Page 1















BRAG :: 476 :: 20:08:12 :: 3

4 :: BRAG :: 476 :: 20:08:12

John Butler Trio (NYE Midnight Set) Sharon Jones & the Dap Kings (usa-nye sEt) tHE bLacK sEedS (nz) fRiEndLY fIreS dj Set (uk-nye sEt) kRaFty kUtS Vs A.sKilLz (UK) tHE hERd (aus) Kaki King (USA) Blood red Shoes (UK) Unknown Mortal Orchestra (USA) Electric Wire Hustle (NZ) King Tide (AUS) mAt. mChUGh & THE SEPERATISTA SOUND SYSTEM (aus) 65DaysoFstatic (UK) Deep Sea Arcade (AUS) Gold Fields (AUS) Gossling (AUS) Will & The People (UK) Chapelier Fou (Fr) The Medics (AUS) NorthEast Party House (AUS) HatFitz and Cara (aus) Tuka (AUS) The Cairos (AUS) The PreaTUREs (AUS) Battleships (AUS) Lime Cordiale (AUS) Daily Meds (AUS) JONES Jnr (AUS) Tigertown (AUS) MicroWave Jenny (AUS) also featuring — The Return of The Dub Shack Plus many more artists to be announced...

BRAG :: 476 :: 20:08:12 :: 5

6 :: BRAG :: 476 :: 20:08:12


SATURDAY 25th august


TTOO TO OOO FRESH FREESH (KLUB KIDS) / A-Tonez A-T / Night Dimension / Tones Athson / King Leee / Luke Warren / DJ Rubz / Spook


FRIDAY 31ST august



A-Tonez / Ctrl Alt Delicious / Kingdom Hearts Bounce Crew djs King Lee / Fingers / Kiz / Oscillate Darkly

friday 7th september



Fear of Dawn / Chris Arnott / Whitecat / Devola / Goodfella Athson / Antoine Vice / Aboutjack / Murray Lake / King Lee / Wrecks












LEVEL 1, 354 BOURKE ST. SURRY HILLS BRAG :: 476 :: 20:08:12 :: 7

8 :: BRAG :: 476 :: 20:08:12





BRAG :: 476 :: 20:08:12 :: 9

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

five things WITH

SIMON FROM LOON LAKE Growing Up I grew up listening to my older brother’s 1. albums – lots of Tom Petty, John Mellencamp, Traveling Wilburys... I can remember our parents playing Fleetwood Mac, Bob Marley, The Beatles and Elvis a bit, too. I think one of my key memories from my young fella days was the blue Beatles tape [1967–1970]. It was the only tape I remember mum having in her car. It was always on, and there wasn’t a bad song on it. Inspirations The Beatles are definitely one of my 2.  favourite bands. And I remember being a kid riding around in the back of my brother’s van, going to footy, yabbying and things like that, and listening to Tom Petty. As I got to my teens I was right in the midst of grunge and the Chili Peppers. Nirvana, Soundgarden and Pearl Jam were all big when I was growing up. Over the last 10 or so years, I’ve really admired The Strokes and Amy Winehouse – and currently I love the Dirty Projectors, Frank Ocean, Tame Impala, The xx, The Weeknd and Drake. Your Band We all like similar stuff, and we all 3.  disagree on stuff, too. Dan our guitarist loves

The Music You Make I guess our style could be called ‘garage 4. pop’. We tend to like a lot of hooks and melodies. We’ve recorded two EPs now. The first was called Not Just Friends, and our latest is Thirty Three, made with a producer named Tony Buchan at Rancom Studios in Sydney. Top dude, top studio. Music, Right Here, Right Now The music scene right now is heaving. 5.  There are a lot of quality bands – Australians are spoilt for choice – and our local scene in Melbourne is brimming with great acts every night. Over the last year or so, two bands that have really stood out live for me were Royal Headache at a tiny pub in Melbourne, and Grinderman at Meredith. Both really give it their all. What: Thirty Three EP is out now Where: Goodgod Small Club When: Friday August 24


PUBLISHERS: Adam Zammit & Rob Furst EDITOR IN CHIEF: Adam Zammit 9552 6333 EDITOR: Steph Harmon 02 9552 6333 ARTS & ASSOCIATE EDITOR: Dee Jefferson dee@ 02 9690 2731 STAFF WRITERS: Alasdair Duncan, Benjamin Cooper NEWS: Nathan Jolly, Alasdair Duncan ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Katrina Clarke, Georgia Collis, Julia Garvan-Kaminskaya, Ashley Mar, Daniel Munns, Thomas Peachy, Pedro Xavier COVER DESIGN: Sarah Bryant ADVERTISING: Ross Eldridge - 0422 659 425 / (02) 9690 0806 ADVERTISING: Les White - 0405 581 125 / (02) 8394 9027 GIG & CLUB GUIDE CO-ORDINATOR: Conrad Richters - (rock) (dance, hip hop & parties) INTERNS: Verity Cox, Dijana Kumurdian, Natalie Amat, Siobhan Graham REGULAR CONTRIBUTORS: Benjamin Cooper, Alasdair Duncan, Christie Eliezer, Murray Engleheart, Andrew Geeves, Chris Honnery, Nathan Jolly, Anna Kennedy, Sheridan Morley, Jenny Noyes, Hugh Robertson, Rebecca Saffir, Romi Scodellaro, Jonno Seidler, Rach Seneviratne, Roland K. Smith, Laurence Rosier Staines, Luke Telford, Rick Warner, Alex Sol Watts, Caitlin Welsh 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 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@furstmedia. 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...

10 :: BRAG :: 476 :: 20:08:12

Indie folk five-piece The Paper Kites used to be like their moniker: fragile, lovely, and able to be torn apart by a wind-storm. But on their new EP, the charming Young North, they are more like one of those reinforced, plastic-y kites with metal frames and a double-tail – which is to say, the new EP has a fuller sound and more natural propulsion, but is still the same kite you’ve treasured and loved, only a little less diet-folky. Clumsy, laboured and confused metaphors aside, they are launching the brilliant EP on October 12 at Oxford Art Factory. Art Of Sleeping (YouTube ‘Empty Hands’) and Battleships (Youtube ‘In Retrospect’) will be supporting. You will be, too.



Skydreams is a relatively new blog which features musings, music and Muse-covers (nah, not the last one) at Now they have announced the Skydreams Festival on September 8 at Hermann’s Bar, which features a lot of Sydney’s best garage/ psych bands, including Darren Cross (E.L.F., Gerling), Regular John, The Holy Soul, Dead China Doll, East River, Whipped Cream Chargers, Reckless Vagina, Fox, Luke O’Farrell (The Laurels) and loads more. Get along, and check out the blog – Luke from The Laurels draws a comic-strip about himself and his dog! True!


Regurgitator might as well have printed the posters for their forthcoming tour with ‘SOLD OUT’ stickers on every date, as they will be playing their first two (best two) albums Tu Plang and Unit in their entirety. It would have saved them a lot of time. Luckily for those who don’t live on the internet (you don’t have hobbies, do you? Yuck!), they have announced a second not-yet-sold-out Hi-Fi show set for October 1, and have also announced Indonesian band Senyawa, and Chinese power pop band Hedgehog as support acts. It’s hard to believe this set of shows will be anything less than amazing.

Jones (not to be confused with R.L Stine), gotten a ramshackle collection of friends to back him as The Phony Mexican Diner, and recorded a solo record. It’s not out ‘til 2013, but he’ll be previewing parts of it on September 8 at Goodgod Small Club in support of the first single, ‘Everybody Wants To Be Your Friend’ – which features Adalita on vocals and is jangly and sludgy and all sorts of alright.

From September 27–30, The Screaming Jets’ Dave Gleeson will be thoroughly confused by all the young pretty people running around playing experimental music in his hometown, as Sound Summit swings into Newcastle and takes over a lot of the best spaces, places and faces with the following massive lineup: Blues Control (USA), Home Blitz (USA), Mist (USA), Outer Space (USA), Lasse Marhaug (Norway), Radio People (USA) and High Wolf (France) will be joined by Aussie awesomes like Royal Headache, Oren Ambarchi, Straight Arrows, Twerps, Rites Wild, Cannanes, Primitive Calculators, Lower Plenty, Gooch Palms, Mad Nanna, Eastlink, Stitched Vision and way, way more. There will be showcases presented by Radiant, Nihilistic Orbs, SBBTCL, Altered States, Disembraining Machine and Chapter Music, and tickets are on sale now via the Sound Summit bigcartel (, including limited early-bird three-day passes for $40 a pop. We recommend you get one of those, because look at that lineup!

Fanny Lumsden And The Thrillseekers


Seven-piece-scrappy-garage-punk-ladjuggernaut King Gizzard And The Lizard Wizard have songs on their debut record named ‘Footy Footy’, ‘Garage Liddiard’, ‘12 Bar Bruise’, ‘Cut Throat Boogie’, ‘Uh Oh, I Called Mum’, and ‘Sam Cherry’s Last Shot’. You know the old saying, you can’t judge a book by its Kindle ad? Well, you can judge bands by their awesome song titles, and when you go to see them launch their debut record on September 28 at Oxford Art Factory, you’ll see what we mean. How can ‘Footy Footy’ not be the most glorious song ever? And ‘Garage Liddiard?’ It’s genius!


Rohin Jones, formerly of The Middle East, has dropped down to the more authorly R.L


Fanny Lumsden And The Thrillseekers play gleeful, twangy, acoustic-country-old-timey music – and look at how folksy and adorable they are! They are on the verge of releasing their debut EP, Autumn Lawn, which they will launch on Thursday August 30 at a venue called Hellen Rose Schausberger Laboratorium, which we can only assume exits at 17 Waterloo Street, Surry Hills. Support acts include but are not limited to Jackson McLaren and Lily So And Co. $12 at the door, starts at 8pm, and wipe you feet, please.


Smash Mouth, we all can’t work out why. I talk a lot to one of my best mates about music too.

His name is Jud, he has an exceptional ear. He knows his stuff, but he is currently going through an Akon phase. I like big pop too, but I just can’t grab that yet – even though he keeps telling me too…

BRAG :: 476 :: 20:08:12 :: 11

rock music news

free stuff

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


he said she said WITH



grew up in a very musicfriendly household. None of my family are musicians, but they all appreciate the art. My parents and sisters all have very different musical tastes, which made me really sit in the middle of it all – especially being a middle child – and appreciate all different types of genres. When people say you can’t like ALL music, it’s ridiculous. I do, and can find inspiration from everything. Glen Hansard (The Frames, The Swell Season) is my all-time favourite musician. His songwriting and voice are freakishly good. If I had to write up a top five, it’d be: Glen Hansard, Low, Bright Eyes, Frightened Rabbit and S.Carey. I’m a solo musician, but I’ve recently started to play with a band behind me. They’re good friends of mine, a couple of whom also play in a band called Sleep Decade. I always feel really privileged when I have them playing in my band. I’ve been producing myself up to this point, but I can’t wait to get someone else involved to collaborate with in the studio, and would also love to start writing with other people.



Alpine’s debut album, the perfectly named A Is For Alpine, should be sitting somewhere in the high reaches of the ARIA charts by the time you read this (unless you’re trawling our 2030 iArchives series – hey you guys, how good are the holograms?). To celebrate, and to showcase their amazing live show (two front-women, both alluring and interesting and dance-tastic – it couldn’t ever fail), they are playing Oxford Art Factory on August 30 (after their August 31 show sold out), with Clubfeet and Georgi Kay in support. Tickets from



Time flies when you’re playing 50% Australian content, with 50% of that being from Sydney-based musicians. FBi Radio certainly know that all-toocommon feeling, as they are already celebrating their ninth birthday on Friday August 31, with a massive bash swamping three levels of Kings Cross Hotel. There’s a super secret headlining act, plus Catcall, Fishing, Sures, Bon Chat, Bon Rat, Charge Group, The Khanz, Albatross, Guerre, Future Classic DJs, and numerous other bands, DJs and friends of BRAG. It’s only $15 for pre-sales, $18 at the door for subscribers, or $22 at the door for those who haven’t yet subscribed but really, really should.


There are so many visceral thrills involved with going to see a Parkway Drive show that when they play the Hordern Pavilion on December 15 – with fellow hardcore acts I Killed The Prom Queen, Northlane and Survival in tow – at first you’ll be standing up the back scoffing at the kids in the black tees like the old person you swore you’d never become, then 15 minutes later you’ll find yourself thrashing about in the moshpit, shirt off, covered in sweat, and wondering how exactly you got there. Apparently their highly anticipated fourth record Atlas is even more mammoth sounding than their last (2010’s ARIAwinning Deep Blue) – and tickets go on sale this Wednesday August 22.


Another week in Bondi, another batch of great excuses to dodge the surf clubs and spend your time instead at the Beach Road Hotel. Lock the following in: Wednesday August 22 – Brisbane pop maestros Jungle Giants; Friday August 24 – soulstress Fantine headlining Movement (her voice is freakin’ amazing); and Saturday August 25 – the Favourite Things Vintage Markets upstairs, with clothing, records, books, and all the other good things in life. (On all other days you’ll be able to find us hunting down Sam from Home and Away/Bondi Rescue and confronting him about his attitude towards Pippa in his difficult teenage years. Some wounds never heal.)


After over ten years in the business, The Beautiful Girls’ are faring thee well with a tenth anniversary/ goodbye gig at The Metro Theatre on August 31. Except, wait, it has already sold out – the least surprising thing ever considering the amount of fans these laid-back Northern Beaches-types have collected over the past decade. Thankfully, Mat. McHugh and co. have announced another show at The Metro Theatre for October 5, and it’s all-ages, and tickets are still available – oh, and there’s an extra pair of gigs happening at Mona Vale Hotel on October 12 & 13, too.


Someone spiked Aunty Meredith’s punch it seems, because she has gone ahead and booked two game-changing psych bands – Primal Scream and Spiritualized – to head up the holy wow list of acts at this year’s Meredith Music Festival, which happens December 7-9 at Meredith Supernatural Amphitheatre, in Victoria. The bill also includes Four Tet, Turbonegro, Grimes, Sunnyboys, Omar Souleyman, Regurgitator, Royal Headache, Big Jay McNeely, Chet Faker, Rahzel & DJ JS-1, Pond, Twerps, Saskwatch, Hot Snakes, Snakadaktal, DJ Yamantaka Eye, J.B. Smoov., Earthless, Toot Toot Toos, and the world famous Silence Wedge, and it’s BYO.

My musical style is often described as ‘folktronic’ or ‘progressive folk’. People have likened it to artists like Bon Iver and James Blake. I’ve just released my debut EP City, which is out on iTunes and includes my singles ‘For My Help’ and ‘Summer’. I recorded it at home, produced it all myself, and got local mixing engineer Jono Steer to mix ‘For My Help’. In terms of my live show, you are guaranteed live looping – and occasionally I’ll play with a band. The Australian music scene is thriving, and will continue to grow. I live in Melbourne, where you get the chance to walk 15 metres and be all like, ‘Hey, there’s a show on here,’ then walk another 15 metres and be all like, ‘Dude, there’s another gig going on here as well’. I’m still becoming acquainted with Sydney music venues, but I love what FBi have been doing for live music. What: City EP is out now on iTunes With: The Falls Where: FBi Social, Kings Cross When: Wednesday September 19

You have to enter a ticket ballot before Tuesday August 21 at for a chance to go sit on the grass and fall in love to/with Twerps. But if you don’t make it, don’t worry – we hear whispers of sideshows floating through the wind...


The Black Lullaby sound like Missy Higgins singing over The Jezabels’ epic layered soundscapes, which is a) a very good thing to sound like, and b) not surprising, seeing their self-titled debut EP was helmed by The Jezzie’s long-time producer, Lachlan Mitchell. They launch it on Friday August 24 at Candy’s Apartment, with guests Penny And The Mystics and the fabulously named She Falls Down Stairs.


As we at BRAG can relate to all too well, being the son of an Afrobeat legend is hard work. For example, Seun Kuti, the son of Afrobeat pioneer Fela Kuti, would have struggled constantly with comparisons to his late great father when he was starting out. Cleverly, he’s learnt to dodge this by dressing like an African Elvis and pushing the whole Afrobeat thing to the nth degree, with a level of fury and passion that makes all your favourite Aussie punk bands sound like they are at Maccas whinging about soft-serve cone prices going up. He is touring off the back of his latest album, From Africa With Fury: Rise, stopping in at The Metro Theatre on November 10. You will like this show.


Have you ever looked at your parents and internally screamed, realising that one day you will turn into the fleecejacket-and-bumbag-wearing Antique Roadshow enthusiasts standing before you? Indie quintet Split Seconds probably won’t reassure you personally when they make like Kerouac this month and get on the road to tour their debut album, You’ll Turn Into Me. They will, however, inspire random acts of dancing and head-bopping when they stop off at The Standard on Friday August 31, to serenade Sydney with their man-monies (man harmonies) and saucy, tonguein-cheek tracks – like their new single, ‘Top Floor’. We have two prize packs to give away, which include a double pass to their Sydney show and a copy of their album. To nab yourself one, tell us the names of Split Seconds’ members.


According to Kate Miller-Heidke, if you have both a baby and a tiger growing in your insides, the large cat-like mammal will win out every time. At least that’s what she suggests on track four of her latest release, Nightflight. The eloquent pop mistress has always managed to throw a little of life’s surrealism (and a good handful of humour) into her quirky tunes, so it seems pretty damn fitting that she would bring The Beards along on her tour across the country – a rock group that write songs about everything under the sun as long as it’s a beard. You can catch them both on Thursday August 23 and Friday August 24 at The Metro Theatre – to score a double pass to either show, send us a picture of your favourite beard. Wednesday October 3, Chile’s indie chanteuse Francisca Valenzuela will be serenading you with her bangs and smokey tunes at Bluebeat; and there’s a huge all-in on Friday October 5 at The Standard, where you can join Columbian funk trio Malalma, past Rolling Stone cover star DJ Bitman and the aforementioned Valenzuela for a huge night of awesome. Hit up puravidafestival. for more info, and tickets.


If you only know Thurston Moore as the impossibly cool-looking, agedefying, screwdriver-wielding frontman from noise maniacs Sonic Youth, then you should listen to his beautiful, downhearted 2011 record Demolished Thoughts, which basically chronicles the dissolution of his marriage/band, with production by Beck “I can do anything” Hansen. He’ll be performing tracks from that record, and hopefully a ten-minute version of ‘Teenage Riot’ as well, at the Hi-Fi on October 26 (a show which falls less than a week after Sonic Youth guitarist Lee Ranaldo’s gig at Oxford Art Factory on October 20… Surprise reunion gig, anyone?) Tickets are on sale now. Thurston Moore

Sydneyvision is like Eurovision, but possibly more gloriously tacky. It sees bands and artists from different pockets of Sydney battle it out, with songs written about their home suburb. “The last train of out Sydenham’s almost gone,” is one lyric line we suggest the finalists use to assure victory. The grand final happens at the Dendy Cinema in Newtown on Wednesday August 22 from 7pm. Tickets are $17, and the winner gets to play Newtown Festival later in the year. And remember, downtown does not rhyme with Newtown, and you will be booed if you dare attempt this. 470/Circular Quay on the other hand…


The Pura Vida Road Show is coming back this year with another insanely awesome selection of Latin America’s urban music scene, taking over venues around Sydney from September 28 to October 5 in a series of hot Latino nights. Friday September 28 sees Afro-Peruvian dub-groove collective Novalima shaking out The Hi-Fi; Saturday September 29 will bring Buenos Aires’ alternative folk pop icon Kevin Johansen and his six-piece band The Nada to Bluebeat; on

“Roll my vertebrae out like dice. Let my skull be a home for the mice. Let me bleach like the bones on a beach. I’ll be hard like a pit from a peach” - TOM WAITS 12 :: BRAG :: 476 :: 20:08:12



FANTINE. + Mrs Bishop












BRAG :: 476 :: 20:08:12 :: 13

The Music Network

Music Industry News with Christie Eliezer


THINGS WE HEAR * While AC/DC’s record label Alberts confirms they’re touring behind a new album next year to mark their 40th anniversary, a movie called Bon Scott: The Legend of AC/DC is being made by US company High Voltage Productions. It was written by Rob Liotti, frontman for UK AC/DC tribute band TNT. * Beck told triple j that his upcoming tour will see him reunite with his band from the late ‘90s, so they’re rehearsing a lot of his songs from that era. * Thieves plundered more than $12 million worth of goods from JB Hi-Fi in the past year – a 60% jump in shoplifting. * Glenn Frey (The Eagles) is visiting in early October to promote his After Hours album, and to announce a tour for next year. * Creditors voted to wind up Trademark NSW Pty Ltd, which operated the Trademark Hotel in Kings Cross and its adjoining Piano Room club. They called in administrators last month, with reported debts of $300,000. The pair of venues will go through a $500,000 renovation and emerge as a restaurant in three months. * Chris Brown has denied online reports that he and Drake will face off in a Las Vegas boxing bout at the MGM Grand Casino on September 22. * Kyle Sandilands told his 2DAY FM listeners that his bestie Brian McFadden said he could sing ‘Crocodile Rock’ at his wedding, but only if he got 10,000 likes for the idea. Kyle has received 57,000 likes, so he’s doing it. * Lamb Of God frontman Randy Blythe is spitting chips, claiming that the U.S. Justice Department had been notified by the Czech government that he faced manslaughter charges over the death of a fan. But they had not notified him, and he got nicked when he arrived to play a concert there. * At the end of a Metallica show in Mexico City, singer James Hetfield had pies thrown at him by the band and road crew, in celebration of his 49th birthday. * The Medics’ manager Leanne de Souza is also looking after indigenous teen singer-songwriter Thelma Plum, who was Unearthed by triple j.

NEW SIGNINGS FOR NICHE PRODUCTIONS Niche Productions has expanded its agency roster with NZ’s Kora, Elefant Traks stalwart The Tongue, Tuka as a solo act (he’s already represented by them as part of Thundamentals), Kylie Auldist (Bamboos singer), Melbourne’s Tinpan Orange, Brisbane’s Bankrupt Billionaires and NZ blues rockers The Thomas Oliver Band.

MAKE A VIDEO FOR M83 French atmospheric electro-pop act M83 are offering the chance to make the official video for the track ‘Steve McQueen’, out on Pod/Inertia. You can have your own take on the song, but M83 advises, “It’s not about the actor!” The winner also gets AU$4483. Outstanding videos will also be nominated for the 2012 Genero Awards, and go in the running to win $25,000 in prizes. See genero. tv/m83; deadline is September 10.

Divorcing: Kenny G and Lyndie Benson-Gorelick, after 20 years, citing “irreconcilable differences”. There was a pre-nup; G is worth $50 million. Injured: Nicki Minaj was told to rest for two weeks due to a bruised vocal chord. Hospitalised: Members of U.S. rock band Baroness and their road crew, after their tour bus plummeted nine metres down an embankment during a UK tour. Hospitalised: Bobby Brown is back in rehab, months after he claimed he was seven years sober. Suing: Beastie Boys, against the Monster Energy Drink company, for using their tracks in a promo video. In his will, Adam “MCA” Yauch specified that his music never be used in ads.

Gypsy & The Cat

PARKER AND MR FRENCH TEAM WITH UNIVERSAL Todd Wagstaff and Jo Walker’s Sydney-based music management company have teamed with Universal Music Australia. The deal is a new multi-tiered distribution pipeline just for their acts, which include Gypsy & The Cat, Evermore, The Vines, Bluejuice, and new projects Jagwar Ma and Danco. The deal allows the acts to stay independent while the major label provides muscle and expertise. Each artist will pay for their music, photos, videos and cover art, and oversee their own marketing. It is a healthy alternative to the 360-degree deal which is generally unpopular with managers, who are skeptical that record companies will be able to handle all aspects of their career. It also means fewer risks for the label. Evermore and Gypsy & The Cat are the first two artists to opt in, with albums due out in October. (Gypsy & The Cat have also started their own imprint, Alsatian Music.) The deal comes with internal changes for the company. The Sydney office moves to 156 Commonwealth Street, Surry Hills (Tel: 02 9002 0500). They also have a new Melbourne office at 58 Tivoli Road, South Yarra (Tel: 03 9827 0303) under Walker, who recently relocated south.

