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Niche and Acclaim proudly presents

FRANCE and special guests

REMi ( Melb ) / Simon Caldwell

friday 19th July Oxford Art Factory Tickets available now through



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rock music news welcome to the frontline: what’s goin’ on around town...with Nick Jarvis and Natalie Amat

speed date WITH

BRENDAN HARVEY OF JACKSON FIREBIRD What Do You Look For in a Band? 1. Dirty, sweaty, turbo charged, fuel injected rock’n’roll! We like to play the above… We like a fan that likes the above…and especially a fan who owns a couch! Keeping Busy We have been busy over the past 2.  few months… In March we headed

Best Gig Ever Man… Where to start? There 3. are a shitload that come to mind, one that I would put down as a fave would be our second show of the 2011 Bluesfest in Byron. As we

Current Playlist I have actually been smashing a lot 4. of early Pantera into my ears of late. That shit never gets old to me. It takes me back to when I saw them tear apart the Adelaide Entertainment Centre many, many moons ago with so much aggression. R.I.P. Dimebag. Your Ultimate Rider Ultimate rider, hey! We’re pretty easy 5.  going blokes and don’t need much so maybe just a FULL slab of cans. At the moment we are just happy with a few beers before and after the show. Oh yeah, and Dale’s multicoloured Anal Beads. What: Black Cherry at the Factory Theatre When: Saturday July 20


EDITOR: Nick Jarvis 02 9212 4322 ARTS EDITOR: Lisa Omagari 02 9212 4322 STAFF WRITERS: Benjamin Cooper, Alasdair Duncan, Jody Macgregor NEWS: Nick Jarvis, Chris Honnery, Natalie Amat ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Katrina Clarke, Capital H AKA Henry Leung, Ashley Mar, Amath Magnan, Pat Stevenson ADVERTISING: Ross Eldridge - 0422 659 425 / (02) 9212 4322 ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 PUBLISHER: Rob Furst GENERAL MANAGER, FURST MEDIA: Patrick Carr, (03) 9428 3600, 0402 821 122 DIGITAL DIRECTOR/ADVERTISING: Kris Furst (03) 9428 3600 GIG & CLUB GUIDE CO-ORDINATOR: Mina Kitsos, Blake Gallagher, Therese Watson, Rachel Eddie - (rock) (dance, hip hop & parties) AWESOME INTERNS: Natalie Amat, Mina Kitsos, Blake Gallagher, Rachel Eddie, Therese Watson, Charli Hutchison REGULAR CONTRIBUTORS: Nat Amat, Shannon Connellan, Katie Davern, Marissa Demetriou, Christie Eliezer, Chris Honnery, Lachlan Kanoniuk, Jody Macgregor, Alicia Malone, Chris Martin, Hugh Robertson, Jonno Seidler, Rach Seneviratne, Simon Topper, Rick Warner, Krissi Weiss, David Wild Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 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: Luke Forrester: 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 Furst Media P/L ACN 1112480045. All content copyrighted to Cartrage P/L/ Furst Media P/L 2003-2013 DISTRIBUTION: Wanna get The Brag? Email distribution@furstmedia. or phone 03 9428 3600. PRINTED BY SPOTPRESS: 24 – 26 Lilian Fowler Place, Marrickville NSW 2204

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It’s this Saturday – HTRK, Twerps, The Laurels, Beaches, Super Wild Horses, Straight Arrows, Songs, Holy Balm, Day Ravies, Client Liaison, and Shining Bird all playing from midday onwards at Carriageworks for $35, plus a whole bunch of DJs and vinyl stores at which to bolster your collection and ruin your credit card. See you there!

Beyoncé Beyonc é


Matthew Bellamy and buddies are coming! Their new album The 2nd Law will be out Friday September 28 through Warner, and they’re bringing it to Allphones Arena on Friday December 13 – stayed tuned for the ticket announcement.


Australian alt-rock royalty Adalita has been making people weak at the knees as the frontwoman of Magic Dirt for 22 years, and her solo debut collected the AIR prize for Best Independent Record two years ago. So we’ve been waiting anxiously to see what she’ll come out with next, and the first track off her new solo effort, ‘All Day Venus’, is a welcome return to rock swagger. See for yourself when she brings her new tunes to Goodgod on Saturday August 3 – tickets through Oztix.


Hooray! Brizzy long-hairs Violent Soho have a new studio album, Hungry Ghost, ready for release on Friday September 6. Before that comes the first single, blistering track ‘In The Aisle’, and the announcement of three intimate album preview shows on the east coast of Australia this August. Catch them on Wednesday August 14 at Brighton Up Bar with Bearhug.

Parkway Drive


So in case you’ve been avoiding all media and human contact for the past week, you might like to know that this October we will all get to bask in the refracted glory of the closest the world has to a living deity, Beyoncé (all hyperbole fully intended). Catch the Mrs. Carter World Tour (I wonder, will Hov’s next tour be the Mr Knowles Show?) at Allphones Arena on Thursday October 31 – tickets are on sale at 10am this Friday July 19, and unless we’re very much mistaken you’ll probably want to act quickly.


The Vans Warped tour is finally returning to Australia for the first time since 2002. AJ Maddah (the man behind both Soundwave and Harvest) is bringing the tour back, saying fans shouldn’t expect a lineup as gargantuan as Soundwave, as “Warped is about mayhem & DIY punk rock spirit [while] SW is about delivering a slick and orchestrated day of performances.” Headlined by The Offspring and The Used, the 2013 Warped tour will also include Parkway Drive, Simple Plan, New Found Glory, Hatebreed, Tonight Alive, H2O, The Summer Set, Kids In Glass Houses, We Came As Romans, Man Overboard, Crown The Empire, The Dangerous Summer, For All Those Sleeping, Veara, Mallory Knox, Anarbor and Rdgldgrn. It all goes down in Sydney on Sunday December 1, reportedly at Barangaroo, subject to council approval. (Could they be letting thousands of punks inside the construction site for Packer’s new mega-casino?) Tickets on sale 9am Thursday July 18 from the Warped website.

Jackson Firebird photo by Cybele Malinowski

over to the USA to showcase at SXSW, which was an absolute blast. We were over there for three weeks and managed to squeeze in some shows in Canada and lay down some recording time in Austin, Texas. Returning home we shot around doing a few shows before heading out on the road with The Superjesus on their national tour. Next up we’re co-headlining Sydney’s Black Cherry Rock’n’Roll event along with Regular John and a bunch of rad bands. Shit is gonna get crazy!

fired up we had Kram appear dancing like Elvis on the stage where a bass player or third band member would stand. He was on fire, pulling out all the stops, then towards the end of the set he collapsed on the stage from exhaustion, or maybe too many beers. You can make up your own mind on that one. To have a dude dancing on our stage that we both looked up to growing up, that was rock’n’roll!

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rock music news

free stuff

welcome to the frontline: what’s goin’ on around town...with Nick Jarvis and Natalie Amat

speed date WITH


RHYECE O’NEILL OF GRETA MOB hoping to get these guys up to Sydney soon. It was our first trip to Melbourne as a band and the Tote were very supportive of us, they took a punt on an unknown band on the strength of our live show and our music. We partied ‘till the wee hours and were clued up on heaps of underground Sydney bands from the ’80s and 90s by an older punk guy who came to see us. It was a really great night, I was booked to do a Westernsynthetics (my electronic/dub project) show in the city straight after the Tote show but I got out of it because somebody split beer all over my computer. It was great because I couldn’t be assed playing dance music at that moment. Current Playlist On the stereo: The Deadly Hume; Dead 4. China Doll; Psychlops Eyepatch; The Preatures;

What Do You Look for in a Band? A steady income, loves yoga, must have 1. rich parents, votes Liberal, looks and sounds like Coldplay, resides on the North Shore, is male, is adored by Kyle Sandilands. We really think that Skrillex and deadmau5 are pushing the boundaries of electronic music. Nu-metal never died. Brostep is where it’s at. Mumford & Sons have been really floating our boat shoes of late and Wolfmother are the most important band since Black Sabbath. Andrew Stockdale is a genius, he really can set women free that guy. What a legend. Busy Our management has advised that we 2. Keeping


Singer-songwriter Vance Joy has had a ripper week – he’s just gone gold with his single ‘Riptide’ and his Friday August 30 show at Oxford Art Factory has sold out – luckily, he’s added another show at the same venue on Thursday August 29, act quickly for tickets through Moshtix.


The other half of Pnau with Nick Littlemore, Peter Mayes has also had a hand in producing for Empire of the Sun, Ladyhawke, Teenager, Lost Valentinos, Van She, Mercy Arms…basically an incredible selection of fine Australian musical talent. He’s playing a stack of DJ sets around Sydney over the next few weeks, but the best place to see him gratis is at Sosueme at the Beach Road Hotel, Bondi, this Wednesday July 17. You’re welcome.


Underage fans of falsetto-loving English indie band Everything Everything will be pleased to hear that their Splendour sideshow at the Metro on Saturday July 27 has now been made all ages, with support coming from local party starters Clubfeet and Vydamo. Tickets on sale now from the Secret Sounds website.

grow beards and move to Surry Hills. This has been taking up most of our time. In between beard grooming and house-hunting we’ve been researching the works of Patti Smith, Rosa Luxemburg, The Deadly Hume, PJ Harvey, Georg Lukács, David Lynch and Lightnin’ Hopkins. We have been writing a lot of new songs and are ready to hit the studio very soon. Not before we get that sick pad on Crown St though. Best Gig Ever Headlining the iconic Tote Hotel in 3. Melbourne was a childhood dream come true for us. We played with some fabulous Melbourne bands, Jack on Fire and Buried Horses. We’re

and angelic-voiced Maples, before sweating it out with DJ Clockwerk and friends at Hands Up! later on.


Reggae lovers Revolution Incorporated have a wonderfully oxymoronic name and a killer live roots and reggae sound, which they’ve put on record for their first single launch on Friday October 11 at the Beach Road Hotel, Bondi. Before then, you can skank it up thoroughly with them at the Old Manly Boatshed this Thursday July 18 and at the Coogee Bay Hotel on Sunday July 28.


Erskineville’s purveyors of “wry, understated guitar pop” (as Mess and Noise described them), Restless Leg, have just given birth to their debut self-titled album, and they’ll be wetting its head with Community Radio and Silo this Saturday July 20 at Brighton Up Bar. $10 on the door gets you in.

The Jones Rival; Rockethead; Mark Pritchard; Face Command; Anomie; Scattered Order; Crooked Fiddle Band; God K; Broadcasting Transmitter; The Laurels; Spencer P Jones and the Nothing Butts. Gigs: Spencer P Jones at The Midnight Special; Einstürzende Neubauten at The Enmore; A Place To Bury Strangers at Oxford Art Factory; Dead China Doll supporting Boris at Manning Bar; Scattered Order at The Red Rattler. Ultimate Rider What’s a rider? 5. Your What: Greta Mob with The Jones Rival, Psychlops Eyepatch and The Preatures DJs at FBi Social When: Friday July 19


Kieran Ryan (formerly of the much lauded, but short-lived indie rock duo Kid Sam) is planning ahead for his tour, and you can too – he’ll be playing at Goodgod on Saturday September 7. But to tide you over until then he’s released the new single ‘Are You A Conspirator’ from his self-titled album. It’s a sweeping yet simple ballad recalling The Triffids or The Panics (he worked with drummer Myles on the record, along with other local musos), which will warm the long winter nights until spring, that mystical and fickle season, finally arrives.


Conversations With Ghosts, the collaboration between troubadour/rad dude Paul Kelly, composer James Ledger and recorder virtuoso Genevieve Lacey will be released IRL by ABC Classics on August 9. What began as a series of concerts in 2012, featuring pieces based on the poetry of W.B. Yeats, Judith Wright and Kenneth Slessor among others, performed by Kelly, Ledger and Lacey, along with musicians from

Super Massive


Indie-folk three piece Little May like delicately picked guitars, little-voice vocals and billowy skirts, and you can get acquainted with them via the free ‘Boardwalks’ single they’re giving away at, or when they play the Vanguard on Thursday August 8.


BRAG is presenting the Oxford Art Factory sideshow of very pretty indie boys Palma Violets. They remind us a bit of The Libertines, and not just because they’re sweaty straight boys who look like they might make out at any minute. For a chance to win one of three double passes, just tell us what instrument Chilli Jesson was holding when they were on the cover of NME.


The dream girls of every blues-rock loving dirtbag from here to Detroit are playing Oxford Art Factory on Thursday July 25 and BRAG is presenting – for the chance to win one of three double passes just tell us what kind of car they’re driving in the ‘Gonna Make My Own Money’ clip.


We’re also presenting the sideshow by snot-nosed LA skate punks FIDLAR, who hit Oxford Art Factory on Wednesday July 31 – for the chance to win, just tell us what FIDLAR stands for.


Get your headbands ready – everyone’s favourite ‘Radar Detector’ is set to hit our shores later this month. Darwin Deez plays The Standard on July 30 – for the chance to win one of two double passes just tell us the name of your best/most bizarre dance move.

the Australian National Academy Of Music, has become an atmospheric 12-track release alongside a run of reprisal performances. There haven’t been any Sydney dates announced as of yet, so you’ll just have to imagine your lounge room is the Concert Hall and play the CD really loudly instead…


Melbourne muso Shelley Segal has a pretty diverse resume, from a chart-topping dance hit with Carl Cox to releasing An Atheist Album. Now she’s collaborated with American jazz guitarist Adam Levy (Norah Jones) on the album Little March, which fuses jazz, blues and folk and is a truly international feat – written in New York, then recorded in Los Angeles with producer Husky (Fiona Apple, Tom Waits) and now touring Australia. Playing shows in support of the slinky single ‘Stuck In The Memory of You’, the duo roll into Blue Beat in Double Bay on Thursday August 1. Tickets and more info at bluebeat.


Longstanding music legend David Bridie is taking his acclaimed new album Wake around the country right now with new band The Pills, comprising his old Not Drowning, Waving compatriot John Phillips and Motorcade’s Eden Mulholland. Catch them at the Clarendon Hotel in Katoomba on Thursday July 25 and the Basement on Friday July 26, as well as Lizotte’s in Newcastle on Sunday July 28.

Josh Moriarty AKA Miami Horror has gathered a bunch of buddies for a new ‘vintage pop’ band project that “takes the visceral thrills of Camus, Hitchcock and the Doors then drag them onto the cover of a future edition of Vogue magazine.” All The Colours have a few singles doing the YouTube rounds (including the excellent ‘Love Like This’), a debut album due in September, and you can catch them live launching their new single ‘Shame’ at Oxford Art Factory on August 29.

Phil Spector may be an unparalleled weirdo and convicted killer with a penchant for guns and making his wife drive around with a life-size Phil Spector mannequin in the passenger seat of her car, but goddamn if he didn’t produce some of the greatest pop songs of all time. Celebrate Spector’s Wall of Sound technique and the best of Stax and Motown at Brighton Up Bar this Friday night when Twist & Shout returns - $5 on the door.



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Not going to Splendour? Whatever! We’ve got you covered with a swag of sideshow tickets that you can win by emailing freestuff@ and answering the questions below!



This week’s offerings kick off with unsigned artist of the month Tim Fitz brightening lunchbreaks on Wednesday July 17, then Thursday sees Hailer and Mezzanine supporting The Mohawk Lodge, (mohawks encouraged but not essential). Get down on Friday for the Greta Mob’s single launch, and if you’re early you’ll catch party starters The Jones Revival tearing shit up alongside Psychlops Eyepatch, with a sneaky DJ set from The Preatures. Take it easy on Saturday when folk blog Mellow Gold presents Boy & Bear man Tim Hart, chalk artist/muso Dustin Tebbutt, local folksters The British Blues



Super Massive AKA singer Malina Hamilton-Smith and Glenn Abbott (of Machine Gun Fellatio) are back after a couple of years in the studio, wielding a new single that sounds like a Bond Theme (‘In The Twilight’) and an upcoming gig at FBi Social with Great Apes on Saturday August 3.

Sludgy post-metal band Lo! are back home after touring overseas in support of their sophomore release (the epicly titled Monstrorum Historia), and they’re taking over Spectrum this Saturday July 20 with their mates High Tension and Totally Unicorn (whose name is a bit misleading, they’re in fact totally not unicorns). Reportedly “accustomed to devastating audiences night after night” (in a good way), as an audience member, prepare to have your “face melted.” Sounds legit. Tickets will be available on the door, plus there are more details at, if you need ‘em.

U R T N i B S F over 35 acts across 4 stages!



SECRET GUESTS & MORE FBI FAVOURITES TO BE ANNOUNCED! MIDDAY - 10pm SUNDAY SEPTEMBER 8  "#$%'(')*+,./+267"9$:/2;.,,<)=');>/:       ???@:/2)*J2<@6<K BRAG :: 521 :: 15:07:13 :: 9

Industrial Strength Music Industry News with Christie Eliezer


for Soundwave… Laneway Festival put up a blog with five breakthrough picks including Factory Floor, XXYYXX and HAERTS, whom we can assume could be on the bill. * A 22-year-old man who crowd-surfed naked at a Kings of Leon show in Birmingham got a tweet from drummer Nathan Followill, “Hey, Birmingham sausage man, if you’re on Twitter, DM me. We owe you a beer.” * Slipknot singer Corey Taylor returned from a European holiday to his home in Des Moine to find $36,000 worth of equipment had been stolen. He told police he suspected it was a “friend”. Some of the guitars, including two that belonged to late bassist Paul Gray, were recovered in music stores. * Kylie Minogue’s managers are concerned that a scene in the upcoming INXS TV mini-series includes the yarn that she and Hutchence fucked under the blankets on a first class Qantas flight. A source told the London Sun, “Kylie’s people have been making enquiries about the script and her depiction. They have no legal standing or

* Fuzzy, the folks behind Parklife, Field Day, Shore Thing and Listen Out are bringing Harbourlife back this year. It’s on Saturday November 23 at Fleet Steps Mrs Macquarie’s Point. The lineup will be announced soon. * Techno star Juan Atkins’ tour had to be postponed to either August or October as he landed himself in hospital with food poisoning. The Melbourne show will go ahead with Phil Kieran and Funk D’Void playing extended sets. * Canberra’s Foreshore festival is axed for this year, while spring’s Hype was cancelled even before acts were announced as promoter John Dennison reckons the climate in Oz is too unstable: “Hip hop festivals in a mess!” * The Roots tweeted that they’ll be in Oz this year…  Triple M’s entertainment reporter Nui Te Koha revealed that Pearl Jam are negotiating to return early next year… Nine Inch Nails are looking strong


Shop’ is the biggest with a record breaking 5.56 million downloads, with Pink’s ‘Just Give Me A Reason’ with 3.5 million.

Alberts management company have signed writer/producer/musician Jean Paul Fung, 25, who produced debut albums for Last Dinosaurs and Glass Towers and worked with the likes of Birds of Tokyo, Jinja Safari, Art Vs Science and Little Red. Deep Sea Arcade are now managed by Michael Chugg. Added to Select Music’s roster are internationally renowned Lenka (‘The Show’) and Melbourne’s Olympia, who is opening on Josh Pyke’s national tour.

The A Day On The Green winery shows have two new co-naming sponsors, AAMI insurance and Sunsuper superannuation fund. The deal was brokered through brand agency Waterfront for ADOTG promoter Roundhouse Entertainment. The two companies will gain benefits for their customers.

Brothers In Arms is the longest running #1 album at 34 weeks followed by Adele’s 21 with 31 weeks. Longest running Australian albums were Delta Goodrem’s Innocent Eyes with 29 weeks then John Farnham’s Whispering Jack (25 weeks). U2 notched up the most amount of #1 albums in Australia with 11, followed by Madonna (ten), Jimmy Barnes (nine), Bon Jovi (nine) and Farnham (eight). Madonna and Kylie have the most #1 singles (ten each), Black Eyed Peas and Delta (eight each) and Eminem and Pink (seven each).





