Beat Magazine #1350

ISSUE 1350 | 12 DEC 2012 | BEAT.COM.AU

MELBOURNE’S ORIGINAL AND HIGHEST CIRCULATING STREETPRESS

ALABAMA SHAKES

BEST COAST

DJANGO DJANGO

TWO DOOR CINEMA CLUB

100%: DISCLOSURE

THIS WEEK: KUTCHA EDWARDS, SUN RISING, THE DATSUNS, NE OBLIVISCARIS, THE WATERBOYS, ALBERT SALT & WINTERCOATS, SABRINA & THE RED VANS, JEB CARDWELL, THE RED LIGHTS

YOUNG MEN’S SOCIETY

MELBOURNE’S EPIC SATURDAY NIGHT CLUB

SATURDAY 15 DECEMBER

2 CLUBS s 1 TICKET s DON’T MISS IT To enhance the safety and welfare of all patrons, Crown promotes the following conditions of entry: Dress standards apply. Customers must be 18 years or over and submit their driver’s

LEVEL 3 | CROWN

ENROL NOW collarts.edu.au

make music your career With degrees & diplomas in Music Performance, Audio Production and Creative Industries Management, Collarts can help turn your . passions into a career.

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Secret Sounds presents

with and

THE JUNGLE GIANTS

SAT 29 DEC • FESTIVAL HALL ticketmaster.com.au - 136 100 (Licensed All Ages)

TICKETS ON SALE NOW twodoorcinemaclub.com secret-sounds.com.au

NEW ALBUM BEACON OUT NOW. FEATURES THE SINGLES SLEEP ALONE AND SUN.

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1 TRIVIA TUESDAY LEFT BOOK NOW PH 9036 1456

COOL HAND LUKE THE RUN RUN

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Thursday Annaâ&#x20AC;&#x2122;s Go-Go Academy, 6:30pm $15 Parma & Pot

Friday

Carla Lippies & The Marshal Hearts Duo Cookie Baker & Miles + Simone

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Saturday Olâ&#x20AC;&#x2122; Timey Music Jam Session 5pm, Beer Garden

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Beat Magazine Page 8

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ADRIAN BOHM PRE SENTS

SATURDAY 23 MARCH NATIONAL THEATRE BOOK AT TICKETMASTER 136 100 TICKETMASTER.COM.AU OR NATIONAL THEATRE 9525 4611 NATIONALTHEATRE.ORG.AU

ON SALE THURSDAY 13 DECEMBER BR AND NEW ALBUM OUT NOW

Beat Magazine Page 10

ABPRESENTS.COM.AU | LUKABLOOM.COM

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Beat Magazine Page 11

SECRET SOUNDS PRESENTS

PRESENT OUR ANNUAL

FRIDAY DECEMBER 14TH THE TOTE – MELBOURNE W/THE HELLO MORNING $18 PLUS BF www.kingcannons.com www.footstompmusic.com www.thetotehotel.com

SUNDAY 17TH FEBRUARY

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TICKETS FROM MOSHTIX.COM.AU & 1300 438 849

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Beat Magazine Page 12

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Beat Magazine Page 13

Arts Centre Melbourne presents

FEATURIN G

DEMI SORO

FROM SO NO YO YOU CAN U THINK DANCE

MUSIC BY KANYE WEST, LADY GAGA, MICHAEL JACKSON AND LOTS MORE ARTS CENTRE MELBOURNE, HAMER HALL TICKETS FROM $42* - HURRY BOOK NOW!

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Book online or call 1300 182 183 artscentremelbourne.com.au artscentremelbourne.com.au

Beat Magazine Page 14

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E U G O L A T CA !

W O N T OU

YOUR PATH TO ROCK! This pack has a great Yamaha Pacifica guitar and a hot new Vox amp to get you started in guitar playing. The pack also includes a Vox cable, Korg tuner, learn-to-play DVD, strings, picks, strap and string winder. Colours: Black, Dark Blue Metallic, lic.. lic Red Metallic.

GL1 Halff guitar, half ukelele, Ha Hal 100% 100 0 fun! The GL1 sounds sou u and plays great, h nylon strings, ha has Spruce Sp S p top and includes a ccarry bag.

$349

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GIGMAKER10

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EASY TO PLAY LIKE A UKELELE, BUT IT’S ACTUALLY ACT C A GUITAR! GUIT

THE NEXT LEVEL IN SOUND AND QUALITY GIGMAKER15R With this super quality solid-body Pacifica 112J electric guitar and 15 watt Vox Pathfinder 15R amp featuring vintage tremolo and spring reverb, you’ll get all the classic sounds you desire. Also included are a Vox cable, Korg tuner, learn-to-play DVD, strings, picks, strap and string winder. Colours: Black, Lake Placid Blue, Old Violin Sunburst, Red Metallic, Yellow Natural Satin. Left handed version also available in Black.

$499

ROCK HARD WITH THIS AWESOME PACK

GET STARTED WITH THIS QUALITY BASS AND POWERFUL AMP

GIGMAKERFX

RBX170 + BELCAT25B

This guitar and amp pack will have you shredding in no time with all the sounds and effects you need. Includes a Yamaha RGX121Z, Vox MINI3 digital modelling amp, Vox cable, Korg tuner, learn-to-play DVD, strings, picks, strap and string winder. Colours: Black, Flat Silver, Red Metallic.

Left handed version also available in Black.

This bass guitar will suit any type of playing style and is perfect for beginners. The pack includes an RBX170 with bolt-on neck, vintage style bridge, dual pick-up system and includes a powerful 25 watt bass amp. Colours: Black, Dark Blue Metallic, Old Violin Sunburst, Red Metallic, Silver.

EFFORTLESS LOOPING WITH AWESOME EFFECTS

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VLL-1

$159

NEW

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Ideal for both guitar and vocal/mic performances, it has two independent loops, infinite layers, loop quantize, 12 effects, rhythm guide, headphone output, and can be battery or AC powered.

$199

$359 RECOMMENDED BY TEACHERS ALL OVER THE WORLD

THE BEST WAY TO START PLAYING TODAY

C40//02

GIGMAKER310

Yamaha’s number one beginner’s classical guitar with beautiful tone and legendary Yamaha quality. It has a natural gloss finish and a Spruce top.

This acoustic guitar pack includes an F310 guitar (Spruce top, natural finish), gig bag, Korg digital tuner, string set, strap, string winder, capo, picks and learn-to-play DVD.

$899

A REVOLUTION FOR GUITAR PRACTICE THR10 THR is designed to fit where, when and how you play when you’re not onstage. With big amp response, incredible effects, and hi-fi stereo sound in a package that’s built to meet all of your offstage needs, you’re about to begin a new chapter in your playing. Features USB connection, aux-in jack, Cubase AI, user preset banks, 3-band EQ and can be battery or AC powered.

LIVE SOUND SO ND HAS NEVER BEEN EASIER STAGEPAS300 Ideal system for parties, busking and rehearsing. This extraordinarily portable PA system features an 8 channel mixer and delivers 300 watts of high-quality power to a pair of lightweight, compact speakers.

TERMS AND CONDITIONS This advertisement is part of a national sales program conducted by the distributor, Yamaha Music Australia Pty Ltd. These offers are valid only between 1st November 2012 and 31st December 2012 at participating dealers. The prices set out or referred to in this advertisement are recommended retail prices (RRP) only and there is no obligation for Yamaha dealers to comply with this recommendation or the effective program dates. Errors and omissions excepted. Not all products listed in this advertisement are available at all Yamaha dealers. # These products are listed at normal RRP and are not part of this special distributor’s promotional offer. † The “value” specified for the bonus offers is Yamaha Music Australia’s recommended retail price of these products. The Yamaha dealer participating in this promotion may not have sold these products in the past and where it has sold these products it may have sold them at less than the RRP. Other dealers may or may not sell them at the RRP.

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LOUD OR SILENT - IT’S YOUR CHOICE, PERFECT FOR PRACTICE OR LIVE ON STAGE

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Quality drum shells, ball-clamp tom holders and sturdy double braced hardware. Now available in Black or a choice of 5 new glitter sparkle finishes.

INCLUDES: Paiste 101 Cymbal Pack Valued at

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DTX400K

EXCELLENT SOUND AND TOUCH AT AN AMAZING PRICE

An easy to use, great sounding electronic drum kit with built-in training functions to get your drumming journey started.

P35B

The portable P35B helps beginners become music virtuosos in no time at all. Thanks to its stunningly realistic sounds and natural touch, it inspires practice by making it fun. No keyboard in its class offers such a powerful combination of features, including the 88-key weighted action, builtin metronome and 10 great voices. Includes footswitch for sustain. Optional stand and piano bench available. Includes Power Adaptor.

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with Gigmaker Drum Kit

$199

$549

NEW

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THE PERFECT BEGINNING FOR ANYONE LEARNING MUSIC

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PSRE233

PSRE333

61 keys and 100 different accompaniment styles.

Remarkable sound and amazing value. Includes Power Adaptor.

61 touch sensitive keys giving piano playability and added expression. USB port allows easy connection to your computer. Learning music is fun and easy with Yamaha Education Suite lessons and 102 preset songs. Includes Power Adaptor.

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NP31

CHECK OUT YOUR LOCAL STORE! VICTORIA BALWYN

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BLACKBURN

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BORONIA

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137 BORONIA ROAD

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CRANBOURNE

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130 HIGH STREET

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CRANBOURNE

CRANBOURNE MUSIC DRUM SUPERSTORE

132 HIGH STREET

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GEELONG

MUSIC WORKSHOP

39 FYANS STREET

(03) 5221 5844

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MELBOURNE

CRANBOURNE MUSIC

204 LATROBE STREET

(03) 9654 5115

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SOUTH OAKLEIGH

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940 CENTRE ROAD

(03) 9563 8711

www.patsmusic.com.au

VIEW THE FULL CATALOGUE AT

YAMAHABACKSTAGE.COM.AU

i v t i a t y e r c r u o y r e v o Disc

IN THIS ISSUE...

20

HOT TALK

24

TOURING

26

THE CRIBS

28

ARTS GUIDE, WONDER WOMEN

30

ART OF THE CITY, COMIC STRIP

32

CANDICE BREITZ: THE CHARACTER, RAW COMEDY

34

EARTHLESS, THE DATSUNS

49

THE HIVES

50

INDUSTRIAL

52

SUN RISING, THE VANDAS

53

TWO DOOR CINEMA CLUB

54

KUTCHA EDWARDS BORED NOTHING

WONDER WOMAN PG 28

55

BEST COAST

56

THE WATERBOYS,

EVEN PG 56

WILLIS EARLS BEAL, EVEN 58

TWO GALLANTS

59

DJANGO DJANGO

60

NE OBLIVISCARIS, PARKWAY DRIVE, 65DAYSOFSTATIC

61

CORE/CRUNCH!

62

MUSIC NEWS

68

ALBUM OF THE WEEK, SINGLES, CHARTS

THIS WEEK IN 100%:

DISCLOSURE

3 NEWTON STREET RICHMOND, VICTORIA 3121 Phone: (03) 9428 3600 Fax: (03) 9428 3611 email: info@beat.com.au www.beat.com.au BEAT MAGAZINE EMAIL ADDRESSES: (no large attachments please): Gig Guide: online at beat.com.au email gigguide@beat.com.au - it’s free!

Club Listings: online at beat.com.au email clubguide@beat.com.au - it’s free!

Music News Items: music@beat.com.au Artwork: art@beat.com.au Beat Classifieds 33c a word: classifieds@beat.com.au

30,706 copies per week

KUTCHA EDWARDS PG56

THE WATERBOYS PG 56

PUBLISHER: Furst Media Pty Ltd. MUSIC EDITOR: Taryn Stenvei ARTS EDITOR / ASSOCIATE MUSIC EDITOR: Tyson Wray EDITORIAL ASSISTANT: Nick Taras SUB EDITOR: Kate MacCarten INTERNS: Alexandra Duguid, Dylan McCarthy, Spence Goucher, Daniel Bell, Natalie Castellan GENERAL MANAGER: Patrick Carr SENIOR ADVERTISING/EDITORIAL CO-ORDINATOR: Ronnit Sternfein BEAT PRODUCTION MANAGER: Pat O’Neill GRAPHIC DESIGNERS: Pat O’Neill, Mike Cusack, Gill Tucker, Rebecca Houlden COVER ART: Pat O’Neill ADVERTISING: Taryn Stenvei (Music: Bands/Tours/Record Labels) taryn@beat.com.au Ronnit Sternfein (100%/Beat/Arts/Education/Ad Agency) ronnit@beat.com.au Aleksei Plinte (Backstage/ Musical Equipment) mixdown@beat.com.au Adam Morgan (Hospitality/Bars) adam@beat.com.au Kris Furst (beat.com.au) kris@furstmedia.com.au 0431 243 808 Jessica Riley (Indie Bands/Special Features) jessica@furstmedia.com.au CLASSIFIEDS: classifieds@beat.com.au GIG GUIDE SUBMISSIONS: now online at www.beat.com.au or bands email gigguide@beat.com.au

ELECTRONIC EDITOR - BEAT ONLINE: Tyson Wray: tyson@beat.com.au ACCOUNTANT: accountant@furstmedia.com.au ADMINISTRATION CO-ORDINATOR: Jessica Riley: jessica@furstmedia.com.au ACCOUNTS RECEIVABLE: Luke Forester: admin@furstmedia.com.au RECEPTION: reception@furstmedia.com.au DISTRIBUTION: distribution@beat.com.au Free Every Wednesday to over 1,850 places including Convenience Stores, Newsagents, Ticket Outlets, Shopping Centres, Community Youth & Welfare Outlets, Clubs, Hotels, Venues, Record, Music and Video Shops, Boutiques, Retailers, Bars, Restaurants, Cafes, Bookstores, Hairdressers, Recording Studios, Cinemas, Theatres, Galleries, Universities and Colleges.

Wanna get BEAT? Email distribution@beat.com.au DEADLINES Editorial Copy accepted no later than 5pm Thursday before publication for Club listings, Arts, Gig Guide etc.