AUSSIE LIVE SECTOR WORTH $1.3 BILLION The Australian live performance sector turned over $1.3 billion last year, and 17.5 million people attended shows. The information comes via the 8th Ticket Attendance & Revenue Survey, released this week by the live entertainment and performing arts association Live Performance Australia. Attendance was up by 0.6%. Revenue dropped slightly to 1.3 billion from $1.32 billion in 2010, due to a 0.7% fall in average ticket prices ($86.43 to $85.86), and a slightly larger proportion of complimentary, sponsor and zero-priced tickets. Last year, 17,345,720 tickets for live entertainment industry events were issued. That figure is up from 2008 and 2009, but down from attendance levels before the Global Financial Crisis in 2007. The introduction of a state/territory breakdown saw NSW’s industry revenue grow by 5% and Victoria decline by 4.5%. NSW is the largest live market with 40.1% share of the revenue ($523.9 million) and 36.5% of ticket sales (6.3 million). We beat Victoria, which had music as 29.5% of total revenue ($385.6 million) and 30.9% of ticket sales (5.3 million).

JÄGERMEISTER: NEW CATEGORY FOR INDIE MUSIC The 7th Jägermeister Independent Music Awards has a new category this year: Best Independent Label. This will be open only for, and voted by, members of the Australian Independent Record Labels Association (AIR). “The award recognises that while indie

labels march to the beat of their own drum, they are very much part of a community of like-minded, passionate business owners.” The awards will be held on October 16 in Melbourne. Virgin Australia has joined as airline partner. Their presenting partner remains Jägermeister. It’ll be broadcast by Channel [V], and their radio partner is Nova.

THE SAPPHIRES: BOX OFFICE GEM The Sapphires had the best opening for an Australian movie in the last 18 months, grossing $2.34 million on the first weekend. The movie, about four indigenous singers who went to Vietnam to perform soul covers for troops in the ‘60s, was due to hit $3.4 million by the end of last week. Hopscotch/One, the film’s distributor, says it’s getting applause at the end of screenings and building momentum through word-of-mouth. Last week, producers released an iPhone app where fans can insert their faces into footage as they sing along.

OPEN FOR EVERCLEAR KillRockStar Big Dog Entertainment is giving up-and-coming bands the chance to open for Everclear at their October shows in Coolangatta, Sydney, Brisbane, Melbourne and Perth. Go to and enter by Thursday August 23. 15 finalists will be chosen for each city, to be whittled down to three by public vote by September 7. The band’s frontman, Art Alexakis, will choose the winner for each city.

Suing: Veteran producer Roy Thomas Baker wants $1 million from Sony Music, for allegedly not paying him royalties from 21 Journey tracks he worked on. Baker worked with Queen, Guns N’Roses and Ozzy Osbourne. In Court: A disabled woman used the pseudonym Jane Doe when suing Johnny Depp, claiming his bodyguards assaulted her at an Iggy Pop concert, during which her trousers fell off. She was told by a judge to file the lawsuit under her real name or drop the suit. In Court: Rihanna’s ex-accountants, whom she’s suing for losing her millions while taking a whopping 22% commission, lashed back saying it was the fault of her business people and not them. Died: Elton John bassist Robert Wayne Birch, apparently of a self-inflicted gunshot wound to his head.

SOUNDTRACK SYDNEY FESTIVAL Sydney Festival is calling on composers to write a new soundtrack for the 2013 festival to be used in video, online and on-air promotion. A cash prize of $5000 is offered. The music can be up to four minutes long. It can be any style, but the tone and feel should reflect the Festival’s motto – “This Is Our City In Summer” – so entries are expected to be uplifting, sunny, joyous and celebratory. If lyrics are used, they must include “This is our city in summer”, and there must also be an instrumental version of the song. See; deadline is September 7.

TELL A STORY FOR GRAPHIC FESTIVAL As part of Graphic Festival, Sydney Opera House has an animation competition for illustrators, animators and storytellers of all levels. You need to create an original short animated film with a running time no longer than three minutes. There are up to $20,000 worth of prizes, and the winner will have their animation screened at the event. See for more information.

“Coal wants a miner. Soldier takes a stand. The walls of the prison want a solitary man,” – TOM WAITS

14 :: BRAG :: 476 :: 20:08:12



Thurston Moore (USA) 65daysofstatic (UK) Fri 26 Oct

Wed 2 Jan


Apocalyptica(FIN) Dream On Fri 31 Aug Dreamer


Earth (USA)

Musiq Soulchild (USA)

Thu 13 Sep

Sat 25 Aug

Sat 1 Sep

Hanson (USA) Sat 15 Sep

Fri 14 Sep

Fa st

Thu 27 Sep

Sat 22 Sep

Fri 21 Sep

Sistema Criolina (BRA) Sat 29 Sep Fri 28 Sep Mon 1 Oct


Apollo the Party

Nekromantix (DEN/USA)

Sun 30 Sep

Fri 5 Oct

Russian Circles (USA)

Tortoise (USA)

Sat 6 Oct

Thu 11 Oct

Everclear (USA) Fri 12 Oct


Wheatus (USA)

Fear Factory (USA) Novalima (PER) & DJs Regurgitator Se llin g

Full On by Ferry Corsten

So ld O ut

Fri 24 Aug

So ld O ut

Triple J’s House Party

g llin Se

st! Fa

Gomez (UK) Fri 19 Oct

Alt Rugby Commentary

Sunn O))) & Pelican

Sat 20 Oct

Thu 25 Oct

District 7 Fest

Leb I Sol (MKD)

Sat 27 Oct

Sat 3 Nov

The Living End


Wed 21 – Tue 27 Nov

Sat 2 Feb


BRAG :: 476 :: 20:08:12 :: 15


Strange Worlds


ometimes I feel like I want to walk off stage and kill myself, because no-one knows what the hell any of the songs are.” These words stun me into temporary silence; I don’t know what I was expecting, but it sure as hell wasn’t this. It’s around seven in the evening, and I’m all set to interview Ira Wolf Tuton, bass player from New York’s Yeasayer. When we spoke once before, shortly before the band came to Australia to play the hipster gathering known as Laneway Festival, he was in incredibly high spirits. He took the interview from behind the wheel of his van, driving to the store on an all-important snack run and on the look-out for police as he waxed poetic about his love of ‘80s music videos and his excitement at the boundless creativity that being in Yeasayer offers. I’m excited to speak to Ira again, but at the appointed time of the interview, an operator calls to tell me that he has suddenly become unavailable – but that singer Chris Keating has stepped in. I have only a few minutes at my laptop to tweak my questions, hoping that Chris will be as talkative as Ira – but it soon becomes apparent that this won’t be the case. He’s speaking to me from London, where it’s early morning; Yeasayer are doing some press before some small shows later in the day. He sounds tired and a little glum, clearly not loving the prerelease ritual of talking to the press. We still manage to talk about a range of subjects that stretches from studio tech to the freedom afforded by not having a full-time drummer, but still, Keating seems down – more so than you would expect from someone who has just written ‘Reagan’s Skeleton’, a surreal song inspired by a dream

By Alasdair Duncan the frontman had, about the former president emerging from the grave to dance like M.J. in ‘Thriller’. I might have seen this bleak mood coming, though. Yeasayer’s new album, Fragrant World, is out later this month, and it is generally far darker and stranger than anything they’ve released before. It’s predecessor, 2010’s Odd Blood, was filled with buoyant, psychedelic songs that tested the outer limits of electro pop, RnB and indie rock, swirling the sounds all together like finger paints until they were just one bright mess of primary colours; it was difficult to listen to a song like ‘O.N.E.’ without feeling stirrings of joy from deep down inside you. With song names like ‘Devil And The Deed’, ‘Demon Road’ and ‘Damaged Goods’, Fragrant World is no less rich an album, but it’s not suited to dancing with your arms aloft so much as it is to listening on headphones in quiet contemplation. Recorded in a couple of different studios around Brooklyn, Fragrant World represents the next step in Yeasayer’s ongoing fascination with merging the old and the new; classic analogue synths with strange bits of studio tech. “There’s some classic stuff on the album, like some of the synthesisers that were used on the early Chicago house records – the SH-101 and stuff. There’s some early analogue technology, the ARP synthesiser and stuff like that,” Keating says. “We combined those things with a lot of new software, new

sampling technology and some time-stretching stuff.” On Odd Blood, some of the vocal harmonies were recorded with band members singing through a fan; Fragrant World sees them manipulated through programs like Melodyne to the point where they’re twisted and unrecognisable. Although Yeasayer tour with drummer Cale Parks, they still don’t have a fulltime drummer who records with them, which frees them up to draw rhythms from less conventional sources. This certainly accounts for a lot of the arresting, stick-in-your-head rhythms on Fragrant World. “Not having a permanent drummer allows us to work with different drummers on different songs, which is pretty fun and exciting,” says Keating. “I might hear a rhythm in my head walking down the street, or hear a sample of an interesting drumbeat then try to build something around that. I like creating structure, using sequencers and drum machines and things like that to play around and come up with different rhythms, and then seeing if a drummer can actually play those parts.” Inevitably, our conversation leads towards the darker tone of Fragrant World, and I ask whether it’s a reflection of the band’s collective state of mind at the time. “Probably, yeah,” Keating says after a pause. “I noticed after a while that it sounded a little darker, a little more sinister. Perhaps that’s because of the subject matter we were delving into.” I press him for specifics, but again, he hesitates. “Maybe the darker tone

was a conscious thing in opposition to the lighter tone of the last album,” he says. “In general, I think we try to be conscious of what’s going on.” There are a couple of key tracks that interest me, particularly the gorgeous ‘Henrietta’, inspired by a woman from the 1950s called Henrietta Lacks. “She was a sort of medical anomaly. She had a very aggressive form of cancer and when some cells were removed from her body while she was being treated, they were found to keep multiplying, and keep living. Her genetic material and her cells were used as a basis for a lot of 20th century medical experiments – the polio vaccine that Jonas Salk came up with was the product of her cells. It’s an interesting story.” “Oh Henrietta/we can live on together,” Keating sings, as a ghostly chorus harmonises with him. To me, it sounds like a love song sent out beyond the grave, maybe even a love song from the cancer cells to their host – but when I ask Keating how he sees it, my theories don’t hold. “It’s really neither,” he says. “It’s just a jumping-off point, to use a real-life story as a metaphor.” He’s similarly vague on the origins of ‘Reagan’s Skeleton’, another of Fragrant World’s more surreal tracks. “It’s inspired by a dream about the rotting corpse of Ronald Reagan coming out of the grave, along with all of his zombie Cabinet, and dancing around like ‘Thriller’. It’s just kind of a humorous image.”

“I noticed after a while that the record sounded a little darker, a little more sinister. Perhaps that’s because of the subject matter we were delving into...”

Given Yeasayer’s trippy and super enjoyable sets at the Splendour In The Grass and Laneway festivals of years past, I’m curious to hear just how these new, darker songs will fit into their live show. But when I ask, things take a bit of a turn. “Yeah, we’ve been touring them for the last few weeks,” Keating sighs. “We’ve been playing mostly new stuff so it’s kind of a challenge, because no-one knows [the new record]. Sometimes I feel like I want to walk off stage and kill myself, because no-one knows what the hell any of the songs are. We play a few old ones, but we’re trying to get the new ones tight, even if people aren’t aware of them yet.” It’s always a leap of faith playing unfamiliar songs to an audience who want to hear the hits, I say, before asking which of the new songs have been going down the best. “It’s hard to tell from song to song,” Keating answers. “In general it doesn’t matter that much, I guess. We’re having fun playing the new songs, even if it’s nerve-racking. Older ones feel safe, because we’ve played them so many times. It’s exciting for us to play new material.” I ask Keating if Australian fans will get the chance to see Fragrant World played live, and he assures me it’s on the cards at some point. “It’s a long trip to make, so we want to get the most out of it as possible, maybe link it up with some touring in Asia,” he says. “It will most likely be in January. We’ll hit you guys early in the Australian summer – that’s a good time to get out of the US.” What: Fragrant World is out this Friday on Spunk Records

“Get a job, save your money, listen to Jane. Everybody knows umbrellas will cost more in the rain” – TOM WAITS 16 :: BRAG :: 476 :: 20:08:12








+(55@ ;/,  *6:40*;9,469: +1)90(5









+120;:*/ )3<,:-96474

THE PINKS )90+0,205.




BRAG :: 476 :: 20:08:12 :: 17

The Beautiful Girls They’re Aready Gone By Benjamin Cooper


fter 11 years, four studio albums and countless hours in the tour van squeezed between bandmates and amps, The Beautiful Girls have decided to call last drinks, wrapping up their successful career with an epic, nation-spanning tour that takes in a total of 26 shows. But first, the Sydney band needs to remember how to play some of those old songs from way back in the day... “We haven’t done a TBG session in a while,” admits frontman Mat McHugh, who’s been working more on his solo output of late. “So we’re making use of the full day to rehearse – especially because there are some songs that we haven’t played in ten years. There are also a bunch of tracks that are stylistically quite different to how we play now, so we’ve had to re-learn and adapt for them. Apart from the obvious fatigue from rehearsing, I reckon we should be okay for the shows. We’re having a good amount of fun, which is important.”

The extent of their upcoming tour would be intimidating to lesser acts, but McHugh insists that it’s the only way his band knows how to operate. “We’ve always toured hard, since the band first started. We operate within the

independent model, and so we’ve never had huge money behind us or had a huge marketing budget. We don’t need any of that, because we’re doing it differently – our way. We’ve done tours like this before, but we haven’t done anything this big in quite some time. When we first started out we played across America for five months straight. That was five months of shitty gigs, shoved in a crammed station wagon, hoping there was a packet of chips within reach. This tour is obviously very different; it’s an opportunity for us to say goodbye to people who have supported us for such a long time. Is 26 dates a lot? Par for the course, mate.” Keen observers may notice that the tour is peppered with a host of charming seaside stopovers. “Coastal towns have been great to us in the past, so it’s nice to be heading back and playing in pubs to a big crowd who are having a dance,” McHugh explains. “I guess we also grew up on the beach and we’re all surfers, which is a big part of our music and who we are. It’s kind of always been a marriage between surfing and music, and it will stay that way because those are the things we love.” TBG are conscious of the long tradition of surfer musicians, with McHugh noting the influence of fellow Northern Beaches’ band Midnight Oil. “The Oils have been a huge inspiration for us – obviously coming from the area, it was impossible not to know their music. What’s been especially inspiring is how much they toured, and how on point they were. When the band were in full flight they were the blood and guts of what Australia is about, and I reckon Peter Garrett held the country’s sway, completely. The Oils created this relationship between everyone at the gig that said, ‘There’s no lofty perceptions dividing us, we’re all in the same room together, we’re all Australian’. That was powerful, and I think bands who don’t think like that, or try to connect into that, are missing a huge chunk of what Australian music can be about.”

“I was getting kind of reflective during rehearsal about how proud I am of where we are. It’s an honour and a privilege to be revisiting stuff a decade later, and that people still care.” McHugh is quick to dismiss any notion that, post-TBG, he’d be looking to parallel the next stage of Mr. Garrett’s career. “Oh god no – I’ll be hanging out with my kid, not in Canberra!” he exclaims. “I never want to come out as overtly political in my songwriting or anything – I mean if you think about Midnight Oil, pretty much every album’s been a kind of protest album – because I don’t really think of myself as highly educated or good with political language,” he says. “But the reality is that as a musician you do have a platform, and people do listen, so there’s a responsibility there. I just know what works for me: I want to be aware and conscious as a songwriter and as a person, but without smacking on about it. I mean you consider the greats like Woody Guthrie or Bob Dylan – they made the political an element of what they do, without it dominating their music. There are exceptions, of course, like Rage Against The Machine…” So will McHugh and co. will be using their time on the road to brush up on their rap-rock skills? “We’ll probably just stick to our stuff, rather than ‘Killing In The Name’ covers,” he laughs. “We’re spending a lot of time on the road, which is good because we’ll get to do a bunch of practice on the older songs. Thankfully there are some flights home to see my family, and then I head back out on the road. I really get the best of all worlds with this tour, which is nice. I was getting kind of reflective during rehearsal about how proud I am of where we are today. That kind of reflection is something I’ve never really done before, but it really made sense. I mean, it’s an honour and a privilege to be revisiting stuff a decade later, and that people still really care. That’s powerful stuff.” Who: The Metro Theatre / Mona Vale Hotel When: August 31 (sold out) & October 5 (lic. all-ages) / October 12 & 13 More: Also playing alongside John Butler Trio, Sharon Jones & The Dap Kings, The Black Seeds and loads more at Peat’s Ridge Festival, held December 29-January 1 at Glenworth Valley; tickets on sale this Monday August 20 18 :: BRAG :: 476 :: 20:08:12

Shihad The Hit List By Rick Warner


fifteen minute interview slot isn’t near enough time when speaking with Jon Toogood, the lead singer of legendary New Zealand band Shihad. His rapid-fire discourse leaves an interviewer struggling to interject as he dives head-first into every topic, only coming up for breath when completely exhausted. It’s this same infectious energy and candour that has buoyed Shihad over the band’s 24-year career. From thrash metal beginnings to a place in the New Zealand Music Hall Of Fame, the Shihad story is a rollercoaster of both elation and regret. After almost a quarter of a century in the game, the band has finally got around to putting together their best-of compilation, The Meanest Hits, the release of which coincided with a tell-all documentary on the band, Beautiful Machine. The Australian premiere of the film went down at this year’s Splendour In The Grass, following a blistering main stage performance. “I just loved it,” an excited Toogood recalls. “It’s an indie-ish festival; I saw a couple of bands before and they were good, but I wanted someone to come on and kick out the jams, you know? So that ended up being us.” In true Shihad style, the Wellington lads unleashed fury on the crowd. “I was thinking, ‘Fuck this. We’ve got 50 minutes on stage. I want to destroy it. I want people to know’. It felt great. I love that sort of atmosphere.”

in September – having already completed The Meanest tour in their home country, they’re getting accustomed to playing speed metal again. “It’s a real mental and physical exercise,” the frontman says. “When you’re playing speed metal when you’re 18, it’s all good – because you’re not getting laid all that regularly, your downstroking is real good. But when you’ve not played this music in a while, it’s like, ‘Wow, this is extremely physical’. You have to concentrate.” As the band near the 25-year mark in their career, there doesn’t seem to be any sign of slowing down. “The [New Zealand tour] were probably some of the best shows we’ve ever played, which is weird because I’ve just turned 41. [But] You see AC/DC man, that guy’s like 60-something, Angus Young. As long as I’m mentally and physically prepared, I’m going to go out there and demolish like I always have.” What: The Meanest Hits is out now through Warner Music With: The Snowdroppers, The Upskirts Where: The Metro Theatre When: Friday September 7

Beautiful Machine was screened right after their set. The film, put together by “these two producer guys” in New Zealand, chronicles the rise from garage band to Kiwi royalty in a warts-and-all portrayal. Toogood, however, stresses that it’s not their movie – only a film about them. “It was made completely independent of us,” he clarifies. “Obviously we gave permission. These two producer guys said ‘We want to make a movie with Shihad’ and went off and got funding from the New Zealand film commission.” Early in the film-making process, original director Graeme Tuckett was given the axe. “[Tuckett] was a nice fellow, but he was a fan-boy,” Toogood explains, “so we were thinking, ‘What the fuck’s the point of this?’ The [producers] got rid of him when they saw the direction it was going in.” Fresh from being awarded top prize at the Berlin Film Festival for his short film Manurewa, Sam Peacocke took over directorial duties. Peacocke had worked with the band before, directing their ‘Sleepeater’ film clip in 2010. “We’re actually friends, but he’s an indie kid,” Toogood laughs. “He met our parents without cameras at all and went, ‘Right, I want to find out how [being in a band] affects humans. What does this job do to people’s brains? People’s relationships? People’s lives?’ – and he made a really fucking beautiful movie.”

“I shy away from all of the dumb moves we’ve made: the name change, some of the awful fashion choices, and the retarded things you say when you’re young.” Given free rein by the band, Peacocke explored the darker realms of fame and rock’n’roll. His no-holds-barred approach captures the bravado and vulnerability that is Shihad. “It’s embarrassing for me at times. It’s pretty brutal. I shy away from all of the dumb moves we’ve made: the name change [to Pacifier in 2002, an attempt to crack the post-9/11 US market], some of the awful fashion choices, and some of the most retarded things you say when you’re young and completely sure that you’ve got the answers to everything. Because of that, and because it doesn’t shy away from that, it makes for a really good film. You could hate our band and still like the movie.” But the film also brought up some recent pain for Toogood. “Unfortunately for me and my family, my father passed away at the start of this year. He’s in it, you know? That was the first time I’d seen him talking and moving since he’d died. So there are so many layers as to why it’s heavy for me. I sat there with my mum, holding her head while she’s crying because she’s seeing her husband and I’m seeing my father. Meanwhile, you’ve got the All-Blacks [sitting] behind you and Andy Serkis, who plays Gollum, watching every stupid thing that comes out of your mouth that you said as a kid,” he laughs. Shihad’s best-of compilation, The Meanest Hits, is ready for release in Australia, along with a new single, ‘Right Outta Nowhere’. (“You get an extra track because I finally got my shit together and wrote the lyrics,” jokes Toogood). The band will be touring the compilation around the country BRAG :: 476 :: 20:08:12 :: 19


Rock’n’Roll’s Not Dead By Dijana Kumurdian


ou might assume that a band of guys in their 40s would slow down; that the frenetic spirit of ‘90s punk rock would be surpassed by a need to seem somehow more mature, and that just having fun would no longer be acceptable. Not so for Brooklyn’s Obits. Composed of frontman Rick Froberg of Drive Like Jehu and Hot Snakes, Sohrab Habibion of Edsel, Scott Gursky of (the American) Shortstack and bassist Greg Simpson, the bandmembers retain the who-gives-a-fuck attitude of their former projects, albeit with a humility that acknowledges indie rock isn’t everything.

Obits’ latest album, last year’s Moody, Standard And Poor, upholds the straight-

As we discuss Obits’ upcoming and debut Australian tour, the frontman tells me about his most memorable live show: a Drive Like Jehu gig at the University of California on Halloween, 1992. Dressed as campers, they played in tents on a fake campsite with dead trees and a fake campfire, and had friends on stage pretending to hunt and fish… and they wound up causing a riot. “It was intents,” Froberg jokes. “When we started we couldn’t see each other and we couldn’t get to our amplifiers, so we had to come out. Then one of the people who we let on stage


Obits formed in 2007 when Froberg moved to New York after the breakup of Hot Snakes. It took them over a year to release their first record I Blame You, a stripped-back, garagedriven album that’s as raspy and jangly as any Hot Snakes song. “We’re just not in a hurry,” Froberg says. “I mean, aside from being a band we have a regular life to lead. And, you know, we’re kind of lazy too. We’ll kinda drink too much at practice and not play as much as we should. But, what’s the hurry? We want to have fun, we don’t want to be pushed around. We’re not kids anymore, we’re not trying to hustle. We just want to have a good time, that’s all. We want to express ourselves on our own terms.”

up rock’n’roll attitude and the deceptively poetic lyricism of Froberg’s former bands, with classic blues-based chords and more polished guitars. “I prefer a cleaner guitar sound, where there’s nothing to hide behind and you end up hearing the mistakes and all the raw things that make something unique and expressive. I’m not a cynic, I think people are smart. They pick up on you being yourself rather than trying to be something else. And it’s rock’n’roll music, it’s traditional music in a sense, and you do a bunch of the same things that Chuck Berry does, or whatever the fuck it is – but the thing that really makes your music original will be the things that you cannot control about yourself. And that’s just the way it is. Just don’t worry about it.”

to be a camper got up and started urinating on the fake trees. And it just started to degenerate from there – we were cracking up, we couldn’t play – and the audience went crazy. They destroyed our equipment, they destroyed our tents, they destroyed everything we had. It was a big mess.” Froberg admits that his aesthetic sensibility hasn’t changed much since his former bands and, it seems, neither has his performance.