At the midway point for 2013, Justin Timberlake’s The 20/20 Experience is by far the biggest selling album in the USA. It’s sold two million copies, well ahead of Bruno Mars’s Unorthodox Jukebox (985,000), Mumford & Sons’ Babel (884,000), Blake Shelton’s Based On A True Story... (703,000) and Imagine Dragons’ Night Vision (692,000). Of digital singles, Macklemore & Ryan Lewis’s ‘Thrift

ability to demand any changes, but they are insisting it is handled respectfully… The passionate scene is thought to be more suggestive than explicit.” The series also reportedly reveals that INXS manager Chris Murphy was furious when he heard that his singer was dating the pop singer, saying it was not good for his image. * Lantern Hotel Group now own music venue The Crown in Surry Hills. * Liquidators of the Peats Ridge festival, Worrell, reveal that $1.3 million is not accounted for, and notified the Australian Securities And Investment Commission (ASIC). * A second Jagwar Ma Sydney show was added on August 4 at The Standard after the first sold out. The duo was hailed by the NME as the #1 Must See Act at Glastonbury. * All 800 tickets at City and Colour’s two clubs shows in Sydney and Melbourne have sold out. * Sydney community station Hope 103.2 raised $792,632 in their radiothon.

The ARIA charts celebrated their 30th year last week, and ARIA revealed some interesting statistics. Coolio’s ‘Gangsta’s Paradise’ remains the longest running single at #1 with 13 weeks, followed by Eminem’s ‘Lose Yourself’ (12 weeks). Of the longest running Australian singles, Austen Tayshus’ ‘Australiana’, Savage Garden’s ‘Truly Madly Deeply’ and Gotye’s ‘Somebody That I Used To Know’ tie at eight weeks. Dire Straits’

Just when you thought Daft Punk couldn’t get any bigger, there comes the news we’ll get six-inch action figures this year. Thomas Bangalter and Guy-Manuel de Homem-Christo, who supervised the designs, are dressed in Random Access Memories attire. The figures, with seven sets of interchangeable hand parts, can be seen at item-1000081552.


Mike ‘Fitzy’ Fitzpatrick, one of those who helped bring Triple M up the ratings all along the East Coast, is now the head of the Triple M network. Jamie Angel will continue in his role as the 2MMM Content Director.


Just Announced

The Mavericks (USA) For The Fallen Dreams (USA) Fri 23 Aug


Fri 20 Sep — All Ages

Spit Syndicate Sat 2 Nov


Coming Soon



This Week

Fri 4 Oct

Saint Vitus (USA) & Monarch! (FRA) Fri 19 Jul

D-Block & S-te-Fan Sat 10 Aug

Anberlin (USA) Sat 7 Sep

Haim (USA)

Wed 24 Jul

Nejo Y Dalmata (PUR) Fri 26 Jul

Blues & Groovesfeat. Phil Emmanuel Fri 16 Aug

Stratovarius (FIN) Fri 25 Oct

Airbourne Sat 27 Jul

Alexander Abreu & Havana D’ Primera (CUB)

Fri 6 Sep

Hits & Pits 2.0 feat Black Flag (USA ) + The Ataris (USA) + Bad Astronaut (USA) Sun 17 Nov


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After the success of Pink’s pop up store in Melbourne, Sydney gets one to coincide with her lengthy run at the Sydney Entertainment Centre. It will be within The Lair of the Metro Theatre on George St from Sunday July 28 to Sunday August 11. It has limited edition merchandise not available at the shows and interactive exhibits including props and costumes for photo opps. To avoid long queues go to pinkpopupstore. and nominate a time. Pink’s truly awesome shows in Melbourne – generally regarded as the best show for 2013 even at the midyear mark – has seen fans flock to the Melbourne store, leading to its being extended another week to July 21.

In a possible world first, promoter Kingdom Sounds and ticketing platform GiggedIn, are testing a new way to run a tour. For the return visit in November by US band The Red Jumpsuit Apparatus, fans will decide which six cities they’ll play November 7 to 15. They go to redjumpsuit.giggedin. com and pledge to buy a ticket. Deadline is Thursday August 8. The six cities that get the highest number of pledges “win”. The fans are only charged if their city wins. Aside from the capital cities, other choices include Geelong, Toowoomba, Byron Bay, Gympie, the Gold Coast, Port Macquarie, Wollongong, Canberra, Bendigo, Newcastle, Armidale, NSW Central Coast, and Mona Vale.


Brisbane singer-songwriter Robbie Miller, 23, won the triple j Unearthed and National Indigenous Music Awards. He flies to Darwin to perform alongside Gurrumul, Kahl Wallace & Jindhu Lawrie from The Medics, Shellie Morris and Kutcha Edwards at the NIMA Yothu Yindi tribute concert and awards on August 10. Stephanie Carrick, Executive Producer of triple j Unearthed, says “We now have

over 650 tracks from artists who identify as Indigenous on which is enormous growth in the last year.”


Peter Garrett was presented with a Fellowship of The Australian Institute of Music in Sydney for his outstanding contribution to the music industry. The honour was bestowed after the Oils frontman’s keynote address at the school during the inaugural TILT (Tomorrow’s Ideas Leading Today) forum. Garrett’s 20-minute speech emphasized that creativity would solve many of the music industry’s woes – and that this creativity had to be nourished through school education when the “drive to create” was the most powerful. Of other points made: the internet has given an immense accessibility to music communities of like-minded folks but must be harnessed for the sake of social engagement (Ianto Ware, national live music coordinator for Sounds Australia); acts need to “go where the social networks are…you need to think global” (Thomas Heymann, managing director of Deezer, Australia & NZ); build a fan base via the internet and get them to make a noise about you (Gizmodo Australia’s Luke Hopewell); harness the immense and growing power of consumers because “as listeners, we are given the power to shape music as everything we click on and everything we watch can be seen as a ‘vote’” (head of Foxtel’s digital department of music, Danny Yau); and the potential for online streaming services as a solution to turn “casual music lovers” into “real obsessive music lovers” (Colin Blake, CEO of Rdio Australia).


Entries are open for the Music category in the 2013 Qantas Spirit of Youth Awards and close at 2pm on Tuesday August 6. Open to musicians of any style aged under 30, they get $5,000 in Qantas flights to anywhere in the world (last year’s winner Caitlin Park went to New York for the CMJ Music Marathon), $5,000 cash and a mentorship with producer/ songwriter Lee Groves. See au. First held in 2004, the Qantas SOYAs have recognised kyü, Oh Mercy, My Disco, Wolf & Cub and Young & Restless.

Lifelines Hospitalised: country star Randy Travis suffered a stroke and had surgery. Injured: Mariah Carey dislocated a shoulder while filming the video for a remix of ‘Beautiful’ directed by her husband Nick Cannon. Arrested: a man who allegedly threatened Taylor Swift on Facebook and then attended a concert with posters reading “I luv you” and “Taylor Swift is with Satan.” He told cops, “Taylor Swift is Satan,” and that “6,000 years is six days and death comes on the sixth day, so Taylor Swift is in danger.” Jailed: one of the men involved in a botched plot to rob (of £1 million they thought was in her safe) and murder singer Joss Stone, for 18 years. Jailed: Lauryn Hill began serving a three-month prison sentence in Connecticut for failing to pay about $1 million in taxes over the past decade. It’s a minimumsecurity prison, so she’s living in open dormitory-style living quarters and will work jobs such as maintenance, food service or landscaping. In Court: in a lawsuit between Lady Gaga’s one time collaborator Wendy Starland and the singer’s former boyfriend and producer Rob Fusari over credit in discovering her, Gaga has filed legal documents asking the court to seal certain info, saying it was “sensitive, private, and personal.” Died: Brazilian rapper MC Daleste, 20, after being shot on stage near Sao Paulo, by a member of the crowd who didn’t like what he was singing about.



BRAG :: 521 :: 15:07:13 :: 11

Love and Death in Bangkok I Introduction by Nick Jarvis


anish director Nicolas Winding Refn has built a career on gritty, morally complex films, mostly about male anti-heroes – bad men getting themselves into worse situations. You might have seen the Pusher trilogy, Bronson or Valhalla Rising, but you’ve almost certainly seen 2011’s critically lauded Drive. Its slick neo-noir style, zeitgeist-riding synth soundtrack and, of course, the troubled gaze of Ryan Gosling (complete with Scorpion jacket and toothpick) propelled it to the top of many annual Best Films lists. Winding Refn’s follow-up to Drive’s cult success is Only God Forgives, and the fact that he’s worked once more with Gosling led many to label it a sequel-of-sorts – this couldn’t be further from the truth. While both films are incredibly tense, highly stylised and graphically ultra-violent (Only God Forgives even more so – it’s not a film to see before a rare steak dinner), Winding Refn’s new film about Muay Thai, murder, karaoke and the World’s Worst Mother (played with relish by Kristin Scott Thomas) exists in surreal dreamscape where the line between fantasy and reality is fluid. Is it a moral tale set in purgatory? A stylised take on classic kung fu film plots? Or an empty homage full of blood and screaming, signifying nothing?

“One of my main influences was my obsessive desire to tangle with Greek mythology, with Bangkok as the backdrop.” 12 :: BRAG :: 521 :: 15:07:13

One thing is for certain – the film has divided audiences and critics alike. When it premiered at Cannes, audiences at press screenings reportedly booed and walked out, while the Sydney Film Festival Jury awarded it the prize for best film. Blogger Jeffrey Wells called it, “a shit macho fantasy — hyper-violent, ethically repulsive, sad, nonsensical, deathly dull, pretentious,” while the Guardian’s Peter Bradshaw gave it five stars and said, “Winding Refn’s bizarre infernal creation, an entire created world of fear, really is gripping. Every scene, every frame, is executed with pure formal brilliance.” Masterpiece or monstrosity? You’ll have to make up your own mind, but here’s what Nicolas Winding Refn has to say… After the great success of Drive, why did you decide to make a medium budget film in Thailand? Medium budget is an understatement. It’s more a very low budget film. It all started with my two-picture deal with Wild Bunch and Gaumont. Only God Forgives was going to be our first collaboration. Then Drive came along so I decided to make it and postpone Only God Forgives. But the film was so firmly rooted in me that I had to make it. So even while I was making Drive I was preparing Only God Forgives. Having revisited the American crime picture you wanted to revisit the martial arts genre. Is this a general love of genre movies? I’ve always loved martial arts films but thought it would be extremely difficult to make one, particularly since I wanted the actors to learn Muay Thai and fight for real. It takes a lifetime to learn the art of Muay Thai and I wanted the actors to learn to fight in eight weeks. Just that was a challenge in itself. You had many offers from major studios. Why did you turn them down? I was indeed offered some financially very interesting propositions that I seriously looked into but Only God Forgives had haunted me for too long, I had to get it out before I could seriously consider other projects.

Your film begins as a gangster movie then gradually turns into a strange revenge film. Can you tell us where this story – very reminiscent of Greek tragedy – came from? I’ve always wanted to make a film about a mother/son relationship and its conflicts. I wanted the film to begin in one genre and gradually transform into something else as the final showdown between mother and son approaches. Only God Forgives marks the second time you’ve worked with Ryan Gosling. Can you describe this new collaboration? How would you describe his character? Another actor was supposed to play Julian but pulled out close to shooting. Now I consider this a blessing because it allowed Ryan and me to continue our collaboration. Oddly, I’d written the screenplay before I made Drive and Julian had been conceived as a very silent character. When Ryan and I started to work on the script after Drive this language of silence came naturally, which was very useful since Julian is an extremely tortured character – he never goes towards others but withdraws into himself. With hindsight I can’t imagine another actor playing this role. But again, Ryan and I are practically one. For the part of the strange policeman/ avenger you chose Vithaya Pansringarm. Can you talk about your collaboration? Casting in Thailand was extremely complicated because actors there don’t really have theatrical training. They tend to be people who have decided to become actors while holding down another job. I was very lucky that during this open casting (itself a real challenge in a city of 12 million inhabitants) Vithaya miraculously appeared at the beginning. I met him a year and a half before shooting and knew he was the one. I can’t tell you why exactly because his tests weren’t remarkable, but there was something in him – his kindness and his calm – yet I knew he would be unpredictable, which I always find interesting. In all my films, the actors always play a large part in the creation of the characters, they really are part of their DNA, and Vithaya

quickly understood that his character was judge, jury and executioner in one – a man with the ability to decide what is good or what is evil. He was able to bring to the character exactly what I was looking for, the ability to control a kind of karmic justice. For each bad thing you do, something bad will come to haunt you in return and he is the one who decides to haunt you or to forgive you. Kristin Scott Thomas is totally transformed and extremely Machiavellian. How did you work that? We are so used to seeing crime and violence as being the work of male characters that the very notion of seeing a woman embody absolute evil – and a mother to boot – it was great fun to write. I had Kristin in mind for the part of Julian’s mother early on. We met in Paris and I thought it would be very interesting to do a combination of Lady Macbeth and Donatella Versace… And of course Kristin was delighted to be acting a part in which she could go all out playing the ultimate bitch. Yet it was very important that we made her character larger than life, she needed that to be able to play this domineering and diabolical mother. What were your influences for this film? There were a lot of different influences that led to different ideas. One of the main ones was the work of Richard Kern and his obsession with violent images, in particular his short movie The Evil Cameraman (1990). And there was also my obsessive desire to tangle with Greek mythology, with Bangkok as the backdrop… How do you relate Only God Forgives to your other films? Everything I do comes from the need to challenge myself, every time. Of course there are connections with my other films and characters, but years ago I decided to stop trying to understand why I do things so I could follow my instincts – what do I want to see when I go to the movies? What: Only God Forgives Dir. Nicolas Winding Refn When: In cinemas Thursday July 18

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Feel The Rapture By Alasdair Duncan


thereal synth pop duo MS MR met when they were both students at the elite liberal arts college Vassar, but it wasn’t until they moved to New York after graduation that they began making sweet music together. Producer Max Hershenow was studying dance at the Martha Graham School while singer Lizzy Plapinger was running the record label Neon Gold. “I started making music on the side,” Hershenow explains, “so I emailed Lizzie to ask if she had any artists who’d be interested in working with me. She replied immediately and slipped her name into the list, and attached a track to the email. I found it really compelling, so we got together and instantly clicked.” Their musical chemistry was instant, but the pair had no desire to rush anything out. In fact, when their first single ‘Hurricane’ came out, they chose to remain anonymous, hiding behind carefully-cultivated imagery to let the music speak for itself. “We knew that we wanted to have a wealth of material before we revealed ourselves,” Lizzy Plapinger explains. “You see artists who have one great song but then realise they have nothing to follow it up with. We wanted it to be about more than just one song, we knew right from the start that we wanted to be able to prove ourselves with a bunch of great material. We wanted to have a clear sense of ourselves before putting ourselves in the public eye, and we spent a long time planning that.”

Max and Lizzy are always immaculately turned-out, and the visual elements of MS MR are all carefully and deliberately chosen by the pair. “We take the music very seriously,” she explains, “but we’re both visual artists, and we saw this as an incredible opportunity to create a world and an aesthetic around the music.” For a pop group signed to a major label, MS MR have an incredible amount of control over their image. “Every visual you see, whether it’s photos of us, videos, album and single artwork – everything you see comes from me and Max,” she continues. “We’re a hands-on DIY pop band at heart, and we feel incredibly grateful to have support from the label in terms of getting our releases out, and for the fact that they trust us enough to let us look after that side of it.” MS MR were last in Australia for the Laneway festival, and will return this month for Splendour in the Grass as well as several side shows – their Sydney performance will be their biggest headlining slot to date. “I hope we’ve grown and developed since we were there last,” Hershenow says. “We’re still a young band, but I feel like we’re getting bigger and better with every show. We’re more powerful on stage now, we have a proper set. Australia has supported us a lot, and we’re incredibly appreciative and thankful for that.” Where: Metro Theatre / Splendour in the Grass When: Friday July 26 / Saturday July 27 And: Secondhand Rapture out now through Sony

MS MR photo by Tyler Kohlhof

New York itself is vital to the sound and style of MS MR – in fact, Plapinger is adamant that their debut, Secondhand Rapture, could only have been made there. “We wrote the record in Max’s apartment, and embraced the street sounds around him,” she explains. “They’re all right there in the tracks. I definitely write most of my lyrics walking around the city. New York has an incredible community of artists of all mediums – there’s an incredible flow of ideas back and forth. The city’s so inspiring, but it’s one of those weird things where the city can be your best friend and your worst enemy. All of that helps to shape our relationship and the development of the music.”

“We’re both visual artists, and we saw this as an incredible opportunity to create a world and an aesthetic around the music.”

Saint Vitus Heavy, Man By Benjamin Cooper


just like wrestling, OK? I’m not going to make any excuses about that. I really love wrestling, and the rest of the band can get fucked.” Dave Chandler clearly doesn’t care what anyone else thinks, particularly the other members of his band. The guitarist of doom metal legends Saint Vitus is at home and enjoying a well earned break from touring. The rest of the band resides in sunny California, while the band’s guitarist prefers the hot and heavy climate of his native Louisiana. “I’m down in New Orleans at the moment, and I’ve got my feet up, watching as much wrestling as I can,” Chandler says. “Whenever we’re on tour – like the one we just came off – the rest of the band give me shit all the time because I love to watch wrestling. I just tell ‘em ‘fuck y’all. When I get home I’m gonna watch my wrestling non-stop, and there’s nothing any of y’all can do.’” The band was formed in 1978 under the name Tyrant, with Chandler on guitar, Mark Adams on bass, Armando Acosta on drums and Scott Reager on vocals. They changed to their current name in 1980, and were soon picked up by Black Flag’s Greg Ginn, who released their 1984 self-titled debut album on his label SST Records (Bad Brains, Descendents). After recording their sophomore Hallow’s Victim in 1985, as well as its follow-up EP The Walking Dead in the same year, Reager left the band. He was replaced in 1986 by Scott ‘Wino’ Weinrich of The Obsessed, and the

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Wino left the group in 1991 to focus on his work with The Obsessed, and after a five year period alternating between Chritus Linderson (Count Raven) and original singer Reager, the band went on indefinite hiatus in 1996. They reformed in 2003, with Wino on vocals, at a special one-off gig at Double Door in Chicago. Six years later the classic lineup again reformed, this time for a European tour that had its fair share of troubled times. It’s something of an understatement to say the band’s career has been tumultuous. Tension

within the group has been an ongoing concern, though not always about matters as trivial as wrestling and other recreational viewing preferences. Acosta left the group midway through the European tour in 2009, and was replaced by Henry Vasquez of Blood Of The Sun. A series of online outbursts from Acosta created bad blood between him and Chandler, that lasted until the former’s premature death the following November. Saint Vitus’s December Tour was dedicated in memoriam to their fallen colleague. The band’s interest in widespread touring again was sparked when they were asked to join the Metal Alliance Tour across North America in 2011, alongside fellow legends Helmet and Crowbar. “That was a lot of fun for us,” Chandler says. “We got to watch all these great bands like

Red Fang – those guys are awesome. We were watching them side of stage and just going ‘damn! This band is fucking great!’” Chandler is the first to admit that being acknowledged by their peers, and in particular younger bands, is still thrilling. “Oh man, we love bands citing us as influences,” he says. “Especially because everything comes and goes, but there seems to be a longer future in what we do than a lot of that thrashier stuff. One thing I do know is what we do means we can have all the fun we want. When we get down there we’re gonna fuck y’all up.” Where: The Hi-Fi with Monarch and Looking Glass When: Friday July 19

Saint Vitus photo by Audry Jarret

“One thing I do know is what we do means we can have all the fun we want. When we get down there we’re gonna fuck y’all up.”

band commenced their most industrious period of recording. Between 1986 and 1990 they released three albums: Born Too Late, Mournful Cries, and V.

Passion Pit They’ll Be Alright By Alasdair Duncan


evoted’ doesn’t even begin to cover it when it comes to Passion Pit’s fans. Anyone who has been to one of the band’s shows will have witnessed the hands-inthe-air abandon of the crowd, and joyful mass sing-along that inevitably breaks out during the chorus of ‘The Reeling’. “That sing-along is the best part of the show for us,” bassist Jeff Apruzzese says with a laugh. “I think that’s something we’ve maybe gotten a little spoiled from. It happens more and more these days, so if it doesn’t happen for whatever reason, we start to feel really down on ourselves and we think ‘oh no, that show sucked!’ We wonder why people didn’t sing along. But yeah, those are the best parts…we feed off the crowd’s energy, so when they give it to us, we give it back tenfold and play harder and better.”