Advertising Copy accepted no later than 12pm Monday before publication. Print ready art by 2pm Monday.

Deadlines are strictly adhered to.

CONTRIBUTING PHOTOGRAPHERS: Mary Boukouvalas, Lauren Cass, Ben Clement, Ben Gunzburg, Andrew Gyopar, CC Hug, Tim Hyland, Anna Kanci, Ben Loveridge, Mathew Murphy, Charles Newbury, John O’Rourke, Chris Parkinson, Naomi Rahim, Richard Sharman, Leon Struk, Michelle Tomadin, Peter Tsipas, Amy Wallace, Woodrow Wilson.

WATCH INTERVIEWS, CHATS & AWKWARD SILENCES... BEAT.COM.AU/TV

69

ALBUMS

70

GIG GUIDE

78

LIVE

SPECIAL PROJECTS EDITOR: Christie Eliezer SENIOR CONTRIBUTORS: Simone Ubaldi, Patrick Emery COLUMNISTS: Emily Kelly, Peter Hodgson.

CONTRIBUTORS: Mitch Alexander, Siobhan Argent, Bella Arnott-Hoare, Thomas Bailey, Graham Blackley, Chris Bright, Joanne Brookfield, Tegan Butler, Avrille BylockCollard, Rose Callaghan, Kim Croxford, Dave Dawson, John Donaldson, Alexandra Duguid, Alasdair Duncan, Cam Ewart, Callum Fitzpatrick, Jack Franklin, Chris Girdler, Megan Hanson, Chris Harms, Andrew Hickey, Nick Hilton, Peter Hodgson, Lachlan Kanoniuk, Cassandra Kiely, Joshua Kloke, Nick Mason, Krystal Maynard, Miki McLay, Jeremy Millar, James Nicoli, Oliver Pelling, Matt Panag, Jack Parsons, Sasha Petrova, Liam Pieper, Steve Phillips, Zoe Radas, Adam Robertshaw, Joanna Robin, Leigh Salter, Side Man, Jeremy Sheaffe, Sisqo Taras, Kelly Theobald, Tamara Vogl, Dan Watt, Katie Weiss, Krissi Weiss, Rod Whitfield, Jen Wilson, Tyson Wray, Simone Ziada, Bronius Zumeris. © 2012 Furst Media Pty Ltd. No part may be reproduced without the consent of the copyright holder.

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Beat Magazine Page 19

HOT TALK

THE BIGGEST IN INTERNATIONAL & NATIONAL NEWS

For all the latest news check out beat.com.au

- FREE SHIT SUMMER OF SOUL Summer Of Soul returns to Mossvale park on Sunday January 6 with a hip-shakin’, finger clickin’ lineup of epic proportions. Sharon Jones & The Dapkings, Los Caronas, Clairy Browne & The Bangin’ Rackettes, Chris Wilson, Saskwatchn and Steve Smith are well worth the two hour bus ride out of Melbourne on the search for soul. We have three double passes to give away.

Head to beat.com.au/freeshit

BIRDS OF TOKYO

MOOMBA FESTIVAL Melbourne’s iconic Moomba festival is back in 2013 with an exciting music lineup featuring some of Australia’s hottest emerging and established talent. Triple j Album of the Year nominees Ball Park Music will headline the main stage on the Saturday March 9, while dubstep heavyweights Dubmarine play on Sunday and ARIA nominated country songstress Kasey Chambers and neo soul outfit Electric Empire head the bill on Monday.

Other acts featured across the weekend include Deadly Award-winning hip hop artists Yung Warriors, rising indie-popsters Hey Geronimo, local indie duo The April Maze, Melbourne one’s to watch Strange Talk and critically acclaimed Melbourne singer songwriter Jordie Lane.

Held over four days in March along the banks of the Yarra, this year is promised to be bigger and better, with 49 acts already on the bill. For more information on the Moomba 2013 program, including latest announcements, visit melbourne. vic.gov.au/Moomba.

Birds Of Tokyo have announced the title of their soon-to-be-released fourth album March Fires, along with a supporting national tour with Regular John in the support slot. The band will tear the roof off The Forum on Saturday March 2 and tickets are on sale from Ticketmaster on Friday December 14, 9am.

PiL After a monumental 2012 that saw the band release their first album in two decades to broad critical acclaim, English post-rock band Public Image Ltd have announced a string of new tour dates for 2013, including three huge shows on Australia’s east coast. Flanked by their fearless leader, Sex Pistols vocalist John Lydon, PiL will make a triumphant return to Australia for the first time in 20 years to showcase tracks from their critically acclaimed new album This Is PiL as well as favourites from their vast back catalogue. PiL will perform at The Palace on Thursday April 11.

Tickets go on sale Thursday December 13 at 9am through Ticketek.

BIG DAY OUT The already massive 2013 Big Day Out has grown even bigger, with more artists added to the very tasty bill. Joining the action in Melbourne will be The Medics, Bodyjar, Seth Sentry, Chicks On Speed, DJ Show, Bob Log III, The Smith Street Band, Kingswood, Yung Warriors, Money For Rope, Jackson Firebird, Split Seconds, For Our Hero, Generik, Zanzibar Chanel, The Stiffys, and triple j unearthed winners Apes.

The 2013 Melbourne Big Day Out takes place at the Flemington Racecourse on Australia Day, Saturday January 26. Tickets on sale through the Big Day Out website.

f r o n t s p a c e 212a Whitehall St

GARBAGE ‘90s electro-rock band Garbage have announced a sideshow to complement their appearance at Soundwave Festival. Garbage had their big breakthrough with their self-titled first record, and have since have been writing the soundtrack to our angst and documenting our perversions with famed tracks such as Stupid Girls, Cherry Lips, I Think I’m Paranoid and more. With three Grammy nominations and over 12 million album sales, Garbage return to Australia for the first time in eight years as part of the sold out Soundwave Festival. Adding to the fun, Garbage will be supported by the very talented Casey Crescenzo, aka The Dear Hunter. Garbage play The Forum on Wednesday February 27. Tickets on sale Thursday December 13 at 9am through Ticketmaster.

Ya r r a v i l l e

Ph 9687 0233 www.kindredstudios.com.au Saturday 15th December 1 . 3 0 P M

-

5 . 3 0 P M

MILTON & RAY PEREIRA CO M B I N I N G R H Y T H M S O F S R I L A N K A , AFRICA AND CUBA WITH ADDED E L E M E N T S O F J A Z Z A N D A F R O B E AT TICKETS $8 FULL / $5 CON (KIDS FEE)

Sunday 16th December 2 . 0 0 P M

-

5 . 0 0 P M

ROCK QUEEN REBECCA BARNARD & BILLY MILLER S I N G - A LO N G S O C I E T Y TICKETS $15, KIDS FREE!

Wednesday 19th December 1 0 . 3 0 A M

-

1 2 . 0 0 P M

THE MUDCAKES S I L LY S E A S O N C E L E B R AT I O N AT K I N D R E D !

K I N D I E R O C K AT I T ’ S B E S T !

T I C K E T S A D U LT S $ 1 0 / $ 8 K I D S

Sunday 5th January 7 . 0 0 P M

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Beat Magazine Page 20

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BRUCE SPRINGSTEEN This is it folks, perhaps the biggest tour announcement of the year. The Boss himself has announced his long-awaited return to Australian shores. The ultimate god of stadium rock, Bruce has been stunning audiences the world over for nearly four decades. From Greetings From Asbury Park, N.J. up to this year's release Wrecking Ball, Bruce possesses one of the richest canons in rock history. Bruce's reputation as a live act is still going from strength to ridiculous strength, clocking up four-hour shows during a recent European tour.

Bruce Springsteen performs at Rod Laver Arena on Rod Laver Arena on Sunday March 24 (tickets from Ticketek) and at Hanging Rock on Saturday March 30 (tickets from Ticketmaster).

COOL SUMMER 2013 Mt Hotham’s Cool Summer Festival has announced their lineup for next year, and it’s certainly living up to its title. 2013 will see the picturesque fest headlined by rocking Aussie sisters Stonefield, triple j unearthed favourites Loon Lake and Eagle And The Worm, Melbourne duo Dune featuring Jade McRae and awesome rockers Kingswood, alongside other fantastic festival favourites Lloyd Spiegel, The Miserable Little Bastards, Perch Creek Family Jug Band, Colonel Viper’s Whipstick Band and many more. Cool Summer will heat up Friday February 22 – Sunday February 24. Early bird tickets are on sale now and for a limited time you can nab a ticket for next year’s festival at last year’s prices. For the full lineup, accommodation options and other details head to the website.

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THE CHARIOT

THE STONE ROSES

The Chariot's boundless creativity and kinetic energy must be seen to be believed. The live setting is where they thrive, bringing their dense, chaotic and visceral music to the stage. They've just been added to the Bring Me The Horizon and Pierce The Veil Sidewave taking place at Billboard The Venue on Thursday February 28. There's an under 18s afternoon show and an 18+ evening show. Tickets are via Oztix, Ticketek and Moshtix.

The Stone Roses are set to finally return to Australia. With the classic lineup in tow, The Stone Roses are reklindling fan dreams everywhere since the news of their break up in 1996 proving that wishes of their return to the stage was no fool's gold. With support from Zane Lowe, Thursday March 7 at Festival Hall is the date to circle furiously in your diaries. Tickets from Ticketmaster.

DEFTONES Alternative metal legends Deftones have announced a tour of Australia in May next year.

Formed in California in 1988, Deftones will no doubt still be riding the high from their excellent year this year, which saw the release of their critically-acclaimed seventh full-length record Koi No Yokan. Deftones play The Palace on Friday May 17. Tickets on sale Thursday December 13 at 9am through Ticketek

PEATS RIDGE Hurdling into the year’s end, the folks at Peats Ridge have announced a further 98 new acts to join the now 200-strong line-up for Peats Ridge Sustainable Arts & Music , 2012. Joining headliners, John Butler Trio and Sharon Jones & the Dap Kings, are the crop of Australia’s up and coming new bands, including house heavy weights DJ Slow Blow, Softwar, Kobra Kai, The Book Of Ships Solo, Svelt and Hi-Tops Brass Band, among a mass of other best emerging new acts. Taking place in NSW’s Glenworth Valley from December 29 to January 1, head to website for the full lineup.

AMANDA PALMER

MARIAH CAREY

The upcoming Amanda Palmner & The Grand Theft Orchestra's January tour has been postponed due to the illness of Amanda's close friend in the States. Always closely connected with her fans, you can learn more at her blog at amandapalmer.net. All tickets purchased will be valid when the shows are rescheduled or can be refunded from the ticketing agency through which they were bought.

After previously announcing performances in Sydney and the Gold Coast, Mariah Carey has added a Melbourne performance to her Australian itinerary. The tour, which takes place over the new year period, will be Carey's first visit to Australia in over 14 years. Some VIP tickets remain for her Saturday January 5 show from Ticketmaster.

ST KILDA FESTIVAL The first wave acts of the tidal force that is St Kilda Festival have been announced with Midnight Juggernauts DJs and Bluejuice leading the lineup. Also along for the ride is Tlema Plum, Kutcha Edwards, The Scarlets, Suzie Stapleton, Kylie Auldist, Client Liasion and more (including Humphrey B Bear). The Festival, now in its 33rd year, will include more than 150 artists across seven stages and over 40 venues. It runs from Saturday February 2 to Sunday February 10. The full lineup will be announced on Monday January 7.

2013 ZOO TWILIGHT SERIES We’re set for another great summer of music with the 2013 Melbourne Zoo Twilights series back again, offering an abundance of award-winning artists performing in the magical setting of the Melbourne Zoo. Starting off the 2013 Twilights series will be none other than ARIA Award winner Missy Higgins on Friday, January 25. The season will also feature a variety of amazing acts including Clare Bowditch, Leo Sayer, Lisa Mitchell, Stonefield, Husky, Justice Crew, and The Bamboos with Tim Rogers, so there’ll be something for everyone this summer. Underway Friday and Saturday evenings throughout summer, head to zoos.org.au/twilights for more info.

RIVERBOATS MUSIC FESTIVAL Riverboats Music Festival returns to Echuca Moama with another great lineup of top Australian artists this coming February. Amongst the gorgeous setting of the Murray River, the 2013 lineup is headlined by Pete Murray. Also playing are Clare Bowditch, Archie Roach, James Reyne, Tim Rogers, Joe Camilleri &The Black Sorrows, Mia Dyson, Clairy Browne & The Bangin’ Rackettes, Gossling, The Bombay Royale and Cash Savage and The Last Drinks, plus more. The Riverboats Music Festival will take place from Friday February 15 to Sunday February 17. Tickets and more information from riverboatsmusic.com.au.

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Beat Magazine Page 21

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DEAR TIME’S WASTE Steeped in the gothic permanence of early Cure and the cloud-skipping gaze of Garlands eraCocteau Twins, Dear Time’s Waste will perform two launch shows for her new album. Some Kind Of Eden follows on from 2010’s LP, Spells, and has recently beckoned guest appearances alongside St. Vincent, Low and Deerhunter in her native Auckland. Previously announced as the special guest to Julia Holter’s Laneway Festival sideshows, these upcoming shows mark Dear Time’s Waste’s first ever Australian headlining dates. You can catch Deer Time’s Waste on Tuesday February 5 at The Grace Darling and Wednesday February 6 at The Toff.

THE PUBLIC OPINION AFRO ORCHESTRA Inspired by the infectious Afro-beat music of Nigeria and its neighbours, The Public Opinion Afro Orchestra delivers contemporary African funk to Australian dancefloors and will be hitting the Espy on Friday December 28. This mammoth ensemble comprises 17 musicians hand-picked from Melbourne’s music scene and is a show that should not be missed. Their upcoming shows are on the back of an ARIA nomination for their album Do Anything Go Anywhere which had a sold-out 12” vinyl release. Catch The Public Opinion Afro Orchestra with special guests Scatter Scatter Sound System and The Marabou Project on Friday December 28 for a free show at the Espy Front Bar.

