Aviary Jamieson, DJ Rocco $15 9pm Cargo Lounge, King St Wharf Kick On Fridays Resident DJs free 4pm Chinese Laundry, Sydney The Loops of Fury, Klaus Heavyweight Hill, Auto Claws, Kingdom Hearts, Diskoriot, V & Z, No Good Mischief $15$25 10pm Epping Hotel Flirt Flirt DJs free Goldfish, Kings Cross The Deep End Balaeric Special Johnny Gleeson, Alex Taylor, Levi 5Star 6pm GoodGod Front Bar, Sydney Yo Grito! Yo Grito! DJs free 8pm GoodGod Small Club, Sydney World’s End Press, Ben Browning, Olympic Ayres, Joey The Saint & Bad Jackson $12 (+bf) 9pm Home Nightclub, Darling Harbour Delicious & Sublime Fridays Peewee Ferris, MC Suga Shane, Matt Ferreira, John Young, Flite, Iko 9pm Hugo’s Lounge, Kings Cross Hugo’s Fridays Resident DJs 8pm Ivy Changeroom, Sydney Love Gun Fridays Tina Turntables, The Apprentice, Hooligan 8pm

Kit & Kaboodle, Kings Cross KK Fridays Falcona Agency DJs 8pm Marquee, The Star, Pyrmont Cedric Gervais 9pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm Oatley Hotel We Love Oatley Hotel Fridays DJ Tone free 8pm Omega Lounge, City Tattersalls Club, Sydney Unwind Fridays DJ Greg Summerfield free 5.30pm Pontoon, Darling Harbour Perfect Resident DJs free 9pm Q Bar, Darlinghurst A Night At Teen Spirit Teen Spirit DJs $10 9pm Sapphire Lounge, Kings Cross My Studio Nacho Pop, Dim Slm, Digital Mouthm Mike Ruckus 8pm Scruffy Murphy’s, Sydney Frisky Friday DJs free 6pm The Shark Hotel, Sydney Puls8 DJ Jono, Guest DJs free 9pm The Spice Cellar, Sydney Disco Punx, Andy Webb, Morgan, James Taylor $10 10pm Trademark Hotel, Kings Cross Eve Resident DJs 9pm Vegas Bar, Darlinghurst Bad Habit Bad Habit DJs $10 11pm The World Bar, Kings Cross MUM Oscar Lush, The Shooters Party, The Demon Parade, She Rex, Maids, Swim Team DJs, Wet Lungs, Wolfden DJs, 10th Avenue, DJ Boy, Cries Wolf DJs, Cam Anthony $10-$15 9pm Zink Bar, Cronulla Far Out Friday Derek Turner 7pm

SATURDAY JULY 7 Abercrombie Hotel, Broadway Strange Fruit Strange Fruit DJs free 9pm Annandale Hotel Daily Meds, The Last Kinection, Herb, Yun Nooky, DJ 2Buck $15 (+ bf) 8pm The Argyle, The Rocks Takin’ It Back Illya, Frenzie, Random Soul free 8pm BJs Nightclub, Bondi Junction DJ Shane Taylor 10pm Brighton Up Bar, Darlinghurst Xanthopan, Johnny Deep, Andosound, Del Cat vs Tim Dog, Oliver Gurney $10 9pm Candy’s Apartment, Kings Cross Shake Shake Shake Vengeance, Sherlock Bones, World's End Press