“My values as far as what makes something good haven’t changed that much. You’re talking to a guy who’s been doing this for – well, y’know, old dog, old tricks. I’m sure there are people doing things much differently now and I don’t really know what they are,” he says. “I like it this way.” Where: The Annandale Hotel When: Thursday August 23

Kate Miller-Heidke Coming Home By Alasdair Duncan


he last time I interviewed Kate MillerHeidke was around two years ago, when the songstress was returning from America to play a round of Australian shows. Funnily enough, she is doing just the same when we speak again; life as a touring artist has certainly kept her busy, but it can also have a dislocating effect. “It comes in waves,” she tells me. “I’ll be non-stop travelling for months and months, and then all of a sudden I’ll find myself at home with nothing but some ancient celery and five Creme Eggs in the fridge.” And a two-week break amid this touring can stretch out into an eternity: “You forget how to stay still after a while.”

All of the travelling has worked its way into Miller-Heidke’s consciousness. ‘Nightflight’, the title song from her recent album, was directly inspired by the disconnected feeling of shifting between time zones and continents. “I need to travel to tour, and there are a lot of aspects of it that I love,” she says. “That song is about

flying to London from Australia by myself, but I suppose it’s also a metaphor for loneliness, isolation, and disconnectedness generally.” The travelling is a part of her life now and she doesn’t see that changing any time soon, although she tells me that if and when she gets time off, she always prefers to spend it at home. “Grocery shopping and cooking, waking up in my own bed,” she says. “That feels like a holiday at this point!” Touring America has been a gruelling experience, but also a strange, brilliant and unforgettable one. “My favourite towns are often the smaller, out-of-the-way ones like Lawrence, Kansas; Northampton, Massachusetts; Charleston, West Virginia and Missoula, Montana. We got to open the Coachella festival, which was mind-blowing, and while I’ve been touring as the support for Ben Folds, I’ve gotten to play some of the most iconic venues in America. I mean, we’re playing in Central Park next month with Ben Folds Five!” Spending time on the road with a seasoned performer like Folds has been a learning experience. “I’ve tried to make him rub off on me… so to speak!” MillerHeidke admits with a laugh. “He is freakishly talented, intimidatingly so, but he’s also really disciplined and spontaneous. When he feels like doing something he just does it, and that is part of why his work has so much spark.” Miller-Heidke also finds it inspiring to watch Folds improvise on stage. “It’s fascinating and hilarious to see the things that he does. Basically, I think he’s a genius, and his audiences are lovely and musical too.” In the weeks to come, Miller-Heidke will be touring Australia to officially launch Nightflight. The shows have already begun selling out all over the place, and more dates have been added to keep up with demand. “It was quite scary putting out this record, having been away for so long,” she says, “so I’m really grateful to the people who still give a shit. I’ve done a lot of touring around Australia, and I think people who become fans after a live show often end up more loyal than people who are just fans of a single or two.” The shows themselves, she promises, will be big – very big. “Everyone in the band can sing – really, really sing – so we have some cool wall-of-sound backing vocals going on,” she says. “Also, we have a lot of instruments on the road this time: banjo, autoharp, resonator guitar, lap steel. It’s a pain in the arse at the airport, but it sure sounds lovely!” What: Nightflight is out now through Sony Where: The Metro Theatre When: Thursday August 23 (sold out) / Friday August 24 (on sale now)

Sleepmakeswaves Turning The Tide By Krissi Weiss


uitarist for Sleepmakeswaves, Jonathan “Kid” Khor, The Snowdroppers’ Johnny Wishbone, and Dom Alessio – now the host of triple j’s Home And Hosed – were looking to form a band over six years ago. The trio branched out into their various corners of music, but the bandname (coined by Alessio) stayed the same, underwent a few lineup changes, and eventually settled into the instrumental post-rock outfit that we now know. A lot of time has passed since those beginnings, and bassist Alex Wilson explains that the band are still adjusting to the steady trajectory on which they’ve found themselves. “It’s a very weird feeling for us,” Wilson says. “I think we’ve all been musically ambitious and I think we’ve always wanted to write really good music, but I remember we had an interview with someone once who said that we had ‘niche band complex’. I think we did have that for a while, and we still kind of do. For the first five years we would play our shows – and it is instrumental music, and in a lot of ways it’s quite bizarre compared to what gets pushed on radio and in the press – so we just assumed that we’d plod along doing our own thing in complete obscurity. The last 18 months has been so strange because we haven’t changed what we’re doing or our attitude. To have people suddenly take notice and offer us overseas tours and supports has meant that we’ve had to make the personal decisions to really take this on.” Releasing …and so we destroyed everything last year cemented the band’s place in the Sydney scene, followed by support slots for Japan’s Mono and Boris (among many others) and a self-funded trip to Austin for this year’s South By Southwest. Instrumental post-rock is

hardly the most supported genre on Australian radio, but with international bands like Explosions In The Sky and Sigur Rós paving the way for local groups, Sleepmakeswaves were able to garner a surprising level of support. It would be foolish to ignore the industry friendships that have helped the band along the way, but success is only ever sustainable if the fans follow suit. “There have been certain people that have come along and given support to our music, and I think that has really assisted us,” he says. “Dom [Alessio] is one of those guys who has always been in our corner, he’s always supported us. [triple j’s] Fenella [Kernebone] and Andrew Hogue have always gotten behind our music as well. I suppose all of that support came together when we released our last record, and a lot of people came out of the woodwork. It was astounding to us that triple j ran with our singles for quite a few months.” With so much touring on the agenda, one concern for Sleepmakeswaves is exactly how the band will be able to find the time to write more music. “That’s a big question in our position,” Wilson says. “Our album has had a reasonably positive reception, and we now have a fan base for our music who are going to expect something from us in the near future. We want it to be even better, [but] at the moment, with all of the touring, we have had to focus on our live show being the best that it can be. We have made the first forays into writing the next set of songs, but it kind of remains to be seen how this next set of songs will turn out...” Where: The Standard When: Friday September 7

“A window left open and the pillow is soaking wet. who says love ever comes without tolls?” - TOM WAITS 20 :: BRAG :: 476 :: 20:08:12

The Smith Street Band Stay Young By Joshua Kloke


believe in everything/that don’t mean I’m not wrong,” proclaims lead singer Wil Wagner on ‘Sunshine & Technology’, the stirring opener on the album of the same name. “Cos if I was right, surely I’d be something/that I’m not,” he continues, with the kind of passion few are brave enough to display permanently on record. Live shows, fleeting by their very nature, offer performers an opportunity to speak their minds without much repercussion. But as Wagner has quickly discovered, when one sings with an open and honest enthusiasm, people take note. Sunshine & Technology is The Smith Street Band’s follow-up to their critically acclaimed 2011 debut No One Gets Lost Anymore, and a lot of ears are beginning to perk up. Wagner and his band’s invigorating blend of fist-pumping punk and emotionally-charged folk is complemented by lyrics which are as much a call-to-arms as they are words to simply sing along to. On Sunshine & Technology, Wagner comes face to face with his own idealism. So what exactly does the 23-year-old believe in? “I don’t write music thinking anyone’s going to hear it,” Wagner admits from his Melbourne home. “When something bad or good happens, I’ll write as a reaction to that. It’s been interesting to play songs that are a bit opinionated, and seeing how people take it. I don’t think what I’m saying is all that controversial. I just think people should concentrate more on having fun and less on trying to become an accountant. I’d say that about sums up my ideology.”

“I can’t really buy into the hype,” he says. By believing the hype, Wagner might betray the person and songwriter he’s become. “I’m still on the dole, I still can barely afford my rent. I’m still bouncing between band interviews and Centrelink interviews.” The Smith Street Band’s upcoming American tour, for instance, was organised without the involvement of booking agents or managers. Throwing caution to the wind and booking a tour without professional help may seem like a death trap to many bands. Not for Wagner. “We were talking about it at practice last night: even if all the shows suck, which is a worst-case scenario, it’s still five of us, best friends, driving down the coast in America. We’re going to have a great time no matter what happens.” And therein lies the secret to The Smith Street Band, and what Wagner truly believes in. What: Sunshine & Technology will be out on August 24, through Poison City Records With: The Restorations (USA) Where: The Annandale Hotel When: Saturday September 8

Wagner’s penchant for enjoying and questioning life at the same time can be heard throughout Sunshine & Technology, which all the while avoids the trite clichés that many in his age group fall into. Instead, his lyrics cut deep, pushing listeners to do a little soul-searching of their own. “I’m at that age where everyone around me is finishing their degrees, getting married, getting real jobs and becoming real parts of society,” he says. “And it all seems so fucking miserable.” That’s why Wagner has developed a clear plan of how he’d like to spend his life – and it’s one that’ll suit The Smith Street Band’s fans just fine. “There’s this weird pressure on you at this age where you can’t get away with saying, ‘Oh, I’m a kid, I’m just fucking around, I’m just being a kid,’ but you’re still too young to be taken seriously, so you’re still a bit of a whipping boy or girl. You’re just getting shit piled on you. People say things like, ‘Oh, isn’t this band thing something you did as a kid? Don’t you want to get a real job and a real life?’ And it’s frustrating, because this is exactly what I want to do. I’d be happy living in this fallen-down shithouse just playing shows for people for the next 50 years. This is what I have to do.”

“I’m at that age where everyone around me is finishing their degrees, getting married, getting real jobs and becoming real parts of society. And it all seems so fucking miserable.” There’s a determination within Wagner’s voice that belies his age. He takes compliments earnestly enough, but refuses to let them inflate his ego in the slightest. The Smith Street Band’s reputation as one of Melbourne’s most powerful live acts isn’t lost on him – he just wishes more bands would follow their lead. “I hate hearing bands turn down shows because they’ve got a headline [tour] in two months or something. I just wonder, ‘Why are you in a fucking band?’ Don’t you want to be in a band to play every night of the week and play in all kinds of places? I get frustrated when bands act cool up on stage. It loses the authenticity that’s always gotten me about music. I don’t know if we’re an especially hardworking band, I just wonder… shouldn’t this be the way every band is? We just want to keep on playing, regardless of where we are on the scale of Australian music. We love what we do so much.” The enthusiasm on Sunshine & Technology is contagious, and that suits Wagner just fine. “I guess people relate to [the lyrics] because the people who come to our shows are exactly the same as the people in the band. We’re the same dickheads as the dickheads who like our band. We’re not trying to be above ourselves. We know how lucky we are that people come to our shows. But even if people stop coming, we’ll still keep playing. My greatest fear is I’ll look back on this and say, ‘I wish we’d done more.’” BRAG :: 476 :: 20:08:12 :: 21

arts frontline

free stuff email:

arts, theatre and film news... what's goin' on around town and more...

five minutes WITH CAMERON


Laura Hughes, Nick Capper and Zoe Pelbart are Sydney peoples. Jacques Barret and Felicity Ward are elsewhere, and also insanely funny.


ameron James is about as fresh as they come, comically speaking; having started stand-up only a year ago, he was a finalist in this year’s Raw Comedy national finals in Melbourne (thanks to a set where he talked about his sex life and ‘the conjugal remote control. Gross), and he and fellow locals Marty Bright and Andrew Wolfe are readying a new show, obnoxiously titled Me Me Me, for the upcoming Sydney Fringe. Lucky bastard. When did the funny start? It was always about making the teacher look stupid, and getting a laugh

in class. Nowadays I have to look for new 'teachers' to throw paper planes at. How did your first gig go? I started just over a year ago, and mostly made fun of my hometown, Catholic education, and myself. It went well, somehow. But don’t worry, any ego was destroyed during my first Newcastle gig. They killed me. That was a long drive home. Which comedians float your boat? Some of the funniest human peoples on the planet are the local comics. Michael Workman,

Rookwood Cemetery brings its grounds to life next month for Hidden, its annual outdoor sculpture walk. Audiences are invited to scour the Necropolis – the biggest cemetery in the southern hemisphere – through which 37 artworks have been scattered among the headstones, including sculptures by Will Coles, Sarah Nolan and Jane Théau. Previous events have included large-scale mirrored crucifixes, stone hands bursting from graves, petrified ponies and other works that dwell on the spiritual, the morbid and the mystical. The event takes place in the oldest section of the cemetery, built in the 1860s, and includes an artist workshop, cemetery tours and more. Hidden runs from September 1 – October 14 (and it’s free!). For the full lineup of artists see

You’re doing Me Me Me at the Fringe – what’s that about? And how did you end up in a trio with Marty and Andrew? “Me Me Me” sounds like either an introduction, or a kid having a tantrum in a supermarket. And I think [the show] is a bit of both. The three of us are always on the same bills together, and I think it was assumed we’d do our first show together. Come to think of it, I never said yes to it at all. This is the Fringe debut for the three of us, so we’re trying to politely let people know what we’re about. At the same time – how ego-driven are we to assume people would want to watch three nobodies talking on a stage? What are you and Marty doing at The Standard this weekend? I pitched a very dark, harrowing one-act tragicomedy about a blind Pitchfork reviewer, and a transsexual Centrelink employee who can’t quite accept that nu metal is over. But I’m not sure we’ll get the dry ice or full body nude


Internationally acclaimed Australian video artist Shaun Gladwell is stepping up to the plate, curating the next instalment of the MCA’s ArtBar – a series of booze/art/music mashups. Expect nods to the Mad Max films (most palpably, the presence of the ‘Interceptor’ cars from Mad Max, used by Shaun in one of his works) and fixies, both of which Gladwell has a bit of a yen for; there’s also inklings of lectures, live music by Toydeath, screenings (including Guitar Hero in 3D vision), and a DJ set by Modular’s Slow Blow boys. Gladwell is London-based, so he’s prolly not fucking around with this bluemoon chance for a showdown at the MCA, and word is he’ll be creating special works for the occasion. It goes down Friday August 31 from 7.30pm til late at the MCA – more info and tickets at

Solar Power Jesus Bottle by Reg Mombassa

suits in time for Saturday. As a fall back, we’ll probably just do some stand-up. What do you do when you’re not on stage? I’m a writer, actually. I have a screenplay in development, and just added some jokes to a pilot being shot now. If you guys have any positions free, I’d love to write for you. I know about music. 'Dub step'. See, I can do it. Just give me a chance. You talk about your sex life on stage – how does that work for your girlfriend? I’ve talked about my sex life ONCE. One time. It’s unfortunate that the one time was televised, but still... My personal life is all I have for material. It’s not all sexy sex stuff. I have plenty of other inadequacies too. What: Fringe Tease – a sneakpeek sampling of delights from the upcoming Sydney Fringe Where: The Standard / Lvl 3, 383 Bourke Street (above Kinselas) When: Saturday August 25, 7pm More: Me Me Me feat Cameron James, Marty Bright and Andrew Wolfe at Factory Theatre on September 26 & 27 ($12).


Fancy a bit of Fielding? Montreal’s comedy mecca Just For Laughs is once again partnering with local promoter Adrian Bohm and Sydney Opera House to take over the House for a (really extended) weekend of laffter, with the lineup thus far including: Noel ‘Vince Noir’ Fielding (Mighty Boosh), Drew Carey, Rhys Darby (Flight Of The Conchords), Bill ‘Breaking Bad’ Burr, Jeff Ross doing The Nasty Show (for those who like their humour extra wrong), a musical comedy show titled Amp’d, Gabriel Iglesias, Ed Byrne (for those who like their humour Irish), Dave Gorman, and local boys Adam Hills (hosting his own comedy gala) and Sam Simmons, fresh from coveted spots at Montreal’s JFL festival. Just For Laughs runs from October 18-22, and tickets are on sale now.


Sydney Underground Film Festival ups the ante this year from its increasingly impressive annual lineups with a gangbusters program of shorts and features from local and international filmmakers that runs the gamut of Harmony Korine, Guy Maddin, James Franco, Tim & Eric, Bobcat Goldthwait, Jennifer Lynch, classic Tobe 'Texas Chainsaw' Hooper, and a film called Disco Exorcist… Top of our list is portmanteau film The Fourth Dimension, in which Russian director Aleksei Fedorchenko (Silent Souls), Harmony Korine (Mister Lonely, Trash Humpers et al) and Jan Kwiecinksi each tackle the concept of the fourth dimension; Maddin’s Keyhole; and James Franco and Ian Olds’ art film Francophenia (Or: Don’t Kill Me, I Know Where The Baby Is). But there’s also stacks of good stuff in the program, including docos on LSD, Bad Brains and Austin underground maven Chad Holt. SUFF runs from September 6-9 at The Factory Theatre – full program and tix at



This (see above) is what happens when you give a mad rocker art supplies (if you’re lucky). Chris O’Doherty (aka Reg Mombassa), his brother Peter, and local musos Steve Kilbey (of the Church) and Mick Turner (Dirty Three) are among a lineup of 20-or-so artists throwing down in one boisterous group show. It’s the third event in the ArtGroupie series, which is a collaboration between Groovescooter Records, da dAdA and Eastside Radio. All the works are on sale, and other notables include former NME staffer Bleddyn Butcher, presenting portraits and live shots of Nick Cave, Roland S. Howard, Gareth Liddiard and Dave Graney – among others – and Guy Verge Wallace and Thomas Rawle of Papa Vs Pretty. ArtGroupie 2012 opens Thursday September 6 at District 01 (74-76 Oxford St – entry via Foley St, Cnr of Crown).

22 :: BRAG :: 476 :: 20:08:12

Ever wanted to prove to your friends that your penchant for picto-puns is better than Burgo’s, and your pop music knowledge is worthy of Rockwiz? Then you’ll want to snag a copy of Name That Song! – a book of pictograms representing some of the most famous pop songs in history. Little Gonzales has crafted adorable illustrations of music journo Michael Wilton’s noodle-scratchers, and you can go in the running to win one of five copies by emailing us with your postal address and the answer to the pictogram below (NOT LEFT!)! And be sure to check out MART gallery’s exhibition/launch of the book, opening Thursday August 30 from 6pm at Gallery 2010.

Passout – photograph by Daniel Havas



The Sydney Latin American Film Festival have announced their program, which will spread a tapas of South American cinema across ten days and four venues – Dendy Opera Quays, Marrickville’s Addison Road Centre, Mu-Meson Archives behind the Annandale Hotel, and Bankstown Arts Centre. Highlights include Venezuelan blockbuster The Zero Hour, Sundance Jury Prize-winner Violeta Went To Heaven, about Chilean pop-cultural hero Violeta Parra, Cuban zombie film Juan Of The Dead, and Berlin Film Festival prize-winner The Delay, by acclaimed Uruguayan director Rodrigo Plà, whose films have screened previously at Sydney Film Festival and as part of a special SLAFF retrospective sidebar a few years back. Worth checking out. The festival runs from September 6-16, full program and tickets at


Local artrepreneur Jesse Willesee and his troupe of troublemakers are cooking up a new show, hot on the heels of the last fashioninfused instalment of Seven Hundred Photos. It’s called Passout: The Art of Getting Fall Down Drunk, and will feature what is becoming Willesee’s trademark mix of interactive performance and fashionlaced exhibition. Expect live fashion installations of passed-out models, photo shoots, and an exhibition of photographs of passed-out and party-napping punters. Bring your camera and lipstick – the presser invites you to snap the models, pose with them, even doodle on their faces with your makeup… All to the sounds of Buzz Kull and New Brutalists, and washed down with Tiger Beer, vodka and cherry Kool Aid. Passout takes place Thursday September 13 at the Backroom (2A Roslyn St Pott’s Point).


Upcoming at the Australian Centre for Photography is a rare opportunity to engage with the social and political landscape of contemporary Palestine through the eyes of its photographers and video-artists. The group show, titled Beyond The Last Sky, is the first of its kind in Australia, and will present works ranging from documentary to experimental, by the following artists: Taysir Batniji, Khaled Hourani, Yazan Khalili, Khalil Rabah, Raeda Saadeh, Jaqueline Reem Salloum, Larissa Sansour, Amer Shomali, twin brothers Tarzan and Arab (aka Ahmad and Mohammad Abu Nasser), and Sharif Waked. The exhibition will be complemented by a one-day symposium at UNSW, and should segue nicely into Sydney’s Palestinian Film Festival, taking place in November at Palace Norton Street. Beyond The Last Sky runs from September 1 – November 18 at ACP (257 Oxford Street, Paddington).

BRAG :: 476 :: 20:08:12 :: 23

Spring Dance:

Contemporary Women

These Girls Run The World Words by Dee Jefferson & Rebecca Saffir


ydney Opera House’s annual festival Spring Dance kicks off this week, curated by Sydney Dance Company Artistic Director Rafael Bonachela, and featuring the most exciting homegrown and international talent – from Belgian dancer-choreographer Sidi Larbi Cherkaoui tackling the flamenco in Dunas, to worldrenowned Chinese dance company TAO Dance Theatre, Brazilian hip hop ‘it boys’ kicking it street style in Correria and Agwa, and the homegrown double-bill art/sound/dance mashup Clouds Above Berlin. Bonachela particularly wanted to highlight the work of emerging female choreographers, so he hand-picked four ladies whose bodies of work, he says, “[have] movement and physicality at the core …with an individual take on dance”. Each will present the world premiere of a short work, as part of the program Contemporary Women. Below, we take a look at the lineup.

Stephanie Lake: Dream Lucid

Lisa Wilson: Desire

Growing up: “I actually came to dance quite late – I didn’t really take it up seriously until I was about 14. When I first started contemporary dance classes in Tasmania I was in heaven. (One of the first contemporary dance shows I saw was Sydney Dance Company on tour – so it’s a particular joy to now be choreographing for them).”

Her background: An independent dancer and choreographer who spent five years working in the UK, Lisa’s work was most recently seen on stage as part of the Australian Ballet’s popular Bodytorque series, for the 2011 instalment ‘Muses’. She also spent some research and development time at Sydney Dance Company last year, as part of a choreographic fellowship – during which she began working on Desire.

Her influences: Having spent the last decade working with top Australian dance companies Chunky Move (for whom she created her Green Room Award-winning show Mix Tape in 2010), Lucy Guerin Inc and BalletLab, Stephanie counts their respective artistic directors – Gideon Obarzanek, Guerin and Phillip Adams – as key influences on her own dance and choreographic style. Letting her hair down: “Michael Jackson still gets me off my arse after all these years. (And my kids go nuts for him.)” About Dream Lucid: Stephanie’s latest work is a collaboration with sound/laser designer Robin Fox, and will be performed by seven members of the Sydney Dance Company. “It’s a very physical, intricate and rhythmically driven work; the sounds are intense and diverse – as is the choreography,” says the choreographer. “It explores the tension of the contracting and expanding space between the dancers… It’s a much more abstract work in comparison to Mix Tape, but it’s still dealing with some of my ongoing concerns about human relationships and movement invention.”

Emily Amisano: Yield Her background: Emily has been dancing with Sydney Dance Company since 2009, winning a Green Room Award for Best Female Dancer for her performance in the 2010 tour of Rafael Bonachela’s we unfold.