THE JUKE JOINT SHAKEDOWN

[V] OZ ARTIST 2012

PBS 106.7 FM’s Juke Joint will be teaming up with a gang of rogues at The Old Bar to recreate the feel of a genuine Southern Juke Joint straight outta Clarkesdale on Saturday December 29. Showcasing the best of Melbourne’s new blues scene including Chris Russell’s Chicken Walk (featuring Cosmic Psychos drummer Dean Muller), one man band maverick Rattlin’ Bones Blackwood, young nuboogie ambassadors Catfish Voodoo, contemporary retrobilly roots from Coral Lee and the Silver Scream and the enigmatic roots troubadour Guy Kable, don’t waste the weekend between Christmas and New Year – get in training for your New Year’s Day hangover. If you’re a PBS member, don’t forget to flash your card at the door for a special member’s price of $10. Everybody else, $15.

Huge congratulations to Melbourne’s Seth Sentry for taking out Channel [V]’s Oz artist of the year. After eight huge weeks of voting, he’s beaten out fellow finalists Ball Park Music, Delta Goodrem abd Reece Mastin. Onya Seth.

CITY CALM DOWN City Calm Down have honed their unique sound of gritty synths, evocative lyrics and chugging basslines on their debut EP. Their obvious talent has scored them the support slot for Brooklynbased Sydney duo High Highs Laneway festival sideshow. It’s at The Toff In Town on Wednesday January 30. Tickets from Moshtix.

CLUBFEET To celebrate their upcoming album release, Melbourne via Cape Town collective Clubfeet are elated to announce their Heirs & Graces Australian album tour. Kicking off in February following the album’s release on January 18, Clubfeet became instant radio favourites with their catchy-as-hell singles Edge Of Extremes and Last Words. Taking some time out to record overseas and tour with the likes of Miike Snow and Yuksek, Clubfeet will finally return to Australian stages for their second headline tour, stopping by Ding Dong Lounge on Saturday February 9. Joined by Collarbones and Chela, tickets are $12 and available through Moshtix.

MOUNT EERIE After shifting between monikers, Phil Elverum, otherwise known as Mount Eerie, is touring Australia.

Mount Eerie is known for his riveting composition that draws on inspiration from his home of Anacortes, Washington. Albeit being unclassifiable at points, it lacks the pretentiousness found in some naturalistic artists. The composer will hit The Toff on Saturday January 26. Tickets can be purchased through Moshtix.

TONY JOE WHITE

DOS HERMANOS

You may know him as the Swamp Fox, you may know him by his birth name, you may just know his timeless music, but it doesn’t really matter how you know him – the main thing is that you should be acquainted with the one-and-only Tony Joe White. This bona fide legend has been in the music game for the better part of 50 years and was literally born for the blues. See for yourself when he plays his Bluesfest sideshows at the Caravan Music Club on Thursday March 7, the Thornbury Theatre on Friday March 8, the Theatre Royal in Castlemaine on Saturday March 9 and the Substation in Newport on Sunday March 10. Tickets from lovepolice.com.au.

Dos Hermanos – a two-man-band from Monaco and Bavaria – are coming to trash Melbourne this January. Direct all the way from the Black Forest of Germany, Dos Hermanos are all about early rock’n’roll, travelling songs, songs for the ladies, heart-breakin’ stuff in German and other European languages, outlaws, prima donnas, Germany itself, and drinking coffee amongst other amazing tales that shouldn’t be missed. Witness the antics for yourself when Dos Hermanos play The Retreat Hotel in Brunswick on Sunday January 13, Cherry Bar on Wednesday January 16, The Old Bar, Thursday January 17, and the Northcote Social Club on Saturday January 19. Tickets from the venue.

CHERRY TURNS 13 Melbourne’s favourite rock‘n’roll bar Cherry is turning 13, and they’re celebrating the introduction into their teens with a huge double-stage reprisal show. Vice Grip Pussies will verse Bitter Sweet Kicks over two stages joined by special guests Dead City Ruins. They like a big birthday bash, and it’s all happening down the infamous ACDC Lane on Sunday, December 23 from 7pm. Tickets are a lucky $13 for each of their years, available on the door.

Beat Magazine Page 22

BONJAH Having recently announced their summer album preview tour, stopping in at The Gershwin Room at Espy for two shows on Tuesday January 18 and Wednesday January 19, the guys have now announced their string of wonderful supports. Guests on the night are indie folk favourites Tinpan Orange, Tom Tuena Band, Jack Stirling (The Joe Kings) and Johnnyville. Tickets are selling fast and on sale now from The Espy website.

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8 – 11 March 2013

WOODS Brooklyn’s eerily sombre lo-fi rock heroes Woods will drench Melbourne as part of their highly anticipated Australian tour this January. Having just released their seventh album, Bend Beyond, sees front-man Jeremy Earl’s striking falsetto meet an unknown darkness of stuttered guitar and collision of instruments escape their previously haunting acoustic albums. Now Woods will re-create such heavy, krautrock and distrorting sound-scape journeys to Australia for the first time, playing The Tote on Sunday January 27. Tickets on-sale now through Moshtix.

ASH GRUNWALD An Australian treasure, Ash Grunwald brings his blues and roots to The Espy Gershwin Room on Friday January 11. Having spent the last few years on the global festival circuit and being a five time ARIA nominee, Grunwald is riding high on his latest offering Hot Mama Vibes. Tickets are $25+bf from The Espy website and Oztix outlets.

LOS CORONAS Instrumental Spanish surf heroes Los Coronas have announced some headline sideshows for their Pyramid Rock and MONA FOMA performances at The Toff In Town on Tuesday January 8 (with guests The Bluebottles) and again on Tuesday January 15 (with guests The Exotics). They also play The Westernport Hotel on Thursday January 10. Los Coronas are a national treasure in Spain and play one of the most reliably awesome live shows you’ll ever see. Get amongst it.

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SOJA Hot rod reggae act Soja have announced a Bluesfest sideshow to perform their universally relatable songs about faith, hope and love. Nice. They play the Prince Bandroom on Saturday April 6. Tickets are from bluesfesttouring.com.au.

THE BLUES TRAIN Award-winning blues artists Phil Manning and Fiona Boyes will make their debut on Queenscliff’s Blues Train alongside Jimi Hocking and Geoff Achison this Australia Day, Saturday January 26. Touted as a mini music festival celebrating all that’s great about Australian blues music, music fans onboard the Blues Train will be treated to a music filled night inclusive of dinner, four blues acts and a journey along the Bellarine Peninsula from within an authentic steam train. For a night of world-class blues, plus more information on ticket and accommodation packages, check out bluestrain.com.au.

KINGSWOOD

BALL PARK MUSIC | KASEY CHAMBERS BOB EVANS | MARK SEYMOUR | ELECTRIC EMPIRE JORDIE LANE | YUNG WARRIORS | STRANGE TALK DUBMARINE | RUBY BOOTS | THE APRIL MAZE HEY GERONIMO | WINTER PEOPLE | BATTLESHIPS JACKSON MCLAREN & THE TRIPLE THREATS | ALL THE COLOURS FLAP! | THE VAUDEVILLE SMASH | THE RECHORDS JASPORA | THE YEARLINGS | BENNY WALKER OZ LOCOS | NEW DUB CITY | ARAKATAKA | SDLC ORCHESTRA DANCING HEALS | BITSAT SEYOUM | RUTH ROGERS WRIGHT KUNJANI | PLASTIC SPACEMAN | LOS MAS ALTOS

So then, what’s the band name and what do you ‘do’ in the band?

The band’s name is Kingswood (NOT The Rubens). I (Justin) drive the van.

What do you reckon people will say you sound like?

We sound like the love child of Queens Of The Stone Age and Led Zeppelin, who fornicated with the love child from Band Of Skulls and Jimi Hendrix, and then they had a child with the love child of Free and Pantera. We sound nothing like The Rubens.

What do you love about making music?

Getting in a small room with three other boys, getting all sweaty and walking out with a killer song.

A song way better than The Rubens’ songs.

What do you hate about the music industry?

I know it sounds cliché, but all the talent shows and their empires. Pathetic. The Rubens.

If you could travel back in time and show one of your musical heroes your stuff, who would it be and why?

I’d probably show my legend drum teacher Bill Wall.

It would definitely not be The Rubens.

If you could assassinate one person or band from popular music, who would it be and why?

The Rubens because they stole the Kingswood Award. They are terrible people. They punched our bass player during his sleep and hit on Ferg’s model mum.

What can a punter expect from your live show?

A wild sex party, not The Rubens.

What’ve you got to sell CD-wise?

Unlike The Rubens, we don’t have an album yet.

We’ve got an EP and a new Double A side, She’s My Baby/Wolf.

When’s the gig and with who?

Sunday December 16 supporting The Living End at The Corner, Friday December 21 at Cherry Bar, Pyramid Rock Festival over New Years Eve and The Espy front bar on Monday December 31.

Anything else to add?

We love The Rubens.

THE GENTLEMEN’S SWING CLUB | STARS OF THE COOK ISLAND MELBOURNE GOSPEL CHOIR | WERRIBEE BRASS BAND THE KILNIKS | DARK ARTS | PIXIE JUICE | EMPRA OH PEP! | ELIZA HULL | THE SPINSET | JULY DAYS RISE ELECTRIC | THE DIVINE FLUXUS | MORNING OF THE EARTH

ALEXANDRA GARDENS | BIRRARUNG MARR | YARRA RIVER

melbourne.vic.gov.au/moomba facebook.com/moombafestival twitter.com/moombafestival

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Beat Magazine Page 23

TOURING

WHO'S ON TOUR, WHERE AND WHEN

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INTERNATIONAL JLO Rod Laver Arena December 12 ALEXISONFIRE Festival Hall December 12 THE PRETTY THINGS Caravan Club December 13, 14 REGINA SPEKTOR The Plenary December 14 JB SMOOVE The Thornbury Theatre December 15 EARTHLESS Northcote Social Club December 15, 16 EVAN DANDO AND JULIANA HATFIELD Corner Hotel December 18, 19 MORRISSEY Festival Hall December 19 FALLS MUSIC AND ARTS FESTIVAL Lorne December 28, Marion Bay December 29 PYRAMID ROCK FESTIVAL Phillip Island December 29 - January 1 PEATS RIDGE Glenworth Valley December 28 - January 1 TWO DOOR CINEMA CLUB Festival Hall December 29 SHARON VAN ETTEN Corner Hotel December 30 LIMP WRIST The Bendigo Hotel December 31 SUMMADAYZE Sidney Myer Music Bowl January 1 MAXIMO PARK Corner Hotel January 2 FIRST AID KIT The Forum January 2 BEST COAST The Hi-Fi January 2 WILLIS EARL BEAL Northcote Social Club January 2 BOMBAY BICYCLE CLUB Regal Ballroom January 1 BLOOD RED SHOES The Hi-Fi January 3 COSMO JARVIS Corner Hotel January 3 65DAYDOFSTATIC Corner Hotel January 4 THE CUBAN BROTHERS The Espy January 4 MARIAH CAREY Etihad Stadium January 5 THE HIVES The Forum January 6 SHARON JONES & THE DAP KINGS Corner Hotel January 8 BEACH HOUSE The Forum January 9 HOT CHIP The Palace January 9 THE VENGABOYS The Espy January 10 GARY JULES Corner Hotel January 12 DJANGO DJANGO The Hi-Fi January 12 NIGHTWISH The Palace January 14, 15 DAVID BYRNE & ST VINCENT Hamer Hall January 14, 15 WEEZER Sidney Myer Music Bowl January 16, The Palais January 17 SUGAR MOUNTAIN FESTIVAL The Forum January 19 HUNX AND HIS PUNX The Tote January 20 A PLACE TO BURY STRANGERS Corner Hotel January 20 SO FRENCHY SO CHIC Werribee Park January 20 THE KILLERS The Palace January 22

GARY CLARK JR Corner Hotel January 22 DEATH GRIPS Ding Dong Lounge January 22 CRYSTAL CASTLES Billboard January 22 OFF! Corner Hotel January 23 SLEIGH BELLS Billboard January 23 ANIMAL COLLECTIVE The Palace January 23 BAND OF HORSES The Palais January 23 CHILDISH GAMBINO The Hi-Fi January 23 JEFF THE BROTHERHOOD Corner Hotel January 24 THE BLOODY BEETROOTS The Palace January 24 ALABAMA SHAKES The Forum January 24 ELVIS COSTELLO The Palais January 25 A DAY ON THE GREEN Yarra Valley January 26 BIG DAY OUT Flemington Racecourse January 26 MOUNT EERIE The Toff January 26 WOODS The Tote January 27 PERFUME GENIUS Northcote Social Club January 30 HIGH HIGHS The Toff January 30 JESSIE WARE Prince Bandroom January 30 THEE OH SEES The Hi-Fi January 31 SLEEP ∞ OVER The Liberty Social February 1 JUSTIN TOWNES EARLE Castlemaine Theatre Royal February 2, Corner Hotel February 3 ST. JEROME’S LANEWAY FESTIVAL Footscray Community Arts Centre February 3 DIVINE FITS Corner Hotel February 4 POLICA Northcote Social Club February 4 NITE JEWEL The Workers Club February 4 BAT FOR LASHES The Palais February 5 KINGS OF CONVENIENCE Hamer Hall February 5 CLOUD NOTHINGS Ding Dong Lounge February 5 THE MEN Northcote Social Club February 6 JULIA HOLTER The Toff February 6 YEASAYER The Hi-Fi February 6 MS MR Northcote Social Club February 7 GIN BLOSSOMS The Hi-Fi February 7 DEER TICK, TWO GALLANTS Northcote Social Club February 9 DESCENDENTS Festival Hall February 9 DIRTY BEACHES February 10 DAVID HASSELHOFF Corner Hotel February 14 SWANS Corner Hotel February 15 CONVERGE Billboard The Venue February 15 RINGO STARR Festival Hall February 16, 17 ALL TOMORROW’S PARTIES Westgate Entertainment Centre February 16, 17 FATHER JOHN MISTY The Hi-Fi February 17