Nightmare, Stalker, DLS, Digital T, New Age Bullshit, Wrecks, Priest 9pm Chinese Laundry, Sydney Dirtyphonics (FRA), Spenda C, Go Freek, Emoh Instead, A-Tonez, Devola, King Lee, Athson, Brown Bear, Big Slim $15-$25 9pm Club 77, Darlinghurst Starfuckers Starfuckers DJs 10pm Eastern Suburbs R.U Club, Rose Bay District DJ Tricky, Lawless, Danny La Ru, Simon P $20 (+ bf) 4pm Establishment, Sydney Sienna G-Wizard, Troy-T, DJ Def Rok, Lilo 8pm FBi Social @ Kings Cross Hotel FBi & Sony’s Headphone Amnesty Elizabeth Rose, Sunset DJs free 8pm FBi Social @ Kings Cross Hotel Late Night Social Randall Stag free 11.59pm Gladstone Hotel, Chippendale DSS Double Robin, Mad Cow, Quotient, Sam Da Chemist, NewScientist, A’Dog, Sakura, Sarinwax free 9pm Goldfish, Kings Cross Hed Kandi Shaun Warner (IRE), Frankie Romano, Emmet Green, Phil Hudson, Tim Whitnet, Damien Goundrie, Johnny G, Chris Bongloliro 6pm GoodGod Small Club, Sydney Love Kings Levins, Radge $5 11pm Home Nightclub, Darling Harbour Homemade Saturdays Resident DJs 9pm Ivy Poolclub, Sydney Saturday Nights Poolside Bambalam & Johnny Pow, Magic Happens, Morgan, Murray Lake, Elly K, Georgia, Starjumps, Crazy Caz, Max Bon Viere, The Beep Monster 9pm La Cita, King St Wharf Miami Saturdays Resident DJs free 9pm The Marlborough Hotel, Newtown Resident DJs free 9pm Marrickville Bowling Club Basic Soul Unit (CAN), Simon Caldwell, Alphatown, Eric Downer, D&D $20-$30 10pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm Nevermind, Darlinghurst Aurora Jorn Van Deynhoven, Nathan Cryptic, Ruby $25$30 12pm One22, Sydney Dark Sky (UK), Kato, Preacha, Astral DJs $20 (+ bf) 10pm Oxford Art Factory, Darlinghurst Addicted To Bass Bombs Away, Kid Kenobi, Neon Stereo, Pablo Calamari, Brothers Grimm DJs $10 (+ bf) 10pm Rose Of Australia, Newtown Thorny Nights Derek Turner, Stephanie Bruno 8.30pm Sapphire Lounge, Kings Cross The Suite Charlie Brown, Big Will, Dim Dlm, Discokid, Troy T, Jo Funk, Steve S, Adamo, J Smoove 8pm The Sly Fox, Enmore UFO Club 3 Secret Headliner, Itsu, Ghettafunkt, LozNonsense, Forrest vs Hagbard Celine, Opsyris, Xsetra free 8pm The Spice Cellar, Sydney Peret Mako, Robbie Lowe, Murat Kilic $20 10pm Tunnel Nightclub, Kings Cross ONE Saturdays Resident DJs $10-$20 10pm The World Bar, Kings Cross Cakes - 2012 DMC Championships NSW Heat Dexter, Cakes DJs $15-$20

club guide



send your listings to :

SUNDAY JULY 8 The Abercrombie Hotel, Broadway S.A.S.H. Sundays Pocket, Kali, Steven Sullivan, Hannah Gibbs, Kerry Wallace, Matt Weir $10 2pm The Beresford Hotel, Surry Hills

Beresford Sundays Resident DJs free 5pm Goldfish, Kings Cross Martini Club Sundays Martini Club, Tom Kelly, Straight Up Steve free 6pm Hugo’s Lounge, Kings Cross Sneaky Sundays Sneaky Sound System, Resident DJs 8pm Kit & Kaboodle, Kings Cross

Easy Sundays Resident DJs 8pm Oatley Hotel Sunday Sets DJ Tone free 7pm Q Bar, Darlinghurst Daydream DJs 4.30am The Spice Cellar, Sydney Spice After Hours Matt Weir, Murat Kilic $20 4am The World Bar, Kings Cross Dust James Taylor, Alley Oop free 9pm


club picks up all night out all week...

Dark Sky


GoodGod Small Club, Sydney Love Kings Levins, Radge $5 11pm

The World Bar, Kings Cross The Wall Logistic, Jitter, A-Tonez, Pablo Calamari, Stu Turner, Ella Locca, Digital T, Light Out, Jack Bailey $5 9pm

One22, Sydney Dark Sky (UK), Kato, Preacha, Astral DJs $15-$20 10pm

THURSDAY JULY 5 GoodGod Small Club, Sydney Big Dumb Kid, Rapaport, Subsketch, Future Love Hangover $8 (+ bf) 8pm Ivy Poolclub & Changeroom, Sydney Changeroom Thursdays Shantan Wantan Ichiban, Elly K, Yogi & Husky $12 8pm

FRIDAY JULY 6 Beach Road Hotel, Bondi Beach Movement Wordlife, Dysphemic, Miss Eliza free 8pm Chinese Laundry, Sydney The Loops of Fury, Klaus Heavyweight Hill, AutoClaws, Kingdom Hearts, Diskoriot, V & Z, No Good Mischief $15$25 10pm GoodGod Small Club, Sydney World’s End Press, Ben Browning, Olympic Ayres, Joey The Saint & Bad Jackson $12 (+bf) 9pm Marquee, The Star, Pyrmont Cedric Gervais (USA) 9pm $35 The Spice Cellar, Sydney Disco Punx, Andy Webb, Morgan, James Taylor $10 10pm

Oxford Art Factory, Darlinghurst Addicted To Bass Bombs Away, Kid Kenobi, Neon Stereo, Pablo Calamari, Brothers Grimm DJs $10 (+ bf) 10pm The Spice Cellar, Sydney Peret Mako, Robbie Lowe, Murat Kilic $20 10pm The World Bar, Kings Cross Cakes - 2012 DMC Championships NSW Heat Dexter, Cakes DJs $15-$20 8pm