About Yield: “[This work] is directly inspired by the people I chose to work with – Juliette Barton, Lachlan Bell, Richard Cilli and Janessa Dufty. Specifically, it is [inspired by] the moments that we have in the studio every day that are in no way organised or planned – a spontaneous meeting of energies through duo dance improvisation in which we test where each other is at, and how energy is continually directed and re-directed. [It’s] a very simple everyday magic that I decided to focus on and expand. … The work has some very playful and human aspects.” Yield features a mixed electronic score, including music by local heroes Seekae.

Letting her hair down: “In my slightly younger life I was a big fan of going to Chemical Brothers gigs and dancing all night!” About Desire: “Desire is the name of my work for Spring Dance and that is also the concept I’m exploring. The piece is framed around three duets, which is structurally slightly different for me.” Desire features a soundtrack by Paul Charlier and Matt Cornell (including music by Nine Inch Nails) and lighting design by Benjamin Cisterne. “It hopefully will be evocative, stark and dangerously sexy!”

Larissa McGowan: Fanatic What Raf says: “I looked for someone whose work is very theatrical, fierce and a little crazy, which is Larissa.” Her background: Most recently, Larissa’s work was seen on stage at Sydney Theatre for the premiere of Garry Stewart’s Be Your S elf, by Australian Dance Theatre (for which she is the resident Assistant Choreographer) – but fans of So You Think You C an Dance may recognise her from two seasons as the show’s guest choreographer. Besides this, she’s racked up an impressive swag of awards, including a Green Room Award, a Helpmann and an Australian Dance Award. Letting her hair down: “I would be happy to dance to almost everything (except techno) – especially anything by Mike Patton. About Fanatic: “When fans like it they own it... [Fanatic] is about diehard fandom in the 21st Century and what fans believe they own [and then use] to create something better than what was given to them in the first place. [I’m] using the Alien and Predator movies and their crossover franchises as a lens to view this phenomenon.”

We has internets! Extra bits and moving bits without the papercuts 24 :: BRAG :: 476 :: 20:08:12

What: Contemporary Women Where: Playhouse, Sydney Opera House When: August 28 – September 1, 7.30pm More: Spring Dance runs from August 20 – September 2; full lineup and tickets from $35 (or $30 for under-30s) at springdance.

Charmene Yap – photographer Wendell Teodoro

Her inspirations: Pina Bausch, Eva-Cecilie Richardsen (Norway), and Clare Dyson (Brisbane). “Pina’s work is so incredibly rich, raw, nuanced and hyper-real; both Eva-Cecilie and Clare I have had the fortune to work with. Eva-Cecilie showed me how one can transpose an idea into the body through improvisation, and Clare has a very strong affinity with visual metaphor that she uses to reveal aching vulnerability onstage.”

Her inspirations: “I get inspired by a lot of different things, whether it is film, music or art. I have worked with a lot of really great choreographers over the years and I guess you take the little things that inspire you about each of them. I do have to say however that we undervalue the depth and talent of artists we have right here in Australia.”

Burning Seed [FESTIVAL] Man On Fire By Alasdair Duncan Zealand, and on his return home, Smart began to consider the possibility of an Australian festival. “When I came home, I didn’t know anyone else who’d even heard of it,” he tells me. “I wanted to have this amazing experience with people, but I didn’t know how.” In the years that followed, Smart began making contact with other Australian Burners, and together they worked on establishing a festival of their own. “It’s all done under the auspices of Burning Man in the States,” he explains. “We’re autonomous, and as long as we follow their guidelines to do with transparent accounting and community reporting, we have their blessing to organise our own regional event here. Burning Man in the States is trying really hard to foster these regional networks and bring the experience to people all around the world, via people like me who want to bring it to their communities.” The first Australian Burn happened in 2010, on a commune near the northern NSW town of Bellingen – it was a beautiful spot, but it became apparent that the festival would soon outgrow it. “We then found a place in the Matong state forest, near Wagga,” says Smart. “It’s a beautiful spot there with a dam and lots of bush and forest around. It’s our second year at that site, and we know more about it, so we can utilise it better. In years to come, we plan to move to a more remote location. Lake Eyre would be ideal, but we don’t know yet – somewhere in western New South Wales, near Broken Hill, would be great…”


little over a decade ago, veteran Sydney DJ Phil Smart experienced Burning Man for the first time – and he was blown away. The week-long festival, held in the Black Rock desert in Northern Nevada, is a celebration like no other. A temporary city rises from the dust, as participants, drawn in by the principles of radical self-expression and selfreliance, revel in art, ideas and anything else they can imagine.


More than anything, Smart found himself fascinated by Burning Man’s gift economy. “You can’t buy or sell anything when you’re there,” he explains. “You provide for your basic needs, and anything beyond that is a gift. Once you’re out there, you give of whatever you have, whether that happens to be your time, or something you make, or your performance or art. You can volunteer... There are no cash transactions, the idea is that you just give; and somehow, it actually works.” There are Burning Man offshoots all around the world, from South Africa to Spain to New

Given Burning Man’s gift economy, I ask Smart to think back on his years of festivalgoing, and the most memorable gift he has received. “At one time, we used to build a porch out on our camp site, which was part of our gift. One time, a guy came up and asked if he could sit with us for a while, so we invited him up, gave him a beer; we had a chat for a while, and he started singing us a song. He broke out in the most beautiful blues voice, and he hung out with us for six hours. He wasn’t a professional, he did something else for a living, but this was his special talent. These are the kinds of gifts people give, and the kinds of experiences you end up having – that’s just one of a million examples.”

The Tender Age [THEATRE] Unprotected Sex By Rebecca Saffir


heatre: it can be a rough art form for the under-25s. The big companies don’t pay much attention to us, either as a key audience demographic or as worthy protagonists. Many of us probably got dragged along to schools-specific productions in our teenage years and are left with an impression of ‘youth theatre’ tainted by overlyliteral interpretations of Shakespeare or vaguely patronising anti-drugs sketches. So it’s heartening talking to Fraser Corfield, the Artistic Director of the Australian Theatre for Young People, about the recent collaboration between atyp and documentary theatre devisers version 1.0. “Young people are really at the heart of what we do. Even before we started development on The Tender Age we took the project to our youth steering committee and said ‘Are you interested in this idea? Do you think it would work?’ It’s quite a unique thing in Australian theatre, to involve young people in the creative development of a show with the potential to resonate nationally.” The Tender Age took as its starting point the infamous incident in 2009 where Kyle Sandilands and Jackie O interviewed a 14-year-old girl about her sexual experiences live on air. Hooked up to a lie detector, she blurted out that she had been raped at the age of 12 – to which Sandilands rather infamously responded, “… Right. And is that the only experience you’ve had?” Rather than being an investigation of that incident, however, the show has evolved into a broader exploration of the relationship between technology (specifically social media), youth and sexuality. The young protagonists of The Tender Age

“An awful lot of the social media stuff was a revelation to me,” says Corfield. “I’m the world’s worst user of Facebook. And some of the statistics that we found – for instance, that something like 96% of boys and 63% of girls under 16 have watched pornography online… The ramifications of that fascinate me. What does that mean for the way young people deal with their sexuality?” But Corfield and his team – five adult artists from version 1.0 and six young performers from atyp – were keen not to be wowsers about the issue. “There’s a lot of bad things about social media but there’s also so many positive things. I think what’s fascinating is the entirely contradictory way society engages young people in a discussion about relationships and sex and sexuality, and I think there’s an awful lot of hypocrisy around from adults about what we expect from young people.” Engaging young people in meaningful dialogue about the issues in the show, and in the creation of the work, was an essential step in attempting to overcome this hypocrisy. Version 1.0, who have been devising performance together for over fourteen years, have developed a highly collaborative process which “the young actors have been completely integrated into,” says Corfield. “They’ve been the creators and writers and devisers and performers.” And although the company often make work from transcripts and public records – as in A Certain Maritime Incident and The Table Of Knowledge – for A Tender Age there’s been much more focus on transcribing interviews with cast members, friends and family, to create an aggregate of experiences around the central issues. The results are transposed to the stage via version 1.0’s trademark mix of performance and multi-media. “I think there’s about seven screens and projectors, and a really high level of interactivity between the performers and all the digital media in the show,” says Corfield. Corfield’s respect for his young artists is palpable, and his refusal to patronise them is a welcome change from the hand-wringing hysteria that leads people to post on Target’s Facebook page about the alleged trampiness of their kids clothing range. “We tend to overreact and try to take the whole lot away, get teenagers off social media and away from their phones, trying to regress the whole situation fifty years,” says Corfield, “which I don’t think we’re ever going to do. So let’s try to initiate discussions about a more positive way.”

What: Burning Seed 2012: Mythconception Where: the Matong State Forest, Southern NSW – five hours out of Sydney When: from Wednesday September 26 to Tuesday October 2 More:

What: A Tender Age Where: Carriageworks, 245 Wilson St Eveleigh When: August 22 – September 1 More:

Just For Laughs

[COMEDY] An Irishman, a few Americans, two Australians, a Kiwi and a Brit walk into the Opera House… By Michael Brown


h look, it’s kicking me in the dick to be honest, in that way that only Edinburgh can,” says Adam Hills, down the phone from Scotland’s Edinburgh Fringe, the world’s second largest comedy festival. I’m trying to take his mind off it, as we talk about the largest comedy festival in the world, Montreal’s Just For Laughs, returning to Sydney Opera House this October, with Hills hosting his very own international gala. “I’m so chuffed. I feel blown away just to be able to perform in Montreal, but then to be actually hosting my own gala at the Sydney Just For Laughs, you know, at Sydney Opera House – it’s one of the highlights of my career.” Just For Laughs made its Australian debut last year, bringing together the likes of John Cleese, Demetri Martin, Margaret Cho and Louis C.K. under the House’s 1,056,056 ceramic Swedish tiles. The only drawback of this year's festival for Hills is having the JFL programmers beat him to the punch: “[They] approached me and said, ‘Who would you like to have on an international gala?’ and I said, ‘Well, Noel Fielding’, and they went ‘Oh, we’ve already got him to host his own gala,’ and I went ‘Oh, right, um, Rhys Darby,’ and they went ‘Oh, we’ve got him to host a Kiwi gala’ and I went ‘Wow, you guys really are taking the best of the best.’” Hills was also thrilled by the inclusion of comedic legend Drew Carey in the lineup. “I met Drew backstage in Montreal a few years

ago,” he says. “We were on the same bill. And I kind of went, 'Oh my god, Drew Carey.' I wanted to go back ten years and just tell myself, 'Dude, you’ll be gigging with Drew Carey!'”

Adam Hills

In addition to this superb collection of gala hosts, there are solo outings from the UK’s Dave Gorman, Ireland’s Ed Byrne, and US comics Gabriel Iglesias and Bill Burr. “Bill Burr’s one of those people that I met ten years ago and you kind of go ‘Oh yeah that’s that guy I did a gig with’, and then you hear someone like, I think it might have been Tom Ballard, who was just going ‘Oh man, you really should see Bill Burr, he’s amazing’,” says Hills. “He may very well be the next Louis C.K..” And as if being a cult comedy figure wasn’t enough, Burr is guest-starring in AMC's hit series Breaking Bad. Significantly, the festival’s first announcement also includes local surrealist-absurdist superstar Sam Simmons. “It’s hard for Australian audiences to realise how well the Aussies keep up with the internationals overseas,” says Hills. “Sam was nailing it in Montreal and everyone was talking about him. I’m here in Edinburgh and people are raving about Sam Simmons again.” Beyond men with mics, Just For Laughs is also importing its tried-and-tested club-style shows into The Studio. The Amp’d musical comedy showcase has featured the likes

of Tim Minchin and Reggie Watts in the past, which gives punters reason for high expectations. The other Studio offering is The Nasty Show, hosted by Jeff Ross. “I’m kind of ashamed and unashamed to say, it’s a guilty pleasure of mine,” says Hills. “It’s basically a license to laugh at the things you know you’re not allowed to laugh at – so suspend your sense of offence and just go in there and enjoy.”

What: Just For Laughs Comedy Festival feat. Drew Carey, Noel Fielding, Rhys Darby, Adam Hills, Bill Burr, Ed Byrne, Dave Gorman, Jeff Ross, Gabriel Iglesias, Sam Simmons & more Where: Sydney Opera House When: October 18-22 / Tix on sale August 20 More: / 02 9250 7777

BRAG :: 476:: 20:08:12 :: 25

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.

■ Film

HOLY MOTORS Released August 23

34b burlesque world olympics special


Leos Carax’s Holy Motors is one of those Cannes-selected films that earns both standing ovations and mass walkouts – which is exactly what happened when it screened on the Riviera earlier this year. If you like movies that explore huge concepts like identity and reality, that pose countless questions and don’t answer them all at the end, you’ll be in the ovation camp. If you’re not into that kind of thing, I suggest putting on your well-worn copy of A Few Best Men and avoiding this film at all costs.

10:08:12 :: 34B Burlesque :: 44 Oxford St Darlinghurst 93601375

The story focuses on Monsieur Oscar (Denis Lavant), a strange kind of performer who spends his day being driven around Paris in a limousine by his chauffeur Celine (Edith Scob), going from one 'booking' to the next, donning incredibly realistic makeup and costumes, and 'performing' in public. By performing, I mean becoming – adopting a new identity and completely inhabiting it. The fact that there’s very often no audience to these performances makes it particularly bizarre. If an actor falls in the forest, and nobody’s there to see it, is he acting? Or just...falling?

2012 vice photo show


Questions about who has booked Oscar for these performances, or what the goal of the activity is, remain largely unanswered apart from a few oblique philosophical musings. We know he’s been doing it for a long time, and that he’s a touch fed up with an identity that’s constantly in flux – but otherwise, Carax leaves us to work Oscar out by watching him be a human chameleon. Does someone even have an identity if they’re always pretending to be someone else? My brain hurts.

never not funny


10:08:12 :: China Heights Gallery :: Lvl 3, 16-28 Foster St. Surry Hills

08:08:12 :: The Standard :: L3/383 Bourke St Darlinghurst 93313100

Arts Exposed What's in our diary...

Jurassic Lounge – Season Launch Tuesday August 28, 5.30pm Australian Museum / 6 College Street, CBD

26 :: BRAG :: 476 :: 20:08:12

Lavant has been perfectly cast as Oscar. He reminded me of Harpo Marx – an inscrutable Vaudevillian clown, who never quite connects with his surroundings. I didn’t quite connect with them either, but that’s probably the point. Nikos Andronicos ■ Theatre

FACE TO FACE Until September 8 / Sydney Theatre The perils of alienation – from each other, and from our selves – is a uniquely persistent theme in drama, and few people seem more worried about it than director Simon Stone. His output in the last two years – Thyestes, The Wild Duck, Strange Interlude, Death of a Salesman, even the divisive Baal – has been increasingly focused on the pains that attend our inability to connect or communicate. His latest offering, a staging of Ingmar Bergman’s Face to Face co-adapted with Andrew Upton, offers further variations on the theme. Jenny (Kerry Fox) is a middle-aged, middle-class psychiatrist who examines her patients’ broken hearts and minds

There are aesthetic as well as thematic markers that will be familiar to those following Stone’s work (set and lighting design by Nick Schlieper, costumes by Alice Babidge, both previous Stone collaborators). For the most part, however, Face to Face escapes feeling tired or worn. Fox’s performance is so genuine, so un-showy, that it somehow normalises the more surreal theatrical elements deployed. There is something spectacularly ordinary about Jenny’s disintegration: an unhappy childhood sliding into tempered adolescence and scientifically controlled adulthood. As we watch her plumb her darkness, we realise just how invisibly deep it might go for both her and us. There’s no quick fix for this, and the final scene asks more questions about Jenny’s future than it answers. The lasting image is of a woman left to face the world alone in all its tiny and enormous joys and terrors. The supporting cast of Jenny’s life (with standout performances from Mitchell Butel, John Gaden and Wendy Hughes amongst the ensemble) cannot be her saviours; a painful lesson for her and an audience hoping against hope for a tidier, happier resolution. Rebecca Saffir ■ Theatre

THE SPLINTER Until September 15 / Wharf 1 For a nation with supposedly such little earnestness and conviction, Australia sure can do a fine line in the gothic when it tries. The empty landscapes and a propensity for silence and longing glances have delivered some haunting moments in Australian film, art and literature. Hilary Bell’s The Splinter picks up this tradition, along with references to Henry James, European folklore and contemporary true crime, and scampers down the cliff-side with it. Laura is five. She was missing but now she’s come back and her Mother (Helen Thomson) and Father (Erik Thomson, no relation) couldn’t be happier – until Father begins to suspect this is somehow not Laura. Reality begins to slip away and the truth of Laura’s disappearance, identity and reappearance are called into question. Bell, director Sarah Goodes and movement/puppetry director Alice Osborne have been working in collaboration over months and years, teasing out various ideas from Bell’s initial conceptions. The figure of Laura and the slide into a parallel reality is beautifully realised through delicate Bunraku puppet work (manipulated onstage by Kate Worsley and Julia Ohannessian), haunting lighting (Damien Cooper) and some perfectly arranged curtains and wind machines (Renee Mulder). Over the play’s 75 minutes they build some moments of genuine threat and uncanniness. In the end, however, the problem is that they are only moments. Bell’s story is strange and complex, with perhaps just a few too many interesting ideas for a work of this scale. Images and motifs are introduced and left hanging, and the story’s conclusion left our audience members unhelpfully divided. While some images – the enormous, outsize puppet Laura traversing the back of the stage, for instance – will linger long, the details of this promising production are unfortunately already fading. Rebecca Saffir

See for more arts reviews

Jurassic Lounge photo by Frances Carleton

Jurassic Lounge is now three seasons – and a SMAC award – deep, and launching their fourth season of Tuesday-night shenanigans this coming Tuesday with a cocktail of all the things that they do best: live music by Paper Scissors and Cogel, burlesque by Kelly Ann Doll, a rave cave from inthemix, illusionism and brainhacking by David Dodgen (cue Arrested Development reference), art by skateboard-illustrator Matt Dampney, pop-up bars throughout the venue, an American diner-style menu (it’s not Sydney without sliders it seems), and a massive game of Truth or Dare running throughout the Museum all night. All this for $14 – more ‘details’ (including lineup info for the rest of the season) at

Oscar plays nine roles during the course of his day, ranging from an old gypsy woman begging on the Pont Saint-Michel, to a knife-wielding assassin, a motion-capture performer, and an old man on his deathbed. Sometimes he’s joined by other hired performers (including Kylie Minogue and Eva Mendes, in extremely odd but interesting cameos), sometimes not. It’s surreal, disturbing, humorous and hypnotic, as if David Lynch had adapted Paul Auster’s New York Trilogy or Italo Calvino’s If On A Winter’s Night A Traveller (or any other work that tears new assholes for traditional notions of character). The flipside of all this beautiful uncertainty is that one never learns enough about Oscar to invest in him as a ‘hero’ – because we don’t really know who he is or what his hopes and dreams are. But it’s a small price to pay for such a skilfully-piloted rollercoaster ride.

with a calm and clinical detachment. Incapable of processing her own emotions with the efficiency with which she processes her patients, Jenny lands herself on the other side of the clinician’s couch. Her tightly controlled mind loosened, images, memories, fears and illusions swim before her – and us – under garish hospital lights.

Street Level

DVD Reviews

With The Actors Assembly

Sit back, veg out/freak out.



Transmission Home Ent.

Terence Davies can’t entirely seem to get beyond post-world-war era Britain; it’s as if, like this film’s raffish young protagonist Freddie, something inside him froze at that moment, and everything remains crystallized inside. The mood, the colours, the emotional mis-en-scene, the people; as per his best known works, Distant Voices Still Lives and The Long Day Closes, here he feels truly in his element. Based on the 1952 Terence Rattigan play of the same name, and with a tip of the hat to David Lean’s Brief Encounter, The Deep Blue Sea is the story of a doomed love affair between the young wife of a judge (Hester Collyer, played by Rachel Weisz) and a good-times fly-boy (played by Tom ‘Loki’ Hiddleston), set in post-Word War 2 London. Hester is what they have in mind when they talk about exquisite pain: she’s in hopeless, helpless thrall to a man who (despite what looks like mind-shattering sex) doesn’t love her – so much so, that she’s willing to give up marriage to a man who does, and the attendant upper-crust lifestyle. Hester’s story of awakening, however, isn’t so much about this – which has already happened by the time we enter the story – as about the profound transformation she undergoes during the course of the film’s single day, which begins with her taking 12 pills and turning on the gas in the bedsit she shares with her erstwhile lover. There are undertones of Sirkian melodrama here, and the florid opening sequence, with its swirling camera and soundtrack of Barber, is almost too much; but the overall effect is far more subtle and gently humanist, and the sensual visuals are intoxicating. I suppose a lot of people won’t understand Hester – but those who do will find that this film cuts very close to the bone. Dee Jefferson

Hopscotch Entertainment In what is definitely a strong contender for strangest film of the year, Sean Penn plays a 50-something washed-up goth-rocker with an excess of hair, makeup and baggage (both kinds), whose mid-life crisis climaxes in a roadtrip across America to find and kill a former Nazi who once humiliated his father at Auschwitz. It’s the sixth feature by Italian director Paolo Sorrentino, whose 2008 political spoof Il Divo bristled with sexy, high-camp energy. This Must Be The Place is altogether a more restrained affair, though no less stylish – full of selfconsciously arty, colour-drenched compositions and oddball sight gags. It contains the kind of deadpan disillusionment with life and stylised visual comedy of a Wes Anderson film, and to an extent, the same detail-rich canvas, but none of the effervescence. Tonally, the film zigzags from the cartoonish humour of watching Penn’s Cheyenne in retro-sports attire playing highintensity squash in his empty backyard pool, to his gentle attempts to set up his young neo-goth protégé Mary (Eve Hewson – Bono’s daughter!) with a straight-laced store clerk, excruciating moments of vulnerability (as when he is harassed out of a supermarket), the unbearable grief of Mary’s mother as she mourns for her recently-disappeared son, and straight-faced contemplation of the Holocaust. The camp and the catastrophic throw down here, to an equally off-kilter soundtrack that mixes Arvo Pärt with Talking Heads. Compounding the incoherence is a narrative arc peppered with strange interludes and fronted by a string of perplexing non-sequitur scenes that make any sense of orientation virtually impossible. Somehow, incredibly, it works. There’s enough delicious humour, surreal scenarios and visually engaging set-pieces (and, you know, Frances McDormand) to make this well worth your time.


ans of Peanuts, funny and palindromes are in for a bit of a treat this week, as brand-new theatre company The Actors Assembly bring Bert V. Royal’s offBroadway hit Dog Sees God to Newtown. Royal, who subsequently made his film debut with the screenplay for Easy A, broke through with this edgy comedy that imagines what happened to the much-loved comic-strip gang – Charlie Brown, Lucy, Snoopy, Linus… Taking the helm of the production are David Cuthbertson (who chased the rights to the play after seeing it's Off-Broadway debut in 2005), and Vashti Pontaks. David – you saw this play in 2005 off Broadway; how did you find yourself there? DC: Total coincidence. I was working in New York at the time and, being a Peanuts fan, I loved the idea of finding out what had actually happened to the characters now that they had grown up... I was shocked. What is The Actors Assembly? DC: An ensemble of innovative artists who are committed to honoring the playwrights’ intentions by telling stories truthfully and invoking awe in audiences around the country. We assemble weekly to experience words, share ideas, analyse text and make acting our habit. What was the last production that blew your mind? VP: Food by Steve Rodgers and Kate Champion [at Belvoir Street]. It was powerful and alive and demanded your attention in every moment. Visceral and sensory theatre, which told a beautiful story.