DJANGO DJANGO The Hi-Fi January 12 NEIL FINN AND PAUL KELLY Palais Theatre February 16, 18 EINSTÜRZENDE NEUBAUTEN The Palace February 19 DR. FEELGOOD Corner Hotel February 21 NORAH JONES The Plenary February 21 HOW TO DRESS WELL Corner Hotel February 22 MY BLOODY VALENTINE The Palace February 22 JOSE JAMES The Hi-Fi February 22 BLINK-182 Sidney Myer Music Bowl February 26 LINKIN PARK, STONE SOUR Rod Laver Area February 26, GARBAGE The Forum February 27 PUSCIFER Palais Theatre February 28 THE TALLEST MAN ON EARTH Melbourne Recital Hall February 28 BRING ME THE HORIZON/PIERCE THE VEIL Billboard February 28 SUM 41/BILLY TALENT The Palace February 28 SOUNDWAVE Flemington Racecourse March 1 DEEP PURPLE/JOURNEY Rod Laver Arena March 1 NICK CAVE AND THE BAD SEEDS Sidney Myer Music Bowl March 2 DEERHOOF Schoolhouse Studios March 3 KISS, MÖTLEY CRÜE Etihad Stadium March 5 ED SHEERAN Festival Hall March 5, 6 CAT POWER The Forum March 7 THE STONE ROSES Festival Hall March 7 DINOSAUR JR The Corner March 7, The Espy March 8 PURITY RING Corner Hotel March 8 WOMADELAIDE Adelaide’s Botanic Park March 8 –March 11 PORT FAIRY FOLK FESTIVAL Port Fairy March 8 – 11 TORO Y MOI Corner March 9 GEORGE CLINTON & PARLIAMENT FUNKADELIC Billboard March 9 GOLDEN PLAINS Meredith’s Supernatural Amphitheatre March 9 - 11 MXPX Corner Hotel March 10 WILD NOTHING The Tote March 11, The Toff March 12 REDD KROSS The Espy March 12 BOB MOULD Corner Hotel March 13 NEIL YOUNG & CRAZY HORSE Rod Laver Arena March 15 JON SPENCER BLUES EXPLOSION The Corner March 16 WANDA JACKSON The Corner March 20 MUTEMATH Billboard March 22 RODRIGUEZ Hamer Hall March 22 ROBERT CRAY Hamer Hall March 24 FRED WESLEY Corner Hotel March 24 BRUCE SPRINGSTEEN Rod Laver Arena March 24, Hanging Rock March 30 WILCO Hamer Hall March 27, 28 KITTY, DAISY & LEWIS Billboard March 27 BONNIE RAITT, MAVIS STAPLES State Theatre March 27 IGGY AND THE STOOGES Festival Hall March 27 ROGER HODGSON The Palais March 28 BYRON BAY BLUESFEST Byron Bay March 28 – April 1 THE LUMINEERS The Corner April 2 DROPKICK MURPHYS Festival Hall April 2 BLIND BOYS OF ALABAMA Hamer Hall April 3 ROBERT PLANT Rod Laver Arena April 3 THE SCRIPT Rod Laver Arena April 6 BIRDY Palais Theatre April 8 PUBLIC IMAGE LTD The Palace April 11 MICK TAYLOR Ferntree Gully Hotel April 19, Corner Hotel April 20, 21 EXTREME The Palace April 19 BRYAN ADAMS Rod Laver Arena April 20 BLACK SABBATH Rod Laver Arena April 29, May 1

PROUDLY PRESENTS:

BLOOD RED SHOES The Hi-Fi January 3 Beat Magazine Page 24

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DEFTONES The Palace May 17 STAN RIDGWAY Corner Hotel May 18, The Caravan Club May 19 P!NK Rod Laver Arena July 7, 8, 10, 11, 12, 13, 14, August 27

NATIONAL THE LIVING END Corner Hotel December 12 – 22 CATCALL The Toff December 13 HARD-ONS Northcote Social Club December 14 THE VANDAS The Spotted Mallard December 14 I, A MAN The Espy December 14 SPAZZYS Northcote Social Club December 14, Evelyn Rooftop December 16 WINTERCOATS/ALBERT SALT The Fly On The Wall Theatre December 14, 15 NORTON RECORDS BENEFIT The Old Bar December 15 JONNY TELAFONE Gasometer Hotel December 21 POISON CITY XMAS The Reverence Hotel December 21 PARKWAY DRIVE Festival Hall December 22 EVEN The Hi-Fi December 22 CHILDREN COLLIDE The Espy December 28 CLAIRY BROWNE & BANGIN’ RACKETTES/ SASKWATCH The Hi-Fi December 29 SPIDERBAIT, SOMETHING FOR KATE The Espy December 31 NEW GODS Northcote Social Club January 11 ASH GRUNWALD The Espy January 11 COLLISION AT THE CORNER Corner Hotel January 12 TREVOR. A MUSIC FESTIVAL Churchill Island Nature Park January 12 JIMMY BARNES Trak Bar January 16 STICKY FINGERS Northcote Social Club January 18 BONJAH The Espy January 18, 19 TWELVE FOOT NINJA Corner Hotel January 18, Ferntree Gully Hotel January 19 THE NECKS Corner Hotel January 29, 30, 31 TOKYO DENMARK SWEDEN The Espy February 1 ST KILDA FESTIVAL St Kilda February 2 - 10 DEAD CAN DANCE Palais Theatre February 6 THE PRESETS The Palace February 6 SARAH BLASKO Hamer Hall February 14 RIVERBOATS MUSIC FESTIVAL Echuca-Moama February 15 – 17 ROCK THE BAY FESTIVAL The Espy February 16 JULIA STONE St Michael’s Church February 20 THE SMITH STREET BAND Reverence Hotel Saturday February 23 BETWEEN THE BAYS Moorooduc, Mornington Peninsula February 23 TIM ROGERS/THE BAMBOOS Melbourne Zoo March 1 BIRDS OF TOKYO The Forum March 2 MOOMBA The Yarra March 8 - 11 THE CAT EMPIRE Prince Bandroom March 20, 21 GRINSPOON The Hi-Fi March 22 BOOGIE 7 Bruzzy’s Farm, Tallarook March 29-31 THE SEEKERS Hamer Hall May 14

RUMOURS There was a warthog roaming around Bush Camp at Meredith. = New Announcements = Beat Proudly Presents

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Beat Magazine Page 25

THE CRIBS

BY CALLUM FITZPATRICK

Catapulted into the spotlight a decade ago at a time where the cut-throat UK music industry was looking for a British answer to The Strokes, The Cribs were always in danger of following other bands of the time by conforming to trends to seek radio play and gain maximum exposure. However, bassist and singer Gary Jarman says that because the band was resilient and insisted on doing things their own way, they avoided being swallowed by the hype that spelled the demise of many other bands.

What’s more, he says The Cribs are now experiencing their “best period to date.”

Jarman is in a retrospective mood as he picks up the phone minutes after a sweaty gig in Leicester, England.

“I was looking back at old photographs the other day and realised that we’ve been going for ten years now,” he explains. “It’s just crazy. We never thought that all this would happen when we were starting out. The whole thing is still pretty surreal to be honest.”

Dubbed the “biggest cult band in the UK” by Q Magazine, The Cribs have accrued a notoriously loyal and passionate fan base over the years with their charming brand of garage indie. And Jarman says that even now, five albums on, the band still operates on a shoestring, writing and recording in the same way they did when twins Gary and Ryan Jarman, and younger brother Ross Jarman formed in late 2001.

“We still seem to rehearse in our bedrooms and the garage as we always have. Not too much has changed really, we still pretty much listen to the same stuff and have the same mentality to making music. I’m proud of that,” he says.

However, he says that in the early days, there was a danger of the band being chewed up by an industry that was relentlessly intent on moulding the ‘next big thing’.

“We’re at a point now where a lot of the bands that were around when we were first came out are gone now. A lot of them took shortcuts to certain things, and now those bands don’t exist anymore.

“A lot of trends come and go in the UK, and there’s a lot of hype and build-up, but we always tried to keep away from all that. The UK scene is so small that it’s quite difficult for some bands to not get swallowed up by that.”

Although it was a testing time for the boys, Jarman says that it was also eye-opening to see how the industry operated, and how much the media dominated a band’s exposure. “Certain promotional channels such as radio and TV were so complicit with trying to cohort what supposedly was a ‘hit’ at the time. The media had a really tangible concept of what they wanted, and once that concept was turned into a reality by some bands, it was hard for them to stop wanting it.

“We were told that we weren’t palatable enough for radio – probably because of how the record sounded, as it was quite lo-fi. It was crazy. We had a single that was doing very well in the charts, but the radio wouldn’t play it. It would’ve been quite easy at the time to have gone in with a producer like Stephen Street to get it on the radio, but we wouldn’t have been comfortable with that, and looking back, we can see that the decisions we made have served us well over the years,” he says.

The band found itself in a similar position in 2009 when, even after releasing three hugely successful Beat Magazine Page 26

albums, several radio stations turned them away at the door. “I remember when we put out the fourth record in 2009 and our radio plugger told us that the singles weren’t going to be played on the radio because the mainstream channels had decided that guitar music is dead. We’d been working on a record for a while, so it was quite a shocking thing to hear.

Luckily though, we weren’t a band that depended on that. But if you were in a band whose bread and butter was radio play, it would be like having a rug pulled from under you. We weren’t particularly deterred, but it was definitely a sign of the times.”

Still, testament to the band’s incredibly loyal following, 2009’s Ignore The Ignorant reached number eight on the UK albums chart, even outselling several Beatles re-issues that were released in the same week. “It was a really empowering feeling to see that it didn’t matter what the agenda was with those channels, as we had managed to operate on our own level,” Jarman recalls.

“IF PEOPLE DIDN’T LIKE IT FOR CERTAIN REASONS, THOSE WERE PROBABLY THE REASONS I DID LIKE IT.” “It gave us a good boost to see that while other bands were going down the pan, we were experiencing our best period to date. It almost felt like a ‘tortoise and the hare’ moment – others had run out of steam and we had hit our stride.”

Jarman adds that even though it may have only been a phase driven by trends, the early millennium was a good time for bands in the UK, and is a side of the music industry that has since been lost.

“It’s dead now really. That time has been and passed. The radio just has a couple of token bands and plays them.

We get played, but I feel like they only do it because they feel they have no choice because the band became popular. We have had a level of commercial success that people can see and think [that] validates us on some level, so they are almost forced to play us.

“I’m really happy now. The position we have found ourselves in is all I ever aspired to be in really – to be able to operate on our own level and do what we want. If what we make is successful then that’s good; if it doesn’t work out, then that’s also fine. It’s better than being downed by fashion or by trends.”

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Now, currently in the midst of a world tour on the back of their fifth album, In The Belly Of The Brazen Bull, Gary says that musically, the band is stronger than ever. “It’s my favourite album. I do tend to say that after each release, but I think you need to feel like that after each album. If you’re going to be touring something for 18 months, you need to have a lot of satisfaction with what you did,” he says.

This album is the group’s first release since parting ways with legendary ex-Smiths and Modest Mouse guitarist Johnny Marr. This was an event which Gary says put The Cribs back under the spotlight. “I think we were open to more critique as we had gone back down to a three-piece,” he says. “Because we had lost a member, people went over it with a much finer tooth comb. But I was very happy with the way the album was received.

“If it was criticised for any reason, it was always for something that I could accept and stand by. That’s always been important to me. I never thought I’d be the cool kid in the class or anything; some people like what you do, and some people don’t, but that’s what you want. It’s better than being the quarterback or the cheerleader in school; you should split people’s opinions.

“If people didn’t like it for certain reasons, those were probably the reasons I did like it. It’s just a difference of opinion. I’m not a self-confident person, and I’m not somebody with lots of self-esteem or bravado, but I can say that I’m proud of that record.”

Jarman adds that even though the band no longer has the creative input of Marr, his departure has liberated them, and freed them up to make music as they did in the early days. “People forget that we’d been in the band for six or seven years by the time Marr joined, and he was only there for three years. So it really felt like we had just reverted back to normal.

At first it was strange, but we just went back to doing what we had always done before. A lot of what we did was based on our personal relationships as brothers, and a lot of our in-jokes. We went back to coming up with musical ideas at home, late at night, and we would go on crazy road trips where we would stay in seedy hotels with a four-track and just record.

“So with the last album, a lot of our inspiration came from doing that stuff because that’s how we have always naturally worked together. After Johnny left we were very frivolous and I think that’s what informed a lot of the early sessions.

“It definitely sweetened him leaving. We had become close and he’s somebody we care about and whose input we valued, but when he was no longer there, we got really spontaneous.”

With no plans for a sixth album as of yet, Gary says that this tour, which finishes up in Australia in January, will close the curtains on the first period of the band’s history.

“After ten years of recording and touring, the Australia gigs are our last ones booked at the moment,” Gary says.

“So I’m not exactly sure what the future holds yet; it almost feels like this will be the end of the first chapter.”

THE CRIBS play Pyramid Rock Festival, alongside Tame Impala, Unknown Mortal Orchestra, AntiFlag and heaps more. It takes place at Phillip Island from Saturday December 29 to Tuesday January 1. In The Belly Of The Brazen Bull is out now through Liberator Music.

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THIS WEEK: ON SCREEN Rise of the Guardians is a 3D computer-animated fantasy-adventure film based on William Joyce’s The Guardians of Childhood book series. The film tells a story about the Guardians – North (Santa Claus), the Tooth Fairy, Bunnymund (Easter Bunny), and the Sandman, who enlist Jack Frost to stop the evil Pitch from engulfing the world in darkness. Rise of the Guardians stars the voices of Chris Pine, Alec Baldwin, Hugh Jackman, Isla Fisher and Jude Law. It opens this Thursday December 13.

WITH TYSON WRAY. GOT THOUGHTS, NEWS, GOSSIP, COMPLAINTS OR CAT PHOTOS? EMAIL TYSON@BEAT.COM.AU OR SEND BY CARRIER PIGEON BEFORE FRIDAY 12PM.