Passion Pit’s music is all about contrasts – the joy of the arrangements and the beauty of singer Michael Angelakos’s falsetto against the despair of the lyrics. Around the time the band’s second album Gossamer was released, Angelakos opened up to Pitchfork about his ongoing struggles with mental health. The members of Passion Pit are old friends, and in light of this, I ask Apruzzese if he and the rest of the group feel the need to protect and look out for Angelakos, as well as being his band mates. He pauses to think about this for a second. “I’d say that we definitely got off to a rough start when we were touring this record,” he admits. “It’s getting better now.”

arranged. That pattern by itself is just out of control, then you add the other 120 tracks on the recording – the harmonies and all the keyboards. “You don’t want to be the band where, if a computer goes down, you have to stop playing. The only time we’ll use computers in the live show is to add the icing on the cake – we never use them as the main instruments.” The elaborate live show can sometimes wear on the band’s morale. “Oh yeah, it’s terrible!” Apruzzese says with a laugh. “I mean, we play these festivals with DJs and we get so jealous, because you see one person with a laptop, and they don’t have to worry about anything. They just get to hang out with their tour manager and relax, and then pull their laptop out. They get the same reaction that we get when we play our songs, but we’re dragging around 50 pieces of gear! We’re happy for it to be that way, though. We want everything to sound as good as, if not better than, the record.” Where: Enmore Theatre / Splendour in the Grass When: Saturday July 27 / Sunday July 28

“I think that for anyone who suffers depression of bipolar disorder, touring is one of the worst things you can do,” he continues. “When you’re missing out on sleep, when your environment is changing all the time and you’re shifting

“Michael Angelakos’s ability to put himself out there is really incredible… It’s hard not to feel a little uncomfortable, just because I know Michael and the people around him.” between time zones, that can be really detrimental to your health. It can put you on edge. At first, we were walking on eggshells – we were concerned for our friend, we wanted him to get through the tour.” Angelakos has figured out a regimen now – one that keeps him healthy and keeps him on the road – and Passion Pit are in a good place. “We all look out for him and for each other,” Apruzzese says. “We’re at the point now where we’ve grown up together, we’re all friends and we’re all here for one another.”

Passion Pit photo by Jason Nocito

Angelakos writes and arranges Passion Pit’s songs himself before presenting them to the rest of the band, and is unafraid to lay his troubles bare in the lyrics – take a song like Gossamer’s ‘Constant Conversations’, which would seem to be about an intervention that occurred at some point. Apruzzese says that it can be difficult hearing songs like these for the first time. “I remember hearing demos, and really wondering how literal everything was,” he says. “When we started rehearsing the song, I talked to Michael about it, and I have to say, his ability to put himself out there is really incredible. I mean, it’s hard not to feel a little uncomfortable, just because I know Michael and the people around him, and I know who the songs are about, but I think if anything, I think it’s great that he can just put all his troubles out there in these songs.” The arrangements on Angelakos’s songs are so intricate and multi-layered that learning them can sometimes be a challenge for the rest of Passion Pit. “We don’t like to rely on backing tracks or hire other musicians,” Apruzzese says. “We like to be a band. It’s tricky. I mean, we have a dozen keyboards between the five of us on stage, but we always get there.” As he tells it, Passion Pit never really have a finished version of a song – they have a rough version, which they’ll play in their sound checks until they are comfortable putting it in the show, but once it’s there, they’ll start to take it apart and re-learn it again. Of the new songs on Gossamer, the hardest to learn was ‘I’ll Be Alright’, which is all stop-start rhythms and neon synth squiggles. “The drums are insane on the record,” Apruzzese says. “They weren’t even played by an actual person. It’s a drum kit that was played then cut up and BRAG :: 521 :: 15:07:13 :: 15

Alpine Tea and Symphony By Jody Macgregor


lpine’s Phoebe Baker and Lou James harmonise so smoothly that they sound like sisters – more than sisters, they sound like twins. Their voices are almost too similar – by the last couple of songs on their debut album from last year, A is for Alpine, you find yourself wanting to hear a slip-up, an imperfection. But while the album’s two-part introduction ‘Lovers’ has the fingers of guitarist Christian O’Brien squeaking along the strings, you never hear the vocal equivalent. It’s all smooth. The vocal interplay of Baker and James makes you want to reach for the Bible in search of synonyms for heavenly or angelic. Alpine isn’t made up of angels though, just a group of regular people, who Baker says spend their time in the tour van “annoying each other,” “sleeping uncomfortably” and having “absurd conversations about nothing in particular,” as pretty much every band does. They also challenge each other to playlist competitions, like enthusiastic mixtape kids. While their studio recordings are mannered, neat and delicate, their enthusiasm comes across in their live show, which is messier and more jumpy. “Live, it is different because it carries a different energy,” Baker says. “Though we play true to the album we also like to crank it up here and there. I think the live sound is a bit more raucous and rock’n’roll, as clichéd as that may sound.”

genre. “I think the last one was ‘music from Martin Scorsese films’,” says Baker. “Very nice!” Although Alpine’s songs wouldn’t make a great fit for one of Scorsese’s crime sagas, their music is very soundtrackable. It’s more likely to be heard providing the backdrop to a love scene involving bicycles in an indie romantic comedy.

program Rage. But what would they play if they were? “We’d have to get nerdy for a month in preparation to find all the good ones. But if it were right now, I feel like Verve’s ‘Bittersweet Symphony’. It reminds me of growing up being glued to Video Hits or Rage dreaming of pop life. Classic walking and singing video.”

and “can’t wait to see them live and drink tea with them. Counting the days.” Of course, before that Alpine are on the bill for Splendour in the Grass, which will provide them with a few more opportunities to meet musicians they’re fans of…“most of all, probably, Mr James Blake. Maybe we too could have a cup of tea!”

The other thing they do to keep themselves occupied in the mystery van is coming up with music that suits the theme they’ve picked for the trip. It might be the music of a particular decade, or a specific

Their music videos have been a diverse bunch, as they’ve let different directors go their own way with each, which will make for good viewing when they get played back-to-back if Alpine are ever asked to guest

Alpine will be on the road again this year. As well as their show with Haim, they’re supporting Foals on the British band’s Australian tour. Baker says they were amazed to be asked, are huge fans of the band,

Right now Baker is working on several things before all that begins: her driver’s licence; a new recipe for guacamole (“more garlic!”); and some new songs. She calls the Alpine writing process a game of

“pass the parcel”, saying that the workload is distributed “fairly evenly. Though it more often than not begins in the palms of Christian and then is handed to us ladies and then to the lads and then it’s taken to rehearsal and jammed on.” Presumably that’s the point where they get the divine beings in to plan out the harmonies. Where: With Haim at Sosueme, Beach Road Hotel, Bondi / With Foals at the Enmore Theatre When: Wednesday July 24 / Saturday 28 and Sunday 29 September


Back at Work (work, work) By Krissi Weiss


xperimental rock duo HTRK formed in 2003 and enjoyed a steady and at times heady rise through the underground ranks. They developed a dedicated cult following of fans and musicians alike and, after releasing a string of EPs and their debut album Marry Me Tonight, seemed to be doing all the right things. Rowland S. Howard loved their music, Yeah Yeah Yeahs, Fuck Buttons and The Horrors each invited them to tour Europe, and they were enjoying a lot of love from indie media. Then in 2010, bassist and founding member Sean Stewart committed suicide. Whispers from outside the band suggested it was the end for HTRK, and yet in 2011 they delivered their most successful and impressive release to date, the album Work (work, work). Somehow, out of such jarring tragedy, they had become stronger than ever. These days, the duo of Nigel Yang and Jonnine Standish are back living in Australia after some time in the UK, Europe and the US. They seem happy to be back and are loathe to criticise Australia – a habit that seems to befall so many artists that return to our small continent. “At the moment I’m living in Sydney and I’m really into

it,” Yang says. “After four years in London, it’s really inspiring to be in a humid subtropical climate. I definitely needed to have left Australia to appreciate something as elemental as the weather. Being hyperaware of climate and its influence on mood has added a new dimension to how I think about music.”

set our stuff up in a makeshift studio in Greenpoint. It’s been great so far; this is the first record that we’ve written just the two of us. The album will come out some time in summer – it’ll sound good at that time of year, we wrote and produced all of the songs during various summers. Most of the album was written in Sydney.”

“I moved back to Melbourne in early 2012,” Standish adds. “I always find the music scene here at the end of the world interesting. Unique things can happen from insular scenes in far to reach places. It’s primal, welcoming, and full of humour. I have enjoyed running around the Melbourne dance scene again. The people are super cool.”

“We’re releasing the first single at the end of this year,” Standish adds. “Perhaps another Nathan Corbin directed music video, the sequel to the ‘Bendin’ video.”

The follow-up to Work (work, work) will be eagerly anticipated and highly scrutinised, in that love/hate way people appear to approach music with these days – but in the eyes of hardcore fans, it can’t come soon enough. Fortunately for them, HTRK plan on playing a number of new tracks at their At First Sight gig. “We’ve been recording our new album with Nathan Corbin in New York,” Yang says. “He’s in this band Excepter that we like. We already did some tracks with him last year in Santa Fe, so this is the continuation of that session. We’ve

“We had some really strong MDMA that day. We were trying to figure out how to use Ableton clips, struggling to focus on the screen. It’s a very fond memory.” 16 :: BRAG :: 521 :: 15:07:13

With their previous album a documentation of grief, written and partly recorded while Stewart was alive, this latest recording is cathartic in a different way. Standish and Yang have written purely as a duo (with some collaborative input) and under much more positive circumstances. The HTRK back catalogue is full of memories for the pair and they appreciate each record in its own right. “All of our releases still sound good to me,” Yang says. “I think they really capture what we were going through at the time. It’s usually not a big deal playing songs that we wrote with Sean. There is one song called ‘Body Double’ that affects me more than the others. I have a very vivid memory of writing that song with him in my tiny room in London. We had some really strong MDMA that day. We were really sweaty and wasted, trying to figure out how to use Ableton clips and soft synths. We were struggling to focus on the screen. It’s a very fond memory.” What: At First Sight festival and record fair at Carriageworks When: Saturday July 20



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August Burns Red The New Sound By Joshua Kloke

Nicholas Roy TV Ghosts By Jody Macgregor


alf the contestants on this year’s season of The Voice seemed to be newcomers with tragic back stories, while the other half were people who had already spent several years working as professional musicians but were looking for a boost to their career. While not as recognisable as contestants like Tim Morrison from Trial Kennedy or Abby Dobson from Leonardo’s Bride, Nicholas Roy was nevertheless one of the second kind, having spent several years gigging in and around Melbourne as a solo performer as well as producing music for others. Although his time on The Voice was limited – after impressing all four judges with a rendition of Glenn Hansard’s ‘Falling Slowly’ and joining Team Seal he was knocked out in his second battle – Roy doesn’t regret deciding to enter the competition. He describes the experience as “pretty positive” overall. “It was really interesting to see how it’s all put together and how what you see on television is nothing like what really happens behind the scenes,” he says. “There’s hours and hours of footage and it all gets cut down to 15 seconds. It has to be very two-dimensional, so your experiences, your life, your whole career has to be summed up in one sentence in order for it to come across in that TV format, which I found a bit challenging.”

The most important thing Roy says he got out of the experience was meeting other musicians who have spent years doing the independent thing, gigging around their hometowns and playing what we call “intimate” shows, i.e. small ones. Two of those other contestants, Jac Stone and Imogen Brough, will be supporting Roy when he launches his new single, ‘Ghost’. He’s had plenty of time to work on the song thanks to a contract all contestants on The Voice have to sign saying that they won’t release their own music for several months after leaving the show. “You have to wait a while and I guess that’s because Universal, they don’t want people releasing a glut of stuff when they’re trying to focus on the people who won or came second or third or whatever. So I can see their reasoning.” ‘Ghost’ is a pop song that, appropriately enough, is about how we simplify people so that we can understand them and then are surprised when we eventually realise they don’t fit in the convenient box we’ve built for them after all. “You know when you fall in love or have that connection with someone and you realise you’ve kind of made them up in your head?” he explains. “You love the idea of someone but maybe not the actual person. You get to know them and ‘you’re not the person I made up in my brain!’ It’s that sort of idea.” Where: The Factory Theatre with Jac Stone and Imogen Brough When: Friday July 19

The bassist for metalcore outfit August Burns Red spent most of his day in the sun, having drawn that day’s 2.30pm slot on the Warped Tour’s famous random set time lottery. Though Davidson and his bandmates had to endure the heat today, he still understands the merit of the setup. “You don’t find out when you’re playing until 9.30am that morning,” he says. “I understand why they do it. There are certain bands on the tour that have a bigger following than others, and for their fans to come out and watch them play in the evenings and then leave, that wouldn’t be too fair to anyone.” Equality and towing the party line have become something of a talking point as of late with August Burns Red, who’ve recently acknowledged on Rescue & Restore, their latest full-length, how banal and generic the genre has become. The band has even gone so far as to take other bands to task. Guitarist JB Brubaker called out other metalcore acts in a recent Alternative Press interview, stating that ‘Creative Captivity’, one of the more eclectic tracks, is “about how boring our genre has become and how we all need to try hard to break out of the slump that is currently plaguing metalcore.” When asked to clear up the “we” that Brubaker was referring to, Davidson states simply that it’s “anyone who wants to contribute to doing something creative and different.” August Burns Red has been criticised by the press for allowing their recent releases, including 2009’s Constellations and 2011’s Leveler, to lack

any diversity whatsoever. Evidently, this Pennsylvania five-piece has become one of the leaders of their genre, but still couldn’t move past its conventions. Eventually, something had to give. ‘Creative Captivity’ is one of the many leaps for the band, as it includes violins, Chinese harps and even trumpets. And as Davidson tells it, that song was just one of the many left turns the band felt compelled to take. “We want to do things differently to be different,” he states bluntly. “We don’t want to stick to the guidelines of metalcore: breakdown, riff, breakdown, chorus. That can get very old. We like to throw different things in there like whistles, trumpets, just to show other bands that you can indeed be different and really do your own thing.” Rescue & Restore is the sound of a band with a vision, but no clear idea where that vision will take them. Their future direction may be unclear, but the steps taken on Rescue & Restore are healthy and signal a band interested in expanding the genre as a whole. If nothing else, the more experimentation August Burns Red brings to their sound, the less time they’ll have to spend actually defining what genre they sit within. And that suits Dustin Davidson just fine. “I’ll be doing interviews with people, especially in Europe, and I get asked what genre we’re in. So I tell them metal, but they quickly disagree with me. They tell us we’re a metalcore band, so I always say, ‘Isn’t that the same thing?’ “I don’t think about it that often,” he continues in earnest. “I can see differences between punk and metal, sure, but between metal and metalcore, I honestly can’t hear a difference.” What: Rescue & Restore out now via Solid State/Shock

The Mohawk Lodge Warts And All By Patrick Emery


don’t know if you can see this from where you are, but this is where I recorded just about all of the last album,” says Ryder Havdale, guitarist, singer and song writing polymath of Canadian band The Mohawk Lodge. Havdale swings his computer around so I can see the view via the wonders of modern VOIP technology. It might be cold and dark in Melbourne at 7am when we make contact, but it’s a temperate and sunny afternoon in Havdale’s current location in Washington State, just south of the border with British Columbia. “I’m in a little cabin, and it’s pretty cool here. The ocean’s out there,” Havdale says, gesticulating into the distance. “And I don’t even have to pay rent, which is even better,” he laughs. Havdale formed The Mohawk Lodge about ten years ago when he decided to pull his proverbial finger out and write and record some of his own songs. “I was living in a place called The Mohawk Lodge, and I was taking this course on ‘what do you want to do with your life’, and I stood up and said ‘I’m going to record in the next three months while I’m at this place’,” Havdale says. Havdale had already played in a few local bands, though his talents weren’t always appreciated. “I’d actually been asked not to sing in one of the bands, so I took a few singing lessons and I started writing these songs, and it turned into The Mohawk Lodge,” he laughs. 18 :: BRAG :: 521 :: 15:07:13

In an interview a few years ago, Havdale described The Mohawk Lodge as “reformed maths rockers trying to write 80s hits.” It’s a description that sends Havdale into hysterics – and one that he still agrees with. “I was a huge Swervedriver fan, and then I got into Don Caballero, but I literally can’t listen to that anymore – I think I burnt out on that shit!” Havdale says. Havdale has also used his music to explore some of the darker times in his life, such as ‘Wrong Side of the Bars’, in which Havdale tells the story of a night in gaol after a brawl with his then bass player (whom Havdale had found in bed with his girlfriend). “I’d never been in the drunk tank before then, and that song is about how amazing it is to be free,” Havdale says. “I’d never ever considered what it was like to be thrown in gaol for something you didn’t do, but that’s terrifying for me now. I only spent one day there, but that was enough to make me think, ‘fuck, I never want to do that again’. I remember going to straight to the bar after getting out, and thinking ‘holy fuck, I’m so lucky!’” Havdale describes his latest record with The Mohawk Lodge, Damaged Goods, as his ‘punk record’. It’s a description that owes more to the attitude with which he approached the record

rather than its sound as such. “I think of punk more as the spirit,” Havdale says. “I’ve done some records when I’ve been really into Fleetwood Mac at the time, and wanted it to be big and glorious. When I think of punk, I think of it as the spirit – leave all the warts. And with the songs, I wanted to get straight to the point – in a note. We recorded the whole album in three days in my living room. It happened so quickly, and I think you can hear

that. In the same way that I think I killed my last records by overdoing it, here it’s all there, in a note.” Where: Goodgod Small Club / FBi Social When: Wednesday July 17 / Thursday July 18 And: Damaged Goods out now through First Love Records/MGM


Roy’s own one-sentence summary was “the Melbourne producer,” which isn’t quite as attention-grabbing as “the 67-year-old soul survivor” or “the one who has a stutter.” Nobody can entirely be summed up in a snappy phrase for television, however. “Meeting people and getting to know these artists and then seeing how they’re portrayed on TV was quite fascinating. From an outsider’s perspective it was really interesting.

From an actual participant’s perspective it was pretty stressful; not like anything I’ve done before. I’ve been gigging for 10 years and I thought I was OK at it and then it’s a different kettle of fish – 90 seconds of live TV when you’re being judged.”


ustin Davidson is walking through the dusty fields of New Mexico State University in the early evening, trying to escape the raging heat. “I don’t know what the temperature is right know, but earlier today it was 107 degrees Fahrenheit at one point,” he says. “I’m trying to beat the heat, but it’s not really working.”