What appeals to you about working with younger actors? And how did you cast this production? DC: I’m astounded by the bravery of each actor I work with. This story is necessary to be told because it deals with the chaos of growing up and experimenting and making mistakes – in a darkly humorous way. Teen angst, drugfuelled violence and intolerance are core themes throughout the play, and we had to be sure that the actors we cast were not only exceptionally talented, but also social activists. How did you come to share directing duties? VP: David and I had worked together before. We talk the same language and inspire each other. Clear communication and a passion for storytelling are key ingredients. Do you remember the moment where you realised you loved theatre? DC: When I was eight I would sell theatre tickets to our neighbours. The one-boy show was a re-enactment of family feuds I had witnessed. It was a cheap way for the neighbours to find out what was going on behind closed doors! What: Dog Sees God: Confessions Of a Teenage Blockhead by Bert V. Royal Where: King Street Theatre / 644 King St (cnr Bray St), Newtown When: Tuesday August 21 – Sunday August 26 More:

Dee Jefferson

BRAG :: 476 :: 20:08:12 :: 27

Album Reviews

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


energy, or by self-consciously stifling Wagner’s deft turn of phrase.

Sunshine & Technology Poison City Records

It takes about 30 seconds to quietly recognise that this may well be one of those Important Records; the type you will listen to repeatedly and disassemble, schizophrenically swinging from favourite song to favourite song like a fickle debutante.

Sunshine & Technology beautifully blends bleak imagery and eternal optimism without feeling overindulgent – a feat for such heart-on-sleeve songwriting.

Melbourne’s The Smith Street Band, fronted by punk poet Will Wagner, have built a passionate following over the past 18 months, armed with an unhinged live show and an accomplished debut record, which manages to be desperate, poetic and jagged, while also being inviting, warm and melodic. Impressively, they have superseded every element of their debut (No One Gets Lost Anymore) on album number two, and done so without compromising their ragged



Poor Moon Sub Pop

Two of the dudes from Fleet Foxes have a new side project. It’s called Poor Moon, and they’ve just released a selftitled debut on Seattle’s indie king, Sub Pop Records. It has heaps of reverb and harmonies and fun instruments like harpsichord and fretless zither… so it’s pretty much what you’d expect. Sombre lyrics are accompanied by upbeat, folky indie-rock, and are poetic enough: “I don’t have much, but I’m saving some pride/For the man with the pitchfork waiting outside”. There are lots of satisfying, resounding toms, with a hint of distortion on the guitars and plenty of quasi-spiritual subject matter. The layered harmonies and ‘60s flavour of songs like ‘Pulling Me Down’ have a Simon & Garfunkel (or even Beach Boys) feel, whereas tracks like ‘Phantom Way’ and ‘Heaven's Door’ have the dynamics and nuances in production that leave them sounding much more like current indie hits. ‘Come Home’ is the stand-out track, if only for its fingerpicking, its killer hook and its just-long-enough build (including dreamy major-to-minor changes and fuzzy guitar solos). If you tuned out midway through the album, this one will drag you back in.

After the aggressively rhythmic opening, Deacon throws down a contrastingly poppy pair of tracks in ‘True Thrush’ and ‘Lots’. The former’s chirpy refrain and charming orchestral trimmings are in stark contrast with the latter’s brutal synthed-out powerpop, yet both are unexpectedly and undeniably joyous. After the ethereally lush ‘Prettyboy’ fades with some dreamy woodwind trills, the latter half of the album moves into the bass-heavy ‘USA I-IV’ sections, which eschew conventional pop completely in favour of grandly cinematic themes.

Although it’s not the most original thing you’ll ever hear, and even though it kind of sounds like it would play in the background of a Portlandiaesque dinner party, Poor Moon is a nice enough album – especially if you dug Mount Eerie’s latest effort, Clear Moon. Christian Wargo has a great voice and a charming, uncomplicated approach to songwriting, which makes for a genuinely enjoyable listen.

Dan Deacon's considerable talent has recently been augmented by his straddling of a number of different art forms, from writing film scores for Francis Ford Coppola (Twixt) to working with experimental percussion group So Percussion. Given his host of successes, and regular adornment by the music press as an experimental wunderkind, it’s almost relieving that America is so blissfully unburdened.

Poor Moon sounds like Fleet Foxes had a visit from the ghosts of folk rock’s past. Give it a bash if you’d like to see Brian Wilson fronting Midlake.

Thanks to Deacon’s remarkable restraint, his unique aesthetic is maintained as he somehow cleans up his sound, so that the only mess is that left after the party.

Dijana Kumurdian

Benjamin Cooper

Nathan Jolly


America Domino

Destructive beats skitter about at the start of ‘Guildford Avenue Bridge’, ushering in Dan Deacon’s ninth studio album America with equal parts menace and intent. Deacon has never been one to muck about with using thundering drum loops to anchor his music, so it seems odd when the opening track threatens to teeter over the edge into a frenzied chaos of directionless noise. But beneath the track’s messy facade lurks an entirely different beast. The distinctively choppy segmentation and slight rhythmic shifts driving the song are instantly recognisable as the work of the Baltimore native and his natural gift for orchestration.

The lyrics tumble out in torrents; Wagner has a lot to tell you, and is confident in your ability to receive his tales of love, drugs, frustration and inner-city sharehouses at the frantic pace he flings them at you. Sunshine & Technology is bigger, brasher and bolder than the debut. Obvious touchstones include Oberst’s lyrical spill and Springsteen’s (or Gaslight Anthem’s, if you please) open-road tales of dirt and dreams. Death and aging come up a lot: ‘Young Drunk’ finds Wagner intoxicated and tackling the big issues of life and death, walking around in his childhood suburb after a funeral; ‘Why I Can’t Draw’ sees him “sitting around the table, drinking, hoping no-one would ever die”; ‘What’s Changed’ and ‘Stay Young’ see priorities shift as friends and lovers grow and grow apart.

Amidst the total collapse of the European economy, the Royal Wedding, the Queen’s Jubilee and the London Olympics, very few have noticed that Britain is now a less equal society than it was during the Industrial Revolution. Social welfare programs are being defunded in the name of fiscal necessity, and throughout the country your chances in life are more and more defined by where you were born and how wealthy your parents are. Ben Drew grew up around the council estates that house much of Britain’s urban poor, and the apartment buildings themselves star as a central character in this remarkable album. Drew wrote this album as a companion to his film of the same name, and consequently the sheer scope of the narrative is nothing if not cinematic. The lives of the disenfranchised have always been a cornerstone of hip hop, but it is presented here with brutal realism rather than the angry swagger that so often characterises American equivalents. The audio snippets taken from the film are brutal, depicting the drugs, prostitution and violence that are an everyday hallmark of these estates. And even though you know it is staged, the first time you hear a teenage boy killing a rival gang member to prove he is a “proper badman now” will make you sick to your stomach. I could talk about how nuanced and varied Drew’s delivery is – this is, after all, the same guy who released the crooning, retro soul Defamation Of Strickland Banks just two years ago – or how restrained and impactful the production is (including samples from Saint-Saens and Disney’s Beauty & The Beast), but all you really need to know is that this is the boldest and most ambitious British hip hop album in a decade. Fierce, brave, brutally honest, hugely affecting, and nothing short of brilliant. Hugh Robertson

Never Rough Trade/Remote Control Mica Levy (aka Micachu) is a fan of playfully obstructing herself. She peddles a rhythmic, gritty style of guitar, sometimes muting the strings with playing cards at intervals along the neck. Last year, she took the opportunity of working with the London Sinfonietta to reach past the bristling gems of 2009’s debut Jewellery into cerebral and measured headspaces, resulting in the aptly titled Chopped & Screwed. Her most recent record, Never is a pop album, but it makes the listener work pretty hard to hear its hooks, hiding them behind rafts of sonic grit not common in conventional indie music. It’s more than worth the effort. ‘Easy’ gallops queasily through filthy punk chord changes and rubbish tip percussion. It moves so quickly, mired in its own sandpaper-like textures, that you feel breathless before the minute mark – at which point it collapses into the sound of a vacuum cleaner being switched off. ‘Slick’ is all stuttering Brit-pop deconstruction, spindled out with infectious percussion and claustrophobic keys. ‘Nothing’ is swooning, munted doo-wop, lit with disturbed squiggles of unknown origin. What’s weird is how catchy it all is. It’s not the sort of thing you can hum on cue, but you’ll find errant snatches of it bubbling up to accompany the best of moods. Close listening is also rewarding – the orchestral instruments buried under the imposing timbres of ‘OK’ are a pleasant surprise, as is the startling stop/start plastic ska horns on ‘Nowhere’.

Hypnotised Independent

Pony Face’s second album was produced by Casey Rice – best known for being the "permanent soundman" of Tortoise – and while his influence is audible in the clear spaces between each sound, Hypnotised has a sense of mood and purpose that should find a much wider audience for the Melbourne three-piece. Opener ‘Silver Tongue’ carries a distinctly ‘90s haze, from the terse, swooping guitars that recall Dinosaur Jr. and Silversun Pickups, to Simon Bailey’s can’t-be-fucked delivery and the distortion that crackles

28 :: BRAG :: 476 :: 20:08:12

like a dial-up modem. There’s a late-nightness about Hypnotised, a dank, draggy, pleasantly introverted quality to even the more driving tracks. ‘Alabama’ cycles back on itself, the Krautrock rhythms swirling higher before erupting into the kind of joyous jam-peak their fellow Melbournites Gersey were so good at – but instead of being an open-road anthem, it’s somehow claustrophobically soothing, as Bailey croons about being “stuck down the bottom of an abandoned mine/where the walls are cold and the sun doesn’t shine”. (If you’ve ever thought a shoegaze version of ‘Spiders (Kidsmoke)’ would work a treat, you were spot on.) ‘Ciccadas’ breaks the mood a little with a self-consciously Lynchian spoken-word

Beneath its cheap and shiny facade, Hollywood is as romantic as a scrap in the back pocket of a suburban footy game. For the better part of a century, the city has constructed a false concept of romance: the rose-coloured meeting of souls, the scented air of mutual attraction, the perennial existence of togetherness. Match that to the bitumen-rendered reality of Hollywood itself – ego-fuelled brawls, pretentious indulgence, and dysfunctional emotional intelligence – and you’ve got yourself a stark contrast. The Falls is a folk duo made up of Sydney's Melinda Kirwin and Simon Rudston-Brown. According to the press material for the band’s debut mini-album, Hollywood, the duo met, they fell in love, they wrote songs; they fought, they broke up, they wrote songs. As a result, Hollywood is a record that delves into the glittering image and painful reality of love. With its string backdrop, ‘Please’ drips with unhappiness yet leaves you wondering if it could all work out, if only someone got their emotional shit together. ‘Home’ finds Rudston-Brown torn between individual freedom and domestic stability, struggling between the two to make ends meet. ‘Girl That I Love’ is a tale of false expectations, and the fine line between celebration and disdain; like Fleetwood Mac bunkered down in Sausalito – without the lavish helpings of cocaine – sadness evolves into a song of popular beauty. ‘Hey’ offers an alternative perspective; this isn’t personal, it’s about feelings. On the concluding title track, Kirwin and Rudston-Brown’s calland-response admits that their fabled Hollywood beginning has descended into bleak realism. Romance, like life, isn’t always pretty. But it can lead to some great songs.

Luke Telford

Patrick Emery

interlude that dissolves into a high, glowing drone; ‘Holly Said’ rides a shimmying lick that feels a bit misplaced, but this quickly morphs into another krauty swoon. Here, as throughout the record, Bailey’s lyrics are concerned with lost opportunity, personal and emotional distance, and past tense. Holly tells him not to waste his precious time; the freewheeling friends in ‘Disco Cops’ are just memories now; the closing track’s words are tender and spare, but the guitars growl with a warning and the title is a watchword for unfulfilled desire: ‘Stripper’.   If you’ve been overdosing on scrappy Aussie garage, rummage through this burnished, wonderfully worn-in record. Caitlin Welsh

Hollywood Independent/MGM

Never is a gristly, brittle piece of work that teeters precariously on the edge of pop music and the avantgarde. That it never falls to either grisly fate makes it both exhilarating and frustrating – once you get it, you’ll want to listen to very little else.




iLL Manors Atlantic/Warner

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... JJ DOOM - Key To The Kuffs TAME IMPALA - Innerspeaker GIL SCOTT-HERON - I'm New Here

HYUNA - Bubble Pop! ARCADE FIRE - The Suburbs

BRAG :: 476 :: 20:08:12 :: 29

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

PUNCH BROTHERS, PACKWOOD The Basement Wednesday August 8


Goodgod Small Club Saturday August 11 Some may remember Saturday night as the night of the apocalyptic Sydney winds. Others, the night they had to dry all of their clothes. For those braving it all to see Twerps live at Goodgod, Saturday night was the night they had some guiltless, effortless fun. The charm of Melbourne’s reverblaced Twerps is their total lack of selfconsciousness. They take to the stage with all the ego of a pro-bono lawyer. They make infectiously good music, but act like they have zero awareness of this. The crowd instantly warms to their modesty, and the wind outside does nothing to cool the

cheerful atmosphere Twerps create with their lo-fi surf-rock. Guitarist and co-vocalist Julia McFarlane takes vocal duties to open the set. Unpolished but not unlikeable, her voice sounds almost cartoonish – a sweetness in the midst of stage sweat and boy germs. Co-pilot Martin Frawley takes over early in the set, delivering equally unpolished, almost deadpan vocals over some of the catchiest bass lines of all time. The room is packed, and from the stage it must look like a sea of bobbing dolphins, or a skate cult: everyone is nodding and tapping like a bunch of ecstatic converts. By the time Frawley dedicates ‘Jam Song’ to all the mothers in the crowd, the dancefloor is well and truly euphoric. Aptly titled, the song sounds like The Strokes would if they shed their leather jackets for bell-bottoms

and really got in the groove. The only lull in the night comes when the band opt for some of their slower tracks, but of those there are few, and they do little to sour the mood. A real highlight of the set, ‘Dreamin’ elevates the Twerp-cult to a cloud-like state, reminding every single person in the room that repetition isn’t a dirty word. The song ends, and a myriad of voices from the vicinity of front and centre stage howl “that was tiiiiight!” – because it really, really was. Twerps end their stellar set with the drunken sing-along ‘Who Are You’ and, going like they came, they exit the stage humbly and promptly. Humility has never looked or sounded so cool. Erin Bromhead

Kudos to Bayden Hine for scoring himself the support slot tonight. Providing a suitable opening for any project involving Chris Thile (blackguard, mandolinist extraordinaire and Punch Brotherin-chief) is a hard trick to pull, but the mastermind of Packwood was game if nothing else, steering an all-female string quartet (with flute thrown in for luck) through his rolling folk songs’ treacly arrangements. But the concept remained stronger than the execution this evening, the unrelentingly plodding pace compounded by some dodgy intonation amongst the lasses – the combination of which slowly drove the atmosphere into the mud… Reasonable listening over mulled wine at Hibernian, but perhaps not ready for whisky at a sold-out Basement. The hard stuff was clearly on Mr Thile’s mind tonight: the dapper gent was observed procuring a startling number of bottles prior to taking the stage – “concertising is thirsty work”, he pointed out. Thirsty for sure (at least judging from what Thile was able to knock back over the course of a two-hour set), but seldom hard, with an enthralled audience treated to the sight of five musicians at the top of their game letting music that’s been rehearsed to perfection get a little loose. Thile’s ‘serious’ music was off the agenda (the lucky and no-doubt bemused sods at Melbourne Recital Centre were treated to the band’s sober side the previous night), with the crowd tonight wooed with carefully selected originals (highlights including ‘Movement And Location’ from their recent Who’s Feeling Young Now? and the title track of that album) and an apparently endless reserve of covers in a turbo-picked bluegrass style: The Strokes’ ‘Heart In A Cage’, a touch of Beck, Swedish folkies Vasen’s ‘Flippen’ (incorporating a token digression into Thile’s concerto), as well as a flawlessly executed rendition of the Bros’ version of ‘Kid A’..

LEROY LEE, SUI ZHEN, ELI WOLFE FBi Social, Kings Cross Hotel Thursday August 9

Thinking of FBi Social’s unpretentious, inexpensive and welcoming atmosphere gets me hot under the collar. The venue’s regular programming of a refreshingly diverse array of fine up-and-coming musicians makes me short of breath. And tonight, with the folk lineup it is sporting, it's showing off its best assets and looking particularly sexy. Phwoar! First up is Eli Wolfe. With pigtail remnants kinking his long blonde hair, an assortment of acoustic guitars hand-decorated with explosions of psychedelic colours and Hindu deities, and a grungy twist to his vocals, his Austin Powers-meets-Willie Nelson-meetsJohn Butler-meets-Eddie Vedder vibe might not appeal to everyone. Despite seeming slightly nervous, and with a sound occasionally approaching ear-piercing thanks to its uniform loudness, Wolfe imbues the narratives that run through his music with heart, and demonstrates impressive fingerpicking skills. His performance is endearingly good natured and down-to-earth.



30 :: BRAG :: 476 :: 20:08:12

Under her Chinese stage name of Sui Zhen, Melburnite Becky Freeman wears a nondescript piece of headwear that, she informs us

with characteristic quirk, is her “can-do hat”. Joined by brother Dan on upright and electric bass (and plucking Sydney’s Rainbow Chan from the audience for one song because: spontaneity!), Zhen’s jinglyjangly, jovial tunes are infused with whimsy and reside at the intersection of neo-folk, experimental, soul and lounge music. With a tendency to sound tinny and overly trebly in higher registers, Zhen’s voice is best when accompanied by others. Her cover of The Beastie Boys’ ‘Gratitude’ is a highlight.

Thile has been criticised for everything under the sun: his songwriting (not his strongest point), being too obscure (experimental classical music for bluegrass instruments, anyone?), not playing traditional bluegrass, having an ego the size of Arkansas (moot point). But this was all made irrelevant by the sheer presence of the man, standing pissed off his tits, picking like a machine-gun, within one of the tightest ensembles this reviewer has had the pleasure of hearing. Oliver Downes

When you look up ‘authentic’ in the Authoritative Dictionary of Music, Leroy Lee, in all his shaggy-haired, flannelshirted, wry-grinning glory, appears. Various combinations of Katie Wighton (backup vocals, keyboard), Zoe Hauptmann (bass), Sophia Felton (drums) and Dave Carr (banjo) join Lee in the homely launch of his new, five-track EP Arcadia – an EP released on his own record label (Paper Sleeve Music), each copy of which features a cover that has been hand-stamped by the man himself. A similarly no-nonsense, wholesome and pared-back aesthetic permeates Lee’s set; this is all-wheat, and there is no chaff in sight. Subtle but substantive, simple but not simplistic, laidback but polished, the warmth of his folk music complements the intimacy with which his lyrics convey basic human experience. Lee is relocating to Austin in less than three weeks, and tonight’s impressive and wellreceived performance confirms that Texas’s gain will be Sydney’s loss. Andrew Yorke



snap sn ap

up all night out all week . . .

It’s called: The Black Lullaby It sounds like: Florence + The Machine, Jeff Buckley, The Jezabels Who’s playing? The Black Lullaby, with special guests Penny & The Mystics and She Falls Down Stairs. Sell it to us: Raw and honest, The Black Lullaby’s new self-titled EP is part of the new wave of distinctly Australian indie rock, blessed with a melodic sensibility and a swag of quality songwriting and musicianship that will translate brilliantly in a live setting. The bit we’ll remember in the AM: That beautiful noise last night. Crowd specs: Music lovers, 18+. Wallet damage: $10 at the door. Where: Candy’s Apartment / 22 Bayswater Rd, Potts Point When: Friday August 24

the rubens


party profile

the black lullaby ep launch

the falls, stu larsen


09:08:12 :: Pier 4:: Walsh Bay Wharf


BRAG :: 476:: 13:08:12 :: 31

snap sn ap

pseudo echo


up all night out all week . . .

annandale back bar launch


10:08:12 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711

10:08:12 :: Annandale Hotel :: 17 Parramatta Rd Annandale 9550 1078

badlands It sounds like: Ladbands. Who’s playing? The Hollow Bones, Black Island, Narrow Lands, Sleep Debt. Sell it to us: Raw and dirty garage rock usually sells itself okay, so it’s probably not worth bothering – although we’ll also be playing the likes of Beasts Of Bourbon, Television, The Birthday Party and Creedence until the wee hours. The bit we’ll remember in the AM: Forgetting to bring earplugs. And that you purchased some succulent Black Island relish and don’t have to walk to IGA anymore and pick up a breakfast spread for slathering on Bürgen Women’s Wellbeing.


Crowd specs: There will probably be at least one dude in a Melvins T-shirt. Oh, and you know that girl from the high school a couple suburbs away that you used to smoke bongs with in the park in year 8? Yeah, she’ll be there.


party profile

It’s called: Badlands.

11:08:12 :: Metro Theatre :: 624 George St Sydney 9550 3666

Wallet damage: $8 Where: One of the Inner West’s more industrial areas... Head to for venue details.

hunting grounds


When: August 24, from 8pm

break the ice ft. bluejuice 10:08:12 :: UTS :: 15 Broadway Ultimo 32 :: BRAG :: 476 :: 20:08:12




More Than The Cure Since 1989 with Murray Engleheart


The Blue Oyster Cult, the magnificent New York City outfit once tagged as “the thinking person’s metal band”, mark their 40th anniversary in October with Blue Oyster Cult: The Columbia Albums Collection. The 17-album boxed set includes their 14 recordings plus two discs of rarities (one not-so-cryptically titled Rarities and the other Radios Appear), The Best Of The Broadcasts and the live DVD, Some Other Enchanted Evening from 1978. (And yes, Radio Birdman was named after a line in BOC’s ‘Dominance And Submission’.) While the package includes early classics like Tyranny And Mutation and one of my desert island discs, the 2001 remaster of Secret Treaties, it also includes long-awaited remasters of their killer live set, including: On Your Feet Or On Your Knees, Fire Of Unknown Origin, The Revolution By Night, Mirrors, Cultosaurus Erectus, Extraterrestrial Live, Club Ninja and Imaginos. To celebrate the release of the set, the band – including founding members Eric Bloom and Donald “Buck Dharma” Roeser – are playing at Times Square’s Best Buy Theatre on October 28 with special guests (if you happen to be in the area).


We’re not the great fans of Bruce Springsteen we once were. To us, he’s now the musical personification of the trappings of his more-than-comfortable lifestyle, an artist held aloft by past myth rather than ongoing greatness. Sorry. That said, a recent (enormous) 70,000-word piece on the boss in The New Yorker was not only some of the best writing on Springsteen we’d read in years, but it also confirmed our modern-day view of the man. We think a possible re-reassessment of his recent work is in order.


The super-deluxe repackaging of the 1967 classic The Velvet Underground & Nico hits the market on October 1 as a six-disc set to mark its 45th anniversary. The box includes the (now standard) stereo and mono editions of the original recording as well as alternate versions, the singles in mono (some with different mixes and arrangements), plus Nico’s solo effort, Chelsea Girl, which had the Velvets as backing band. There’s also a live show recorded at Valleydale Ballroom in Columbus, the 1966 Scepter Studios sessions including album demos, and rehearsals at Andy Warhol’s Factory. We can’t wait! Hopefully, the middle-aged birthday of White Light, White Heat will prompt a similarly strong reshowing.

LV L 3 , 3 8 3 B O U R K E S T S U R RY H I L L S

L I V E M U S I C , V I S U A L A R T, T H E AT R E , CO M E DY, B U R L E S Q U E & B O O Z E



The Angels are back with vengeance with a new studio album, Take It To The Streets, their first in 12 years. It’s the long play recorded debut of new(ish) singer Dave Gleeson, who brings a whole new vibe to the band. While Doc Neeson spoke and sang over the heads of audiences – and we mean that respectfully – Gleeson is right down the front with them. The album includes new versions of the band’s ‘Small Price’ and ‘When The Time Comes’, plus, for some reason, a cover of Elvis Costello’s ‘Pump It Up’. And it comes with a bonus disc, The Angels Live At QPAC, a killer greatest hits set recorded in Brisbane last January. Gleeson reckons new tune, ‘Getting Free’ is “a bit like Blur … but with balls.” Take It To The Streets is out on August 31.