SUNDAY JULY 8 The Abercrombie Hotel, Broadway S.A.S.H. Sundays Pocket, Kali, Steven Sullivan, Hannah Gibbs, Kerry Wallace, Matt Weir $10 2pm Cedric Gervais



SATURDAY JULY 7 Annandale Hotel Daily Meds, The Last Kinection, Herb, Yung Nooky, DJ 2Buck $15 (+ bf) 8pm


Brighton Up Bar, Darlinghurst Xanthopan, Johnny Deep, Andosound, Del Cat vs Tim Dog, Oliver Gurney $10 9pm Chinese Laundry, Sydney Dirtyphonics (FRA), Spenda C, Go Freek, Emoh Instead, A-Tonez, Devola, King Lee, Athson, Brown Bear, Big Slim $15$25 9pm


BRAG :: 469 :: 02:07:12 :: 41



Deep Impressions Underground Dance And Electronica with Chris Honnery



SATURDAY JULY 7 Sydney The Annandale Hotel with Herb, Nooky and DJ 2Buck

SATURDAY JULY 14 Newcastle The Cambridge with Prem Bedlam & Dj N'taprize, Swarmy G, Rapaport, Nhostic and Poetic Transition. Hosted by Doel.



FOR MORE INFORMATION PLEASE CONTACT: Ronnit Sternfein tel 03 8414 9710 or email


espected London producer and label owner Ali Wells, aka Perc, will headline the next Disconnected bash at One22 on Saturday August 18. Perc is renowned as a proponent of industrial techno sounds – think minimalist, mechanised rhythms and clinical edginess, in terms of Wells’ sonic disposition – and he's coming off a watershed year in 2011 where he began to garner wider recognition outside the niche techno diehards. It is no coincidence that Perc built up considerable momentum last year upon finally releasing his (overdue) debut album, Wicker & Steel; an LP that Quietus dubbed “an antidote to wishy washy electronica”, making it one of their albums of 2011. By dropping his debut LP, Perc also provided a gateway for neophytes to discover his Perc Trax label, home to the mutant industrial sounds of Dead Sound & Videohead, and soon a new album by Forward Strategy Group. For all those who are after a solid dose of uncompromising techno sounds, Perc will not disappoint when he ventures Down Under – as the man himself elucidates, "I make music for myself first – if I am not feeling a track, even if I think it has dancefloor or sales potential, then it will be scrapped... Whilst my sound and style does develop and shift, there is still a clear Perc sound/aesthetic that has been about since day one. The spitting snares, the big kicks, the broken beat stuff, and the kinds of distortion I use. Some things are constant, whatever I am making." You can bet the big kicks will work a treat when they make their way through the crisp soundsystem at One22. Support on the night will be provided by DJs Andosound, Ben Dunlop and Defined By Rhythm, all of whom are more than capable of holding their own in the presence of such illustrious company. First release tickets are available online for just $20. A chap at the forefront of the dub techno scene, Montreal’s Scott Monteith, aka Deadbeat, will release a new album, Eight, in early September on the esteemed Kompakt imprint. Monteith has established himself through a steady stream of critically acclaimed singles and seven studio albums for labels such as Echocord, Wagon Repair and most recently his own BLKRTZ imprint, along with his acclaimed Radio Rothko mix, which drew comparisons to mix CDs that are firmly entrenched in the techno canon – namely Richie Hawtin’s Decks, EFX & 909 and Jeff Mills’s Live At The Liquid Room. The forthcoming album is said to showcase "a level of intensity and raw power not seen before in Monteith’s previous work", with its allure boosted further by the presence of a smorgasbord of some of techno’s finest guesting on some of the tracks: listen out for the distinctive touches of Danuel Tate, Mathew Jonson and Dandy Jack. Ohio-born producer John Roberts, who made his Australian debut at The Metro last December in support of Carl Craig, has announced he will release a new EP, Paper Frames, next month on the Dial imprint – the same label through which he released his impressive maiden LP, Glass

LOOKING DEEPER SATURDAY JULY 7 Basic Soul Unit Marrickville Bowling Club

SATURDAY JULY 14 Alex Smoke (live) One22, 122 Pitt Street

SATURDAY JULY 28 Vakula Marrickville Bowling Club

SATURDAY AUGUST 18 Perc One22, 122 Pitt Street Alex Smoke

Eights, back in 2010. Apparently inspired by the aural surroundings of Roberts’ jetsetting lifestyle, the imminent four-track EP will be his first original output since Glass Eights. And while Roberts has remixed the likes of Motor City Drum Ensemble, Creep, Blondes and George Fitzgerald over the past year and a bit, it’s a completely different ballgame reworking other people’s material rather than creating your own tracks. Paper Frames is described in its presser as “a wonderful journey into sound design, sample research and contemporary club music,” and in light of Roberts’ previous output, a critical response along these lines would hardly be surprising. For anyone curious as to what Roberts has been up to outside of his production work, I can report that he also oversees The Travel Almanac, an infrequent magazine dedicated to exploring “traveling and temporary habitation for an increasingly sophisticated and mobilized generation of travelers”. He certainly sounds like quite an all-round talent, does Mr Roberts!