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lack Cherry is at it again. This Saturday July 20 the folks are set to present yet another night of romp stompin’ fun with a diverse lineup of live music, burlesque and (come one, come all) karaoke. And if you’re one for shedding of the clothes, the art of tease and leggy trapeze then you’re in for a hella amped up night. Kelly Ann Doll, zesty swing dancer extraordinaire, will headline Black Cherry’s burlesque corner for this Saturday’s event so we caught five with her for a sneak peek. How did you get into burlesque? Long ago I was in a world awash with poodle skirts, bobby socks and swing dance trophies. The next minute I was back-flipping on stage and taking my clothes off in front of thousands of people! I can’t pinpoint exactly when I caught the burlesque bug, but it got me bad. It was meant to be. Burlesque is multi-faceted. What’s your niche medium? I’m trained in swing dancing and circus, so my points of difference in the burlesque world are my fast-paced dancing, acrobatics and trapeze skills. My peers like to call me Miss Fast Forward. I also love acting and comedy and I bring that to my burlesque. I love to make audiences lose it at my shows, stand up on their chairs or push people out of the way to dance. I’m big on audience participation – I’m known for getting up close and personal, but not even I know what’s going to happen. You’re presenting at Black Cherry this Saturday night. What can we expect from

your performance? Nothing but the best of course! I’ve just toured nationally with the Australian Burlesque Festival, so I have been working hard and have brought a lot of inspiration back with me after sharing the stage with some of my mentors including Perle Noir, Roxi D’lite and Indigo Blue (US). Black Cherry is one of my favourite shows of the year to perform in. Frankie Faux, Rosie Rivette and Memphis May, Laura La Reyna, and Cherry Blossom are also performing… I love these girls, they are chock full of boom, fast rising stars in the Sydney scene and I’m really looking forward to sharing the stage with them. Frankie will be performing her diamond thief routine that won her second place at Miss Burlesque Australia this year. Definitely an all-star lineup not to be missed. What’s your advice for someone wanting to start out in the industry? I believe that the best burlesque performers cut out the ego bullshit and concentrate on entertaining and the art of tease. In the early days, no one will remember your name – the only thing that matters is whether your audience is entertained, so do it and do it well! Be humble, never stop learning, always be yourself and just have a bloody good time! What: Kelly Ann Doll for Black Cherry Where: Factory Theatre, Marrickville When: Saturday July 20 More:


The Sydney Shakespeare Company is dedicated to producing intimate performances of the canon and next month they’re tackling one of The Bard’s most controversial plays, The Merchant of Venice. If you don’t recall the play from your high school English days, here’s a refresher: boy longs to conquer the love of girl, boy doesn’t have any money to get to girl, boy loans money from merchant, merchant loans money from moneylender. What could possibly go wrong? A lot. Shakespeare’s complex comedy explores themes of intolerance, vengeance, love and money and is showing at the Tap Gallery from August 7-24. Tickets via au


If you didn’t catch it at Sydney Film Festival, here’s your chance. We’ve got 10 double passes to give away to a special VIP screening of Lucy Walker’s The Crash Reel at Cremorne Orpheum on Monday July 29 at 6.30pm. Walker’s doco uses 20 years of footage to chronicle the epic rivalry between elite snowboarder Kevin Pearce and Olympic god medalist Shaun White. Guests will also be treated to an exclusive Q&A session with Pearce! For your chance to win email and tell us who your favourite snowboarder of all time is! hosting stint on ABC’s The Gruen Transfer. Doesn’t mean it’s going to stop us from telling you about his upcoming Sydney gigs, because we think the guy’s pretty rad. Anderson gigs at Enmore Theatre on Friday September 13 and the Concourse Theatre, Chatswood on Thursday September 26. For more information visit and tickets via


Well-known Australian artist, Luke Sciberras, will hold his first solo for two years at Olsen Irwin Gallery from July 17 – August 4. A collection of the artist’s paintings and drawings, called Tu-Whit! Tu-Whoo! will celebrate Sciberra’s long-standing fascination of the NSW landscape and desert heart of Australia. Punters can expect to see scenes of Lake Eyre, the Northern Territory, outback NSW – all places the Sciberra has visited on his study trips as an artist. For more details head to

Our city’s newest kid on the art fair block, Sydney Contemporary, has announced its talks program, curatorial partnerships and expanded gallery list. From September 19-22, Carriageworks will transform into an inspiring exhibition hall where art enthusiasts and bona fide collectors alike will unite in the name of celebrating all that is great on the commercial gallery circuit. “Our public program will complement the gallery presentation with guided tours, educational workshops, guest speakers, panel discussions and an extensive VIP program,” said Fair Director Barry Keldoulis via release. Speakers include contemporary art bigwig John Kaldor, architect Nick Tobias, arts journo Andrew Frost and 2013 Archibald winner Del Kathryn Barton. Sydney Contemporary has also announced curatorial partnerships with not-for-profit visual arts organisations 4A Centre for Contemporary Asian Art and Artspace. Watch this space for further announcements and for more information visit


Last week we gave you a cheeky preview of the Possible Worlds Film Festival lineup and huzzah, the rest is here! Deep breath, and here we go: Sarah Polley’s acclaimed doco Stories We Tell will open the Festival and close ten days later with the Sydney premiere of Joe Swanberg’s Drinking Buddies. And in between we have 10 Canadian and 10 American films including Noah Baumback’s black and white gem Frances Ha, Zach Weintraub’s You Make Me Feel So Young, Sara St. Onge’s Molly Maxwell, Hannah Fidell’s A Teacher, Eliza Hittman’s It Felt Like Love, Malcom Ingram’s Continental, Peter Mettler’s The End of Time, Nick Bentgen’s Northern Light, Simon Ennis’ Lunarcy!, Yung Chang’s The Fruit Hunters, Michael Crichton’s Westworld, Frederick Pelletier’s Diego Star, Bernard Emond’s All That You Possess, M. Blash’s The Wait, Sean Garrity’s My Awkward Sexual Adventure, Zach Clark’s White Reindeer, Jason Buxton’s Blackbird and finally Adam Leon’s Gimme The Loot. The eighth Possible Worlds Festival runs from 20 :: BRAG :: 521 :: 15:07:13

August 8-18 at Dendy Opera Quays and Dendy Newtown. That is all.


It’s time to give up bad design for good so y’all should listen up, because Sydney Design is back for its 16th year. Presented by the Powerhouse Museum, the 16-day program features exhibitions, talks, tours and workshops from August 3-18. Program highlights include a retrospective of possibly the creative world’s longest slashee, George Nelson, whose career as an architect-photographer-designer-writerteacher empowers him to be one of the most influential figures in American design. Ever. Keynote speeches will come from Indonesian architect Eko Prawoto and New Zealand-based architect David Sheppard, and there’s also a high-rise harvest on the bill designed to explore the future of city farming. Then of course there’s the Australian International Design Awards, guided tours around Sydney, Stringram (think string objects posted to instagram) and a number of workshops giving punters the chance to meet designers in the field. Visit for the full program.

Heath Franco, TELEVISIONS (still), 2013


Young and emerging artists at the ready, because the MCA has revealed the eight artists selected for the 22nd edition of Primavera, the annual exhibition for Australian artists aged 35 years and under, and we reckon the lineup’s enough inspiration to keep you kicking until it’s your time to shine. Curated by Robert Cook, Primavera 2013 will feature the work of Jacqueline Ball, Jackson Eaton, Heath Franco, Brendan Huntley, Thomas Jeppe, Jess Johnson, Juz Kitson and Kusum Normoyle who engage practices of painting, wall painting, sculpture, photography, installation, ceramics, digital media, sound and performance. Combined, the artists will explore an array of themes including a moving investigation of romantic and family relationships, the creation of portraits into fictional realms, a look at the role of language in the shaping of the self and the ways sound shapes our physical and emotional worlds. Primavera 2013 runs from September 12 through November 17. For more information visit

Sydney Contemporary image: Todd Robinson, He knows at any moment it may be lost in a vertical field #4, #6, & #9, 2012


You might think Wil Anderson’s a babe, you might not. You might think he’s got the comedic goods, you might not. Or you might even be thinking ‘I haven’t seen that dude since his




When you purchase another Dendy Lounge movie ticket * *Just surrender this voucher at the Dendy Newtown Box Office to claim offer. Valid until July 24 2013.

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“Triumphant” PAGES DIGITAL “Meticulously crafted and carefully arranged…the strongest album Greenwood has recorded as Whitley, and a testament to his serious chops as a songwriter and vocalist.” MUSIC FEEDS “…a musician who not only has the willingness to grow but who also has the guts to expand his sound… Whitley’s greatest work to date.” COOL TRY



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[PHOTOGRAPHY] Persistence Pays Off By Krissi Weiss


Willesee has always tried to push the boundaries of performance and installation art and has endured his fair share of criticism. “I don’t mind criticism at all, and I often know with a certain idea that there will be criticism, but the ideas that are the most interesting are the ones that people are the most undecided about,” he says.

esse Willesee has established himself as a provocative and contentious fi gure in performance art. As a fi lmmaker, photographer and installation artist he has been shut down mid-show by the police (22 Girls Smoking Weed), become frontpage fodder for moralists (Passout) and slowly built a following of dedicated fans in Australia and now the US. His latest show in Sydney, Blackout, will take place at the Darlo Bar, Darlinghurst. Six hotel rooms will be transformed by Willesee and fi lled with models styled by Kurt Johnson, the lights with be turned off and a fashion shoot will begin. The main twist, apart from absolute darkness, is that the audience will be the photographers.

The default comment seems to be that what he does “isn’t art”, but that lazy commentary has been thrown at the work of so many artists it’s pretty much lost all meaning. Furthermore, Willesee isn’t intentionally divisive, he simply works hard at not being boring. “I didn’t know what I was doing in the beginning, but I just knew I had to be doing it even if there was hardly anyone there,” he says. “Slowly I got better at it and I just really think there’s nothing more important than getting out there and doing as much as you can. I would say about the first ten shows that I put on didn’t really work. In the beginning I made art that I thought was very, well, like a lot of art that was around. I’d do some sketches and paintings, I took some pictures, and I remember being really excited about what I was doing but that didn’t come across in the shows. People would come in and no one would really say much. That really depressed me because I thought I was boring these people because I wasn’t doing anything different.”

“I’ve done the hotel shows about six or seven times but never in the dark,” Willesee says. “The idea with Blackout came from thinking about a lot of the photographers that come to my shows. They come again and again and I just wanted to give them something different. It was inspired by a show we did where we tin-foiled a whole room and turned the lights off and as you walked past and saw the installation from just the fl ashes of the cameras, it was a really unique experience. I wanted to turn that over into an entire in-the-dark show.”

In Willesee’s mind, the key to success – or at the very least the key to making an impact – is to get the audience involved. “[Those early shows] showed me that I wanted to be really interactive so that the people who were there didn’t just feel involved, they were involved,” he says. “I was trying to think about things I hadn’t seen as well as thinking about what I would like to do as an audience member. I mean, I go to other people’s art shows as well and I just stand around and do the same thing. So I tried to think about if I went and saw

something, what would make me react and be more interested? With Blackout, people get to make their own art as well. People like having something to do and it helps people feel as though they belong to what they’re seeing.” What: Blackout Where: Darlo Bar, Darlinghurst When: Thursday July 18, 7pm – 10pm More:

Persona [THEATRE] Taking A Risk By Emma McManus


ngmar Bergman is well regarded as one of the most influential filmmakers of all time. His 1996 film Persona, about a young nurse caring for an actress who has inexplicably stopped speaking, is arguably his finest work. Melbourne director and Artistic Director of theatre company Fraught Outfit, Adena Jacobs, certainly picked some big shoes to fill when she decided to turn the work into a piece of theatre.

Persona premiered last year at Melbourne’s Theatre Works to critical acclaim and sell-out crowds. It cleaned up at the Green Room Awards winning the Best Production, Direction, Female Performance, Lighting Design, and Set and Costume design awards. Now the work is coming to Sydney’s Belvoir St Theatre where Jacobs will soon be a resident director. Jacobs is feeling very excited to begin official work with Belvoir next year and to work as part of the strong creative team at the theatre. She is thrilled that Persona will be the first of her works to be shared with

a Sydney audience, “it reflects what I do very honestly and it is a work that I’m very proud of and something that reflects the kind of theatre that I am making and I like to make, so it feels like the perfect way to start,” she says. Having never presented a work in Sydney before Jacobs is not exactly sure how audiences will react but is excited to find out. She is surprised that there has been quite a strong response from a wide range of audiences to the piece so far. “Even though it’s sort of a risky project and it’s confronting material, there is something so human about Bergman’s work and particularly about this work when it is in front of a live audience. It does tend to connect with quite a diverse audience so I feel excited about that, but I am yet to see. I have never put on a work in Sydney so I am not sure.” What: Persona Where: Belvoir St Theatre When: July 24 – August 18 More:

Karen Sibbing

The Importance Of Being Earnest [THEATRE] A Sydney Story By Alasdair Duncan


hen director Brandon Martignago moved to Bondi, a friend pulled him aside and explained the rules that one must follow when living in that part of town. “If you’re a local, you only go to North Bondi, never South Bondi,” he tells me with a laugh. “There are rules about where you can sit and what you can wear …” Martignago quickly came to realise that modern-day Sydney, with its codes of etiquette and propriety, is really not so different from the Victorian London that Oscar Wilde portrayed in The Importance Of Being Earnest. “I realised that Sydney really does have the same class divides, the same rules, the same codes of behaviour,” he says.

The Importance of Being Earnest

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This new version of Earnest transplants the setting to contemporary Sydney, while hinting at the Victorian attitudes that exist beneath the shiny veneers. The changes, however, are more than cosmetic. “I see a lot of Earnest productions that are very static,” he explains. “You go along and see people in period costumes performing a classic text. We want to give it a freshness and contemporary life.” Unlike many productions of Earnest, this one makes full use of movement and gesture. “We’re a lot more physical with other people than people were in Wilde’s day,” Martignago says. Where characters would sit static or

keep a polite distance, now they embrace and loom over one another. “We’ve been reading through the text playing it as it would be originally then playing it as it would be now,” he says. “For example, there are scenes where Cecily interacts with Jack, her ward – when the play was originally performed, there would have been no touching, she would’ve stood there waiting to be spoken to, knowing her place. That relationship would be completely different now.” In this version, Cecily runs up and gives Jack a big hug when she first sees him. “That’s one of the ways in which things have become different in our time,” Martignago says. “Relationships have changed, but ideas of class – the way people use their status to put others in their place – are quite interesting.” When casting the play, Martignago chose to cross gender lines, putting Andrew Benson in the role of the play’s thundering matriarch, Lady Bracknell. “A lot of people probably assume I made that choice purely because I’m a gay director,” he explains, “but really, I feel that Lady Bracknell is a very masculine. The play is written so that the bulk of it is two characters sitting in chairs having a chat, but then Lady Bracknell comes in and she’s very mobile, she takes charge and

asks questions. I immediately associated her with a lot of male actors – Andrew in particular popped into my mind. He’s very powerful in the way he speaks and engages, but he has a certain softness about him too. I think the idea of him playing a woman is really intriguing.” I ask Martignago if he sees a lot of Wilde’s infl uence in contemporary comedy, but he is uncertain. “It’s interesting,” he says, “because as a contemporary theatre company, we’re used to working with contemporary texts, but a lot of the je ne sais quoi of Wilde’s text is that there are no throwaway lines. In today’s drama, it’s all about conversation, about one character replying to another, whereas in Wilde, every line is a statement. It’s very dense, it’s a lot for contemporary actors to get their mouths around. Every line is a joke, a plot point, and then another joke. A lot of people present the play like it’s a museum piece, but we were very conscious of wanting to bring it into the now.” What: The Importance Of Being Earnest Where: Reginald Theatre, Seymour Centre When: Until August 3 More:

Karen Sibbing photo by Gary Heery

Jacobs’ idea initially came about as a reference during rehearsals for an earlier work Electra, “we had one chorus member and Electra, and we thought god these women are just a bit like those women in Persona”. Thereafter, Jacobs engaged a slow process of thinking about how the work could be adapted for the stage – she was well aware the task she had chosen was a daunting one. Most of the major problems arose in rehearsals after coming to the realisation that she was attached to images from the film, many of which it became apparent were inherently difficult to translate across to the stage. This led Jacobs to move further away from the film and make Persona a piece of theatre in its own right.

At first, some theatre companies were reluctant to take it on; the idea was exciting, but there was the possibility that it could turn into a “spectacular disaster”. Jacobs stood by Persona, however, believing that the content and core scenes of the film were still relevant to audiences by negotiating strong, complex issues around identity, intimacy, motherhood and one’s inherent need to connect with and be seen by other people. She was also fuelled by the creative team who were interested in exploring the idea of translating a piece of film to stage.

Arts & Culture Reviews Hits and misses on the silver screen and the bareboards around town ■ Visual Arts

between light and dark, will also rein in those privy to the era’s preference for dramatic tonal contrast.


The exhibition drives home the collective spirit of the age and its burgeoning energy by encouraging some wonderful encounters with the work. The work of Sydney’s very own Great Moderns is testament to a past reality that held high hopes and dreams for the future.

Until October 7 The Art Gallery of New South Wales’ main exhibition galleries have been transformed into a space for enchanted looking. Current blockbuster Sydney Moderns sees iconic Modernist works hung alongside scenes created by lesser-known names with prints, drawings and photographs leading the viewer into the juncture between high art and commercial creativity that shaped our city in the ’20s and ’30s. Co-curators Deborah Edwards and Denise Mimmocchi present the visuality of this place in time by means of five themes – colour, modern life, still life, landscape and paths to Australian abstraction – rather than allowing the exhibition’s structural basis to be governed by style. It is this thematic progression that allows viewers to journey across the cultural conservatism and growth buffeted against the lows of economic depression and world war that defined modern Sydney before returning to optimism when the Old World died. Sydney Moderns will excite art history students (in particular) with its offering

■ Theatre

■ Film


Margaret Preston, Flapper Flapper,, 1925 of seminal works by textbook heroin Margaret Preston as well as heroes Roland Wakelin and Roy de Maistre – two artists who took the linking of sound and vision as their central artistic agenda. The Fritz Lang quality of modernist photographer Cecil Bostock’s Phenomena, an arresting work depicting disorienting shapes and lines suspended

frenetic urgency of finding answers to the unanswerable questions being posed.

Until July 27

However, themes of love and relationships are frequently explored in contemporary theatre and to make this topic watchable, works need to be original, compelling and cohesive. While originality is not lacking here, the absence of cohesiveness makes this work less absorbing. A clearer explanation of the play’s origins (the real-life interviews) would provide some of that missing clarity. Definition of genre would also help.

The play opens with rapid recreations of these love interrogations by leads Dani and Jo (Joseph Kernahan). This is followed by an exploration of pivotal moments in the relationships between Dani and her former partners where questions of relationship rules, hypocrisies and nuances are explored.

Julie Delpy and Ethan Hawke in Before Midnight

While this may have been intended as a clever and purposeful comment on the nature of actual relationships, that’s not really how it comes across. Instead of remaining consistently relatable, Dani’s downward spiral appears self-indulgent, self-pitying and suddenly more realistic than the remainder of the work. Audience laughter turns to awkwardness as the sharp observations from the opening act turn to real tears.

If Before Sunrise was a paean to romance, first love and staying up all night exploring a foreign city with a hot piece of strange, and Before Sunset seethed with the sexual tension of reconnecting with your first love, then Before Midnight is when the petty realities of life and relationships kick in. Slacker cinema icon Richard Linklater’s third film in the lifelong story of Celine (Julie Delpy) and Jesse’s (Ethan Hawke) love affair rejoins the couple eighteen years (in real time) after they first meet on a train passing through Austria, and nine years since they reconnect in Paris in Before Sunset. This time, Celine and Jesse are on holiday on a Greek island with their tiny twin daughters in tow. Jesse’s just farewelled his son, whose Stateside mother hasn’t dimmed her hatred for Jesse since he left her for his old French flame. Jesse’s subtly mulling over the idea of moving back to the States to be near his son, and this conflict – with the stunning arid beauty of the Mediterranean island as a backdrop – sets the scene for Delpy, Hawke and Linklater to hash out the multitude of grievances that come when life and children wear away at the driving force of love. Julie Delpy and Ethan Hawke’s chemistry is as strong as ever – they talk almost non-

stop for 109 minutes and not a word seems scripted. It’s as if Delpy and Hawke are exorcising their own relationship demons with the characters as conduits, because they hit the nail right on the head with every exchange, from the petty squabbles over who does more around the house to the big crisis questions of whether love still exists. If you’ve ever been emotionally involved with someone, you’ll be flinching under the bombardment of truth bombs, which is what makes the Before… series so powerful – whether it’s dealing with love affairs that are shiny and new, being rediscovered or fading away, it’s all painfully, gloriously genuine. Or maybe you can’t relate to any of their arguments – maybe you think Celine is a just ridiculous ball of neuroses and Jesse is an insensitive oaf. And maybe you’re an automaton with the emotional range of a Geordie Shore star. Nick Jarvis

Giveaway What's been on our TV screens this week email:

Greetings From Tim Buckley

Despite this, Say Hello First remains a brave and inventive attempt to challenge the traditional methods of playwriting.