A team of scientists in Spain have come up with some results that confirm what we’ve been blubbering about for years (despite the fact we can barely tell the time). They’ve concluded that music is becoming bland(er). Imagine! But at the same time they reckon that thanks to the evils of compression, lame noise is getting louder even though the rock volume wars – with the exception of, say, Mogwai and AC/ DC – peaked around the late ’80s. The boffins analysed recordings from between 1955 and 2010 and looked mathematically, as one does, at the melodies and chords used. “We found evidence of a progressive homogenisation of the musical discourse,” team boss Joan Serra told Reuters. “In particular, we obtained numerical indicators that the diversity of transitions between note combinations – roughly speaking, chords plus melodies – has consistently diminished in the last 50 years.” Talk about math rock, eh?



Guitar World magazine has long been something of a high church when it comes to solid music writing, so a book on Jimmy Page by the mag’s long-time editor Brad Tolinski should be a beaut. Light & Shade: Conversations With Jimmy Page is based on almost 50 hours of interview with the Led Zeppelin legend. It’ll be out on October 23.





On the Remedy turntable is Chris Robinson Brotherhood’s Big Moon Ritual, an album that largely picks up where The Black Crowes left off trying to be Faces with Shake Your Moneymaker, and moved into Dead-head cosmic American jam territory (which, as much as we love The Dead, we didn’t dig at all). This has a trippier, Sticky Fingers vibe to it, and is more skilfully opened and better executed than the aforementioned Crowes stuff – which just seemed to us to be trying too damn hard.



TOUR AND INDUSTRY NEWS The upcoming Meredith Festival in Victoria has a hell of a bill with Primal Scream, Spiritualized, Turbonegro, Sunnyboys, Regurgitator, Big Jay McNeely, Hot Snakes, Earthless, Royal Headache and more. Your best chance for tickets is to enter the ballot at before 10pm on Tuesday August 21. Round one has been drawn and results hit inboxes Wednesday August 15. Round two results are out Thursday August 23.

Tickets for All Tomorrow’s Parties (in the still velvety form of I’ll Be Your Mirror Melbourne) curated by ATP and The Drones have probably sold right out by now. But if you missed out, keep February 16 and 17 free for a very loud daydream. If you make it there, you'll be witnessing My Bloody Valentine (for those whose hearing has just started to return after their gigs here in ‘92), Godspeed You! Black Emperor, the reformed lineup of Beasts Of Bourbon, Einstürzende Neubauten, Swans, The Dead C and plenty more.

Send stuff to by 6pm Wednesdays. Pics to

6th 9th 11th 12th 13th





The Angels hit out on their Take It To The Streets tour on September 21 and 22 at the Bridge Hotel, Rozelle.





Bruce Springsteen

With Special Guests...

BRAG :: 476 :: 20:08:12 :: 33

g g guide g

send your listings to :

Kate Miller-Heidke


Russell Neal, Senani, MaiAnne, Massimo Presti Kellys On King, Newtown 7pm


Adam Pringle and Friends Downstairs, Sandringham Hotel free 7.30pm Mandi Jarry Duo Maloney’s Hotel, Sydney free 8.30pm Open Mic – Champagne Jam Family Inn, Rydalmere free 7.30pm Rob Henry The Observer Hotel, The Rocks free 4pm Songwriters Association – Open Mic Bald Faced Stag, Leichhardt free 7pm The Songwriter Sessions Sandringham Hotel, Newtown free 7.30pm Virgil Donati with OTV (USA) The Basement, Circular Quay $39-$45 (+ bf) 7.30pm



Metro Theatre, Sydney

Kate MillerHeidke, The Beards $49.95 (+ bf) 8pm MONDAY AUGUST 20 ROCK & POP

Duets: Christine Anu, Ray Beadle, Rachael Beck, David Campbell, Abby Dobson, Casey Donovan, Lucy Durack, Dave Faulkner, Tim Finn (NZ), Tim Freedman, Mark Gable, Lara Goodridge, Angie Hart, Barry Leef, Darryl & Harmony Lovegrove, Rob Mills, Mirusia, Sam Moran, James Morrison, Ian Moss, Shannon Noll, Doug Parkinson, Dale Ryder, Leo Sayer (UK), Danielle Spencer, Don Spencer, Timomatic, Monica

34 :: BRAG :: 476 : 20:08:12

Trapaga, Jack Vidgen, Mark Vincent, Washington, John Waters, Mark Williams Rob, Ian Dicko Dickson, Paul Gray, Steve Balbi, Natalie Bassingthwaighte, Mahalia Barnes, Kate Ceberano, Suze De Marchi, Jeff Duff, Julia Morris, Orianthi (USA), Darren Percival, Teddy Tahu Rhodes, Diana Rouvas, Carmen Smith, Prinnie Stevens, Chris E Thomas State Theatre, Sydney $79– $120 8pm Electronic Embassy: Keith Fullerton Whitman (USA), Solo Andata, Wrong Button Death Squad, Half High, Angel Eyes Embassy, Chippendale $20 (+ bf) 7.30pm

Knightess: Rainbow Chan, Eirwen Skye, Kimberley Aviso, Violet Pulp Manning Bar, The University of Sydney, Camperdown $1 8pm Sarah Paton The Observer Hotel, The Rocks free 8.30pm Something For Kate Annandale Hotel sold out 8pm Unherd Open Mic Downstairs, Sandringham Hotel, Newtown free 8pm


Bernie McGann, John Harkins Trio 505 Club, Surry Hills $10 (conc)–$15 8.30pm Jim Gannon Dee Why RSL Club free 6.30pm

Jazzgroove: Tony Electro Heavy Vibe, The Prophets 505 Club, Surry Hills $8 (conc)–$15 8.30pm John Hill Dee Why RSL Club free 6.30pm John Riley, John Harkins Trio, Sydney All Star Big Band Blue Beat Bar & Grill, Double Bay $30 (+ bf) 7pm


Andrew Denniston Merton Hotel, Rozelle free 7.30pm Jim Samphier, Black Diamond George IV Inn, Picton free 7.30pm Russell Neal, Men With Day Jobs, Mai-Anne Harbourview Hotel, The Rocks free 7pm


Adam Lambert (USA) The Standard, Surry Hill sold out 8pm Ben Finn Duo Maloney’s Hotel, Sydney free 9.30pm Bernie Segedin Dee Why RSL Club free 6.30pm Brendan Deehan The Observer Hotel, The Rocks free 9.30pm Dan Spillane Mean Fiddler, Rouse Hill free 6pm The Drey Rollan Band, Danny & The Cosmic Tremors, DJ Brian Rock Lily, The Star, Pyrmont free 6pm

Dylan & Co, Leslie Speaker, Six White Horses, Jac McCall Valve Bar, Tempe 7pm The Fabergettes, Brendan Maclean, Community Radio, Orca Straight Ahead! FBi Social @ Kings Cross Hotel, Darlinghurst $10 8pm Flyte The Orient Hotel, The Rocks free 9.30pm Jager Presents Annandale Hotel $8 7.30pm JP Duo O’Malley’s Hotel, Darlinghurst free 9.30pm Jungle Giants, Toucan Beach Road Hotel, Bondi free 8pm Live & Local: Amy Vee, Major Tom Band, Tiana & The Soul Tones Lizotte’s Restaurant, Dee Why $15 8pm Matt Price Summer Hill Hotel free 7.30pm Musos Jam Night Bald Faced Stag, Leichhardt free 8pm Roland K Smith & The Sinners, Terry Serio’s Ministry Of Truth, CJ Shaw & The Blow Ins Sandringham Hotel, Newtown $10 8pm Tiger & The Rogues, Mugger, Mankoos, 62nd Silence Forest Inn, Bexley $15 7pm all-ages TrickFinger Artichoke Gallery Cafe, Manly free 7.30pm Ungus Ungus Ungus Downstairs, Sandringham Hotel, Newtown free 8pm Virgil Donati with OTV (USA) The Basement, Circular Quay $39-$45 (+ bf) 7.30pm


The Hi-Tops Brass Band Macquarie Hotel, Sydney free 8pm Steve Hunter Band 505 Club, Surry Hills $10 (conc)–$15 8.30pm COUNTRY Corb Lund (CAN), Harry Hookey Notes Live, Enmore $30 (+ bf) 8pm


Greg Sita, Matt Mcgowen, Mark Bishop Cat and Fiddle hotel, Balmain free 7pm Helmut Uhlmann, Hidden Ace, David Moulder, Alex Johnson The Loft, UTS, Ultimo free 6pm Live & Local Open Mic Night: Mal & Gary, Ian, Mathieu, Ken McLean, Zelda Smyth Royal Hotel, Bondi free 8pm Nathan Cole, Simon Paparo, Chris Neto Cookies Lounge and Bar, North Strathfield free 6.30pm Songs On Stage – Best Of: Daniel Coates, Johnny Wildblood, Matt Lyons, Richie, Laura Bishop, Russell Neal Brass Monkey, Cronulla $14.30 7pm TAOS, Gavin Fitzgerald, Mark Mason Coach & Horses Hotel, Randwick free 7pm


Ajay Bawden, Karl Cristoph, Tess Van Deyk Sydney Livehouse @ Lewisham Hotel $10 8pm Babaganouj, Line of Charlie, The Poet and the Thief, DJ Skar The Lansdowne, Chippendale free 8pm Boy In A Box, Kingswood, Young Romantics Goodgod Small Club, Sydney $10 (+ bf) 8pm Buffalo Camelot Lounge, Marrickville $20 7pm Day Ravies, Bearhug, Dead Radio, Family FBi Social @ Kings Cross Hotel $10 8pm Die! Die! Die!, The Go Roll Your Bones, Sweet Teeth The Standard, Surry Hills $15 (+ bf) 8pm Excellent Robot, The Mountains, Andy Golledge Brighton Up Bar, Darlinghurst $10 8pm Fuji Collective, Dr Kong And The Stem Cells, SheRex, Lyall Moloney Sandringham Hotel, Newtown $10 8pm Hot Damn!: Transit, Anchors, Amberain, Harbourer, Hot Damn DJs Spectrum, Darlinghurst $15– $20 8pm Johnathan Devoy Downstairs, Sandringham Hotel free 7.30pm Kate Miller-Heidke, The Beards Metro Theatre, Sydney $49.95 (+ bf) 8pm Kira Puru & The Bruise, Papa Pilko And The Binrats, Thieves Rock Lily, The Star, Pyrmont free 7pm Knievel, Dave Fletcher & The Willing Supporters, Andrew P. Street The Union Hotel, Newtown free 8pm Little Bastard, Lacey Cole, Achoo! Bless You Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Lounge Sounds Artichoke Gallery Cafe, Manly free 7.30pm Mandi Jarry Harbord Beach Hotel free 8pm Masterclass: Ray Beadle, Stuart French, Peter Northcote Brass Monkey, Cronulla $28.60 7pm A Night On The Town With Oxford Art Factory: Rapids, Bon Chat Bon Rat, The Shooters Party, The Chitticks, The Embassy Oxford Art Factory, Darlinghurst $5 8pm Obits (USA), Gooch Palms, Bloods Annandale Hotel $26 (+ bf) 8pm Owen Campbell The Basement, Circular Quay $20 (+ bf) 7.30pm Soul Tattoo Duo The Orient Hotel, The Rocks free 9pm Sound Theory Valve Bar, Tempe 7pm Troy Thompson Band, Bill Neill, Mal Peakhurst Inn free 8pm


pick of the week

Monday Jam Lansdowne Hotel, Chippendale free 8pm

g g guide gig g send your listings to :


Alana Blackburn, Peter Farrar The Red Rattler, Marrickville $10 (conc)-$15 7.30pm Lionel Robinson Dee Why RSL Club free 7pm Steve Clisby Macquarie Hotel, Sydney free 8pm The Subterraneans, Rai Thistlethwayte, Sonic Mayhem Orchestra Horns Blue Beat Bar & Grill, Double Bay $15 (conc)–$20 (+ bf) 8pm


Andrew Denniston, Jack & James Davison, Lloyd Kerr, Hue Williams Ettalong B/C free 7.30pm Darren Bennett, Black Diamond Diamond, White Ocean Avenue Corrimal Hotel free 7.30pm Russell Neal, Nick Domenicos, Spencer McCullum Kogarah Hotel free 7pm Shorts and Sounds: Juankarlos & Marcelo, Chirimeros, Papalote Venue 505, Surry Hills $15 (conc)-$20 7.30pm


Aaron Lyon Artichoke Gallery Cafe, Manly free 7.30pm Anna Salleh James Squire Brewhouse, Sydney 8pm Bambino Koresh, Dune Buggy Attack Squadron, Dusty Ravens, Blonde On Blonde The Lansdowne, Chippendale free 8pm Bigphallica, Vivienne Kingswood Rock Lily, The Star, Pyrmont free 6.30pm Booty Affair Blue Beat, Double Bay $15 (+ bf) 7.30pm Bridie O’Brien, Bart Thrupp El Rocco Jazz Cellar, Woolloomooloo $12 7.30pm Diesel, Carmen Smith The Basement, Circular Quay $35 (+ bf) 7.30pm Gin Wigmore, Jackson McLaren And The Triple Threat The Standard, Darlinghurst $20 (+ bf) 8pm Glenn Shorrock, Liza Ohlback Lizotte’s Restaurant, Dee Why $54–$96 (dinner & show) 8pm GTS Engadine RSL & Citizens Club free 8pm Heaven The Axe, Release The Hounds, Sunset Riot, Limited Head Space Sandringham Hotel, Newtown $15 8pm Kate Miller-Heidke, The Beards Metro Theatre, Sydney $49.95 (+ bf) 8pm Kyle Horsley, Ninth Pillar Roxbury Hotel, Glebe $10 8pm Lior Camelot Lounge, Marrickville sold out 7.30pm Loon Lake, Glass Towers, Cub Scouts Goodgod Small Club, Sydney $12 (+ bf) 8pm Metal, Paralysis, Head In A Jar, Soulforge Valve Bar, Tempe 7pm Mickey Pye Harbord Beach Hotel free 8pm Midnyt Sun Richmond Inn free 8.30pm MUM: Royal Blood, Little Napier, Babaganouj, The Guppies, Flwrgn, Kilter,

Wolfden DJs, Helmut Uhlmann, MUM DJs The World Bar, Kings Cross $10-$15 8pm Oatley Hotel We Love Oatley Hotel Fridays DJ Tone free 8pm Paul Greene Notes Live, Enmore $19.90 7pm Pete Swanson (USA), Half High, Bonnie Mercer, Housewives The Red Rattler, Marrickville $15 8pm Polo Club, Colour Coding, Madhu, The 14th Minute (DJ set) FBi Social @ Kings Cross Hotel, Darlinghurst $10 8pm The Prehistorics, Happy Hate Me Nots, The Grand Union The Square, Haymarket $12 8pm Radio Ink Brass Monkey, Cronulla $17.85 7pm Saloons, Morgan Joanel & Band, Ollie Brown, Kristy Lee Upstairs Beresford, Surry Hills free 6pm Self Is A Seed, Gatherer, Minus House, We Without Burdekin Hotel, Darlinghurst $15.30 8.30pm Shinobi Annandale Hotel $10 (+ bf) 8pm Storm In The Orphanage, Delabarker. Khan of K, Radio Fashion Sydney Livehouse @ Lewisham Hotel $12 8pm The Sidetracked Fiasco, Five Coffees, Mung Town Hall Hotel, Newtown 8pm Toucan Ryde Eastwood Leagues Club, West Ryde free 7.30pm all-ages Transit, Anchors, Sunny Side Up, The Perspectives, Clipped Wings YOYOs Youth Centre, Frenchs Forest $20 (+ bf) 7pm The Velvet Cave: The Otchkies, Dead Radio, Velvet Gallagher, Ken Blements, Alison Studans, Lovehandles 77 Yurong Lane, Darlinghurst $10 8pm


Dave Panichi’s Organ Trio The Sound Lounge, Seymour Centre, Chippendale $10-$20 8.30pm Urban Gypsies 505 Club, Surry Hills $15 (conc)–$20 8.30pm Yuki Kumagai, John Mackie Well Connected Café / Wine Bar, Glebe free 8pm

ACOUSTIC & FOLK Pete Scully, James Scully, Emma Wolther, Brothers Three, Ana Carter, Bob Sutor Mars Hill Café, Parramatta $10 8pm


Afrokings, Okapi Guitar Band Notes Live, Enmore $28.60 7pm Bitch Prefect, Sarah Mary Chadwick, Raw Prawn, Convent The Red Rattler, Marrickville $15 8pm Blonde On Blonde Upstairs Beresford, Surry Hills free 8pm Bodyjar, One Dollar Short, For Amusement Only, Irrelevant Metro Theatre, Sydney $32 (+ bf) 8pm 

Brad Johns Harbord Beach Hotel free 8pm Coolhand and the Lonely Horse Band The Macquarie Hotel, Surry Hills free 9pm Coppertongue, Morrorfold, The Archaic Revival, Shadow Republic, Astrosphere Lucky Australian Tavern, St Marys $10 4pm all-ages The Dark Gift, Abacination, Grim Demise, Exist Within Valve Bar, Tempe 12pm Dave Tice and Mark Evans Downstairs, Sandringham Hotel free 8pm Deprivation, Red Bee, Seconds Till The End, Sanctum, To The Grave Sydney Livehouse @ Lewisham Hotel $12 8pm Diana Rouvas Blue Beat Bar & Grill, Double Bay $25 (+ bf) 8pm Diesel, Carmen Smith The Basement, Circular Quay $35 (+ bf) 7.30pm Dirty Deeds AC/DC Show Narrabeen RSL, North Narrabeen free 8.30pm The English Beat (UK), Backy Skank The Factory Theatre, Enmore sold out 8pm Erik Canuel Riverside Theatres, Parramatta $25 1pm all-ages Expatriate FBi Social @ Kings Cross Hotel, Darlinghurst $12 (+ bf) 8pm Flock of Budgies Revesby Heights Ex-Servicemen’s Memorial Club free 7pm Fringe Tease: Fanny Lumsden, Boy Outside, Rusty Spring Syncopators, Candy Royal, ME ME ME The Standard, Surry Hills free 7pm Furnace & The Fundamentals, DJ Kitsch78 Rock Lily, The Star, Pyrmont free 7.30pm Highways, Forever Ends Here, Some Time Soon, We Saved The Party. Way With Words, Your Weight In Gold Annandale Hotel $15 (+ bf) 11am all-ages Hit & Pieces Oatley Hotel free 8.30pm Hold The Phone, Mal Panania Hotel free 8pm House Vs Hurricane, Confession, In Hearts Wake Masonic Hall, Blacktown $23.50 (+ bf) 8pm Johnny G & the E-Types Brass Monkey, Cronulla $29.60 7pm The Jungle Giants, Toucan, The Universal Goodgod Small Club, Sydney $15 (+ bf)–$19.50 (incl CD) 8pm Lior Camelot Lounge, Marrickville sold out 7.30pm Miss Little, Jacinta and the Jaguars, The Hollow Bones, All My Alien Sex Friends The Square, Haymarket $10 8pm Pennywise (USA), The Menzingers (USA), The Sharks (UK) UNSW Roundhouse, Kensington $57.20 (+ bf) 7pm Polar Nation, Battleships, Blonde On Blonde, Bert & Ernie Upstairs Beresford, Surry Hills free 6pm Polo Club, The 14th Minute (DJ set), Xanthopan Gallery Bar, Oxford Art Factory free 8pm Sarah Mary Chadwick The Red Rattler Theatre, Marrickville 8pm SFX: Far West Battlefront, Hunt The Haunted, Life

Beyond St James Hotel, Sydney $15$20 9pm Skuldogory, Sodomiser, Heaven The Axe, The Curse Of Mary Sue, Release The Hounds Valve Bar, Tempe 7pm Slash (USA), Rose Tattoo, I Am Giant Sydney Entertainment Centre, Darling Harbour $91.70 (+ bf) 8.30pm Sound Stream Brighton RSL Club, BrightonLe-Sands free 8pm Sydonia, Beggars Orchestra, Gene Defect, Red Remedy Annandale Hotel $12 (+ bf) 8pm Thundasteel, Hazmat, Atonedsquad, Fenrir, Absolute Power DJs The Lansdowne, Chippendale free 8pm Venus 2 Engadine RSL & Citizens Club free 8pm Viva Las Vegas Spectacular: Rick Charles Enmore Theatre $59-$259 8pm Zoobombs (JPN), Mesa Cosa, Dead Farmers, Chalk Eaters Sandringham Hotel, Newtown $12-$15 8pm


Mike Nock Trio Plus! The Sound Lounge, Seymour Centre, Chippendale $10-$20 8.30pm Tenor Madness, Roger Manins, Brad Child 505 Club, Surry Hills $15 (conc)–$20 8.30pm Yuki Kumagai, John Mackie Well Connected Café / Wine Bar, Leichhardt free 7.30pm

Yuki Kumagai, John Mackie, Tony Burkys, Trevor Rippingale, Bob Gillespie Central Coast Leagues Club, Gosford free 2pm


The Freshwater Ukulele Ensemble Lizotte’s Restaurant, Dee Why $35 8pm Russell Neal, The Pug Earlwood Hotel free 7.30pm Sean, Miss Bow Cookies Lounge and Bar, North Strathfield free 8pm


Brighton RSL Club, BrightonLe-Sands free 7pm Annandale Music Markets Annandale Hotel free 11am Chronic, Lee Enfield, Grilled Sandringham Hotel, Newtown $10 7pm Danni Da Ros The Basement, Circular Quay $30 (+ bf) 7.30pm David Agius Harbord Beach Hotel 6pm The English Beat (UK), Los Capitanes The Factory Theatre, Enmore $49 (+ bf) 7pm Hayes Carll, Kirsty Akers The Factory Floor, The Factory Theatre, Marrickville $28 (+ bf) 7pm Heaven The Axe, Release The Hounds, Thrush, Celebrity Morgue, Partisan Code, Triangle Skies Spectrum, Darlinghurst $10$15 6pm

Junk, Chrome Pigs, Rooftop Profets, Retina, Carmeria Lucky Australian Tavern, St Marys $10 2pm all-ages Lior Camelot Lounge, Marrickville sold out 6.30pm Live & Local Sydney Battle Of The Bands: Intransit, Under Construction, Usual Suspects, The Raids, Rowan Ash Bexley North Hotel $10 3pm Oatley Hotel Sunday Sets DJ Tone free 7pm The Pinks, Bridie King Rock Lily, The Star, Pyrmont free 2pm The Road Runners Marrickville Bowling Club free 4.30pm The Sidetracked Fiasco, The Monks of Mellonwah Old Manly Boatshed 8pm The Slowdowns Downstairs, Sandringham Hotel, Newtown free 4pm Stormcellar The Kent Hotel, Hamilton free 8.30pm Suite Az Rock Lily, The Star, Pyrmont free 8.30pm Sunday Blues Jam: Mark Hopper Artichoke Gallery Cafe, Manly free 8pm Sydney Blues Society Botany View Hotel, Newtown free 7pm

ACOUSTIC & FOLK Anthony Hughes Oatley Hotel free 2pm Shoot The Moon Salisbury Hotel, Stanmore free 2pm Spellbound Sounds Valve Bar, Tempe 5pm


22 Aug

(9:00PM - 12:00AM)


23 Aug

(9:00PM - 12:00AM)


24 Aug

(5:00PM - 8:00PM)

(9:30PM - 1:30AM)



(4:30PM - 7:30PM)




(9:00PM - 1:30AM)



26 Aug

(4:30PM - 7:30PM)


(8:30PM - 12:00AM)

BRAG :: 476 :: 20:08:12 :: 35

gig picks

up all night out all week...