ON STAGE Join a live performance installation exposing the intricacies at the core of our being: our interrelation with others. In what was once the underground public toilets at Melbourne’s Victoria Square, four outstanding artists whose work spans sound and composition, visual and performance art, and theatre, offer four durational solo works in neighbouring cubicles to form a collective response to site, situation and humanity. Inspired by existentialist French philosopher Jean-Paul Sartre’s play No Exit and its concept that ‘hell is other people’. The unscripted and largely unspoken performance evolves over three hours (and into a further three hours over each of the four days), with audiences able to come and go, experiencing the evolving work in their own shared time.It’s on at Victoria Square underground public toilets, corner Elizabeth and Victoria Street, from today until Saturday December 15, from 6pm until 9pm (Saturday 2pm – 5pm). Free.

ON DISPLAY

WONDER WOMEN!

BY PATRICK EMERY

In one of the coolest projects from the City of Melbourne, the front exterior of Melbourne Town Hall has been transformed into a psychedelic, animated Christmas wonderland courtesy of a multiple projector set-up. The projections bring the building to life in a mind-blowing work of art. The clock becomes an owl’s eye. The posts become twisting candy canes. It’s all so goddamn magical. So far, every night Swanston Street has been packed with dazzled passer-bys. It’s one of those initiatives that makes you think, “Wow, our city is pretty fucking rad.” The projections run every night from 9pm – 11pm until they finish up on Christmas Day.

BEAT’S PICK OF THE WEEK:

Tom Gleeson and Tom Ballard lead a brilliant lineup of comedians, including Elbowskin, Joel Creasey and some special guests at Five Boroughs Comedy. Tom Gleeson has appeared on Good News Week, The Beer Factor, The 7PM Project, and Thank God You’re Here. He also had that ripper “Cardinal George Pell hopes Royal Commission will end ‘smear’ campaign. Everyone else hopes it will end abuse” tweet. However, it is performing live on stage where he really shines. Tom Ballard, famous for his role as co-host of triple j’s Tom & Alex breakfast show, is an equally talented and loved Aussie comedian. So grab a meal, grab a drink and get ready for a night of comedy at Five Boroughs, 68 Hardware Lane, CBD on Thursday December 13 from 8.30pm. Tickets $13 on the door.

Beat Magazine Page 28

Like most children of the ‘70s, director Kirsty Guevara-Flanagan came to Wonder Woman through the television show starring Linda Carter. “I was just a little kid at the time, and she made a great impression on me,” Guevara-Flanagan says. “It left an indelible impression on me. I remember being with my girlfriends, and spinning around, pretending we were turning into Wonder Woman,” Guevara-Flanagan laughs. Later on, Guevara-Flanagan began to appreciate the sexual politics at the heart of the character.

“I remember thinking it was unique to other TV programs that were out there. It was fun and empowering at least to play – we didn’t have a Luke Skywalker with light sabres.

It was invigorating and it extended off the TV show into our own lives.”

When she began work on her documentary, Wonder Women!, which describes the evolution of popular culture heroines from Wonder Woman through to Buffy the Vampire Slayer and beyond, GuevaraFlanagan was unaware of the comic book history of Wonder Woman. In the ‘40s, graphic artist, author and psychologist William Moulton Marston created a female role model to convey the author’s sincere belief that patriarchy was destined to break down.

The early Wonder Woman comics reflect Marston’s philosophical and political perspective, with the character fighting against male domination and global injustice; as Wonder Women! shows, over subsequent decades, the comic book was a litmus test of social attitudes towards women, and feminism. The ‘50s Wonder Woman retreated to a more domestic and subservient role, before gradually emerging in the ‘60s and ‘70s to illustrate women’s opposition to patriarchal institutions.

FREE SHIT SIGHTSEERS

British black comedy Sightseers tells the story of Chris (played by Steve Oram) who wants to show Tina (Alice Lowe) his world, and he wants to do it his way: on a journey through the British Isles in his beloved Abbey Oxford Caravan. Tina’s led a sheltered life and there are things that Chris needs her to see, such as the the Crich Tramway Museum, the Ribblehead Viaduct, the Keswick

Wonder Women! examines the evolution of Wonder Woman’s character in the context of female popular culture role models generally. The documentary features interviews with Linda Carter, Lindsay Wagner (star of the Bionic Woman, another ‘70s series featuring a strong female lead), noted feminist and activist Gloria Steinem, Bikini Kill and Le Tigre member and feminist activist Kathleen Hanna and graphic novel and comic book writer Trina Robbins.

Guevara-Flanagan says that researching the history of Wonder Woman opened her eyes to a political context that many comic book readers, and popular culture audiences generally, were largely unaware of.

“Part of my research process made me want to look back at the history of the comics, because the original comics were so interesting and radical in so many ways in how a female hero was depicted, especially for the ‘40s,” Guevara-Flanagan says.

While to an adult reader, Wonder Woman’s themes Pencil Museum and the rolling countryside that accompanies these wonders in his life. However, it doesn’t take long for the dream to fade. Litterbugs, noisy teenagers and pre-booked caravan sites, not to mention Tina’s meddling mother, soon conspire to shatter Chris’s dreams and send him, and anyone who rubs him up the wrong way, over a very jagged edge. Sightseers has been receiving much criticalacclaim, and we have ten double passes to give away.

The film is set for release on Boxing Day. Hit up beat.com.au/freeshit to win.

ARTS NEWS, REVIEWS, INTERVIEWS ONLINE – BEAT.COM.AU/ARTS

of female empowerment – not to mention broader issues of sexuality – are transparent, such themes may not be visible to the average comic book reader.

“It’s definitely there if you read it, but there’s other things that can grab your attention – the whole Axis of Evil plotline that she was fighting against, and there was the way she was dressed, the bondage stuff. There was a lot going on. You have to get some of those messages of pro-feminism, because they’re definitely there,” Guevara-Flanagan says.

In relation to broader issues of female sexuality, Guevara-Flanagan says it was “between the panels of the original comic books”, consistent with the social mores of the day. “There was sexuality in there, but it wasn’t an overt sexuality,” Guevara-Flanagan says.

“When she was tied up, it wasn’t ostensibly about any type of sexuality, it was more about the plotlines, trying to keep her from doing good. It was a bit more hidden and repressed.”

Guevara-Flanagan says it was Wonder Woman’s relationships with other women that struck her as one of the most significant aspects of the comic book character. “There’s a test that’s used to grade how well a film deals with women: does it have more than one woman in it? Do the women ever talk to each other, and do they ever talk to each other about anything other than a man?” Guevara-Flanagan says.

“And a large percentage of all our films fail that test.”

Various feminists and sociologists have noted the tendency of strong female characters to be constructed as female versions of male ideal types – Linda Hamilton’s character in Terminator, for example, is celebrated on screen for her ironpumping and gun-wielding antics, almost a mirror image of Arnold Schwarzenegger’s style. “Their power is usually and often mitigated by the way they dress, the way they pose, in sexy poses, and the way they’re vilified,” Guevara-Flanagan says. “We saw a lot of that in early films – the female characters had to be bad girls, and they had to be punished. So there’s a variety of different ways powerful female characters, by the end of the story, are written out of the timeline completely – they’re often made the object of desire, usually by someone within the film.”

Guevara-Flanagan agrees that the brawny ‘80s film characters typified by Schwarzenegger, Van Damme and Sylvester Stallone, can be seen as a reaction to the powerful female characters of the ‘70s, including Linda Carter’s Wonder Woman and Lindsay Wagner’s Bionic Woman. “I kind of agree with the argument that a lot of the more testosterone-filled characters were a reaction to the female characters of the ‘70s,” she says. “Women’s roles were changing, and our country had to re-write itself in terms of what it meant to be a man, because women were re-writing what it was to be a woman. And popular culture seemed to re-write itself as well,” Guevara-Flanagan says.

With popular culture still beset by the complex political and sociological forces of the surrounding world, Guevara-Flanagan says there’s still more room for strong female characters. “I think we’re at a time when we can do with a few more,” she says.

“We haven’t had a lot of compelling and powerful women on screen, or on TV. There’s definitely room for improvement,” she says.

Wonder Women! screens at ACMI from Thursday December 27 until Sunday January 13.

37.5pt Univers 57 Condensed

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Beat Magazine Page 29

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THE COMIC STRIP

THE CLOCKTOWER CENTRE

MT BULLER HOSTS FIRST SCULPTURE PARK EXHIBITION In another effort to probably get people into the mountains during the summer, the Mt Buller Arts Association will be hosting an exhibition for The Mt Buller Sculpture Award. The exhibition will showcase the 20 finalists’ work at Mt Buller Sculpture Park. It’s a biennial event that sees the prize-winner presented with $100,000, but it’s not just for the artists. People vote for the People’s Choice Prize, a $10,000 prize provided

by Foodworks. The winner of the Mt Buller Sculpture Award will be announced on Wednesday February 20 at Mt Buller Sculpture Park, with all works judged by Doug Hall. The biennial event will create Australia’s first mountain-top sculpture park. The Mt Buller Sculpture Award exhibition will be hosted at Mt Buller Sculpture Park from Saturday December 15 – Monday April 29.

Admission is free.

WHITE NIGHT MELBOURNE Nuit Blanche, which translates to ‘White Night’ from French, is a festival immersion of arts, culture, and performance over one whole night. Started in 1984, it’s celebrated over several cities, including Paris, Barcelona and Cairo. Now, 28 years later, Melbourne is jumping on the bandwagon. In what will be a night of epic proportions, Melbourne will host its first White Night Melbourne. The night will feature dusk til dawn entertainment, circus and music performances, inflatable cinema screens and much more. Melbourne’s arts hubs, including ACMI, NGV, State Library, Melbourne Museum and Arts Centre, will contribute to the show with their own night entertainment. Melbourne Museum will be hosting A Night at the Museum for all the youngings, while ACMI will be showing the best 101 ‘death’ scenes in zombie culture, called 101 Zombie Kills. With this and much more, White Night Melbourne will be a ball. White Night Melbourne will be hosted on Saturday February 23 from 7pm – 7am. More information, including programs, can be discovered via whitenightmelbourne.com.au

NEW OLDS It is a common perception that creativity is dead, that we merely engage in innovation; New Olds – Design between Tradition and Innovation, RMIT Gallery’s latest exhibition, is here to unravel that for you. New Olds is the brain child of German designer, sometimes curator, Volker Albus. During expeditions to India, the designer became aware of the Indian’s penchant for Western inspired themes. Enlisting the help of 57 artists from around the world including Germany, Albus curated a collection of works that explore what is ‘new’ and ‘old’. It sees the convergence history, culture and ideas illustrated through various artistic mediums. New Olds give context to imagination, innovation and creativity. New Olds – Design between Tradition and Innovation will be exhibited at RMIT Gallery from Friday December 7 – Saturday March 9.

There will be an opening night on Thursday December 6 from 6 – 8pm. Admission is free.

In preparation of their 2013 season, The Clocktower Centre has released their first additions to next year’s program. Performances announced so far include: It’s My Party (And I’ll Die If I Want To), Possum Magic Farewell Tour, The Girls From Oz, and much more. It’s My Party (And I’ll Die If I Want To) is acclaimed playwright Elizabeth Coleman’s much anticipated dark comedy about the shenanigans of party going. In tradition, an adaption of canon literature is featured in the program. Next year it comes in the form of playwright Nick Dear and director Mark Kilmurry’s interpretation of Frankenstein. Yes, that classic Gothic romantic book where the undead becomes alive. However, while you wait, The Clocktower Centre will be presenting Christmas With Denis Walters, a rendition of Christmas carols, and songs, as sung by Walters. Christmas With Denis Walters will be performed at The Clocktower Centre on Tuesday December 11 at 11am and 2pm. A full, current program can be found through clocktowercentre.com.au

STORY VESSEL Prepare yourself for some improvisation, as La Mama is set to present Story Vessel, Melbourne Playback Theatre’s production based off audience experience. Considered a rare performance of live theatre, Story Vessel will create drama through experiences of the audience. This ensures each night will be unique, including the storytelling, and what happens when you take an impromptu pill. During their week entertaining La Mama patrons, Melbourne Playback will also host a weekend of intensive workshops. These workshops will include techniques to improve improvisation in drama, and how to refine these. Story Vessel will perform at La Mama theatre from Friday December 14 – Sunday December 16. Melbourne Playback’s Weekend Intensive Workshop will be hosted on Saturday December 15 and Sunday December 16, from 10am – 4pm each day. Tickets, including more workshop information, can be uncovered at lamama.com.au

THE OTHER PLACE In celebration of its first season of 2013, the Melbourne Theatre Company will be presenting The Other Place, a play about fixing destroyed relationships. Written

by Sharr White (Annapuma, Sunlight, Six Years), the play illustrates the tale of Dr Juliana Smithton who wishes to mend her dysfunctional relationship with her daughter, and fix her complicated marital relationship. It is essentially a psychological unravelling of misconstrued memory, ruined relationships and the art of forgiveness.

Virtuoso Paul Grabowsky provides the musical background to the play, while Nadia Tass brings her vivid direction to the stage. Considered a theatrical drama of absolute poignancy, The Other Place should be added to your list of must-see plays. The Other Place will be playing at the Arts Centre Playhouse during MTC’s summer season from Saturday January 26 – Saturday March 2. Opening night will be on Thursday January 31 at 8pm. Tickets, and more information, can be found at mtc.com.au

THE CHRISTMAS COMEDY CLUB

HELP SAVE THE BUTTERFLY CLUB It’s time to channel your inner altruist and help The Butterfly Club relocate. After hosting many acts, including Amanda Palmer, Paul Kelly, Nick Cave, and launching Tim Minchin’s career, The Butterfly Club are having to relocate due to soaring estate prices. Despite being self-funded (they don’t spend our taxes), the venue needs to raise $130,000 to move all their furniture and knick-knacks to their new venue. This is where you come in. Through a series of donations, you can help raise money to facilitate this move. You even get goodies out of it. If you donate $50, you’ll receive a ticket to The Final Countdown Gala in February. If you donate $30, you’ll be responsible for saving the life of one of the many kitsch items that The Butterfly Club supports (they have the largest collection in Australia). So help support The Butterfly Club’s move, and prevent its closure, from South Melbourne to an affordable city venue. You can support the cause through Pozible.