There are a number of strengths to Say Hello First. Audience integration is cleverly interwoven adding electricity to each performance. This interaction sees the two leads momentarily dropping their onstage personas, humanising the work and encouraging audience empathy. Much of the dialogue is smart and truthful with local references adding familiarity. Ambitious use of audio-visual elements complement the

Alex Sutcliffe

In cinemas July 18

SAY HELLO FIRST Say Hello First, presented by Sydney Independent Theatre Company and Cupboard Love, is based on 20 interviews collected over the period of one year. Exploring the rules of modern relationships, the play’s interview subjects are the past boyfriends of 24-year-old protagonist Dani (Danielle Maas).

In a nutshell Sydney Moderns is a collectiondriven, period show with a thematic hang – a meat and veg proposition for any institution worth its gift shop. Edwards and Mimmocchi should be congratulated on a staggering work of scholarship that revives an area of local history.

Lee Hutchison

See for more arts reviews

Arts Exposed What's in our diary...

Karen Black


Sullivan+Strumpf Fine Art 799 Elizabeth St, Zetland Opens July 20

Karen Black, Piece of Wood, 2013

Karen Black’s paintings tell layered stories. They explore loaded social and individual narratives that blend the historical with the mythical, the personal and the political. Her debut Sydney exhibition Piece Of Wood opens on Saturday July 20 at Sullivan+Strumpf Fine Art and will give viewers the chance to see works that focus on the sinking of the SIEV221 off the cliffs of Christmas Island in late 2010. Innately tragic, Piece Of Wood explores the politicisation of personal adversity. One for heavy allegory and metaphor, Black’s work performs a dual function as both social commentary and a product of tortured pasts. For more information visit



ans of musicians with the last name Buckley and/or free movie tickets, lend us your eyes: Dendy Newtown is holding a special showing of Greetings From Tim Buckley. Written and directed by Daniel Algrant (Naked In New York) and featuring Gossip Girl’s resident broody alt-dude (but don’t hold it against him!) Penn Badgely as a young Jeff Buckley, the film follows Jeff as he prepares for his first public performance – a tribute to his father that would introduce the world to the then-unknown future prodigy.

For your chance to score one of 50 double passes to the screening on Wednesday July 24, email your full name to freestuff@thebrag. com with “Greetings” in the subject line. Go! Now!


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bread&thread Food & Fashion News... With Lisa Omagari

The Hill Eatery


North Bondi’s The Hill Eatery is turning one! To celebrate their milestone they’ve got a $1000 dining voucher up for grabs! With a focus on ethically sourced produce, The Hill aims to enrich the community, working with local providores such as “Bob the Egg Man” and vegan wine co Holly’s Garden. Plus the (not so vegan) good old Sunday roast is also making a return for the cooler months, make sure you get in early as the kitchen makes limited portions to minimise wastage. Hit up for competition details and other delicious updates.


Love him or hate him, it’s undeniable that Matt Preston’s a household name when it comes to home cooking. Wondering what he’s doing when he’s not tasting contestants’ dishes on Masterchef? He’s banging about the pans himself and writing cookbooks of course. Come October, Preston fans will be able to reproduce all of the celebrity chef’s favourites by following one of the 204 recipes included in his new cook book, Fast (I almost wrote fat), Fresh and Unbelievably Delicious. And don’t fret if you’re not a kitchen appliance maestro: “There are no waterbaths, $2000 mixers and blast chillers needed here,” Preston assures us via release. Phew. Keep your eye on all good bookstores for its touch down later this year.


Sk8ter Boy Mark Gonzales has been turning tricks (the kind that involve ollies, decks and, uh, grind rails) for Adidas for 15 years, and to celebrate the sportswear brand are launching The Gonz Collection. Drop by the Adidas Originals Sydney City store and grab a Gonz product and you could score a special edition tote. Plus there’s a special exhibition featuring photos by the likes of Joe Brook, Benjamin Deberot, Brian Gaberman, Gabe Morford, Skin Phillips and Sem Rubio on show at the Former Paramount Pictures Building in Surry Hills running from August 2 – 4.


Surry Hills stalwart The Bentley is shutting up shop on Saturday August 10 ahead of their move to a fresh CBD location. In celebration of their time in the Hills, co-owners Brent Savage and Nick Hildebrandt (who not so long ago opened Potts Point eatery Monopole) have created a retrospective degustation menu that’ll run for the last two weeks of service, as well as a special dinner event on Monday August 5 that will feature four of the best chefs to pass through The Bentley’s kitchens – current head chef Aiden Stevens, Dan Hong (Mr Wong, Ms. G), Louis Tikeram (Longrain) and Dan Verheul (Melbourne’s Townmouse). For more info and bookings head to

MONCUR WINE BAR Woollahra baby One Moncur is celebrating its first anniversary with a new team in the kitchen and on the floor. New manager and co-owner Adam Harris has taken the reins, expanding the food offering with a new bistro menu and inducted head sommelier Gustavo Kroneis as master of the tipples. The fare? Think beef cheek with cabbage and mustard verde, fettuccini with Brussels sprouts, and poached salmon with kipfler potato. Not enough room to try all the above in one visit? Never fear, because Harris is extending trading hours to seven days a week for lunch and dinner. The joint’s also getting a facelift so head down to check out the venue’s new look. Head to au for further details.


Five Dock’s Little Italy is set to come alive on Sunday August 11 for Ferragosto, an Italian festival celebrating the rich cultural heritage of local residents. This year, one of the key attractions will be 2012 Masterchef winner Julie Goodwin who will be dishing up culinary delights on the FerraCucina stage alongside other local chefs. There’s also going to be music, dancing and children’s entertainment for the little ones, not to mention the 150 market stalls offering fine wine, gourmet products, fashion and arts and crafts. And it wouldn’t be the real deal without some turbo action. Ferragosto will also highlight the automobile history of Italian racing cars like Romeos and Fiats as well as Ducati bikes – all mainstays of Italian lifestyle since the ‘20s. The festivities take place between 10am-4pm on Great North Road.


Yes, you heard right. Super. Mega. Grande. Taco. Surry Hills favourite The Norfolk is pulling out all the stops on Tuesday July 23 when the kitchen will be challenging punters to eat 10 tacos in five minutes. They’re three bucks each and flavours for the occasion include pork, duck, crab, chorizo and veg to name but a few. The catch? If you can shovel ‘em all in you’ll get ‘em for free. Win. Head to for more information.


Attention all rockabillies for it’s time to dance! From 10am-4pm on Sunday August 25 Rose Seidler House, Australia’s iconic ‘50s home, will host yet another Fifties Fair for all your rock’n’roll, ‘50s fashion and vintage furniture needs. Fair highlights include musical acts Pat Capocci Combo, Boogie Bop Dams’ hair salon, vintage furniture greats 20th Century Modern, mrs peel and nifty fifty, a ‘50s fashion parade and jive demonstrations. Then there’s the fair fare, which comes courtesy of the Porteño crew who’ll be flipping burgers out back. Keen, but think it’s a bit of a trek? Well, the fair’s got that sorted for you too! You can utilise the free shuttle bus that will run all day between Turramurra Station and Rose Seidler House. Tickets are pre-sale only. Head to for more information.


Mosman folk, listen up! Next Monday July 22, the suburb’s first 99-seater small bar The Hunter will open its doors at 5 Myahgah Road. The indoor and outdoor bar and eatery will be the first personal venture for ownermanager Steve Hiles who’s spent many a year working Sydney’s bar scene. Hiles’ Australiana vision sees a menu, produced by James McCall (ex Merivale Kitchens)


Paper Lions The basics: Founded by trendsetter Liz Raleigh, East is East Night Markets is the only night market in Sydney promising gorgeous handmade goodies all under $100. “We’re not a fan of the mass-produced, so you’ll only find quality, locally-made products by a seriously

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Seventh Tree Soaps talented group of stallholders. The inaugural market is happening this Thursday July 18 from 6.30pm at Tap Gallery for the good folk of Sydney. We’re having a bit of a launch party to kick us off and we’re offering goodie bags to the first 30 people through the door!”

The marketplace: “I was very picky in choosing the stallholders and I’m very excited about our lineup. I love the work of Amy from Seventh Tree Soaps. She’s been making waves here and abroad with her stunning handmade soaps and lip balms. If it’s home wares you’re after, we have two amazing ceramicists – Niharika Hukku and Mudslinger – with very different styles. We also have a great selection of jewellery from the ultra-modern, to the eco-friendly and downright funky and colourful. Plus stationery, t-shirts, candles, vintage and more! We’ll be rotating the stallholders too, so punters will get a lot of variety each week.” Market value: “I’m a market-goer myself and was getting a bit miffed with some of the prices I was seeing being charged in other markets. Markets used to be affordable places to find unique products. I felt some of them were becoming almost elitist and featuring a lot of imported and mass-produced goods. True lovers of the handmade are happy to pay a bit more, but are not happy to be ripped off. So, we’re combining the best of both worlds: offering genuine handmade goods and reasonable prices. And I repeat: ‘everything’s under $100!’”

boasting crocodile sosatiles, spiced chermoula, emu sliders with Swiss cheese, spiced tomato sauce and pickle and wild boar little dogs. There’ll be an equally intriguing interior to match – Hiles enlisted the help of Giant Design (The Stoned Crow, Li’l Darlin’) to bring his concept to life complete with a huge tented ceiling. And you know what? Hiles is so keen to impress that he’s opening all seven days from 12pm-12am. In the diary! Now!

market profile Market-goer specs: “We’re in a great location just one block from Pocket Bar and Taylor Square, so we’re expecting a lot of the after-work crowd to swing by. Because there will be a bar open during each market, Sydneysiders can come and chill in the lounge area with a drink after browsing the stalls or pop by after dinner in Stanley Street or Surry Hills.” Dress us from head to toe: My ideal outfit after a visit to East is East would be a funky screen-printed t-shirt from Uncle Fritz, an African-print clutch from Nakeba, a vintage skirt from Annie Lou’s Closet and some gorgeous accessories by Zefyr Jewels. Oh, and you can funk up your offspring too, with a super cute Tom Petty onesie by YOLO. Point of difference: One of the best things about this market will be the atmosphere. The Tap Gallery is a great venue with a really unique bar area, cool art covering the walls and even a resident ginger cat! But above all, the best thing about East is East is the quality and variety of products.



















Photo James Penlidis and Ellis Parrinder

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

ALBUM OF THE WEEK BOARDS OF CANADA Tomorrow’s Harvest Warp/Inertia

Boards of Canada came onto the electronic scene as a warmer, more accessible alternative to some of the more abrasive, experimental Warp artists.

Xxxx The clever interweaving of retro and non-electronic elements ensures we’re not left out in the cold on our own. No future? No worries.

Their fourth album is unmistakable a Boards of Canada record, though the nostalgic feel of their debut has been further diminished, despite the continued reliance on warm, analogue sounds from the ‘70s. Where the choice of a human element was once a child gasping “Orange / Yeah, that’s right!” the first human element on Tomorrow’s Harvest is a sinister vocoder voice counting over and over.


The songs sound comprehensively less rocking, with violins and echoing voices interspersed in more than one track – even those not meant as ballads, like ‘Honesty’ or the foot-tapping beat in opener ‘The Weight’. The new album takes a U-turn back to the group’s beginnings. Editors’ trademark is still there – like the mood in ‘Sugar’, reminiscent of their previous albums’ eerie atmospheres with bass lines and distorted guitar riffs interwoven with high-pitched piano, while ‘A Ton of Love’, not surprisingly chosen as the first single off the record, is a slice of driving guitar-fuelled Americana typical of Editors. But it’s also true that there’s a general feeling that the band has lost some sheen with this new material. There is the usual space for ballads like ‘Nothing’, but if you want the high points you’ll need to stick with the centre eight tracks. It’s not a terrible album, just uninspiring – nothing is genuinely un-skippable. Whatever the case, Editors have released a well-mastered album that gives attentive audiences something to talk about for a few weeks until it ceases to impress. There are albums that are instantly lovable and others that need more time to be fully understood and appreciated – The Weight of Your Love is presumably one of them. Carla Pavez

The cute fanfare that opens Tomorrow’s Harvest is like a movie studio’s intro jingle for a film, which is apt considering the album’s cinematic feel. This is the end of the world, but not in a flashy, big-budget way. To capture the sobering environmental woes


The Weight of Your Love PIAS

In an already experimental collection of albums, The Weight of Your Love is indeed different from Editors' previous LPs, remaining shadowy at times but definitely lighter in tone and less electronic.

Despite this being their least playful album, its prerelease marketing campaign was a light-hearted treasure hunt for music-lovers, with unmarked vinyl offering cryptic clues to Record Store Day shoppers, an introduction to single ‘Reach For The Dead’ at a busy Tokyo intersection and a full playback in a desert’s abandoned leisure park. It was as if the Scottish duo were competing with Daft Punk in a ‘biggest tease’ competition, though the style of their campaigns were very different, as was the resulting music. (The introverted Tomorrow’s Harvest is worlds away from Daft Punk’s disco flash).

Black Sabbath scared the shit out of people in their heyday. There was Ozzy eating bats, songs about Satan and devil worshipping and, above all, the heaviest, doomiest riffs anyone had ever heard. Their debut self-titled album is widely credited with more-or-less inventing heavy metal, but metal has become exponentially heavier in the intervening forty years. The title track was once described by Judas Priest’s frontman as “probably the most evil track ever written”, but now is almost comical in its earnestness. Yet despite Ozzy, Geezer Butler and Tony Iommi all being in their 60s, they don’t show any signs of slowing down. This album is every bit as heavy as any of their previous efforts, with only a slightly-diminished Ozzy giving any hint at their age. But he still sounds sharper here than he did on Sabbath’s recent Australian tour, where he was dwarfed by the on-stage sets and the giant screens. He’s certainly helped by Butler’s lyrics (he’s written most of Sabbath’s lyrics since the very beginning) which are as dark and demonic as ever, while the final track, ‘Dear Father’, is a typically-Sabbath take on living with memories of physical abuse. But the real star of Sabbath has always been Iommi’s guitar. Here Iommi lets it all hang out, displaying all the attributes that have made him an icon – the riffs, the guitar tone, the jazzy, tangential solos. This album does sometimes feel like a shadow of Sabbath past – it takes a good few minutes to really warm up, some of the lyrics are appallingly trite, and the whole thing is probably 10 minutes too long. But I don’t think anyone will care. We are still not worthy. Hugh Robertson

The Gifted Maybach Music Group

Pythons Sire Records/Warner Bros.

Following their debut album back in 2010, Florida’s Surfer Blood were at the top of many Most Promising lists, delivering fun bass-infused groove into a surf rock sub-genre more often associated with stoned swaying than dancing. That scene has gone back out with the tide during the long wait for this second album, but Pythons opens hopefully with mid-tempo single ‘Demon Dance’ highlighting John Paul Pitts' familiar sweet lead vocals, and drawing heavily on a couple of obvious influences – Weezer’s scuzzy guitar over ’60s-style pop, and a carbon copy of Frank Black’s demented scream. The next few songs trace the same pleasant template, with features like multiple guitars fuzzing over doowop backing harmonies. But for a contemporary take on power-pop, there’s little that acts as a hook, other than more screams. Unfortunately, where Pythons’ first half could be seen as flailing for inspiration to hold onto, the second half feels like the floating corpse. Lyrically, things centre around rom-com-level love and lazy similes, most notably on ‘Say Yes To Me’ – “I love you dearly, so let me see…I’m true blue”. ‘Blair Witch’ has to be titled ironically, as rather than recalling its namesake, the sappy tune sounds recorded specifically to pitch to a Richard Curtis movie soundtrack – “The more I see love the more I need love.” Many beloved bands have reappropriated the classic love pop song format effectively, but unlike Teenage Fanclub, Camera Obscura or The New Pornographers, Surfer Blood don’t appear to have any particular love or respect for the material they’re drawing upon. Disappointing follow-up record delivers a tepid take on power-pop, where there’s little real power and nothing pops.

On 2011’s Ambition, Wale showcased his dynamic flow and catchy beats (best of all on the Diplo-produced standout ‘Slight Work’), however the album lacked cohesion and was lyrically uninspiring, alluding to Wale’s potential, but nevertheless falling short of the mark. With this in mind, I was keen to check out how Wale had grown as an artist and lyricist, particularly when I noticed that The Gifted managed to knock Kanye West’s Yeezus off its number one spot (on July 4 no less). However, given the album’s lofty title, I should have known I was destined for disappointment. To his credit, the album is much more cohesive than his previous releases and has a unified sound characterised by soul samples and heavily-produced, nuanced beats. No stranger to the pulling power of guest stars (his debut album featured Lady Gaga), the star power is once again out in force, with guest spots from Rihanna, Nicki Minaj, Wiz Khalifa and others. The outro, affectionately titled ‘The Outro About Nothing’ in reference to Seinfeld and Wale’s 2008 Mixtape About Nothing, even features a cameo from Jerry Seinfeld. Despite a strong opener (the cinematic intro ‘The Curse of the Gifted’), and the soul-inspired standout ‘LoveHate Thing’, things quickly get monotonous and predictable (tracks like ‘Heaven’s Afternoon’ seem like filler). By the time we reach the middle of the album, it all takes a distinct turn for the worst, with ‘Vanity’ featuring a poorly conceived (verging on embarrassing) sample of Tears For Fears’ ‘Mad World’. The chilled out concluding tracks (‘Rotation’,‘Simple Man’ and ‘Bad’) are all catchy and provide a solid wind-down, but aren’t enough for the album to live up to its title. The Gifted is by no means bad. If anything, it’s aggressively competent (to the point of being dull). Marisa Lugosi

Simon Topper


With Love 4AD Listening to With Love is by no means an easy task. A two-disc journey that skitters, skips and jumps from one track to the next with complete disregard for the listener, Zomby creates an interesting if slightly difficult to keep up with pace for this album. Once you wrap your head around the lack of formal structure you would expect from a record, there is some fascinating stuff to be found on this album. Drawing inspiration from all across the bass music spectrum, elements of jungle, grime,

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even DnB all make a distinctive sonic stamp across the majority of With Love. It occasionally feels like giant jigsaw puzzle of sounds that fit together, albeit in a very strange way. At 33 tracks long, Zomby has ostensibly divided the tracks across the discs into positive and uplifting (disc one) and mournful and reflective (disc two) but these are incredibly interchangeable posts for a record like this. Occasionally, for every great track, like ‘Memories’ or ‘Overdose’, the latter of which rattles and spits with the unrestrained energy a DnB bass line should, there are a handful that sound like reckless abandonment for the sake of it rather than for any discernable purpose. Whether they add to or subtract

from the experience seems to be something Zomby has left largely up to us. Disc two is where a lot of the best material can be found. ‘White Smoke’ possesses an almost tangible melancholia, while title track ‘With Love’ closes things off in an appropriately dark, sparse and mysterious tone that, unsurprisingly, doesn’t seem to convey much love at all. Zomby throws the rulebook out of the window for an intriguing but frustratingly drawn out third record that will manage to alienate and fascinate you all at the same time. Marissa Demetriou

Chris Girdler



13 Vertigo / Universal

of our planet, Boards of Canada mark out a subtle yet rewarding soundscape that is moody and submissive to its doomsday setting.