Knightess: Rainbow Chan, Eirwen Skye, Kimberley Aviso, Violet Pulp Manning Bar, The University of Sydney, Camperdown $1 8pm

Boy In A Box, Kingswood, Young Romantics Goodgod Small Club, Sydney $10 (+ bf) 8pm

Something For Kate Annandale Hotel sold out 8pm

WEDNESDAY AUGUST 22 The Fabergettes, Brendan Maclean, Community Radio, Orca Straight Ahead! FBi Social @ Kings Cross Hotel, Darlinghurst $10 8pm

The Standard, Surry Hills free 7pm


The Jungle Giants, Toucan, The Universal Goodgod Small Club, Sydney $15 (+ bf)–$19.50 (incl CD) 8pm

Die! Die! Die!, The Go Roll Your Bones, Sweet Teeth The Standard, Surry Hills $15 (+ bf) 8pm

Pennywise (USA), The Menzingers (USA), The Sharks (UK) UNSW Roundhouse, Kensington $57.20 (+ bf) 7pm

Little Bastard, Lacey Cole, Achoo! Bless You Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm

Slash (USA), Rose Tattoo Sydney Entertainment Centre, Darling Harbour $91.70 (+ bf) 8.30pm

A Night On The Town With Oxford Art Factory: Rapids, Bon Chat Bon Rat, Mere

Zoobombs (JPN), Mesa Cosa, Dead Farmers, Chalk Eaters Sandringham Hotel, Newtown $12-$15 8pm

The Fabergettes Women, The Chitticks, The Embassy Oxford Art Factory, Darlinghurst $5 8pm

Uhlmann The World Bar, Kings Cross $10-$15 8pm

Obits (USA), Gooch Palms, Bloods Annandale Hotel $26 (+ bf) 8pm

Pete Swanson (USA), Half High, Bonnie Mercer, Housewives The Red Rattler, Marrickville $15 8pm



Loon Lake, Glass Towers, Cub Scouts Goodgod Small Club, Sydney $12 (+ bf) 8pm

Bitch Prefect, Sarah Mary Chadwick, Raw Prawn, Convent The Red Rattler, Marrickville $15 8pm

MUM: Royal Blood, Little Napier, Babaganouj, The Guppies, Flwrgn, Kilter, Wolfden DJs, MUM DJs, Helmut

Fringe Tease: Fanny Lumsden, Boy Outside, The Rusty Spring Syncopators, Candy Royal, ME ME ME


Loon Lake


Saturday AUGUST 18

FBi RADio’s music open day showcase


















8 PM


level 2, kings cross hotel 36 :: BRAG :: 476 : 20:08:12










brag beats

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

dance music news club, dance and hip hop in brief... with Chris Honnery

on the record WITH


The First Record I Bought: I was really into buying CD singles when 1. I was younger. The first one probably would’ve been Savage Garden’s ‘I Want You’. Growing up in Melbourne I used to listen to Fox FM every night, and was really into those sorts of records from around ‘95 up until 2000. I guess that era of pop had an effect on me and the type of sounds I like. I remember wondering where all those sounds came from, because they didn’t sound like my piano or Casio keyboard. The Last Record I Bought: The last record I bought was Van She’s 2.  new album, Ideas Of Happiness. I was really looking forward to hearing the album; I’d heard little snippets here and there over the last six to eight months, and then saw the guys play at Beach Road Hotel about three months ago, and was really impressed by the new songs. I still really like buying hard copy CDs. The First Thing I Recorded: I used to record backing tracks to jam 3.  over on piano and guitar. Mostly 12-bar blues

Luke Fair

or simple minor chord progressions that I could practice my scales and solos over – I had this shitty little mic that I used to put inside the amp. The first tune I recorded that was then publically released was probably with my old band Ace Squad! The tunes we used to play were hilarious – there is definitely a cringe factor, but it’s the best type of cringe.

Nervous Records). The two tunes on the EP were done mostly in transit, then finished off in my studio in Sydney. It came out on June 19 and is still in the Beatport Top 10. I’ve been really happy with how it’s been received!

The Last Thing I Recorded: I’m recording nearly every day at the 4. moment, which has been really fun. The last

The Record That Changed My Life: There are a tonne of tunes that have had 5. a big influence on me, from ‘Voodoo Child’

thing I recorded that anyone can actually hear would be my last release, The Love Cuts EP, which came out on Nurvous (little bro to NYC’s

to ‘Jacques Your Body’ to ‘Suck My Kiss’ to ‘Losing My Edge’. A new album or tune comes around once every few months that really

inspires me. I like going back through classic records pretty regularly,too; a good song never gets old, and there is always some element of it that can serve to inspire whatever it is I’m working on at that moment. What: The Love Cuts EP is out now on Nurvous Where: Goodgod Small Club When: Friday September 14

MÚSICA RETURNS IN 2013 Flight Facilities


Fuzzy’s annual Harbourlife fiesta returns to the picturesque setting of Fleet Steps at Mrs Macquaries Point on the first day of Summer, Saturday December 1, with a lineup boasting a panoply of international drawcards. 2manydjs, Mark Farina, Flight Facilities, Todd Terje, Adana Twins and Flume will all be performing, with more acts to be announced. Running through the major players: Belgium outfit 2manydjs are known for their frenetic blend of rock, electro, techno and hip hop that has been showcased on their Radio Soulwax compilations, along with their band project, Soulwax. San Francisco’s jackin’ house stalwart Mark Farina is renowned for his Mushroom Jazz parties and compilations released on OM Records, and has established himself as a Fuzzy favourite, with performances on past Harbourlife bills. Meanwhile Norwegian Todd Terje has released on labels such as Kompakt, Get Physical, Permanent Vacation and Playhouse, and fuses disco, pop and house influences in his DJ sets, which he facetiously describes as “silly and effective”. Harbourlife tickets go on sale from Thursday August 23 – hit for more details.

Following on from last year’s inaugural música /TUMBALONG 01, which featured performances from the likes of SBTRKT, it has been announced that the festival will return in three instalments, to be held in Sydney, Melbourne and Auckland. Due to the expansion and extra production time, the three events will be held in 2013, with precise dates still to be confirmed. “We had an overwhelming reaction to the first event in Tumbalong from the public and industry, and it was always in our sights to expand into Melbourne and Auckland if things went well in the first year,” said música director Kane Bligh, before promising “another progressive, electric event” in 2012.

RAINBOW SERPENT 2013: LINEUP ANNOUNCED The first round of acts for next year’s Rainbow Serpent Festival, which will take place on the weekend of January 25–28 outside of Victoria, have been announced. Iboga Records’ LISH, Aes Dana, Hardfloor, Tim Healey, Yotopia, FM Radio Gods and Haltya are among the first round of artists named, with the promise of plenty more still to come. For the uninitiated (and innocent), the Rainbow Serpent Festival is known as one of the few places you can get proper crazy in Australia – it is an alternative, outdoor bush party for alternative, outdoor types. Further festival information and tickets can be obtained by visiting


Canadian prog house proponent, Luke Fair, will play Chinese Laundry on Saturday September 15 as part of his forthcoming Australian tour. Fair cut his teeth touring the world with the likes of Sasha, John Digweed and Deep Dish, playing the warm-up sets for these celebrated acts. He has long since established himself as a headliner in his own right, releasing such compilations as In House We Trust 3 alongside Desyn Masiello, OS_0.3 on Bedrock, and Balance 011 on EQ Recordings. Rounding out Fair’s sonic CV is his partnership with Dana Bergquist, Tom Morgan, balErik and Somnus Corp in Discoteca Music, a collective operating the digital label, a program on frisky Radio, and event promotions worldwide. On the horizon is Luke’s newest endeavour, podcast The Rogue Show, alongside Hungary’s Add2Basket.  


Off the back of his new single ‘Where Ya Been’, Illy has announced a national tour in the leadup to his third album, Bring It Back, which will be released later this year through Obese Records. Illy’s sophomore album The Chase spawned the singles ‘Cigarettes’ and the Goldselling ‘It Can Wait’, landing him ARIA and AIR Award nominations. Speaking of the follow-up, Illy elucidated, “Bring It Back is a record I’ve had in mind for some time. Usually I work with a very small team so being able to branch out and work with lots of new people has resulted in a really different sound.” These new people include the likes of M-Phazes, Pez, Trials (Funkoars), Mantra and Reason, all of whom have contributed to the LP. “There are a bunch of songs on Bring It Back that I can’t wait to do live, so getting back out on the road can’t come quick enough.” Illy headlines The Standard this Saturday August 25.

BRAG :: 476 :: 20:08:12 :: 37

dance music news

free stuff

club, dance and hip hop in brief... with Chris Honnery



five things WITH

AUTOCLAWS Growing Up Mum was a Greek dancing 1. teacher and played piano, so ever since I can remember I’ve been surrounded by music at home, as well as attending dance functions regularly with my parents. I remember listening to the radio any chance I could, and waiting to record any songs I’d like. Then I’d listen to my little mixtape over and over…


Inspirations Noisia’s music is on another level, each track sounds so crisp and unique. And Headhunterz – how he made it to where he is and the music he writes are both massive inspirations for me. And watching Andy C at Stereosonic last year blew my mind. The way he constantly has those three decks spinning with such ease really inspired me to pull up a third deck when mixing. Your Crew If you’re looking for bass in 3. Sydney, look no further than Boss Bass Crew. You can find us playing every month at Chinese Laundry. Music You Make Dubstep, drumstep, DnB 4.The

and hardstyle. We’ll be spinning plenty of cheeky remixes, edits and bootlegs designed for peak crowd interaction and enjoyment. Expect high energy, lots of fun and some serious bass... in yo face! Music, Right Here, Right Now 5. The music scene is stronger than ever at the moment; the crowds have grown so much over the last few years for bass-heavy music, and it’s awesome to see the way it’s going – up! Our local scene also has a very strong family feel; everyone’s there for the music and has a good time. On the flip side, there is definitely a lot of closed minds out there, not accepting change in music culture. Instead of focusing on hating genres, why not use that energy and focus on the music that you love, the music that gets your blood flowing? I guess at the end of day, though, haters gonna hate… With: Boy Kid Cloud Where: Boss Bass @ Chinese Laundry When: Friday August 24

There are some things that should never be brought back, like neon tights, middle parts and B*Witched. We pray that we can pass them off as momentary lapses of judgment, sweep them under the rug, and move on with our lives. But we’re always happy when Melbourne MC Illy returns; he’s back with his third studio album, Bring It Back, which comes wrapped up in a national tour alongside the likes of Sydney’s own Chasm Soundsystem and Skryptcha. Illy’s already whetted your appetite with his new single, ‘Where Ya Been’, and will be taking fans back to his hip hop roots at his all-ages show at The HI-FI on Saturday August 25. For your chance at a double pass and a signed poster, tell us what you think should be brought back.


Subsonic Music Festival is slated for December 7-9, which is great and everything – but four whole months is way too long to spend sitting at home staring at your catsdressed-as-celebrities calendar. To get you moving before then, Subsonic have put together an incredible launch party, taking over four levels of The Burdekin on Saturday September 1. The lineup is headed up by Alexkid, the multi-instrumentalist, composer, remixer and DJ extraordinaire, who’ll be legging it all the way from his Berlin home for an epic live + DJ three-hour-plus set. On the Low Society level will by Hypercolour, Garage Pressure, Max Gosford and Gilsun b2b Kieren Hlelmore; on the Sweet Chilli level is Robbie Lowe, Daniel Crocetti and Carlos Zarate; and to complete the fourfloors of POWER are Subsonic favourites like Mike Monday, MSG, Marcotix, Dave Stuart, Kimba, Kerry Wallace and more. Huge, basically. Want a double pass? Let us know your favourite Subsonic experience.


Kenji Takimi

After the success of their first warehouse bash, Sunday party institution S.A.S.H has announced its second warehouse party, which will be held at an as-yet-undisclosed location on Friday September 7. Keeping with the clandestine theme, the party will be headlined by a secret international DJ, with support from Mike Witcombe, Mesan and Hannah Gibbs along with residents Matt Weir and Kerry Wallace. As the first S.A.S.H warehouse party sold out out in advance, you’d be ill-advised to loiter in procuring your tickets. Meanwhile, the chap who headlined the first S.A.S.H warehouse affair, Mike Monday, is dropping by S.A.S.H this Sunday August 26 at The Abercrombie, where he’ll be throwing down alongside a local lineup that features James Taylor among others.



One of Japan’s most respected DJs, Kenji Takimi, will make his Australian debut and headline the next Adult Disco bash at Goodgod Small Club on Friday September 21. Takimi has been DJing since 1989, and has performed alongside dance music deity such as Andrew Weatherall, Armand Van Helden, DJ Harvey, Theo Parrish, Felix Da Housecat, Rub ‘n Tug and Optimo over the years. Takimi’s label Crue-L Records has been at the forefront of alternative Japanese music since the early ‘90s, presenting acts like Cornelius and Buffalo Daughter alongside work from dance favourites Theo Parrish and DJ Harvey. As well as running the label, Kenji puts a great amount of time into his critically acclaimed studio projects Crue-l Grand Orchestra, Luger E-Go and Being Borings. He’s also remixed the likes of Cut Copy, Dimitri From Paris, Sebastien Tellier, Cornelius and A Mountain Of One. First release $15 tickets are available through Resident Advisor.

I:CUBE TOUR CANCELLATION Unfortunately, the esteemed French producer I:Cube will not be touring Australia in September, meaning his gig at the Civic Underground, which was slotted for September 1, has been cancelled. Gilbert Cohen, who partners I:Cube in Chateau Flight, sent the touring company, Future Classic, the following message. “We are profoundly sorry to announce that I:Cube has had to cancel his forthcoming Australian tour. Some unfortunate family news has deeply affected his personal life and forced him to reconsider his priorities, resulting in the cancellation of several dates of his ongoing tour, including his four Australian dates. We will do our best to reschedule the dates as soon as possible.” Tickets to all shows will be refunded. 38 :: BRAG :: 476 :: 20:08:12


Following on from this weekend’s Late Nite Tuff Guy bash, the Picnic crew have revealed details of their next party on Saturday November 17 at Oxford Art Factory, which will feature a headline slot from PillowTalk in their debut Australian performance. The San Franciscan trio, comprised of Sammy D, Ryan Williams and Michael Tello, have released EPs on Visionquest, Life & Death and Wolf + Lamb, and will be playing a three-hour show that encompasses both their live band performance and a DJ set. Simon Caldwell and Kali will be throwing down in support, with $40 presales available through Resident Advisor.

The self-proclaimed “German techno machine”, Alex Bau, will headline Swarm at The Gladstone Hotel on Regent Street on Friday September 7 in his maiden Australian performance. Bau has worked and collaborated with pivotal techno artists such as Chris Leibing, Pfirter, Florian Meindl, Mark Broom and Brian Sanhaji, and released on such labels as CLR, Zenit, Sino, Toneman, and his own label Credo. With a sound that traverses the deep, dark and gritty side of audio alchemy, Bau will make his Australian debut with the objective of bringing “loads of bass for the people!” Bau will be supported by Mookie, Martin Stace, Scott Kilpatrick, Vic Zee, Abel, Oliver Gurney and Andrew Wowk over two levels. Presale tickets and further info can be found at


A new weekly Friday night party, Deep Frydays, launches on Friday September 7 at The Eastern in Bondi Junction. As the name infers, the event is slanted towards deep house, with the promoters proclaiming that Deep Frydays will “satisfy the fussiest of clubber, thanks to a great respect we have for the full spectrum of deep house: past, present and future.” The launch party features a DJ lineup boasting Simon Caldwell, Kato, KoolAde and Oliver Gurney, before the Bondi FM crew take to the decks the following Friday.


Hip Hop party Freshly Squeezed returns on Friday August 31, in its new home at The Annandale Hotel. To mark the momentous occasion, a lineup comprising an array of Australia’s finest established and up-and-coming hip hop acts has been assembled. Headlining the night is Elefant Traks representatives Ozi Batla (The Herd) and Sky High. There will also be a solo performance from Daily Meds frontman P.Smurf, and sets by Jackie Onassis and Crochet Crooks.

Todd Terry


New York house don Todd Terry will headline The Goldfish in Kings Cross on Friday September 7. Terry is renowned for classic cuts like ‘A Day In The Life’, ‘Weekend’ and ‘Can You Party?’, in addition to his releases under the monikers The Todd Terry Project, House Of Gypsies and Royal House. He’s also built up a formidable back catalogue of remixes over the years with reworks of SNAP, Annie Lennox, George Michael and Björk, not to mention his remix of Everything But The Girl’s ‘Missing’, which gave the husband and wife duo their biggest hit. When asked by an online rag recently to pinpoint something from his illustrious career that makes him particularly proud, Terry responded, “Probably being one of the first guys to really put a hip hop and house fusion together.” 

BRAG :: 476 :: 20:08:12 :: 39

Live Solution Drunk, Loud And Rowdy At Shows? Pretty Gross, Actually. By Zoë Radas


ost of us have experienced the horrors of a booze-filled crowd. Things can swing from fun to foul quick-smart if fans don’t know their limits – or if they intentionally breach those limits just for the sake of getting too loose. The broad issue of binge drinking is receiving a bunch of press, especially at the moment – Kings Cross, we’re looking at you – and there’s been public discussion all across the country aiming to illuminate both the catalysts and the ramifications of the problem. Mushroom Group – Australia’s largest independent music company, which takes in Frontier Touring, and record labels like Ivy League, Illusive and Liberation – has teamed up with the Australian government for Live Solution, an initiative which utilises the vocal might of members of the music industry who consider the matter close to their hearts. “There are so many awesome established artists who’ve put their hand up and said, ‘Yes, I’ll straight-up talk about this,’” says Melbourne hip hop icon, Mantra. Eloquent to the point of practically creating an impulsive speech-rap in a few sentences, Mantra is passionate about his involvement. “From my point of view, it’s great to see my hip hop contemporaries involved – Pez, Bliss N Eso, Illy. It’s an issue at hip hop shows, like it is at any live show: there’s a lot of binge drinking and rowdy behaviour. We encourage people having a really good time and getting a bit loose and letting it all hang out, but there’s

a difference between that and straight-up destructive and disruptive behaviour. “More dangerous than the drinking itself is the kind of mentality behind it,” he continues. “The importance people place on alcohol; the associations between alcohol and being out at a live gig – it’s very common on a cultural level in Australia.” Joined by the star punch of Cameras and Stonefield, among others, Mantra will be sharing the message through live shows, workshops and social media. Michael Gudinski, chairman of the Mushroom Group, speaks warmly of the Australian live music scene, deeming it “one of the best ... in the world”. He credits the musicians, wellmanaged venues and ardent live music fans with the scene’s incredible health and verve. “Binge drinking has never added anything to this world, and never will,” Gudinski says simply. “The Live Solution program recognises this, and provides a powerful way for young Australians to do the same.” Mantra is especially fervent about working with Mushroom Group. “They’re using the powerful forum that they have in the music industry to [speak about] things that are important to our society in general; not just the music industry, but our community and our culture. I’ve been involved in a number of projects with them, a bunch of workshops over the last couple of years in schools, promoting the themes of respect and responsibility towards others. The projects which they’re doing are really good,

really noble.” It’s interesting to contemplate the artists’ take, as they survey the fans at their own shows. Mantra says that even in a crowd of thousands, you can immediately pick where the problem pockets of an audience are from your place on the stage. “I think in any music scene, the vast majority of people are peaceful and considerate as punters. There’s a small amount of people that get carried away and let things like alcohol get the better of them. And it’s just sad, because that can totally screw up a whole gig; not just for the crowd, but for the artist themselves. If that kind of negative stuff happens, it can totally mar the whole event for you.”

And who wants to be responsible for ruining the gig experience for both artists and their supporters, or for indirectly encouraging others to binge drink by letting them get away with it? Look out online for the discussions and events coming from Live Solution’s participants over the coming months, and get involved. Check to see what the Live Solution artists think about the program. You can also win a gig in your hood, and there’s info on how to stage a live music event, with free advice from music industry experts.

Nina Las Vegas We Love House Parties By Alasdair Duncan


ina Las Vegas has long been a staple on the triple j airwaves, thanks to the Saturday night free-for-all that is her House Party program. This month sees the release of her debut House Party compilation, a two-disc set of fresh indie party tracks with a couple of classics mixed in. But putting this set together proved significantly more challenging than she expected. “With my mixes for the radio show, I can do whatever I want,” she explains. “I can cut songs, mix them in whatever ridiculous way I want; I can put in bootlegs that I’ve found online, anything at all.” So the formalities involved in putting a compilation album together were a bit of a shock to her system. “I was a bit naïve to it all – I mean, I knew I’d have to get permission for everything, but I had no idea the extent I’d have to go to. It was a bit of a learning curve, but I’m extremely proud of what came out of it.”

well, we get so many festivals these days that everyone forgets about group club shows. There’s so much energy to them. The shows are selling out, which is really exciting too. I’m going to play as much as possible in an hour and a half, or however long I have – we’re still working out the details and who will go where, but there’s going to be a lot of really exciting stuff going down. It’s going to be a very high-energy experience.”

Ozi Batla Freshly Squeezed By Krissi Weiss

The track listing for the House Party compilation features an abundance of the kind of indie dance bangers that fans of the radio show have come to expect. The first disc delves deep into electro and house, with names like Parachute Youth, Totally Enormous Extinct Dinosaurs, Van She, Miike Snow and The Presets, while the second has a little more of a hip hop flavour, including selections from M.I.A, Missy Elliott and Diplo. Las Vegas tells me that her ultimate aim when creating the track list was to capture a moment in time. “This album is really for this winter,” she tells me. “There are classic songs on it, songs I play all the time on House Party, but it’s really about right now.” Indeed, if you’ve been to a festival or listened to the radio in 2012, this set will probably hit numerous sweet spots for you.


hannon Kennedy, better known as Ozi Batla, has blazed a trail in the Oz hip hop scene with a strong focus on his Sydney community – all the while retaining a strong social consciousness. It’s a concern that’s always taken the form of action rather than mere rhetoric for Kennedy, whether it’s through charitable contributions, work as a spokesperson, or facilitating and mentoring up-and-comers in the scene. Alongside that is his persistent contribution to the genre, via The Herd, the dub-fuelled Astronomy Class, and last year’s solo release, Wild Colonial – not to mention his tireless work as co-founder of local hip hop label Elefant Traks. After a short period of recovery following a serious bike accident last Christmas, Kennedy has been keeping himself busy. “I’ve been up at the Tiwi Islands with The Herd at the local high school up there,” he says. “I was in Indonesia before that, and then before that I was touring with The Herd again. I haven’t spent much time in my own house, which is pretty cool. I’ve also been trying to work on some new material as well, which I think will take a different direction. I’ve been working with an old band of mine for the Young Writers’ Festival up in Newcastle.”