FLOWERCHILDREN In their first main stage production, Magnormos remount their award-winning original musical flowerchildren, for a limited season at the Comedy Theatre in May 2013. The exciting musical tells the turbulent story of iconic group The Mamas and The Papas, tracing their spectacular rise to fame in 1966 and their tragic demise only four years later. With unforgettable melodies and tight vocal harmonies, flowerchildren features a score of the group’s timeless hits including Words of Love, Monday Monday, Dedicated to the One I Love, Creeque Alley and the iconic California Dreamin’. Penned by AFI Award winning writer, Peter Fitzpatrick, the musical explores the distrust, dangerous passions, and complex entanglements behind this group who sold 40 million records worldwide and were the first group to knock The Beatles from the number one spot on the Billboard charts. flowerchildren is on from Saturday May 18 – Sunday June 23 at the Comedy Theatre. Tickets through Ticketmaster.

NOA La Mama Theatre will be presenting an exploration of sibling relationships, the modern identity and survival in Samara Hersch’s NOA. Joshua Ferenbach (Permanence) breathes life into Noa, a brother who is trapped in a bunker with his sister (Karen Sibling). Your worse nightmare? Don’t worry, you’re not alone. Here Noa and his sister are forced to ‘get along’ and survive the dangers outside... and the danger of ‘accidentally’ murdering each other. Through NOA, Hersch explores the how technology has warped our individualism and public presentation, the power of understanding, and the inherent dependency that humans have on each other. NOA will be performing at La Mama Theatre from Thursday December 13 – Friday December 21. Tickets can be purchased through lamama.com.au

Get set for an intimate night with Australia’s hottest comedians as they talk about the joy of Christmas (how to survive it), the blessing of family (how not to murder them) and the merriment of gifts (how to get the receipt). Starring Fiona O’Loughlin, Joel Creasey and Anne Edmonds, it’s on at Tony Starr’s Kitten Club, 267 Little Collins St, CBD, from Monday December 17 – Thursday December 20 at 8pm. Tickets $20 through trybooking.com/CDRA

FELIX BAR COMEDY Tom Ballard (triple j’s Tom and Alex) visits Felix Bar Comedy for the first time ever! The hilarious young gun headlines another massive Wednesday down next to the beach, with Adam Rozenbachs, Luke McGregor, Tommy Dassalo, Rob Hunter and Sonia Di Iorio supporting! It’s happening this Wednesday December 12 at 8.30pm for only $12, at Felix Bar, St Kilda.

COMMEDIA DELL PARTE Second Last Commedia Dell Parte show for 2012 and we have an epic lineup! This week Daniel Connell masters the ceremonies with the fantastic Asher Treleaven headlining all supported by John Campbell, Kate Mclennan, Tamara Issa, Khaled Khalafalla, Russel Wigginton and Simon Taylor. Get down early for $5 happy hour drinks, 7pm till 9pm. The room runs on a ‘pay as you like’ basis, so come along and have a great laugh, then pay what you believe the show is worth on the way out. Commedia Dell Parte runs every Thursday 8.30pm, George Lane Bar, St Kilda.

FIVE BOROUGHS COMEDY Tom Gleeson and Tom Ballard (triple j) are both at Five Boroughs Comedy this Thursday night! It’s going to be absolutely massive with two huge names in comedy together on the same night! Five Boroughs is killing it with Sarah Silverman, Todd Barry and Wil Anderson dropping in unannounced last week, who else will drop in this week? Find out this Thursday December 13 at 8.30pm, for only $13 at Five Boroughs (upstairs), 68 Hardware Lane, CBD. Dinner is now available before the show, downstairs!

COMEDY AT SPLEEN It’s the biggest night in Melbourne comedy this Monday, with the Christmas party edition of Comedy at Spleen!

The legendary comedy room celebrates the end of the year with a three hour show, containing all the absolute Spleen favorites, ranging from local new favorites to big name surprises, and of course, the annual guest appearance of legendary ‘80s comedian Gary Chook!

Plus there’s the announcement of the Comedy at Spleen Comic of the Year! This is a must-see show and an awesome night! Call in sick for Tuesday right now! It’s this Monday, December 17, 41 Bourke St, in the city, at 8.30pm. It may be free, but they appreciate a good gold coin donation at the door!

CHECKPOINT CHARLIE COMEDY Hey, the guy who writes these went to Meredith to do the Macarena or something. Just rest assured the show will be rad and you’ll giggle. Tuesday and Wednesday.

Lucky Coq and Eurotrash. In that order.

Victorian Skills Gateway

Find training that fits Beat Magazine Page 30

There’s more funding than ever for apprenticeships and training in skills shortage areas.

Find out about this, and much more on the Victorian Skills Gateway – the new website for information about vocational training.

www.education.vic.gov.au/victorianskillsgateway ARTS NEWS, REVIEWS, INTERVIEWS ONLINE – BEAT.COM.AU/ARTS

CANDICE BREITZ: THE CHARACTER

BY AVRILLE BYLOK-COLLARD

Humans are malleable, speculative and easily influenced. We are exposed to thousands of messages everyday, whether these are advertisements on our radio, televisions, or mobile phones, or simply the newest James Bond movie. Our perception of what is beautiful, what is ugly, and of the world, is impressed from these messages subconsciously, regardless of our opinions. This concept of identity determined by popular culture and media is what enthralls South African artist Candice Breitz.

The internationally renowned artist is currently hosting an exhibition at ACMI, showcasing her filmography that has been shown at The Museum of Modern Art (New York), Castello di Rivoli (Turin, Italy), the National Museum of African Art (Washington D.C., USA) and many more over the years.

Candice Breitz: The Character, Breitz’s current exhibition, is an exploration of popular culture, identity, and the ancient debate of nature versus nurture. Through displacement facilitated by sparse backgrounds and repetition, Breitz allows her thoughts about these topics to project themselves from the screen in unique narratives that invokes thought. The Character, the short film, is an example of this.

Over 20 minutes, 15 school children from Mumbai divulge their thoughts about the main character in a film they just watched, however, the catch is that each child watched a different movie. How does this work?

Through meticulous editing, Breitz restructured the children’s responses to construct an entirely new character that is credible, relatable and new.

“Working with kids is interesting because they often haven’t quite managed to naturalise certain ways of being in the world,” said Breitz thoughtfully. “Kids often give up the game – they offer a way into thinking about the process of becoming an individual inasmuch as you can see the pieces coming together when you observe them. Adults are more polished when it comes to appearing to have resolved the puzzle. The process involved in being an individual is more readily observable when it comes to kids.”

It’s this adaptability, and exploration of identity, that fascinates Breitz about children. Adults assume they know themselves entirely, whereas children don’t.

Despite this disparity, the children exhibit empathetic responses similar to that of an adult in The Character.

“It’s not right to separate a mother from her child,” sympathised one child, while another girl stated that, “Nobody likes bad endings because people don’t understand why this happen[ed].” Profoundly, one could postulate that Breitz explores the essence of human, and what makes us human.

“My attraction to moving images came out of a desire to work in a medium that might allow me to communicate to a broad range of people,” explained the Professor of Fine Art. It’s been 19 years since she graduated with her first degree in Fine Arts; since then she’s been studying, travelling and creating innovative and introspective work, Him + Her being one of these pinnacles of self-exploration.

“I watched every movie that Jack Nicholson and Meryl Streep had made up to 2008, two or three times each.” said Breitz, explaining that it was her way of selecting the Nicholsons and Streeps that she wanted to use. “I then took each of the films I had selected for inclusion in my piece and chopped them up, extracting the fragments of Jack and Meryl that I thought I might want to use. I then transcribed the footage before the editing process began. All in all, it took three years to make Him + Her.” That was only the preparation though. From here Breitz sought assistance from her students and fellow artists, who edited each section of film that Breitz wanted to use, removing Streep and Nicholson from their backgrounds and depositing them on a black one. With these sections of film, the artist spread them over seven screens to create two separate narratives where Streep and Nicholson argue to themselves.

Breitz explained that Him + Her is essentially two

Beat’s Bumper NYE’s Double issue deadlines Editorial Deadline: Thurs 20th of Dec Ad Deadline: Fri 21st of Dec On Street: Wed 26th of Dec First issue for 2013 is out: Wed 9th of Jan Editorial Deadline: Thurs 3rd of Jan Ad Deadline: Fri 4th of Jan

Beat Magazine Page 32

writers trying to write an autobiography.

“I’d like to think of it as a form of displacement, which makes it possible for people to look at things that are familiar to them in new ways,” which is exactly what Him + Her does. Using these iconic actors, Breitz forces us to question what identity is. Both Her (the film that uses Streep to portray the internalised conflicts of women), and Him (the Nicholson amalgamation that sometimes borders on insane), delve into the topics of masculinity and femininity. These internalised arguments reference the media identities we’re supposed to assimilate, while acknowledging the constant struggle of individual identity. In fact, identity is a topic heavily imbued throughout Breitz’s work, a topic that is more of a self-exploration than anything else.

“I’ve spent the last 15 years thinking about that question through my work,” remarked Breitz,

bemused, then proceeded to elaborate on the ageold question of nature versus nurture. “I don’t expect to ever arrive at a definitive answer! But I would certainly lean more towards nurture than nature in terms of the factor that most intensely determines who we become as individuals. The world rubs off on us constantly—often in ways that we are not aware of—we are constantly absorbing and reflecting what is going on around us.”

Nonetheless, it remains a question that Breitz, alike many in the world, cannot answer, but maybe her work can.

Candice Breitz: The Character is currently being exhibited at ACMI until Monday March 11.

Admission is free.

RAW COMEDY

BY WINNIE TARAS

2012 RAW Comedy Winners - Lessons with Luis

Woody Allen once explained that the only philosophy that hasn’t failed him throughout his life is that “Eighty percent of success is showing up”. With heats in all capital cities and regions such as Geelong, Newcastle, Byron Bay, Wollongong and Cairns, and a prize that includes a trip to perform in Edinburgh, RAW Comedy is simply begging to discover the next Chris Lilley, Tom Ballard, Tim Minchin, Ronny Chieng or Josh Thomas – all of whom are previous contestants.

Formed in 1996, RAW Comedy has developed into Australia’s most extensive and significant open mic competition, and comedians nationwide are struggling to resist its seductiveness.

“We can’t meet the demand,” enthuses Associate Director of the Melbourne International Comedy Festival and producer of RAW, Gideon James. “There are so many people who want to go in it. We opened on Friday, in Melbourne, and without putting extra heats on we’re full already. So we’re going to be putting extra heats on to get as many people in as possible.”

Unlike my first sexual partner, RAW is free to enter.

However, you must not have entered the competition more than three times over the years, nor have earned over $500 from performing stand-up.

“You can literally start out from having never done comedy before. A couple of years ago, the guy that won it, his first gig ever was at RAW and before you know it, he was in Edinburgh. People do just come from nowhere. Other people might have been doing the local rooms a little bit or had a go at it a couple of times.

“You can do stand-up, magic, sometimes there’s duos – the people who won last year (Lessons With Luis) were a pretend family, they were characters – you can do anything.

Basically, you’ve got five minutes, so as long as you can get your props on and off in your five minutes, you can do anything that’s funny. It has to be original, obviously, and you have to have written it or created it yourself.”

In fact, its very name hints at the type of comedians the competition aims to unearth – unpolished, inexperienced yet talented funny people.

“The overall objective, I suppose, is to uncover and support new performers with potential. That potential can be short term or long term to the industry. If someone’s a little nervous and they’ve got notes on their hand, but they’ve written some really good jokes, that’ll stand them in good stead and may get them above someone who’s done a perfect delivery, remembered every word but didn’t necessarily show as much potential as the person who was nervous. Comedy is so subjective, so we usually have three judges, someone from the media, usually a comedian, and someone from the industry such as a producer or an agent or something. They all love judging, we don’t have trouble finding people to get involved in any form.”

If you’ve been to a RAW gig before, you’ll certainly have experienced the warm and receptive crowds.

“The way we do it – it’s a little bit rock’n’roll, well in a way.

All the initial gigs are in pub venues, The Espy, The Corner, The Evelyn, we’ve done it at The Retreat before. They’re all familiar places, it doesn’t feel like an audition. We try to take

ARTS NEWS, REVIEWS, INTERVIEWS ONLINE – BEAT.COM.AU/ARTS

that away. Bring your mates, have a few beers, some things works and some things don’t but it’s a very comfortable environment and that’s always reflected by how much the MCs wanna do the job. You never have this many comics going, ‘Oh when are you programming RAW? I love doing it’ because as they’ll say to me, it’s the warmest audience you’ll ever get, they want everyone to have a good time and succeed which is unlike just a normal comedy night where people have much higher expectations I suppose. People are ready to support it, and they love it.

“It’s a joy. Just seeing people get better from year to year, like you might see someone and they didn’t make it through but the next year you see them do that much better, because a lot of open mic places people don’t get paid, they’re just having a shot, that’s always really nice to know that their goal perhaps for the year is to enter RAW. There’s nothing better for an artist than a deadline to make something happen, so I think RAW is kind of like that for people – a deadline for emerging comics, really, if they want to get in, because the opportunities it can open up are huge. Once you sort of get to the higher levels, sort of burn a few coals, often you’ll see industry people checking it out, because they want to know what the younger people are talking about. Themes can emerge from the younger generation that are really interesting, even if they’re not as polished as a professional stand-up.”

When prompted on what he believes is the biggest challenge for young comedians, James’ response is instant.

“Getting stage time. Definitely. And income. They work a lot by themselves, but there is a very strong community.

Once people start doing it for a while and hook in, make mates that are doing it as well, then I think that’s a good thing. That happens from RAW too. You see from year to year at the festival people being mates the next year – it’s quite a bonding experience. Kinda like a ‘Class Of’”.