FAT FREDDY’S DROP Blackbird The Drop Ltd

Back in the day, Fat Freddy’s Drop were but a support act for the likes of New Zealand music royalty Salmonella Dub. Today, having survived where said band has perished, the fellow Kiwis have flourished on local and international soil. Planted a seed, in fact, and watched their tree grow and grow. Now an undeniable force in the dub scene, hundreds upon hundreds of live shows have amassed a huge fan base and, incredibly, this latest album is only their third full-length release. Blackbird was recorded in the band’s own studio in New Zealand and, according to the band, directly resonates its direct environment. By the sound of the album opener and title track, this place is one mighty funky chill pad for the ska, reggae and, of course, dub inclined. And what an entrance to Blackbird – at almost ten minutes, it makes up for one-sixth of the whole album.   In fact, none of the songs on Blackbird seem to be over too quickly – just like the band, they linger and leak and lull through each beat with deliberation and purpose. ‘Clean the House’, three tracks into the album, welcomes frontman Joe Dukie’s butter-wouldn’t-melt vocals back to where they belong, continuing in the sensual groove of ‘Bones’…we certainly “can’t get enough of those bones.”   Lead single ‘Silver and Gold’ is obviously a stand-out track and, while it’s a bit anti-cool to brandish, as the album’s best track it does have a hellishly catchy chorus. Crouching in the more electroinfluenced corner of the Fat Freddy’s room, ‘Never Moving’ pulses with scattered energy as it broaches trance, psychedelic and deep house.   Blackbird is a fine example of what Fat Freddy’s Drop do, but it’s not a pinch on what they’re really capable of. Their energy remains, as it always will, in their live shows.   Jen Wilson

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... JAGWAR MA - Howlin' CLOUD CONTROL - Bliss Release NATHAN FAKE - Drowning in a Sea of Love

SCHOOLBOY Q - Habits & Contradictions PNAU - Pnau

live reviews What we've been out to see...

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



Hungry Kids of Hungary. Happy kids with haircuts? Either way, the Brisbane group occupies an extended support slot tonight and fills it with the style of cheerful indiedance-pop that’s already endeared them to many – and wins a few more fans here. ‘When Yesterday’s Gone’ sets up the pins; ‘Let You Down’ does the rest. Nice to have the locals represented so adeptly tonight, because… Ah yes. The British and Irish Lions tour van has rolled into town, and with it comes Welsh heroes Manic Street Preachers. The city is in preparation for the massive rugby clash 24 hours away; for now, the fans – clad mostly in the red of the visiting side – gather here tonight for a warm-up. James Dean Bradfield says as much before launching into ‘Motorcycle Emptiness’: “The English and the Irish and the Scottish and the Welsh of Sydney!” he exclaims. “How you doing?” It’s a greatest hits set that falls flat only once, early on, with a disappointing version of ‘Your Love Alone Is Not Enough’. Many members of the audience might have seen their better days long desert them – it’s the kind of beer-belly Brit demographic full of greying beings bellowing out the songs that got them through their 20s – but that’s entirely untrue for the band itself. See, the Manics never faded, never broke up, never reformed: they always were – and remain – a constant force in Welsh alt-rock.

On record, admittedly, some of the Manics’ material sounds dated, but in the live setting one encounters a different dragon. Nicky Wire is every moment the rock star, in his bastardised military jacket and thick mascara (his mic stand, even, is befeathered like Dame Edna on parade). But it’s Bradfield who carries the show on the strength of his voice alone. He is the bulked-up version of a one-time school choirboy, capable of nuance and colour but with enough muscle to deliver irrefutable choruses like ‘A Design For Life’. The frontman preps his brethren for the big game with an acoustic take on Frankie Valli’s ‘Can’t Take My Eyes Off You’ – a sporting anthem for victory or loss, he says, helpfully. But the banter we don’t mind, nor the repeated ‘Lions’ chants from the punters in red – Wire’s ode to ‘Australia’ is a winner, and the night closes with a unifying ‘If You Tolerate This Your Children Will Be Next’. Chris Martin RKE PHOTOGRAPHER : KATRINA CLA












Coming Up





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snap sn ap

up all night out all week . . .

live review

What we've been out to see...

FEAR FACTORY UNSW Roundhouse Friday July 5



Back in 1995, a California four piece released a little album called Demanufacture. Produced by Frontline Assembly’s Rhys Fulber and metal producer extraordinaire Colin Richardson, it became the quintessential industrial/metal album and has shaped the scene ever since. There are a lot of bands that owe a lot of their success to this 55-minute masterpiece, and the LP was a musical staple of at least 35,000 Australian fans – Australia was the first country where the album was certified ARIA gold. As a reward for Australia’s loyalty, Fear Factory chose for us to be the only country where we get a Demanufacture tour, playing the album in its entirety.

ginger and the ghost

The underrated UNSW Roundhouse was the venue, and as support band TwelveFoot Ninja took the stage the hordes of fans were already thick. Twelve-Foot Ninja were an interesting bunch. With a nu-metal backdrop, they added in touches of reggae, Arabic and funk with an accomplished frontman weaving between Brandon Boyd in quieter moments to a manic Jon Davis in the heavier parts. With every guitarist strapping a Go-Pro camera to their guitar heads, no doubt there’ll be footage of their performance on YouTube soon enough.

The band tore through ‘Self Bias Resistor’ and ‘Replica’, but halfway through the show there were cracks appearing. Bell’s vocals began to falter. To be fair, the dynamic vocals that Bell laid down on Demanufacture almost 20 years ago would be impossible for the majority of people, but it was tough to hear the man struggling. He gave his all, there’s no denying that, but by the end of the night, every singing part on the album came across flat, off-key or as a growl. This, however, was a negative on a night balanced by the positive of making dreams come true for many…and I guess that’s what it’s all about. Rick Warner


04:07:13 :: Brighton Up Bar :: Level 1/77 Oxford St, Darlinghurst 9572 6322

With two new members in tow, Fear Factory took to the stage in a swathe of industrial clanks and machine-gun kicks. They launched into title track ‘Demanufacture’ and as with any show where a band plays a famous album from start to finish, the crowd sing-along factor was intense. Burton C. Bell’s vicious growl was intimidating and the black-clad masses screamed every word straight back at him. The musical department of Dino Cazares (guitar) and new members Matt DeVries (bass) and Mike Heller (drums) were tight, with the precision of the music proving no issue. Every rapid-fire double-kick onslaught from Heller was equally matched by the guitar work of Cazares and DeVries.


fbi social ft. apes

brighton up 1st b'day

06:07:13 :: FBi Social :: Kings Cross Hotel 248 William St 9331 9900 28 :: BRAG :: 521 :: 15:07:13


04:07:13 :: The Standard :: 3/383 Bourke St Darlinghurst 9331 3100

06:07:13 :: Brighton Up Bar :: Level 1/77 Oxford St Darlinghurst 9572 6322 :: KATRINA CLARKE :: AVERIE S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: MAR LEY ASH :: HARVEY :: AMATH MAGNAN

snap up all night out all week . . .






sosueme ft delta riggs



03:07:13 :: The Beach Road Hotel :: 71 Beach Rd Bondi Beach 91307247






It’s called: Desmond & Molly Jones Sessions. It sounds like: A really good time!


Acts: Seja (July 20), Ginger & The Ghost (July 27), Jenny Broke the Window (August 3). Sell it to us: A free (yes, you understood right, no charge whatsoever!) pre-going-out event…three separate events on three consecutive Saturdays featuring emerging Australian musical talent . Wine by Cake, beers by Murrays, and door giveaways from Dr Denim, Belvoir Theatre, Bourke Street Bakery, Hudsons, Sparkle Cupcakery, Evo hair produ cts and more. The space is like the bands are playing in your lounge room at a house party – a very intimate experience...up close and personal! The bit you’ll remember in the morning: The ringing in your ears, and the new pair of Dr Denim jeans you won! Not to mention the Evo giveaways. Crowd specs: Around 100 free tickets per event . Wallet damage: Zero, nada, zilch, totally free. Where: Desmond & Molly Jones Hairdressing , 98 Albion Street, Surry Hills. When: 8 to 10pm, Saturday July 20, July 27, August 3.

nova & the experience


party profile

desmond & molly jones sessions



06:07:13 :: The Standard :: 3/383 Bourke St Darlinghurst 9331 3100

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send your listings to :

The Laurels


Frankie’S World Famous House Band Frankie’s Pizza, Sydney. 9pm. free. Steve Vai Enmore Theatre, Newtown, Sydney. 7pm. $99.90.

SATURDAY JULY 20 Carriageworks, Darlington

At First Sight HTRK + Twerps + The Laurels + Beaches + Super Wild Horses + Songs + Straight Arrows + Holy Balm + Day Ravies + Client Liaison + Shinning Bird + DJs 10am $35 Steve Vai



Goblin + Miles Brown Metro Theatre, Sydney. 7pm. $50.80. Nick Kingswell Orient Hotel, Sydney. 8pm. free. The Pink Floyd Experience Enmore Theatre, Newtown, Sydney. 7pm. $79. Ziggy Pop Tuesdays feat: The Lockhearts + Vanadium + Mask Brighton Up Bar, Darlinghurst, Sydney. 8pm. $5.


Champagne Jam - Open Mic Night Dundas Sports Club, Dundas. 7:30pm. free.

WEDNESDAY JULY 17 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Kingston Flavaz Valve Bar, Tempe. 7pm. free. World Music Wednesdays - feat: Oscar Jimenez + Angela Rosero The Basement, Circular Quay. 8pm. $5.


Songsonstage feat: Helmut Uhlmann + Chris Brookes + Massimo Presti Kelly’s On King, Newtown. 7pm. free.

City And Colour Solo Acoustic Set The Standard, Surry Hills. 6:30pm. $38.50. Pulp Kitchen And Folk Club - feat: Live Rotating Folk Bands Soda Factory, Surry Hills. 5pm. free.



Latin & Jazz Open Mic World Bar, Kings Cross. 7pm. free. 30 :: BRAG :: 521 : 15:07:13


Atlas Genius Oxford Art Factory, Darlinghurst, Sydney. 8pm.

$38.50. Client Liaison + Safia + Bambii Beach Road Hotel, Bondi Beach. 8pm. free. Coopers Live & Local feat: Insiders Lizotte’s Dee Why. 7pm. $10. Lunchbreak feat. Tim Fitz FBi Social, Sydney. 1pm. free. Maids + Harriet Whiskey Club + Goodbye Pola + Dr Goddard Brighton Up Bar, Darlinghurst, Sydney. 8pm. $5. Replika Scruffy Murphy’s Hotel, Sydney. 11pm. free. The Beatvilles Orient Hotel, Sydney. 9:30pm. free. The Mohawk Lodge + Brian Campeau + Service Bells Goodgod Small Club, Sydney. 8pm. free. The Pink Floyd Experience Enmore Theatre, Newtown, Sydney. 7pm. $79.

THURSDAY JULY 18 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Afro Moses Ojah Band Lizotte’s Dee Why. 7pm. $29.

INDIE, ROCK, POP, METAL, PUNK & COVERS AC Presents Insane In The Brain feat: Edema Ruh + Ibis Nixon And The Cowboy Zealots + The Prophets Of Impending Doom + General Pants And The Privates The Standard, Surry Hills. 7pm. $10. Bears With Guns EP Launch + Jacob Pearson + Dusty Yellow Sunbeams

Goodgod Small Club, Sydney. 8pm. $10. Elevate Scruffy Murphy’s Hotel, Sydney. 10pm. free. Simon Meli The Vanguard, Newtown, Sydney. 6:30pm. $19.80. Slumberhaze + New Manic Spree + Callithump Brighton Up Bar, Darlinghurst, Sydney. 8pm. $10. The Wildbloods + Now Or Never + Don’t Hit Ron + Helmut Uhlmann + Auralmirth + Matt Lyons Valve Bar, Tempe. 7pm. $10. White Bros Orient Hotel, Sydney. 9:30pm. free. Whitley Oxford Art Factory, Darlinghurst, Sydney. 8pm. $25.

FRIDAY JULY 19 ACOUSTIC/ COUNTRY/BLUES/ FOLK The PJ O’Brien Band + Ali Penney And The Money Makers The Vanguard, Newtown, Sydney. 6:30pm. $23.80.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC House Of Shem + Manalion + Unusual Vibe + DJ Korus Metro Theatre, Sydney. 7:30pm. $43.90. Kinksy Beach Road Hotel, Bondi Beach. 8pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Atomesquad + Hematic


Atlas Genius photo by Frank Maddocks

pick of the week

Atlas Genius

g g guide gig g

send your listings to : + Cryptic Scorn + Risen Dred + Fatigue Valve Bar, Tempe. 7:30pm. $10. Bonez + Frank Sultana And The Sinister Kids + Firesaint Oxford Art Factory, Darlinghurst, Sydney. 8pm. free. Bounce Scruffy Murphy’s Hotel, Sydney. 10:30pm. free. Greta Mob (Single Launch) + The Jones Rival + Psychlops Eyepatch + The Preatures (DJ Set)

FBi Social, Sydney. 8pm. $10. Made In Japan + Jenny Broke The Window Brighton Up Bar, Darlinghurst, Sydney. 7pm. $10. Mark Seymour - feat: Leroy Lee Lizotte’s Dee Why, Dee Why. 7pm. $50. Nicholas Roy + Jac Stone + Imogen Brough The Factory Theatre, Marrickville, Sydney. 8pm. $14. Oliver Goss

Customs House Bar, Sydney. 7pm. free. Onra + Remi Oxford Art Factory, Darlinghurst, Sydney. 8pm. $30. Saint Vitus + Monarch The Hi-Fi, Moore Park, Sydney. 8pm. $50. The Chantoozies Brass Monkey, Cronulla. 7pm. $33. The Walking Who + Penelope Austin + Morgan Joanel + Bernie Dingo Upstairs Beresford, Surry Hills. 6pm. free. Tikdoff + Deathcage + Unknown To God + Ivan And The Backpackers The Square, Haymarket. 8pm. $10. Twincest (With The Bad Bitch Choir) + Black Vanilla Goodgod Small Club, Sydney. 8pm. $12. You Am I Enmore Theatre, Newtown, Sydney. 7pm. $66.60.



Greg Poppleton’S Bakelite Dance Band Penrith RSL Club, Penrith. 2pm. free. Marcello Maio Trio Sima, Seymour Centre, Chippendale. 8:30pm. $20. Mimi Choo Sydney Entertainment Centre, Darling Harbour. 7:45pm. $72.05.

Regular John

Polar Nation + Jake Edgeley + Kidd Sham + Hobophonics Upstairs Beresford, Surry Hills. 6pm. free. The Chantoozies Lizotte’s Dee Why, Dee Why. 7pm. $39.

SUNDAY JULY 21 Watussi Beach Road Hotel, Bondi Beach. 8pm. free.


Deborah Conwary & Willy Zygier + Heath Cullun Camelot Lounge, Marrickville. 9pm. $30. Mellow Gold Presents Tim Hart + Dustin Tebbutt + The British Blues + Maples FBi Social, Sydney. 8pm. $10. The Good Ship + The Woohoo Revue + Tom West The Annandale Hotel, Annandale. 8pm. $18.


Agave Maize + Norse + Tamerlan + The Seer Valve Bar, Tempe. 7pm. $15. Beach Fossils The Standard, Surry Hills. 8pm. $38. Black Cherry feat: Bands: Regular John + Jackson Firebird + Melody Black + Los Capitanes + King

Of The North + Howlin’ Steam Train + Papa Pilko & The Binrats + The Flyying Colours + Burlesque: Kelly Ann Doll + Rosie Rivette And Memphis Mae + Laura La Reyna + Cherry Blossom + DJs: Jack Shit (FBi) + DJ Blackbear (Mother & Son) + Solid Gold Hell DJs Cutthroat & Demonika + DJ Creatura Noct + The Black Cherry DJs Ruby Riot & Ceecee! The Factory Theatre, Marrickville, Sydney. 8pm. $20. Bleeding Through + Make Them Suffer + Boris The Blade + Arteries Manning Bar, Sydney. 8pm. $38.90. Conics + Jordan F + Leohas + Cartel DJs Goodgod Small Club, Sydney. 8pm. $10. Heiress + Allay The Sea + Spectrums Valve Bar, Tempe. 12pm. $10. King Tide + Don’t Hit Ron Brass Monkey, Cronulla. 7pm. $24. Mimi Choo Sydney Entertainment Centre, Darling Harbour. 7:45pm. $72.

ACOUSTIC/ COUNTRY/BLUES/ FOLK Kevin Borich Express Brass Monkey, Cronulla. 7pm. $25.


Belle & Osker, Knifeshoppe + Belle & Osker + Knifeshoppe + John Shipton & The Blue Eyed Ravens + Whopping Bi Naughty + Snakes + Ben Connor And The Sufi Dendruff + Ben Aylward + Osker Bickford Valve Bar, Tempe. 1pm. $10. Fairplay Entertainment Presents ‘Emerging Young Artists’ feat: Jordan Banning + Taj Ralph + Ellis Hall Lizotte’s Dee Why. 7pm. $15.


Alturas Camelot Lounge, Marrickville. 7:30pm. $25.

BRAG :: 521 :: 15:07:13 :: 31

gig picks

up all night out all week...

MONDAY JULY 15 Frankie’s World Famous House Band Frankie’s Pizza, CBD. 9pm. Free. Steve Vai Enmore Theatre, Newtown. 7pm. $99.90.

Ziggy Pop Tuesdays feat: The Lockhearts + Vanadium + Mask Brighton Up Bar, Darlinghurst. 8pm. $5.



City And Colour Solo Acoustic Set The Standard, Surry Hills. 6:30pm. $38.50.

Goblin + Miles Brown Metro Theatre, Sydney. 7pm. $50.80.

Atlas Genius Oxford Art Factory, Darlinghurst. 8pm.

City And Colour

Lunchbreak feat. Tim Fitz FBi Social, Potts Point. 1pm. Free.


The Mohawk Lodge + Brian Campeau + Service Bells Goodgod Small Club, Chinatown. 8pm. Free.

THURSDAY JULY 18 AC Presents Insane In The Brain Feat: Edema Ruh + Ibis Nixon And The Cowboy Zealots + The Prophets Of Impending Doom + General Pants And The Privates The Standard, Surry Hills. 7pm. $10. Bears With Guns EP Launch + Jacob Pearson + Dusty Yellow Sunbeams Goodgod Small Club, Chinatown. 8pm. $10. Whitley Oxford Art Factory, Darlinghurst. 8pm. $25.

Oxford Art Factory, Darlinghurst. 8pm. $30. Saint Vitus + Monarch The Hi-Fi, Moore Park. 8pm. $50. The Walking Who + Penelope Austin + Morgan Joanel + Bernie Dingo Upstairs Beresford, Surry Hills. 6pm. Free. Twincest (With The Bad Bitch Choir) + Black Vanilla Goodgod Small Club, Chinatown. 8pm. $12.


You Am I Enmore Theatre, Newtown. 7pm. $66.60.

Greta Mob (Single Launch) + The Jones Rival + Psychlops Eyepatch + The Preatures (DJ Set) FBi Social, Sydney. 8pm. $10.


Made In Japan + Jenny Broke The Window Brighton Up Bar, Darlinghurst. 7pm. $10. Nicholas Roy + Jac Stone + Imogen Brough The Factory Theatre, Marrickville. 8pm. $14. Onra + Remi

Watussi Beach Road Hotel, Bondi Beach. 8pm. Free. Mellow Gold Presents - Feat: Tim Hart + Dustin Tebbutt + The British Blues + Maples FBi Social, Sydney. 8pm. $10.

Beach Fossils The Standard, Surry Hills. 8pm. $38. Black Cherry Feat: Bands: Regular John + Jackson Firebird + Melody Black + Los Capitanes + King Of The North + Howlin’ Steam Train + Papa Pilko & The Binrats + The Flyying Colours + Burlesque: Kelly Ann Doll + Rosie Rivette And Memphis Mae + Laura La Reyna + Cherry Blossom + DJs: Jack Shit (FBi) + DJ Blackbear (Mother & Son) + Solid Gold Hell DJs Cutthroat & Demonika + DJ Creatura Noct + The Black Cherry DJs Ruby Riot & Ceecee! The Factory Theatre, Marrickville. 8pm. $20. Bleeding Through + Make Them Suffer + Boris The Blade + Arteries Manning Bar, Sydney Uni. 8pm. $38.90. Conics + Jordan F + Leohas + Cartel DJs Goodgod Small Club, Chinatown. 8pm. $10.