Aspiring producers often send Las Vegas their material in hopes of getting it played on House Party, although she insists that the best way to get a track on the show is via triple j’s Unearthed platform. “The dance music community on Unearthed is growing, and I’ve made some great discoveries there,” she says. “Flume is a favourite, and Woof Woof and Grey And Patrice are both killing it.” As for the kinds of tracks she seeks out, Las Vegas tells me she’s always up the look-out for up-and-coming female producers, and avoids anything that’s too overtly sample-based. “If you’re learning to make beats, then fine – but there comes a point when you have to start making your own,” she says. “Likewise, there are quite a lot of people getting really caught up in the Skrillex brostep vibe, which is cool, but it’s not new, and I’m really keen on hearing new stuff …” In support of the compilation’s release, Las Vegas is all set to embark on a national tour with some of her bestest House Party buds in tow. “It’s Flume, Beni, What So Not, Deacon Rose and me all hitting the road together for this tour,” she says. “I really think that it’s exciting because, 40 :: BRAG :: 476 :: 20:08:12

What: triple j’s House Party mixed by Nina Las Vegas is out now With: Flume, Beni, What So Not, Deacon Rose Where: triple j’s House Party @ The Hi-Fi When: Friday August 24

Under his solo moniker, Kennedy is once again joining the Freshly Squeezed lineup at The Annandale. “It’s gonna be a bit of a promotion for the Inner West Festival that’s coming up as well,” he says of the evening. “The last couple of Freshly Squeezed events have been really good; I played last year and I’m back to give them a hand. P. Smurf has been arranging it for a couple of years to celebrate Sydney hip hop. They normally try to have some younger artists alongside some more established artists, to get some exposure for the new crews.” With a history of politically-charged lyrics, and never one to shy away from voicing

his opinions on matters of local and global importance, I ask Kennedy whether, considering the dire state of our political environment, his passion could give way to apathy over time. “It’s hard not to get exhausted with the state of Australian politics,” he says. I suggest to him it feels like the left has become right – and I don’t even know what the right is now... “The right is further right than Genghis Khan,” he laughs. “I suppose the difficult thing is finding fresh ways of approaching it, and different ways of contributing. We’ve got different Elefant Traks artists that work in social services, and we put our hands up to support fundraisers. It’s looking at finding different angles to approach it from, and being more selective with what we get involved in to make sure there are gonna be real outcomes.” With last year’s Wild Colonial showing yet another face of Kennedy, he explains why, with his hectic schedule, he feels the need to have a solo project going as well. “It’s a chance to be a bit more personal, tell some stories that don’t fit on the other stuff. There was at least one song on my solo record that Astronomy Class didn’t want to put on our record, so it gives me a chance to explore a bit more,” he says. He finishes up with a vague timeline of when his fans can expect to hear his latest offering: “The Elefant Traks roster is pretty full of releases this year, so even if it was ready I wouldn’t be getting [another record] out this year,” he says. “But I’m hoping to get a single out at least by the end of 2012.” With: Sky’high, P. Smurf, Jackie Onassis, Crochet Crooks Where: Freshly Squeezed @ The Annandale Hotel When: Friday August 31

Deep Impressions Underground Dance And Electronica with Chris Honnery

Stefan Goldmann


ioneering German producer and Deep Impressions poster boy Stefan Goldmann will release a new album, 17:50, through his very own Macro label next month, a follow up to his peerless The Transitory State LP. Macro has been described as “the leading avanttechno label”, an apt epithet for a clique that consistently produces interesting/ completely-off-the-wall (in a good way) variations on the sounds one usually hears peddled by techno producers. Such innovation can be traced back to the vision of Goldmann and fellow Macro founder Finn Johannsen, who each mixed a disc of the retrospective Macro compilation, Macrospective, which dropped at the end of last year. Goldmann’s penchant for dancefloor abstraction can be attributed in part to his mixed Bulgarian and German heritage, and the fact that he apparently grew up listening to pieces that “sound a little wack to Western ears”. Heavily influenced by traditional music, it is no surprise that Goldmann remains one of the last genuine analogue men in an increasingly digital age, with 17:50 constructed “from scratch” using only analogue gear. On the basis of album preview snippets that have been posted online, Goldmann’s creativity is in full flow on 17:50, which is apparently “as much about pitch going crazy as about unleashing a rough, vivid hardware sound.” The album presser ends with what could be Goldmann’s mantra: “Bend the pitch and the mind will follow” – anyone who has heard Goldmann’s cut ‘The Maze’ will surely agree. Detroit luminary Kenny Larkin, a chap who has released on labels like Submerge, Planet E, Peacefrog, and Rush Hour, and remains as relevant today as he was 10/15 years ago, will play at The Spice Cellar on Saturday September 15. While Larkin’s 1994 debut album Azimuth is commonly regarded as one of the better dance albums of modern times, he has consistently reminded dancers that he ain’t lost his Midas touch by crafting some of the Margaret Dygas

Kenny Larkin better club cuts of the last few years; from his collaboration with Shlomi Aber, ‘Sketches’, and a rollicking remix of Radio Slave’s ‘I Don’t Need A Cure For This’, to one of the party tunes of this year, a remix of Kevin Saunderson’s ‘Future’, Mr Larkin has demonstrated that he is a veteran who can still show the legions of pretenders how to set a dancefloor alight. Now something that brings me huge relief: you can be a lawyer and also enjoy a residency at infamous Berlin superclub, Berghain. For the proof that these seemingly irreconcilable variables can be managed as part of a functioning lifestyle, look no further than Mr Norman Nodge, a “lawyer and a family man” who has managed to also hold down a residency at Berghain since it opened its doors in 2005. (Although to fully verify that such a balancing act can be achieved, one would have to speak with Nodge’s Monday morning clients...) While Nodge goes out of his way in interviews to emphasise that techno is a parttime gig for him, be wary of the old fox underselling himself. For instance, Nodge played a key role in putting the likes of Marcel Dettmann and Marcel Fengler on the map many moons ago, and though he drifted in and out of DJing in clubs during the early noughties, he remained an avid record collector during his period of hibernation. If one takes Nodge at his word, then he must surely be the world’s most proficient part-time DJ, as he has been selected to helm the next instalment in the Berghain mix canon, Berghain 06. The tracklist for Nodge’s compilation traverses cuts from Jeff Mills, Mokira, and Mark Broom, along with experimental bits from Oni Ayhun and recent tracks from Legowelt, Architectural and Ctrls (one half of Northern Structures). You’ll be able to hear how a career as a lawyer impacts on one’s techno sensibility when Berghain 06 drops in late October – and furthermore, if you run into trouble with the authorities next time you’re in Berlin, you now know who to call…





Steffi Goodgod Small Club

SATURDAY SEPTEMBER 15 Kenny Larkin The Spice Cellar

SATURDAY NOVEMBER 3 Margaret Dygas Greenwood Hotel

Deep Impressions: electronica manifesto and occasional club brand. Contact through BRAG :: 476 :: 20:08:12 :: 41

club guide send your listings to :

club pick of the week Jody Wisternoff

Chinese Laundry, Sydney

Jody Wisternoff (UK), Too Fresh, A-Tonez, Night Dimension, Tones, Athson, King Lee, Luke Warren, DJ Rubz, Spook + Jem Quinn Y A D R U SAT

AUGUST 25 MONDAY AUGUST 20 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 Jazz DJs free 7pm

TUESDAY AUGUST 21 Empire Hotel, Kings Cross Tight Resident DJs free 9pm Establishment, Sydney Rumba Motel Salsa DJ Willie Sabor free 8pm Scruffy Murphy’s, Haymarket Bounce free 10pm Trademark Hotel, Kings Cross Coyote Tuesday Residents DJs 8pm The World Bar, Kings Cross Jam Pablo Calamari, Jonno, Mike D free 8pm

WEDNESDAY AUGUST 22 The Argyle, The Rocks Danny de Sousa, Morgan free 6pm The Bank Hotel, Newtown Vogue #2 – Soul Train Claika Khan, Doofus, Earth Wind & Fire & Del 9pm 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 Lansdowne Hotel, Chippendale Frat House DJ Alley Cats free 8pm The Marlborough Hotel – Cellar Bar, Newtown Student Night DJ Pauly free 9pm

42 :: BRAG :: 476 :: 20:08:12

Sapphire Lounge, Kings Cross Cream Resident DJs free 8pm Upstairs Beresford, Surry Hills The Pharcyde (USA), Computer Jay (USA), DJ Vickone (USA) $47 sold out 8pm The World Bar, Kings Cross The Wall Redial, Autoclaws, Pablo Calamari and Kween G, Mitch Lowe, Singha, Brothers Greimm, Deckhead, Archaic Brothers $5 9pm

THURSDAY AUGUST 23 The Argyle, The Rocks Kristy Lee, DJ Georgia free 6pm The Cool Room, The Australian Brewery, Rouse Hill We Love Thursdays Starfuckers DJs 9pm Goldfish, Kings Cross Gelato Natalie Conway, Fantine Pritoula, Richard Sanford, Joshua Beagley, Maurice Suckau 9pm GoodGod Front Bar, Sydney Girls Gone Mild Hanna & Eliza Reilly free 8pm The Greenwood Hotel, North Sydney The Greenwood Thursday Nights Resident DJs free 8pm Gypsy Lounge, Darlinghurst Naked Resident DJs 9pm Kit & Kaboodle, Kings Cross Resident DJs free 8pm Q Bar, Darlinghurst Hot Damn Hot Damn DJs 9pm Sapphire Lounge, Kings Cross Turnt Up Thursdays Nacho Pop, Leon Smith 8pm The Village, Potts Point Salt #002: Audio Visual Odyssey Moonchild, Whitecat, Skeleton Collective, Zyklus, TGMN free 8pm

The World Bar, Kings Cross Propaganda Urby, Conrad Greenleaf, Ping Pong Tiddly, Dan Bombings, Jack Shit free (student)-$5 9pm

FRIDAY AUGUST 24 Abercrombie Hotel, Broadway Totally Barry Bad Barry DJs free 9pm The Argyle, The Rocks Argyle Fridays Phil Hudson, John ‘The Owl’ Devecchis free 6pm Beach Road Hotel, Bondi Movement Fantine, Mrs Bishop free 8pm Brass Monkey, Cronulla Radio Ink $17.85 7pm Burdekin Hotel – Underground Floor, Darlinghurst Significant Others Trinity, MSG, Significant Others, Tezzel, DJ Hamish free 9pm Candys Apartment, Kings Cross Liquid Sky 2busy 2kiss, Chickflick $10-$15 9pm Cargo Lounge, King St Wharf Kick On Fridays Resident DJs free 4pm Chinese Laundry, Sydney Boss Bass Boy Kid Cloud (UK), Pop The Hatch, Autoclaws, Kombat, Hydraulix, Bruxism, Who Am I $15-$25 10pm Civic Underground, Sydney The Seed 2.0 Resident DJs 9pm Cohibar, Darling Harbour Gimme Five Shamus, DJ Anders Hitchcock free 9pm Epping Hotel Flirt Flirt DJs free 9pm FBi Social @ Kings Cross Hotel Robopop – Urban Classics Fran Damme, T-Rompf, Kill The Landlord, Erectro free 11.30pm GoodGod Front Bar, Sydney Yo Grito! Yo Grito! DJs free 9pm Goodgod Small Club, Sydney

$15-$25 9pm

Slow-Blow Disco Inferno Rocco Raimondo, Softwar, DJ Dreamcatcher, DJ Junglesnake $10 11pm The Hi-Fi Sydney, Moore Park Triple J’s House Party Nina Las Vegas, Beni, Flume, What So Not, Deacon Rose sold out 7.30pm Home Nightclub, Darling Harbour Sublime Peewee Ferris, MC Suga Shane, Matt Ferreira, John Young, Flite, I.K.O. 9pm Ivy Changeroom, Sydney Love Gun Fridays Tina Turntables, The Apprentice & Hooligan 8pm Jacksons On George, Sydney DJ Ivan Drago DJ Rain Julz free 9pm Kit & Kaboodle, Kings Cross KK Fridays Falcona Agency DJs 8pm The Marlborough Hotel – Cellar Bar, Newtown DJ Simon Laing free 9pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm Oatley Hotel We Love Oatley Hotel Fridays free 8pm Omega Lounge, City Tattersalls Club, Sydney Unwind Fridays DJ Greg Summerfield free 5.30pm Oxford Art Factory, Darlinghurst Hot Kandi sold out 8pm Pontoon, Darling Harbour Perfect Resident DJs free 9pm Sapphire Lounge, Kings Cross Mr Casanova Competition Final Dim Slm, Troy T, Danny Simms, DJ D, Def Rok, Tony Shock, DJ La, Bobby Digital, Steve S 8pm Space Nightclub, Sydney Zaia DJ Coone $65-$75 (+ bf) 10pm The Spice Cellar, Sydney Jimmy2Sox, Marcus King, Morgan, James Taylor $10 10pm Trademark Hotel, Kings Cross Eve Resident DJs 9pm The Watershed Hotel

Bring On The Weekend! DJ Matt Roberts free 9pm The World Bar, Kings Cross MUM Royal Blood, Little Napier, Babaganouj, The Guppies, Flwrgn, Kilter, Wolfden DJs, Helmut Uhlmann, MUM DJs $10-$15 8pm Zink Bar, Cronulla Far Out Friday Derek Turner 7pm

SATURDAY AUGUST 25 Abercrombie Hotel, Broadway Strange Fruit Strange Fruit DJs free 9pm The Argyle, The Rocks Hustle DJ Liam Sampras, Elly K, DJ La Vida free 6pm Arthouse Hotel, Sydney Flirt Flirt DJs $10 9pm BJs Nightclub, Bondi Junction DJ Shane Taylor 10pm Burdekin Hotel – Dug Out Bar, Darlinghurst EK Vol 001 Mr Belvedere, Jeremiah, Hubert, Oh Dear free 10pm Candys Apartment, Kings Cross Ritual Pretty Young Things, Sherlock Bones $20 9pm Chinese Laundry, Sydney Jody Wisternoff (UK), Too Fresh, A-Tonez, Night Dimension, Tones, Athson, King Lee, Luke Warren, DJ Rubz, Spook $15-$25 9pm Civic Underground, Sydney One Night Stand Late Night Tuff Guy aka DJ HMC $20 10pm Club 77, Darlinghurst Starfuckers Starfuckers DJs 10pm Cohibar, Darling Harbour Yellow Sox Candidate free 9pm Establishment, Sydney Sienna – Ladies Night Resident DJs 8pm The Factory Theatre, Marrickville Shake Down Reggae Gold 2012 Egasm, Flimpee, Kween Q, AfricanEssence,

Judgement, Aregradah, Kwame, Richi $15 10pm Goldfish, Kings Cross Fred Everything (CAN), Hannah Gibbs, Mars Monroe, 2 Phat Jackin DJs, Johnny Gleeson, Tom Kelly 6pm Goodgod Small Club, Sydney Player Haters Ball – TLC Tribute Alphamama, Shantan Wantan Ichiban, Joyride, Levins $10 11pm The Green Room Lounge, Enmore Vinyl Solution DJ Nic Dalton free 7pm The Hi-Fi Sydney, Moore Park Illy, Chasm $25 (+ bf) 7.30pm all-ages Home Nightclub, Darling Harbour Homemade Saturdays Resident DJs 9pm The Imperial Hotel, Newtown Wild Thing Killyjoy vs Bint, White Knuckle Fever, The Johnny Pockets, God K, Axis, Madame B & Austin $10 9pm Ivy, Sydney Ivy Saturdays Minx, Matt Nugent, Chris Fraser Baby Gee, Ember, Max Bon De Viere,, Elly K, Crazy Caz, Joe Red $20 8pm Jacksons On George, Sydney DJ Simon Laing free 9pm Kit & Kaboodle, Kings Cross Kitty Kitty Bang Bang Isbjorn, Mr Belvedere, David Neale, Playmate, Devola, Pat Ward, Handsome, Kristy Lee 8pm The Marlborough Hotel – Cellar Bar, Newtown Resident DJs free 9pm Metro Theatre – The Lair, Sydney Sunrise Chester, Paul Holden, Nik Fish, Aladdin, Tom-E, Spellbound, Peter Tribe, Jim James $20 (+ bf) 10pm Midian, Marrickville Turtle Recall – Clash Of The Crews R.E.G.E.N, Frequency Lab, Foreign Dub, M.W.A, James & The Dub Table, Kael & The Belly Dance $10 8pm Nevada Lounge, Darlinghurst


club guide

up all night out all week . . .

DJ Hayden free 6pm Nevermind, Darlinghurst Swagger Swagger DJs 10pm One22, Sydney Bad Apple Ben Ashton, Jack Fuller, Whitecat, Antoine Vice, Samron, Dan Baartz, Morgan, Manjazz, Gemma, Van D $10 10pm Oxford Art Factory, Darlinghurst Girlthing Sveta, Kristy Lee, Girlthing DJs, Cunningpants, NatNoiz, BenLucid free-$20 9pm Secret Warehouse, Sydney People Must Jam Leo Zero (UK), Pete Dot, Matt Trousdale, JMS $20-$30 10pm Soho, Potts Point Usual Suspect Presents One Love Mobile Disco John Course, Nukewood, Oakes & Lennox, Here’s Trouble, Danny Lang, Taylor Wolf, Elly K Kid Crookes, Micky P, Pete Deraz 10pm The Spice Cellar, Sydney Spice Gabby, Murat Kilic, Robbie Lowe, Mike

Whitcombe, Steven Sullivan $20 10pm The Watershed Hotel Watershed Presents… Skybar $20 9pm The World Bar, Kings Cross Cakes Blaze Tripp, Lenno, Adam Bozzetto, Pablo Calamari, Cassette, Oakes & Lennox, DJ Rabble, The Mane Thing, Compound DJs, Ohw Party, Tokolshe, Temnien $15-$20 8pm

SUNDAY AUGUST 26 Abercrombie Hotel, Broadway S.A.S.H Sundays Mike Monday, James Taylor, Chris Honnery, Andy Hitchcock, Matt Weir, Kerry Wallace $10 2pm The Argyle, The Rocks Good Life Sundays Random Soul, The Vibe free 4pm

The Beresford Hotel, Surry Hills Beresford Sundays Resident DJs free 3pm Goldfish, Kings Cross Martini Club Tom Kelly, Straight Up Steve 6pm Hugo’s Lounge, Kings Cross Sneaky Sundays DJs 8pm Kit & Kaboodle, Kings Cross Easy Sundays Resident DJs Oatley Hotel Sunday Sets free 7pm Q Bar, Darlinghurst Daydreams Daydreams DJs 4.30am Sapphire Lounge, Kings Cross Sapphire Sundays J Smoove, Resident DJs 8pm The Spice Cellar, Sydney Spice After Hours Robbie Lowe, Murat Kilic $20 4am The Watershed Hotel Afternoon DJs DJ Matt Roberts 4pm The World Bar, Kings Cross Soup Kitchen Sundays Manjazz, Deli, Junior, Cutlet free 7pm



send your listings to :

11:07:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999

club picks redbull thre3style final



up all night out all week...

10:08:12 :: Metro Theatre :: 624 George St Sydney 9550 3666

The World Bar, Kings Cross The Wall Redial, Autoclaws, Pablo Calamari and Kween G, Mitch Lowe, Singha, Brothers Greimm, Deckhead, Archaic Brothers $5 9pm Upstairs Beresford, Surry Hills The Pharcyde (USA), Computer Jay (USA), DJ Vickone (USA) $47 sold out 7pm


Chinese Laundry, Sydney Boss Bass Boy Kid Cloud (UK), Pop The Hatch, Autoclaws, Shudder x Bass Riot, Hydraulix, Bruxism, Who Am I $15-$25 10pm

The Spice Cellar, Sydney Jimmy2Sox, Marcus King, Morgan, James Taylor $10 10pm

SATURDAY AUGUST 25 Civic Underground, Sydney One Night Stand Late Night Tuff Guy aka DJ HMC $20-$30 10pm

FBi Social @ Kings Cross Hotel Robopop – Urban Classics Fran Damme, T-Rompf, Kill The Landlord, Erectro free 11.30pm

Goldfish, Kings Cross Fred Everything (CAN), Hannah Gibbs, Mars Monroe, 2 Phat Jackin DJs, Johnny Gleeson, Tom Kelly $20 6pm

Goodgod Small Club, Sydney Slow-Blow Disco Inferno Rocco Raimondo, Softwar, DJ Dreamcatcher, DJ Junglesnake $10 11pm

Goodgod Small Club, Sydney Player Haters Ball – TLC Tribute Alphamama, Shantan Wantan Ichiban, Joyride, Levins $10 11pm

The Hi-Fi, Moore Park Triple J’s House Party Nina Las Vegas, Beni, Flume, What So Not, Deacon Rose sold out 7.30pm

The Hi-Fi, Moore Park Illy, Chasm $25 (+ bf) 7.30pm all-ages One22, Sydney Bad Apple Ben Ashton,

Jack Fuller, Whitecat, Antoine Vice, Samron, Dan Baartz, Morgan, Manjazz, Gemma Van D $10 10pm Secret Warehouse, Sydney People Must Jam Leo Zero (UK), Pete Dot, Matt Trousdale, JMS $20-$30 10pm

strange fruit



The Pharcyde

11:08:12 :: The Abercrombie Hotel :: 100 Broadway Ultimo 9211 3486

The World Bar, Kings Cross Cakes Blaze Tripp, Lenno, Adam Bozzetto, Pablo Calamari, Cassette, Oakes & Lennox, DJ Rabble, The Mane Thing, Compound DJs, Ohw Party, Tokolshe, Temnien $15-$20 8pm

SUNDAY AUGUST 26 Abercrombie Hotel, Broadway S.A.S.H Sundays Mike Monday, James Taylor, Chris Honnery, Andy Hitchcock, Matt Weir, Kerry Wallace $10 2pm



The Village, Potts Point Salt #002: Audio Visual Odyssey Moonchild, Whitecat, Skeleton Collective, Zyklus, TGMN free 8pm


BRAG :: 476 :: 20:08:12 :: 43




up all night out all week . . .

sash sundays


10:08:12 :: World Bar :: 24 Bayswater Rd Kings Cross 9357 7700

kate simko & chloe harris


12:08:12 :: The Abercrombie Hotel :: 100 Broadway Ultimo 9211 3486

mike witcombe


11:08:12 :: Civic Underground :: 388 Pitt St Sydney 8080 7000



11:08:12 :: The Spice Cellar :: 58 Elizabeth St Sydney

10:08:12 :: Whaat Club :: 20 Bayswater Rd Kings Cross

It’s called: triple j House Party Tour It sounds like: Your favourite Saturday night radio show, triple j’s House Party, bringing your fave triple j tunes and mixing them with new club joints and party jams. Acts: Nina Las Vegas, Beni, Flume, What So Not, Deacon Rose. Three songs you’ll hear on the night: Herm itude – ‘HyperParadise (Flume Remix)’; Major Lazer – ‘Get Free feat. Ambe r (What So Not Remix)’; Kanye West – ‘Mercy (RL Grime & Salva Remix)’ And one you definitely won’t: Nina singin g Killing Heidi’s ‘Weir’ – but if someone brings a guitar...? Sell it to us: An exciting club night with some of the best Australian producers going around, all in the ONE ROOM! The bit we’ll remember in the AM: How sweat y and all of us behind the decks are gonna make you’ll get. It’s going to be rammed, you work. Crowd specs: People that aren’t afraid to dance to songs they know and some they don’t. Good dance music lovers, you know? Where: The Hi-Fi / The Enter tainment Quart er, Moore Park When: Friday August 24

44 :: BRAG :: 476 :: 20:08:12

the cool room


party profile

triple j house party


BRAG :: 476 :: 20:08:12 :: 45


hump wednesday


up all night out all week . . .

same old scene


08:08:12 :: The Ranch Hotel :: Crn Epping & Herring Rds Eastwood 9887 2411

bass mafia

10:08:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999


10:08:12 :: The Standard :: 3/383 Bourke St Darlinghurst 9331 3100 PICS :: AM



09:08:12 :: World Bar :: 24 Bayswater Rd Kings Cross 9357 7700




11:08:12 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587

10:08:12 :: Strike Bowling :: Lvl 4 Mandarin Centre Crn Albert & Victor St Chatswood 46 :: BRAG :: 476 :: 20:08:12





N I T I N SAW H N E Y +++++


‘ T H E E V E N I N G C A N O N LY B E


D E S C R I B E D A S M A G I C A L’





J O I N U S O N FA C E B O O K ‘ M U S I C AT T H E H O U S E ’


The Brag #476  

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