While Melbourne’s initial heats are already full, the addition of extra heats is granting up-and-coming comedians one last opportunity to register, vomit before the show in the toilets like Eminem does in 8 Mile (mum’s spaghetti), then go out and destroy that motherfucker.

“Have a go, give it a shot. You might find something that you’re good at, potentially for the rest of your life, and you might make people laugh, which is a really great thing.”

RAW Comedy registrations are open now – go to rawcomedy.com.au to sign up.

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Beat Magazine Page 33

EARTHLESS

BY KRISSI WEISS

Enjoy the comedown from a spot in Aunty Meredith’s backyard – San Diego’s instrumental, psychedelic rockers, Earthless, are ready to bounce straight back up under lights for their headline tour around the country. The trio are no strangers to life on the road and although this is only their second time in Australia since their formation in 2001, they can be forgiven for the infrequent visits due to the amount of other projects the members make a little noise in. Guitarist Isaiah Mitchell is also a member of Howling Rain, bassist Mike Eginton owns Thirst Moon records while drummer Mario Rubalcaba – now retired from pro-skating – also divides his time between OFF! and Hot Snakes.

While instrumental rock, in all of its forms, has been enjoying a place inside of the fringe as opposed to merely skimming the outer edges, psychedelic rock has undergone a fully fledge resurgence. A band like Earthless could be lumped into the nostalgia category, accused of reliving the old while never creating the new, but that’s just plain wrong.

The trio manage to create a sound that is just cutting edge enough to remain fresh while honouring all that they love.

“I think that each of us as players definitely have our influences,” Mario Rubalcaba begins. “But at the same time we steer clear of just aping a style. It’s all about taking your influences and inspiration and turning it into your original creation.”

Both the friendship between the three-piece, and the energy that comes to life when they play together in a room, has a lot to do with successfully creating something original. Rubalcaba reminisces on the formation of the band, and life in those early days. “Well, at the time, I had moved back home to San Diego and shortly after had met Mike Eginton,” he says. “We had a lot of similar tastes in music that wasn’t too popular amongst many of our peers at the time. We talked about playing, got in touch with Isaiah, and once we finally got into a room, it was on. There was an unspeakable chemistry from the get go; it’s pretty rare to come by actually.”

The influences of youth, however, always seem to trickle into an artist’s work. “For me personally, I was brought up on Led Zeppelin and a lot of the early hard and heavy rock stuff – Grand Funk, Deep Purple and the like,” he explains. “My playing reflects some of those chops that these guys were laying down when I was just a young tyke just taking it all in. As far as inspirations go, there are always new things being discovered – old as well as new – and that stuff goes a long way.”

A band with such a freeform and organic sound can give the impression their music is created in a smoke-filled room, ablaze with ideas (and perhaps the odd visual distortion) and little in the way of structure. Yes, that’s a purely romanticised notion but only Earthless really know exactly how it comes together. With a growing collection of studio recordings, eventually these creations have to be pinned down in some way. Often a band can find recreating their recorded sound a challenge in the live environment, while a band like Earthless are more likely to find it difficult to harness the freedom of their live shows within the confines of the studio. The best option is to make the process as close to the stage experience as possible. “Production-wise we just record live and then we add some subtle layering over wherever we feel it needs some spice,” he says. “A little salt-n-pepper never hurts, ya know?”

The unforgiving tick of time means that firstly, there never seems to be enough of it, and secondly, priorities change.

“Touring gets harder the older you get,” he admits. “Two of us are dads now so we are much more aware of schedules and the importance of trying to be home enough for family time. We aren’t much in the party animal department so that’s not an issue. We rock when we want to, not because we have too.” But that rocking involves a lot of projects and at one point or another, things simply have to get put on hold. “It’s been pretty hard this last year as both Isaiah and I have been logging in some serious touring time with other bands lately,” he says. “But everything worked out perfectly this time around and I must say we are really happy to be back in Australia.”

The plans for the future aren’t completely without focus but at the same time, Earthless seem content with taking each moment as it comes; a refreshing contrast in a world of five-year plans. “We’re just going to enjoy the moment and appreciate that we are back together and doing this kinda stuff again,” he says. “We haven’t toured as Earthless in two years so it feels great to get it on again. We are gonna have a lot of fun as we go.”

solos and huge unrestrained riffs. Its video was shot by New Zealander Sam Kristofski, whom the band gave an incredibly free license to create something which visually matched the aurally stunning track. The result, which is super reminiscent of weirdo 2010 film Beyond The Black Rainbow, pleased the guys immensely. “He would send us stills every week. I just really like that idea of letting the filmmakers do whatever they want. I think we’d seen some other stuff that he’d done and it was really, really good.

Hopefully we do another one with him.”

The Datsuns are set to play two shows in Melbourne,

both free. Lucky us. “Yeah, I don’t know how it really came about, the logistics of the whole thing,” says De Borst.

The suggestion was made by the band’s manager and, awesomely, taken up. “We were like, ‘alright’,” the singer says simply. “It was kind of a no-brainer.”

EARTHLESS will be at the Northcote Social Club on Saturday December 15 with King Gizzard & The Lizard Wizard and White Walls and again Sunday December 16 with Dead River.

THE DATSUNS

BY ZOË RADAS

Dolf De Borst says the snow is starting to fall in Stockholm, and it’s getting quite dark. Last year the singer and bassist for New Zealand psych-rock group The Datsuns married a Swedish lady (nice work) and moved to the country’s capital. It was there that the band recorded most of their new release Death Rattle Boogie, coming together from their respective countries of residence and creating the ferocious fifth album.

“Basically at the height of winter it’s, I would say, five hours of daylight. And it’s like five hours of twilight,” De Borst says quietly. “If you go further north, it doesn’t get light at all.” The magically eerie city provided the backdrop for half of the long recording and producing process, while the other half was conducted in Auckland, in the band’s home country. The decision by the four-piece to spend productive time in Stockholm was a simple one. “It’s my studio so there’s no financial costs, basically,” De Borst explains. “We just get everybody over. And I mean there’s massive advantages to that: we can do whatever we want, we can play as late as we want, we can take as long as we want to do anything. The downside of it is that, as well,” he admits. “There’s no-one saying, ‘You’re on the clock, get on with it’. I can re-do my vocals like, hundreds of times.”

The far-flung homes of The Datsuns’ members meant the album’s development was necessarily lengthy, with the group making an initial recording in Sweden and then gradually adding to it every time they were back together for tours. “Things started piling up and that’s why the record’s probably ended up 14 songs long,” says De Borst.

“Usually we like about 10 or 11 songs. It just kept getting longer,” he laughs. “I’ve really enjoyed the way it’s all sort of come together in the end... It was the beginning of 2011 that we started, and it wasn’t until the start of this year that it all kind of got wrapped up. It was kind of a mission.”

The mission’s end was particularly irksome for the singer. “Basically everybody left and it was kind of up to me to finish it off, which I hated,” he says solidly. “I mean, if it was my solo project or like a completely different kind of thing I’d be fine with that; if it was [a solo] vision it would be my vision. But this band is very much a collaboration. It was a real pain in the arse. We can write a song in five or ten minutes in the studio or rehearsal space and it sounds great, and it’s instinctive, and you kind of feed off each other. But when you start doing the tracks back and forth thing it just doesn’t work, I think, for us. We’re too knuckle-headed.”

The beauty of Death Rattle Boogie comes in the way you can hear the band’s heart, as a constant style, throughout all of their explorations. It’s a progression from previous release Head Stunts as its jittering, undulating delays seem to soar into space instead of just way over the land, as they did before.

“I suppose our musical taste is pretty all over the place,” De Borst says of the album’s influences. “That’s the kind of stuff we’ve been listening to for a long time: ‘70s stuff, and late ‘60s sort of psych stuff. People say, ‘It sounds like you guys, but through a slightly different lens’. It’s been four years since the last [record], we’re all a little older, maybe we’re a little more confident to try out different [things].”

Lead single Gold Halo is classic Datsuns, full of wailing

THE DATSUNS play Karova Lounge in Ballarat on Wednesday December 19, and The Espy on Thursday December 20 and Friday December 21. Entry is free.

Q&A BEN SALTER VS MIKE NOGA BEN ASKS MIKE: What is your favourite album at the moment / of all time?

Man, that’s a tricky one. If we’re judging using a system of “most plays at home” it’s probably got to be Van Morrison’s Veedon Fleece, which is strange because I don’t really consider myself a huge Van Morrison fan. I find that album very soothing. Makes me feel like porky little angry Van has come into my lounge room and given me a smelly hug.

What scares you?

Large spiders. Turbulence at 34,000 ft in the middle of the night on a long haul flight. Bolognese with no parmesan.

Panic attacks.

If you could have any animal as a companion or pet, what would it be?

Me and my girls’ two cats, Terry and Steve. Couldn’t live without them. Weird, annoying, beautiful guys. I would also like a small turtle and my favourite animal is the platypus, so I guess one each of those too.

If you could have dinner with any living person who would it be?

Beat Magazine Page 34

Right now? My sister Ali. She’s been away from Australia for a long time. Miss her.

Where does the name Noga come from? What’s your cultural background?

You’re going to enjoy this, aren’t you? You sadistic bastard.

The name Noga derives from the Slavic term for ‘leg’ or ‘lower part of leg’. So yes, my name is Mike Leg. Shut up.

MIKE ASKS BEN: Your final, death row meal, what would it be?

The plum duck, salt and pepper squid, shredded beef Pekinese style and braised chicken Szechuan from Superbowl Chinese restaurant, Fortitude Valley, Brisbane.

With a side order of humble pie.

If you could fly to any city in the world right now, which one and why?

Maybe Hobart. Cause I am already, in a minute, so it just seems like the least amount of bother for everyone. Plus, Hobart is bloody great.

Favourite actor / actress ?

Maybe Leslie Neilsen. He was pretty good.

What do you wish to be remembered as? Rather morbid, I know.

A good host.

You tour a lot. As do I. Sometimes you encounter some very “interesting” types at shows. A man recently told me that George Thorogood would steal one of my songs if I didn’t record it soon. He was serious. You ever get people like this at your shows or is it just me?

Yeah, it’s all a part of the shaman element of performance.

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

You become a weirdo magnet. I think busking was worse. I once had to deal with a guy who had been on a crystal meth bender or had a breakdown or something and told all of us we were possessed by the devil. I guess he didn’t like The Beatles that much.

BEN SALTER and MIKE NOGA play The Old Bar on Friday December 14.

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Darkbeat & Brown Alley Presents: AN OFFICIAL 2013

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FOR MORE UP TO DATE NEWS GO TO BEAT.COM.AU

DECEMBER

LET THEM EAT CAKE: KERRI CHANDLER [USA], THE GASLAMP KILLER [USA] + MORE Tuesday January 1, Werribee Park SUMMERDAYZE: THE CHEMICAL BROTHERS [UK], M.I.A [UK], MARK RONSON [UK] + MORE Tuesday January 1, Sidney Myer Music Bowl MARCELLUS PITTMAN [USA], PSYCHEMAGIK [UK] Tuesday January 1, The Bridge KRAFTY KUTS [UK], A-SKILLZ [UK], CAMO & KROOKED [UK] + MORE Tuesday January 1, Brown Alley ASTRIX [ISR], ANGY KORE [ITA], MIN & MAL [ITA] Tuesday January 1, Royal Melbourne Hotel SBTRKT [UK] Wednesday January 2, Billboard RUSTIE [UK], ROSKA [UK], XXXY [UK] Friday January 4, Brown Alley HOT CHIP [UK] Wednesday January 9, The Palace DE LA SOUL [USA] Thursday January 3, The Espy CRYSTAL CASTLES [CAN] Tuesday January 22, Billboard THE BLOODY BEETROOTS [ITA] Thursday January 24, The Palace SOUL CLAP [USA] Friday January 25, The Liberty Social RAINBOW SERPENT: GUY J [ISR], CHRISTIAN SMITH [SWE], PETER VAN HOESEN [BEL] Friday January 25 - Monday January 28, Lexton BIG DAY OUT: THE BLOODY BEETROOTS [ITA], KASKADE [USA], CRYSTAL CASTLES [CAN] + MORE Saturday January 26, Flemington Racecourse JESSIE WARE [UK] Wednesday January 30, Prince Bandroom

UPCOMING

PAUL KALKBRENNER [GER] Friday December 14, Billboard XKORE [UK], TERRAVITA [USA], Friday December 14, Royal Melbourne Hotel CATZ ‘N DOGZ [POL] Friday December 14, New Guernica KENDRICK LAMAR [USA] Friday December 21, The Palace TERRENCE PARKER [USA] Friday December 21, New Guernica DJ HELL [GER] Saturday December 22, The Bottom End LUKE SLATER [UK] Friday December 28, Brown Alley FALLS FESTIVAL: SBTRKT [UK], COOLIO [USA] + MORE Saturday December 28 – Tuesday January 1, Lorne TOTALLY ENORMOUS EXTINCT DINOSAURS [UK] Saturday December 29, Corner Hotel

JANUARY

ONTOUR

SWEDISH HOUSE MAFIA [SWE] Friday February 1, Sidney Myer Music Bowl ABOVE & BEYOND [UK] Saturday February 2, Hisense Arena EL-P [USA] Wednesday February 6, Corner Hotel BICEP [UK] Sunday February 10, Revolver Upstairs MACKLEMORE [USA], RYAN LEWIS [USA] Saturday February 16, The Corner Hotel DIXON [GER], HUXLEY [UK] Friday February 22, Prince Bandroom MOODYMANN [USA] Friday March 8, Prince Bandroom GOLDEN PLAINS: MOODYMANN [USA], JULIO BASHMORE [UK] + MORE Saturday March 9 - Monday March 11, Meredith Supernatural Amphitheatre FUTURE MUSIC FESTIVAL: THE PRODIGY [UK], DIZZEE RASCAL [UK], BOYS NOIZE [GER] + MORE Sunday March 10, Flemington Racecourse

REAL TALK

The lowlight of the weekend was undoubtedly asking a female at her very first ever Meredith about her thoughts on MMF and having her think I was referring to male-male-female threesomes.