16 July (9:00PM - 12:00AM)



17 July


18 July

(9:30PM - 12:30AM)

(9:30PM - 12:30AM)

(4:30PM - 7:30PM)

(9:30PM - 1:30AM)


19 July



(4:30PM - 7:30PM)



(4:30PM - 7:30PM)




(9:30PM - 12:30AM)

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21 (8:30PM - 12:00AM)

BRAGâ&#x20AC;&#x2122;s guide to dance, hip hop and club culture

brag beats

shapeshifter shape shifter junglist shamans



also + club g : + club s uide na + weekl ps y column

dizzy wright

yuksek BRAG :: 521 :: 15:07:13 :: 33

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

speed date WITH

Thredo’s Smirnoff Snow Dome



Skiing, alcohol and dance music – the greatest combination ever invented by humankind? Celebrate all three down at Thredbo over the next month at the Smirnoff Snow Dome. Smirnoff are launching their new summery flavours Honey and Coconut by bringing the Sosueme guys in to curate a selection of party talent like Alison Wonderland, Peking Duk, Sampology, Cassian, the Purple Sneakers DJs, Kid Kenobi and DCup, all playing in a giant snow dome while you get your literal vodka overcoat on with Smirnoff cocktails. It kicks off this Saturday July 20 and continues on for Saturday August 10 and Saturday August 31, tickets and more info at


Outer Bass Sound celebrates turning one on Friday August 16 with a bash headlined by Mark Pritchard. Pritchard is renowned for his solo productions on Warp Records and Hyperdub along with his work as Harmonic 313 and half of Africa Hitech. There’s also the small matter of his timeless output with Tom Middleton as Global Communication, which will always be a standout on Pritchard’s impressive sonic CV. Pritchard recently released an EP on Warp entitled Ghosts, a harbinger for a “more developed and expansive album of songs and features.” DJs Rubio, Tokoloshe and B.O.O.M.A. will be spinning in support, with $10 presales online.


The masterful French veteran DJ Pepperpot will headline Spice on Saturday August 31. Pepperpot is a specialist DJ who’s a resident – and indeed curator – at Paris’s premier clubspot

the Rex Club. He’s been travelling the globe as a DJ since the early 90s, and has played alongside many of the international house and techno A-list, honing his own distinct style in the process. Anyone unaware of the man ought to seek out some of his podcasts online, stat. Pepperpot will be supported by a cast of local DJs that includes one of Sydney’s finest and most underrated selectors in Le Brond.


The vibe juggernaut rolls on with Motorik’s second birthday this Saturday, to be held at an as-yet-undisclosed warehouse venue in Alexandria. The lineup comprises Light Year, fresh off a plane from Europe, Jensen Interceptor, The Finger Prince, CSMNT61 and Vivi himself all dropping bombs till well into the morning for a debaucherous BYO affair. More details can be found at, with presale tickets available online for $25.

Jagwar Ma Tell Us a Little About Yourself 1. I sound like a bloke with a lot of opinions who is good at making his rants rhyme. I enjoy long arguments with idiots and entertaining people with music. My music is designed to make you feel less alone in this death trap we call existence. Keeping Busy The new album 2.  Surrender To Victory is my third LP and was released in March. Since then I’ve dropped two singles/videos (‘Drums’ and ‘Australian Dreaming’) and toured Australia with Mac Miller. Now I’m on a tour of my own and

having a blast, with more clips and singles on the way, and working on releasing a second project later this year but that’s still very hush hush (except when I talk about it). Best Gig Ever Too many to choose 3. from… Playing Sydney Big Day Out, national tours with Pharoahe Monch, Drapht, Hermitude and Spit Syndicate, opening for Public Enemy, opening for Dizzee Rascal; I really can’t call it. Something tells me the Sydney launch at the Basement will be crazy though… Playlist Ngaiire (a Sydney4. Current

MAURICE FULTON The ‘Syclops’ is back! Maurice Fulton will play GoodGod Small Club on Friday July 26. The American ex-pat, who now makes his beats in Sheffield UK, has worked under many monikers over the years, including Ladyvipb, Eddie and the Egg and of course Syclops, while producing albums for Kathy Diamond and his wife, Mu, and remixing Annie, Hot Chip, Chicken Lips and The Rapture. As the 34 :: BRAG :: 521 :: 15:07:13

based singer who features on a couple of my songs) has just released her debut album and it’s amazing. Also pumping a lot of Action Bronson, Onra, Kendrick Lamar, Schoolboy Q, Maya Jane Coles, Ta-Ku, etc. Your Ultimate Rider I just want a bottle of 5. vodka, a bottle of soda water and some fresh limes…and some good friends/fans to share it with. Where: The Basement / Mona Vale Hotel When: Friday July 19 / Saturday July 20

plethora of pseudonyms and disparate projects suggests, the Syclops has an elusive sound that is hard to pin down, combining leftfield, garage and underground dance influences in productions that have been released on canonical labels such as Warp, Sonar Kollektiv, Output, Tirk and most recently DFA. The warmup on the night will be provided by DJs Noise In My Head and SlowBlow’s Dreamcatcher, with the revelry commencing from 11pm.


The ‘so hot right now’ Sydney band Jagwar Ma have announced an encore Sydney performance at The Standard on Sunday August 4 after their performance slotted for the previous Friday sold out. It will be a triumphant homecoming for the Jagwar boys following their recent set at the world famous Glastonbury festival, where they attracted the likes of Foals, The Horrors and, uh, Prince Harry, to watch from side of stage. The hype doesn’t stop there though – post-festival, The Independent picked Jagwar Ma as one of four stand-out acts, saying that they were “the ideal Glastonbury band,” and that was just the beginning of the superlative platitudes. The album was made triple j Feature Album, FBi Album of the Week and SMH’s Album of the Week, with many other shining reviews continuing to roll in. Jagwar Ma will be supported by Guerre and the battling DJ Angelo Cruzman.











BRAG :: 521 :: 15:07:13 :: 35

dance music news

free stuff

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


on the record WITH

GUY J The Last Record I Bought: The latest track that I’ve 2. bought is a digital download and it’s a track by techno producer Dosem, which is called ‘A Modern Ritual’. I love this track a lot and there’s a very sexy groove in it, and when the main melody comes in it really changes the vibe of the track – I think it’s one of the most beautiful tracks that I’ve heard recently.


The First Record I Bought: The first piece of music that 1. I bought was Prodigy’s The Fat of the Land. Now that I look back at it, I was only 13-years-old when I bought that. I was exposed to their

music at the time through MTV as well as radio in Israel, and I was amazed by the energy of this music and the colours in it! It was on repeat for me for so long and it still sounds amazing today.

Fred Everything

The First Thing I Recorded: I remember the first thing I made was at the age of 13. I got the software from a friend and started making noise in my room. I really was so innocent back then and I can remember thinking, ‘Ah, this is how they do it’. It’s very exciting the first sound that comes out! When you don’t know much it always looks so easy to create music, but the more you get involved you discover how hard it really is. For me, that was a very exciting challenge.

The Last Thing I Recorded: 4. The last thing I recorded was my Balance compilation. The

idea behind the compilation for me was to put together a series of remixes and edits that I’ve been working on recently. It was done with the support of artists like Henry Saiz, WOW, Juan Deminicis, Navar, Guy Mantzur and more. It’s my first compilation mix and I couldn’t be more pleased that it’s with Balance. The Record That Changed My Life: 5. James Holden ‘Horizons’. This track is like magic and it’s an all time favourite of mine. I think that a good track is a piece of music that still sounds fresh ten years after it’s been made. It can take you back to that exact moment when you heard it for the first time, bringing back memories of how you felt hearing it, what your day was like, etc. ‘Horizons’ does this to me every time I hear it – a true inspiration. What: Guy J at Chinese Laundry When: Saturday July 20 And: Balance Presents Guy J out now through Balance Music/ EMI


Keen for some deep, deep house? After a standout set in 2012, Canadian DJ/ producer Fred Everything is returning to the Goldfish decks on July 27. His latest album Lost Together was released this month and features an awesome array of collaborations from the likes of Lisa Shaw, Roy Davis Jr, Tortured Soul and N’Dea Davenport from The Brand New Heavies. Want to win one of three double passes to the show? Email us at and tell us which house track you get into so much that you’re lost altogether?


Now for some bad news folks – Detroit auteur Juan Atkins will not be able to perform at The Basement this Saturday due to a severe case of food poisoning that has left him hospitalised. His condition is apparently improving, however his doctor has said that he is not ready to be released in time for his Australian shows. And you gotta respect doctor’s orders, even if you’re Juan frickin’ Atkins. The promoters are “working hard to finalise new dates” and are “hoping for new dates in August or October to be announced soon.”


New Zealand live drum’n’bass outfit Shapeshifter will return to Australia to play at The Metro on Friday August 9, supported by Kilter, the moniker of young Sydney beat architect Ned East. The New Zealand troupe recently released their fifth album, Delta, which apparently takes the group’s sound in a more club-oriented direction, a fact that is perhaps reflected in their choice of support act.


Marquee has announced its talent roster for the rest of the month. The antics commence this Friday with US hip hop impresario (and sex tape star) Ray J performing alongside Marquee favourite G Wizard, following the release of Ray J’s controversial single ‘I Hit It First’, the first single from his upcoming solo album that has seen him climb the US charts in recent weeks. The inimitable Tenzin will headline proceedings the following Friday, while on Saturday July 27 DJ Cadell performs alongside Dutch-born Aussie resident Marlo, who will deliver an assortment of “tech-fused sounds.”

Spit Syndicate


Spit Syndicate, the inner west Sydney hip hop duo, will play an all-ages show at The Hi-Fi on Saturday November 2 as part of their Money Over Bull$hit Tour, which takes its title from a lyric from ‘Amazing’, the third single to be pulled from their ARIA charting Sunday Gentlemen album. The release featured guestspots from ARIA award winner Styalz Fuego, Horrorshow’s Adit, M-Phazes and Raph Dixon, and was lauded by the discerning cronies who write for this very publication. Spit Syndicate will be supported by DJ Joyride, who recently dropped a free EP called Chivalrous. Everyone from the northern beaches ought to note that Spit Syndicate also play at the Mona Vale Hotel on Saturday October 5. 


Save the date of Saturday November 23, as Sydney festival brand Fuzzy will return to the picturesque setting of Fleet Steps, Mrs Macquarie’s Point, for its annual Harbourlife bash. As for the lineup, we’ll have to wait for the official announcement. Pulse Radio’s Wade Cawood has apparently viddied the lineup and broadcast on Facebook that the Harbourlife 2013 lineup is “the best yet,” but as with all Cawoodian musings, you’ve got to take that doused in plenty of grains of salt.


Derrick Boyd and his partner, vocalist Zoe Presnick, collectively known as Tone Of Arc, will perform at the Burdekin Hotel this Saturday July 20. The couple recently dropped their debut album Time Was Right, which channels the zeitgeist of Ibiza in the 80s (apparently, anyway – though if you can remember it, you weren’t there as the saying goes). DJs Brohn and Mike Buhl will be spinning in support, with presale tickets available online.

Rick Wilhite



Techno auteur and astute businessman Richie Hawtin has teamed with Sydney designer and technophile Peter Jones of Chrøniclesøfnever to create a limited edition t-shirt line to signify the launch of his summer Ibiza party brand Enter. While Hawtin’s attempts at reinventing his image have sometimes missed the mark over the years (see every one of his haircuts, like, ever), with Jones playing Svengali the Canadian veteran is on to a winner this season at least. The Chrøniclesøfnever for Minus range is available to buy now online from the Minus store – get the credit cards ready, lads and ladettes.

HYBRID Moderat


Moderat, the collective comprised of Apparat and Modeselektor, will release their second album, II, early next month. The LP itself consists of 11 brand new tracks spanning a reportedly emotional spectrum that creates a “very varied but nonetheless compact and epic tale”.

36 :: BRAG :: 521 :: 15:07:13

Veteran UK breaks outfit Hybrid will take centre stage at Chinese Laundry on Saturday August 24. Hybrid are widely known for their leftfield approach to breaks production, and have now been together for almost twenty years in a career that includes anthemic single ‘Finished Symphony’ and the moody vocal cut ‘If I Survive’, which features a great video clip underscored by themes of kidnap, revenge and murder. (Which takes me back to the last Brag Christmas party.) Entry is $15 before 10pm and $25 thereafter.

Detroit artist Rick Wilhite, AKA The Godson, will return to Sydney for a show on Sunday July 28 at a venue that is still to be disclosed. Wilhite has been a pivotal figure in Detroit house music for two decades, both as a solo producer, as part of the supergroup Three Chairs with Theo Parrish, Marcellus Pittman and Kenny Dixon Jr (AKA Moodymann), and as owner of the Vibes New & Rare Music record store. Yet it was not until a few years ago that Wilhite finally released his debut solo album, Analog Aquarium, which collected nine new Wilhite productions plus the 2005 track ‘Cosmic Jungle’ from the In the Dark (The Soul of Detroit) compilation and included guest appearances from Parrish, Pittman and Osunlade. Analog Aquarium was met with a strong critical response from ‘the heads’, with one reviewer gushing, “There’s an enthralling painterliness about Wilhite’s methods, as he dabs smears of melody and little pops of rhythm into huge, sprawling abstractions.” In other words, the man’s an artist, man.

Shapeshifter Keeping It Together By Alasdair Duncan


ew Zealand’s Shapeshifter have been cranking out deep, soulful drum’n’bass tunes for more than a decade now, and their fifth studio album, Delta, builds on their signature sound in new and surprising ways. “The album entered the charts at number one in New Zealand, which really blew us away,” keys and horn player Nick Robinson says. “You really get nervous when releasing an album, spending so much time locked away in the studio not thinking about what people are going to like, just working away at songs in private, then suddenly it’s exposed to the world! It’s daunting, so to hear all the positive comments, to hear people say that they are taking something they value from this album is a real buzz.” If there’s one thing that unites many of Shapeshifter’s tracks, it’s a sense of euphoria – a hands-in-the-air abandon that’s infectious. Delta is full of tracks like this, and I ask Robinson whether or not the upbeat nature of the music reflects the personalities of the band’s individual members. “Well, I wouldn’t say I’m any happier than the next guy,” he tells me. “I think we just all like music that ramps up, and we like music that is uplifting, so that would actually have an influence. I think some of our music is quite dark and deep – kinda thought-provoking – although it probably depends on the track. If there’s one thing that unites us, it’s that we’re all lovers of nice synthesizers and making beautiful pad sounds.

A formidable live band, Shapeshifter spend a good deal of time on the road, although Robinson assures me that their tours are not glamorous in the slightest. Their days typically start at 7am with an annoying hotel wake up call. “After that, it’s throw hotel telephone across the room and go back to sleep,” Robinson says, “then wake up 30 minutes later, and shower and pack bags in three minutes.” From there, it only gets more arduous. “Leave favourite t-shirt in hotel room and run down to the van,” he continues. “Race to airport, fly plane to next destination, land and drive to sound check…” In Europe, the itinerary gets a little more cosmopolitan, with car park soccer games and Tesco microwave bangers and mash to keep the lads busy. I ask Robinson if he and the rest of Shapeshifter have enjoyed any especially memorable touring

experiences in recent times. “We played a show in Poland last year,” he begins warily, “having just arrived in Europe on no sleep. Sam the guitarist and I went out into Warsaw and accidentally stayed out till the morning – it was the friendly locals’ fault – and we then had to drive to Plock in the middle of nowhere, while hung over as fuck, with 41-degree heat and no air con.” It was the most hideous journey they had ever taken, and they fully expected the gig to be a disaster, but when they arrived at the Audioriver festival a crowd of 25,000 was waiting, and they somehow rallied and pulled off what Robinson insists was the gig of their lives. Given the level of debauchery in Europe, I ask Robinson if he and the lads plan to get into any similar mischief when they return to Australia this month, for a tour that includes a stop-in at The Metro. He assures me that professionalism is the order of the day this time. “We’re in the studio at

“…throw hotel telephone across the room and go back to sleep, wake up 30 minutes later, leave favourite t-shirt in hotel room, race to airport, fly to next destination, land and drive to sound check.” the moment, rehearsing a bunch of new material off the new album,” he explains. “Sydney crowds are always crazy for us, and The Metro is always a highlight of the tour when we’re over there. We’ve got some new big tunes that we can’t wait to play, mixed in with a bit of old stuff and a bit of jamming. There may be some mistakes in there,” he says, “but that’s on purpose of course.” It seems the secret to Shapeshifter’s longevity is their ability to muck around as friends, and not take themselves too seriously. I ask Robinson why, in his view, the band has stuck together for so long. “Money!” he says with a laugh. “No, I’m definitely kidding – the money’s pretty terrible in the music game. I’d say we’re all doing our dream job. As a kid, I would play bands with my friends – rocking on stage with tennis racquets, stuff like that. Now we get to play gigs and make music, and we all know that we make better music when we’re together than when we’re by ourselves. So we make sure we work through any shit we might have because what we do is worth it, and it’s a fucking buzz doing it too.”

Shapeshifter gained a new drummer late last year in Darren Mathiassen, following the departure of long-time member Johnny Hooves, but according to Robinson, the transition has been fairly seamless. “We’ve always known Darren as a quality drummer,” he says, “so after Johnny left, he was our man. He has actually fit in better than we expected, and has the ability to really feel the Shifter feels, but then add even more of his own personality in there.” His ability to breathe life into the music, Robinson says, has made the live show even stronger. “Darren just fits in,” he says. “We all have similar backgrounds and he’s played in bands with our singer Paora before so he just adds to the dynamic.”

Where: Metro Theatre with Kilter When: Friday August 9 And: Delta out now through Truetone Recordings/Ministry of Sound Australia.

East is East Night Markets Every Thursday 6.30pm - 9.30pm Tap Gallery, 278 Palmer Street, Darlinghurst

Starts 18th July! Beautiful handmade and vintage crafts all under $100! BRAG :: 521 :: 15:07:13 :: 37


Bringing The Party By Alasdair Duncan “I love them,” Yuksek explains, “because they manage to create a sound, not just a bunch of good artists but a real musical, artistic vision. Over the last few years, Ed Banger has had great success with some very good releases and I also really like labels like Future Classic, I’m A Cliché, Versatile, and Tricatel, who inspire me with most of their releases.” While it’s early days, Partyfine has a number of quality releases under its belt, including ‘Peter Pan’, a sweet, glitched-out electro track featuring the vocals of JD Samson, recorded by Yuksek in his collaborative guise as Peter & The Magician. “I was contacted by JD’s manager because she was going to Europe to meet the producers for the new MEN record,” Yuksek says. “I’m a big fan of both Le Tigre and MEN, so I was more than happy to welcome her into the studio. We wrote a track for her, which is gonna be the next single, and I gave her a listen to a song I’d been working on with my production partner Stephen [AKA The Magician]. The very next day, she sent me the vocals!”


rance’s Yuksek is known as a purveyor of banging electro tunes, but this year he’s branched out into all new musical territory – a label of his own, named Partyfine. “I always wanted to create a label but never had enough time to focus on it,” he

explains. “I’ve produced and worked with a lot of artists the last few years and I feel that it could be interesting to push it till the end of the creative process and produce records myself, investing time and money.” Partyfine, he says, gives him the freedom to produce and

Partyfine aims to release a diverse array of tracks, with sounds ranging from indie and disco to electro and house. The big inspiration behind the label was James Murphy’s DFA.

Yuksek has thus far released two albums – 2009’s banging Away From The Sea, and 2011’s more melodic follow-up Living On The Edge Of Time. Since then, he has grown frustrated with the process of dealing with major labels, and I ask if he has plans to make and release a third at some point. “Sure, I’m

“That shit was cool man. I love my fans and they came through for me. On the ‘Can’t Trust ‘Em’ remix [from the SmokeOut Conversations mixtape] I planted the seed, I was kinda like .‘.. Tell XXL I want the motherfuckin’ cover’,” Wright raps. “That was like me planting the seed, just to let my fans know, like ‘if these motherfuckers don’t pick me, y’all niggas need to have my back’. And I’m so happy that my fans came through for me.”