Deep Impressions: electronica manifesto and occasional club brand. Contact through 42 :: BRAG :: 469 :: 02:07:12



FRIDAY 13TH JULY Supported by:


snap up all night out all week . . .

And one you definitely won’t: ‘I’ve Got a Brand New Pair of Roller Skates’ – Melanie Safka. Or 'Blue' – Eiffel 65. Sell it to us: A lineup of up-n-comers delive ring schemes and party-starting choruses that will thumping beats, nifty rhyme have start to finish. Come and support some of Sydne the dancefloor abuzz from y’s finest. The bit we’ll remember in the AM: The ringin g in your ears from the impressive new sound system, plus the seriously good tunes and all round good vibes. Crowd specs: Hip hop heads, music enthu siasts and all others in between… Wallet damage: $10 Where: Brighton Up Bar / 1/77 Oxford St, Darlin ghurst When: Friday July 13, 8pm




It’s called: Broken Thought Theory EP launc h It sounds like: Underground Oz hip hop with a sprinkle of boom bap, catchy hooks and an abundance of seriously tongu e-twisting flows. Who’s playing? Broken Thought Theory, Barnz y, Curtis C and Psych The Passenger, High-Noon Crew, Hometeam and PaperToy. Three songs you’ll hear on the night: 'The Proposal (Time To Blow)' – Broken Thought Theory; 'Those Days' – Hometeam (feat. Semantics); 'Hold On' – HighNoon Crew.


23:06:12 :: The Standard :: 3/383 Bourke St Surry Hills 9331 3100

party profile

pilerats launch party


broken thought theory

21:06:12 :: The World Bar :: 24 Bayswater Rd Kings Cross 9357 7700



22:06:12 :: World Bar :: 24 Bayswater Rd Kings Cross 9357 7700

boss bass


23:06:12 :: Q Bar :: 34-44 Oxford St Darlinghurst Sydney 9331 3100


44 :: BRAG :: 469 :: 02:07:12

girl thing


22:06:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999

23:06:12 :: Q Bar :: 34-44 Oxford St Darlinghurst Sydney 9331 2956


player haters ball



23:06:12 :: GoodGod Small Club :: 53-55 Liverpool St Sydney 8084 0587


up all night out all week . . .


BRAG :: 469 :: 02:07:12 :: 45

snap up all night out all week . . .

daily meds album launch



party profile

It’s called: Daily Meds' Happy Daze launch

das moth

Who’s playing? Daily Meds, Last Kinection, Herb, Yung Nooky, DJ 2Buck. Three songs you’ll hear on the night: ‘Insan e’ – Daily Meds; ‘Are We There Yet’ – The Last Kinection; ‘The Morning Sun’ – Herb. And one you definitely won’t: ‘Bangaroo’ – Skrillex. Sell it to us: Big Village all-stars Daily Meds are Daze tour, teaming up with The Last Kinection back in town for the Happy for two shows full of dope, thought-provoking and socially-conscious hip hop. The bit we’ll remember in the AM: Good times /good beats/good vibe. Crowd specs: Men/women/humans. Wallet damage: $15 only Where: The Annandale Hotel / The Cambridge, Newcastle When: Saturday July 7 / Saturday July 14


22:06:12 :: Exchange Hotel:: 34-44 Oxford St Darlinghurst Sydney 9331 3100

It sounds like: Hip hop!



22:06:12 :: The Spice Cellar :: 58 Elizabeth St Sydney

cool room


23:06:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999


46 :: BRAG :: 469 :: 02:07:12



21:06:12 :: Australian Brewery :: 350 Annangrove Rd Rouse Hill 9679 4555

23:06:12 :: Strike Bowling Bar :: King St Wharf Darling Harbour




TO ENTER GO TO for more info email





T E A PA R T Y . C O M tyofficial

The Brag #469  

SYDNEY’S HOTTEST INDEPENDENT WEEKLY STREET PRESS Hitting the streets with the best music, culture and events, every Monday. This week: Patri...

The Brag #469  

SYDNEY’S HOTTEST INDEPENDENT WEEKLY STREET PRESS Hitting the streets with the best music, culture and events, every Monday. This week: Patri...