Wright toured Australia last year with Hopsin (“The ladies liked me,” Wright laughs when asked about the tour. “It was cool, man, I smoked some real good weed out there and I had a real good time.”). And this time he’s being joined by another member of Funk Volume, Jarren Benton, who released his debut album My Grandmother’s Basement last month. He’s also busy working on a new mixtape,

release anything he wants, the way that he wants to do it.

thinking about it,” he tells me. “I still have a contract with Universal for another one, so I’ll keep on dealing with outside labels.” As for the future of Partyfine, it may one day be an outlet for Yuksek to release his solo work, but for now the aim is simply to keep signing, producing and releasing exciting new artists. In matters slightly more pressing, Yuksek will be touring Australia this month to introduce fans to his new label and new tunes. An in-demand DJ, he travels the world a lot and plays in numerous different places, but has yet to fully adapt to life on the road. “Touring is totally cool and totally boring,” he says. “I mean I travel the world in business class, I meet cool people, most of them compliment me on the music I’m making. I think I’ve been in most of the countries of this planet the last four years.” At the same time, though, touring wears him out. “I feel tired a lot, even when I’ve been home for a week. It’s really hard to have a proper family life, even difficult to go to the studio sometimes.” When I ask what we can expect from his upcoming Australian shows, Yuksek’s answer is simple. “I’ll try to send good music and love, and I hope to receive some back!” Where: Chinese Laundry When: Saturday July 20 And: On My Brain EP out now through Partyfine

Dizzy Wright

I Did It My Way By Joshua Hayes


oung Las Vegas rapper La’Reonte Wright AKA Dizzy Wright is distracted. In between this interview and the NBA fi nals game he’s watching, he’s also babysitter for the day. “I’m just looking out for my sister. Watching her bad ass little kids. I love them but they’re bad as hell,” he says in a stoner drawl. “I’m just the neighbourhood fucking nanny right now. I have no idea how this happened.” The same could be said of his career – from being an anonymous rapper in a city known more for Frank Sinatra and Celine Dion than hip hop, to being about to embark on his second tour of Australia, all in the space of a few years. Along with his Funk Volume collective, Wright has built a loyal fan base at dizzying (sorry) speed. And like that other famous Sin City musician, Wright has done it his own way – with a little prodding from his mother. A concert promoter, Mrs Wright had her ten-year-old son working as a youth reporter for a kid’s news show, and by twelve she was encouraging him to start rapping – even going so far as to write his lyrics. “It was like when I was about 12 or 13, when I kinda started, like, when I just wanted to come up with the hooks,” he laughs. By the time he entered his teens, he was writing his own lyrics but still treating hip hop as a hobby. “Well my mom saw something in us before we saw it,” he says. “I didn’t know that I really wanted to do it until after high school. That’s when I was like ‘okay, I’m about to get busy, I’m gonna make this shit work’.” Wright attracted the interest of a few record labels, but ended up joining the independent outfit Funk Volume after label head and rapper

38 :: BRAG :: 521 :: 15:07:13

Hopsin discovered his music online. Since then, the outfit has built a strong following in the mould of other west coast collectives like Top Dawg Entertainment and Odd Future. The loyalty of this following was proven when, after missing out on a coveted spot on the 2012 XXL Freshman List, Wright was voted in as the People’s Choice Freshman, earning a place on the magazine’s cover.

The Golden Age, for an early August release. It’s been an impressive rise for Wright – and, especially, for the mother who has followed his career from the day she initiated it. “Now she’s like ‘damn’,” Wright laughs. Where: Metro Theatre (all ages) When: Saturday July 20


Deep Impressions

up all night out all week . . .

Underground Dance And Electronica with Chris Honnery




The first lineup for the annual Australia Day Victorian bush romp that is the Rainbow Serpent festival has been announced, and it contains some names who have garnered plenty of coverage on this page, such as Kompakt main man Michael Mayer, last week’s Deep Impressions star, Italian techno don Donato Dozzy, veteran outfit Banco de Gaia and Berlin party boy Nico Stojan. Mayer recently toured our shores following the release of his accomplished – if dubiously titled – sophomore album Mantasy, while Dozzy devotees will be pleased at this news after the veteran cancelled his previous Australian tour, which was also slotted for the end of last year. Banco de Gaia represent the wild card of the bunch, a collective that was described by Pitchfork as “a musical fossil…that has existed for years on the fringes of interest.” Film/ soundtrack aficionados will recall the epic Banco de Gaia cut ‘Drippy’ from the (excellent) soundtrack to Aronofsky’s debut feature film Pi, a cut that serves as a seductive introduction to Toby Marks’ genre-hopping project, which has never quite garnered the recognition that it deserves. While one would assume that all these artists will represent in Sydney in late January, readers must seriously consider the southern pilgrimage to see them all perform over the course of a few days in the peerless atmosphere of the famed outdoor festival.   The next instalment of the fabric compilation series, fabric 71, will arrive courtesy of English-born crooner-DJproducer Catherine Britton, AKA Cassy, who has established herself as a world-

class DJ over the past decade through her residency at Panorama Bar and regular spots at Ibiza day club DC10. Cassy’s productions showcase a vocal-driven style of stripped down deep house via releases on Perlon and her own self-titled imprint, while her DJ prowess has been captured on her compilations Simply Devotion and the inaugural installment of the Panorama Bar mix series. She’s also collaborated with the crème de la crème of the club world – I’m talkin’ Villalobos, Luciano and Mathew Jonson. A relative latecomer to the DJ game, Cassy was encouraged by Electric Indigo to start mixing in her late 20s, and her supreme tastemaking abilities saw her rise quickly through the ranks. Her forthcoming mix for fabric collates tracks that “all represent what I love about electronic music, and what I love playing. Simply, each track is individually beautiful – there is not much more to add [leave that to señor wordsmith please, Cassy].” Cuts from the likes of Losoul and Adam Marshall feature in the mix along with plenty of artists I haven’t heard of – and for a jaded, techno-weary sod such as myself, that’s definitely a positive! fabric 71 will be released in mid-August.



crabbing and hands-free scratching. Most of the crowd were too young to join in when he urged a sing-along to Biz Markie’s ‘Just A Friend’. Just as well, really, because a more seasoned audience would have realised that Bliss N Eso were pulling every old trick out of the bag.

Enmore Theatre Thursday July 4

Peace, love, unity and a whole lotta effin’ n’ jeffin’ was the order of the night – and the young Enmore Theatre crowd lapped it up. A smiley Pez dished out the good vibes as he performed his funky new single, but was soon overshadowed by a much more memorable and aggressive performer. Shady Records-signed Alabama rapper Yelawolf “still don’t give a fuck” and only once acted like he did, when he removed his shoes for a spot of crowd surfing. After spraying the fans at the front with his beer he peeled off his black leather jacket (and footwear) and jumped head first into a sea of raised arms. A medley of rap and rock classics, including favourites by the Beastie Boys, Nirvana and AC/DC was an obvious but effective way of geeing everyone up. The trailer for new album Circus in the Sky and impatient chants of “B and E!” preceded Bliss N Eso’s grand entrance. Flanking DJ Izm in the centre of the stage, the pair worked their way through ‘Woodstock 2008’, ‘Family Affair’ and the Bluejuice-sampling ‘Act Your Age’. Bliss beatboxed and Izm, christened ‘the Moroccan Lamb Shank’ by his bandmate, treated us to an interlude of

The fans obligingly hollered back to Eso’s “you’re fucking beautiful, Sydney” and were taken in by the trio’s overcooked good-to-be-back-in-our-hometown shtick. The call-and-response to “there’s a party over here, fuck you over there!” nearly sent the beardy boys in the Bintang vests over the edge. Some of the delivery was repetitive and soon became tiresome. Not every song needed a cheesy, rehearsed double-act intro and too many times were literal interpretations of the lyrics beamed onto the big screen. They’re veterans now and although they’ve learnt how to work a crowd, Bliss N Eso also have a good body of well-known material to their name. I enjoyed myself, but I was also left with the impression that Bliss N Eso didn’t need to try so hard. David Wild

Maurice Fulton

FRIDAY JULY 26 Maurice Fulton Goodgod Small Club


Strange Fruit ft &ME + Deepchild The Abercrombie

SATURDAY AUGUST 10 DJ Sprinkles The Abercrombie

SATURDAY AUGUST 31 Pepperpot The Spice Cellar

grey ghost


he ever-intriguing Terre Thaemlitz, who makes music under the monikers of Kami-Sakunobe House Explosion (K-S.H.E) and more prominently as DJ Sprinkles, will headline a joint party between Picnic and the House of Mince at the Abercrombie on Saturday August 10. Thaemlitz has enjoyed a prolific first half of 2013, releasing a mix for Japanese label Mule Musiq entitled Where Dancefloors Stand Still and a doublealbum compilation of his remixes produced between 2006 and 2013, Queerification And Ruins. But Thaemlitz ain’t no flavour of the month; rather, he (or she, depending on what mood you catch him/ her in) has been actively making and playing some of the finest deep house around under the Sprinkles alias for years, with the Midtown 120 Blues LP ranked as Resident Advisor’s #1 album of 2009. In addition to an incandescent production and DJing CV, Thaemlitz is an outspoken personality who moved to Japan from the US over a decade ago, and is known to explore the link between music and politics, having written and lectured extensively on gender and social issues over the years. After more than 20 years in the game, this house auteur will be appearing in Australia for only the second time next month. As something of a novelty during the Sydney winter, this will be a daytime party stretching into the evening, with shenanigans commencing at 2pm. The likes of Stereogamous, Magda Bytnerowicz, Matt Vaughan, Ben Fester, Kali, Andy Webb and Lovertits himself are all set to spin at some stage of proceedings.

06:07:13 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711

Deep Impressions: electronica manifesto and occasional club brand. Contact through


BRAG :: 521 :: 15:07:13 :: 39

club guide send your listings to :

club pick of the week Yuksek


free. Chakra Thursdays feat: Robust + Brizz Whaat Club, Kings Cross. 9:30pm. free. Dip Hop feat: Levins And Guests Goodgod Small Club, Sydney. 8pm. free. Hot Damn feat: Hot Damn DJs The Exchange Hotel, Darlinghurst. 8pm. $15. Kit & Kaboodle feat: Resident DJs Kit & Kaboodle, Kings Cross. 10pm. free. Miami Nights feat: Jay-J + Husky + Liam Sampras + Tom Kelly Goldfish, Kings Cross. 9pm. free. Pool Club Thursdays feat: Resident DJs Ivy Bar/lounge, Sydney. 5pm. free. Propaganda feat: Gillex + DJ Moody World Bar, Kings Cross. 9pm. $10. Rewind feat: Resident DJs Sapphire Lounge, Potts Point. 9pm. free. Take Over Thursday feat: Resident DJs Trademark Hotel, Potts Point. 9pm. $10.


Chinese Laundry, Sydney

Guy J + Yuksek

+ Leoch + Club Junque + Damien Osborne 9pm $20 MONDAY JULY 15 CLUB NIGHTS

Mother Of A Monday feat: DJ Smokin’ Joe Scruffy Murphy’s Hotel, Sydney. 7:30pm. free.


Chu feat: Various World Bar, Kings Cross. 7:30pm. $5. Coyote Tuesday feat: Resident DJs Trademark Hotel, Potts Point. 40 :: BRAG :: 521 :: 15:07:13

9pm. free. I Love Goon feat: Resident DJs Scruffy Murphy’s Hotel, Sydney. 7pm. free. Rumba Motel Salsa feat: DJ Willie Sabor The Establishment, Sydney. 8pm. free. Ziggy Pop Tuesdays feat: Guest DJs Brighton Up Bar, Darlinghurst, Sydney. 8pm. $5.


Garbage 90s Night feat: Garbage DJs Lewisham Hotel, Lewisham. 7pm. free.

Salsa feat: Resident DJs Ivy Bar/lounge, Sydney. 8pm. free. Supper Club feat. Emoh Instead Kit & Kaboodle, Kings Cross. 7pm. $10. The Wall feat: Various World Bar, Kings Cross. 8pm. free. Whip It Wednesdays - feat: DJs Camo + Snillum + Jaimie Lyn Whaat Club, Kings Cross. 9pm. free.


Balmain Blitz feat: Various Bridge Hotel, Rozelle. 7pm.

The Tounge + She Rex + Dutch The Basement, Circular Quay. 9pm. $20.


$5 @ 5 On Fridays feat: Resident DJs Jacksons On George, Sydney. 5pm. free. Factory Fridays feat: Resident DJs Soda Factory, Surry Hills. 5pm. free. Fridays feat: Resident DJs Kit & Kaboodle, Kings Cross. 10pm. free. House Of Beni (Winter Edition) + Kim (The Presets) + Linda Marigliano (triple j) Goodgod Small Club, Sydney. 11pm. $12. Mashed Fridays feat: DJ Ric C Oatley Hotel. 8pm. free. Mashup Fridays feat: Ray J Marquee At The Star, Pyrmont. 10pm. $20. Mum feat: Mum DJs World Bar, Kings Cross. 8pm. $10. Soft & Slow W/Jamie Lloyd + Steven Sullivan + Pink Lloyd (Softwar) + Dreamcatcher (Slow Blow) The Spice Cellar, Sydney. 10pm. $10. Soho Fridays feat: Kronic + Skinny + Zannon Rocco + Fingers + Pat Ward Soho Bar & Lounge, Potts Point. 9pm. free. Something Wicked feat: DJs Robust + Prolifix + Harper + Audio Trash Candy’s Apartment, Potts Point. 8pm. $10. Start (Cue 008 with About Jack & Whitecat) feat: About Jack + Whitecat + Adam Proctor + Alistair Hearnshaw + Dyson + Rickstar* + Ross ‘Bravo’ Ashman + Tommy Rutherford Civic Hotel, Sydney. 9:30pm. $10. TGIF feat: Resident DJs Trademark Hotel, Potts Point. 10pm. free. The Mane Event feat.

Tone Of Arc

Sampology + The Mane Thing + Brooklyn Zoo + Ra Bazaar + Cheap Lettus + Jack Bailey + Major Roar + Samuel Jackin Vs Peple Panic + Tu-Kind Chinese Laundry, Sydney. 10pm. $25. Twist And Shout feat: Dylabolical + Doctor J Brighton Up Bar, Darlinghurst. 11pm. $5. Unwind Fridays - feat: DJ Greg Summerfield Omega Lounge, Sydney. 5:30pm. free. Voodoo Launch feat. Jordan Suckley + James Dymond + Eddie Bitar + Nick Arbor + Thomas Knight Home Nightclub, Darling Harbour. 10pm. free.


Dizzy Wright + Jarren Benton + DJ Hoppa Metro Theatre, Sydney. 7pm. $44.


A Year With Transience feat: Sound Psychology + Avian + Nathan Flexx + Alex Chico + Zac Slade + Krish Titan + 420 Burdekin Hotel, 8pm. $15. After Dark feat: Resident DJs Whaat Club, Kings Cross. 8pm. $15. Argyle Saturdays feat: Resident DJs The Argyle, The Rocks, Sydney. 5pm. free. Guy J + Yuksek + Leoch + Club Junque + Damien Osborne Chinese Laundry, Sydney. 9pm. free. Homemade Saturdays feat: Resident DJs Home Nightclub, Darling Harbour. 9pm. $25. Jacksons Saturdays feat: Resident DJs Jacksons On George, Sydney. 9pm. free. Kasey Taylor + Le Brond + Dean Relf + Nic Scali + Murat Kilic The Spice Cellar, Sydney.

10pm. $20. Skybar Saturdays feat: Resident DJ The Watershed Hotel, Sydney. 9:30pm. $20. Slow Blow Presents Tear feat: DJ Jungle Snake + DJ Dream Catcher Goodgod Small Club, Sydney. 10pm. $10. Soda Saturdays feat: Resident DJs Playing Disco And Funk Soda Factory, Surry Hills. 5pm. free. Soda Saturdays feat: Guest DJs The Soda Factory, Surry Hills. 5pm. free. The Suite feat: Resident DJs Sapphire Lounge, Potts Point. 8pm. free. Tone Of Arc + Brohn + Gabby + Mike Buhl + T-Boy + Alan Thomas + Aaron Robins + Sam Arellano + Stiv + Le Brond & Shaunbro + Ek Collective Burdekin Hotel, 9pm. $25. Tydi Marquee At The Star, Pyrmont. 8pm. $30.


Beresford Sundays feat: Resident DJs Upstairs Beresford, Surry Hills. 3pm. free. Easy Sundays feat: Resident DJs Kit & Kaboodle, Kings Cross. 10pm. free. S.A.S.H. Sundays The Abercrombie, Sydney. 2pm. $10. Soup Kitchen feat: The Soup Kitchen DJs World Bar, Kings Cross. 7pm. free. Spice After Hours feat: Nic Scali + Murat Kilic And Guests The Spice Cellar, Sydney. 4am. $20. Sunday @ Gay Bar feat: Resident DJ The Gay Bar, Darlinghurst. 3pm. free. Sunday Sessions feat: DJ Tone Oatley Hotel, Oatley. 7pm. free. Sampology


club picks

up all night out all week . . .

up all night out all week...

Chu feat: Various World Bar, Kings Cross. 7:30pm. $5.

Twist And Shout feat: Dylabolical + Doctor J Brighton Up Bar, Darlinghurst, Sydney. 11pm. $5.



The Wall feat: Various World Bar, Kings Cross. 8pm. free.

Dizzy Wright + Jarren Benton + DJ Hoppa Metro Theatre, Sydney. 7pm. $44.

THURSDAY JULY 18 Miami Nights feat: Jay-J + Husky + Liam Sampras + Tom Kelly Goldfish, Kings Cross. 9pm. free.

FRIDAY JULY 19 The Tounge + She Rex + Dutch The Basement, Circular Quay. 9pm. $20. House Of Beni (Winter Edition) + Kim (The Presets) + Beni + Linda Marigliano (triple j) Goodgod Small Club, Sydney. 11pm. $12. Soft & Slow W/Jamie Lloyd + Steven Sullivan + Pink Lloyd (Softwar) + Dreamcatcher (Slow Blow) The Spice Cellar, Sydney. 10pm. $10. Start (Cue 008 With About Jack & Whitecat) feat: About Jack + Whitecat + Adam Proctor + Alistair Hearnshaw + Dyson + Rickstar* + Ross ‘Bravo’ Ashman + Tommy Rutherford Civic Hotel, Sydney. 9:30pm. $10.

Guy J + Yuksek + Leoch + Club Junque + Damien Osborne Chinese Laundry, Sydney. 9pm. free. Slowblow Presents Tear feat: DJ Jungle Snake + DJ Dream Catcher Goodgod Small Club, Sydney. 10pm. $10.

trapped ft. rapaport



04:07:13 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711

Tone Of Arc + Brohn + Gabby + Mike Buhl + T-Boy + Alan Thomas + Aaron Robins + Sam Arellano + Stiv + Le Brond & Shaunbro + EK Collective Burdekin Hotel, 9pm. $25. Tydi Marquee At The Star, Pyrmont. 8pm. $30.

SUNDAY JULY 21 S.A.S.H. Sundays The Abercrombie, Sydney. 2pm. $10. Spice After Hours feat: Nic Scali + Murat Kilic And Guests The Spice Cellar, Sydney. 4am. $20.

red bull music academy ft. arabian prince PICS :: AM

Mother Of A Monday - feat: DJ Smokin’ Joe Scruffy Murphy’s Hotel, Sydney. 7:30pm. free.

The Mane Event feat. Sampology + The Mane Thing + Brooklyn Zoo + Ra Bazaar + Cheap Lettus + Jack Bailey + Major Roar + Samuel Jackin Peple Panic + Tu-Kind Chinese Laundry, Sydney. 10pm. $25.

04:07:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587





BRAG :: 521 :: 15:07:13 :: 41




halfway crooks


up all night out all week . . .

07:071:13 :: Marquee :: Star City Pyrmont 9657 7737





06:07:13 :: Phoenix Bar :: 34-44 Oxford st Darlinghurst Sydney 9331 3100

05:07:13 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999



haha ft mark e

06:07:13 :: The Basement :: 37 Macquarie Pl Sydney 9251 2797

42 :: BRAG :: 521 :: 15:07:13


07:07:13 :: The Abercrombie Hotel :: 100 Broadway Ultimo 9280 2178

05:07:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587 :: AVERIE HARVEY :: KATRINA S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER ON ENS STEV ICK PATR :: MAR LEY CLARKE :: AMATH MAGNAN :: ASH


s u ppo rt fro m


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