Tyson Wray

Third Chapter: Apocalypse at Chasers

On Friday December 21, apparently the world is going to end. So let’s send it off, one last time? Get ready for The Third Chapter – Summer Shake-Up. They have hand-picked a stella lineup of some of Australia’s best DJs who will be banging out party hip hop tunes until they progress onto disco funk mash-ups to keep the party rocking till all hours of the morning. The lineup includes DJ Flagrant, Matik, Second Hand, Yasumo, J Heasy and more, as well as a special guest appearance by Mr Big from Dwarfmyparty.com. Come kick it with the man himself and get your photos taken. Pre-sale tickets are $20 through Greentix and $25 tickets on the door will be available. Please note all pre-sale purchased tickets receive a free drink on entry. Third Chapter – Summer Shake-Up Party is going down on Friday December 21 at Chasers Nightclub, 386 Chapel Street, South Yarra.

DJ Hell: Hell Yes

DJ Hell is a name synonymous with house and techno of all shapes and colours. En route to Australia, Hell is set to wash over this country with his signature experimental style with grace that has made him a long-standing figure in the electronic dance music community. Not your typical purist when it comes to house music, Hell has worked with P. Diddy, Grace Jones and Bryan Ferry to name but a few. Leave your expectations behind at The Bottom End on Saturday December 22.

Legend of modern day techno, Luke Slater aka Planetary Assault Systems has been reinvigorating the scene with a resurgence of purist techno values.

With a highly critically praised album in tow and having played the world’s most acclaimed stages including Berghain, Tomorrowland, Social Club and Melt! Slater is bringing his exquisite electronica to Melbourne. Redefine your thoughts on techno at Brown Alley on Friday December 28.

Fatty Fatty: Get In The Mercat Belly

Dublin-bred, Melbourne-based disco and house label Fatty Fatty Phonographics returns to The Mercat Basement on Thursday December 20, and this time they’re bringing a special guest in the form of Sydney based disco don Superbreak. A regular at the top of the Juno Download Disco Charts, he’ll be bringing his sweet blend of funk, disco, boogie and house to the sleazy basement along with Fatty residents Pablo, Clarkey and DJ Tremendous. The label has created a stir with ‘The Rejigs’ series by Pablo and Shoey, which deliver edits of disco, funk, hip hop and protohouse classics for the discerning dancefloor. Fans so far include Crazy P man Hot Toddy, Rub’N’Tug, Bicep, Leftside Wobble and Get Down Edits. This month they will be launching their ‘Downtownsounds Classics’ series, which will catalogue big tunes from the long running Dublin clubnight. They’ve also got a 12incher from Chicago’s DJ Rahaan on the way in the New Year, as well as classics from the likes of Terrence Parker, Ashley Beedle, Studio 54 legend Nicky Siano and avant-garde disco auteur Arthur Russell. Fatty Fatty at The Mercat, Thursday December 20.

Smalltown: Dixon & Huxley

Dixon has been working away since the early ‘90s to carve out a niche for house music in the predominantly techno dominated Berlin and has now cemented himself as as one of the most celebrated taste maker labels and acts in the world. Huxley is a house purist’s dream, with impeccable flair and onpoint DJ sets that span house, garage, techno and beyond. Check them out at The Prince on Friday February 22.

DJ Profile: switchState

Flying Lotus: Let Them Eat A Live 3D AV SHOW

Let Them Eat Cake have announced that Flying Lotus will be bringing his new live audio-visual show to Australia with an exclusive Melbourne performance at Let Them Eat Cake Festival on New Year’s Day at Werribee Park. Called “Layer 3”, the description itself is fucking mind-blowing: a three-dimensional projection that syncs with the music. Red Bull Music Academy, in conjunction with visual artists Strangeloop and Timeboy, have devised a method of transporting FlyLo into outer dimensions using two transparent scrims and interactive front and rear projectors, conjuring nothing short of the acid-fried Space Odyssey Stargate scene. Let Them Eat Cake is on New Year’s Day at Werribee Park – a cornucopia of the world’s finest DJs and live performers, art installations, food fit for a queen, and a royally decadent atmosphere.

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Planetary Assault Systems: Once In A Blue Moon

UP TO DATE

Spectrasoul: Life And Soil

Finally releasing their anticipated debut album so aptly named Delay No More, Spectrasoul are taking their show on the road. Receiving acclaim from the likes of Maya Jane Coles, Spectrasoul’s musical production is a far cry from the homogenised sounds we have come to expect from drum and bass. The Brown Alley garden bar will open its doors at 6pm for early beats and gourmet BBQ on Sunday December 23.

Espionage: Rustie, Roska, Ghost Mutt, Doc Daneeka, xxxy

This year, Rustie broke through with his album, Glass Swords, leaving a trail of impressed taste makers and new found fans alike. Coming together with Roska (whose sounds are coloured with the broken beat scene of the early 2000s), along with Welsh house producer Doc Daneeka, Ghost Mutt’s mashup of hip hop beats mixed with dubstep, glitches and purple flares and xxxy’s feel-good story of his never ending battle to seek the fruits of his labour through his love for electronic music – this is a platter of unmissable sorts. Head down to Brown Alley Friday January 4.

Where’s the strangest place you’ve woken up?

After waking in the plane, the memories started coming back. LA, tequila, beach party. I asked where I was. The man said Mexico.

Describe yourself using the title of a song.

Mr Happy – DJ Hazard What was the weirdest thing you believed as a child?

That the day has 24 hours, and the night has 12. I was running on a 36-hour clock! Although, not much has really changed.

The most awkward moment you’ve had as a DJ? Realising that I’d accidentally bought a ticket to one of my own gigs, and then trying to return it.

What would be the worst dance track in the world to be tortured with on repeat?

Anything involving four or more members and choreographed dancing.

What’s the most played record in your bag?

Spring Back - Villem.

What question would you like to ask an omniscient, all-knowing being before you die?

“What’s seven times six? Also, what’s the deal with that bus driving towards me?”

If you hadn’t made it as a DJ, what job would you choose to work in instead?

Animation for 3D movies and games etc. I want to retire as a boat builder in Spain though.

When and where is your next gig?

Tribe 2013 at Brown Alley, New Year’s Day, Tuesday January 1.

THE BIG MAG FOR CLUB CULTURE

5.

DISCLOSURE “We’re not setting out to make house music just for the club. It’s more about the chords, melodies and vocals.”

SUMMADAYZE: SIBLIN’ SPINNIN’ The turnaround to success when you’re Disclosure is short. Less than a few weeks after uploading their first tracks to MySpace, brothers Howard and Guy Lawrence (aged just 18 and 21 respectively) found themselves featured on prominent music blogs and soon approached by vying managers. 2012 has been especially favourable for this sibling powerhouse who were nominated for the Best New Artist MTV Award with hit track Latch reaching number 11 on the UK charts. Having racked up hundreds of thousands of Soundcloud plays with their remixes for Jessie Ware and Emeli Sande, the boys are currently working towards a much-anticipated debut album. Blending deep house bass lines, Dilla-esque snares and melodic two-step top lines, Disclosure have proven themselves as producers with a sonic maturity beyond their years. Due to hit Australian shores for a festival circuit, 100% speaks with Guy about Disclosure’s influences, groupies and the perks of working with family.

The Lawrence brothers started playing music as children, Guy on the drums and Howard on the bass and piano. “We were listening to music as kids and were learning how to play,” Guy explains. “We knew nothing about producing back then... I was in a band and wanted to start producing. Howard started messing around on laptops and was making beats.

[Music is] all I ever wanted to do.” While it takes some musicians years to be discovered, Disclosure found the process to be much shorter thanks to the advent of the internet age and a progressive yet soulful sound. “Howard was making beats and because I already knew how to mix sound and use Logic, I ended up mixing them,” Guy begins. “We put them on MySpace and within a week, we were on this cool blog. It was watched by a lot of managers so within a few weeks we had management.”

6.

The duo’s pieces of post-dubstep admiration have blossomed into increasingly solid soul-laden tracks.

Drawing from ‘90s garage tropes and vintage house, their vocal and melodically driven gems have been a defining sound of 2012. “At the start, we were influenced by what was happening in the UK scene,” Guy says. “I had just started to go clubbing and I was watching the early beginnings of dubstep... I never wanted to make very aggressive beats and I went to more house sets...Now, three years later, I would say I am definitely influenced by Detroit techno and Chicago house. Once we got into the UK scene, we kind of wanted to know who were influencing the people we liked. We didn’t know the history of house music. We were buying as many records as we could and were learning. As we progress we are influenced by older and older things.”

Listing their influences, Guy explains they look to forward thinking and original artists including Burial, Joy Orbison and J Dilla. “I think when we heard Joy Orbinson’s Hyph Mngo in 2009, we were pretty captivated,” Guy explains. “It was 140 BPM, which is the same speed as dubstep, but it was the first track that had chords and melodies as well as being bassy.

We thought, ‘People can make music out of it?’ He just happened to be the first guy we heard. But J Dilla – he’s our man. I don’t think you can call yourself a producer if you aren’t influenced by him.”

The fact that the duo are brothers sweetens the Disclosure deal. It is something that isn’t seen too often, especially in the electronic scene, but it has its perks according to Guy. “We are totally honest with each other,” he says. “There isn’t too much bickering and we are very chilled. We’re more like friends to be honest. We are pretty laid back plus we know what we’re both thinking which helps.” On their creative process, Guy says, “I always do the COVER STORY

mix and production, but the creative process is quite shared. I probably do a bit more programming in terms of how the song is shaped, but Howard has a big part in writing. I hate it. But I love writing chords and melodies.”

The Face EP is the most recent offering from brother’s Guy and Howard Lawrence who have already been playlisted by Radio 1, received enthusiastic co-signs from Pitchfork, FACT, Fader and The Guardian, toured the UK and Europe and supported SBTRKT on his UK tour. With its addictive sunshine sound, their latest EP compounds Disclosure’s growing reputation as the UK’s most exciting and uplifting new producers. Despite its up-tempo BPM, it’s a sound that Disclosure insist owes as much to ‘90s hip hop as it does to Detroit House and UK Garage. “We’re working around house tempos”, Guy explains, “but we’re not setting out to make house music just for the club. It’s more about the chords, melodies and vocals. We want a warm sound; a jazzy sound.” When asked if much has changed since The Face, Guy says not much. “We’re still on a similar vibe,” he explains.

“The upcoming album still consists of instrumental tunes. Songs like What’s In Your Head, Boiling and Control are good previews for the album.”

This “preview” has racked the boys up some pretty solid recognition, including a nomination for the MTV Best New Artist award. “It was pretty mad,” Guy laughs. “We only heard about it on the day. It was great to be recognised and MTV have provided good support for us.” Other highlights of 2012 include body-writhing/sexy-time inducing song Latch reaching number 11 on UK charts. “It was unexpected,” Guy says. “We have also had a few amazing shows too. We played in a club called Space in Ibiza. Also in America, we played a club in LA on Halloween. That was one to remember.”

Like most performers, Disclosure have an embarrassing tale to share. “We were playing in a town with Annie Mac, a radio DJ,” Guy begins. “It was the last show and she had these flashing cubes that were four foot high on the ground in front of the stage and I just thought they were speakers.

When we play Latch I normally go and stand on the speakers, but I got onto one of these cubes and fell into the box. It was made of thin plastic and I was still standing out while the song was on. Everyone was asking ‘Oh my God, is he alright?’ But I just held the microphone up and when it was done I pulled myself out.” On the topic of crowds, and more specifically groupies, Guy laughs, “Recently, there have been a lot of girls at the shows. With Latch, the front row becomes full of girls. I don’t know what it is, but when that song comes on, yeah, they all flood toward the front of the stage.”

Playing Summadayze in Melbourne, Guy says this is their first trip to Australia. “We are really looking forward to the weather,” he says. “It’s zero degrees here right now, so the Australian summer will be great. We are also looking forward to the crowd.

It seems Australians are quite a receptive fan base, which is great.” Their favourite things about festivals? “I love the crowds, the drinking and the partying,” Guy says. “Normal festival things. Though not camping. I hate camping.”

Tamara Vogl Disclosure [UK] will be performing at Summadayze on New Year’s Day, Tuesday January 1, alongside Kimbra [AUS], M.I.A. [UK], Araabmuzik [USA] and more at the Sidney Myer Music Bowl.

RETRO SEXUAL FRIDAY

WEDNESDAY12TH MIDNIGHT SOUL ENSEMBLE Whether it’s a DJ on the one’s and two’s side by side with a drummer hitting the skins while jammin’ away into the night, or soul singers gracing our humble stage performing Erykah Badu tribute songs over wonky future beats, or hip hop DJs cuttin’ up Serato records, we got the midweek party. You know you wanna. Free entry.

Lounge, 243 Swanston Street, Melbourne

LAUNDRY WEDNESDAYS Deep, dark, minimal dubstep and drum and bass.

Laundry Bar, 50 Johnston Street, Fitzroy

THURSDAY13TH

DJ Grandmaster Vicious spins Fitzroy’s finest mix of ‘80s and ‘90s pop, rock, new wave, hip hop, disco classics and cheese to please plus dance floor anthems from then to now.

One Twenty Bar, 120 Johnston St, Fitzroy

GET LIT Get Lit every Friday night with Mugen & D’fro slicin’ n dicin’ over jiggy beats and underground anthems.

Bounce to the ounce, and get yer “drank” on! And kids remember one thang, in the wise words of Lady: this pussy be yankin! YOLO. Free entry. From 10pm.

Lounge, 243 Swanston Street, Melbourne CQ Fridays

FIRST FLOOR FRIDAYS A journey of international music from all over the world; past, present and future rhythms incorporating afro, soul, funk, world and deep house elements!

First Floor, 393 Brunswick St, Fitzroy

FREEDOM PASS

Tigerfunk brings with him his full band of travelling gypsies, hipsters and middle class executives, all of whom are prepared to deliver the most excitement you can have this side of the weekend.

Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

Friday’s at Freedom with 2 premier clubs, 5 huge rooms, 10+ local and international DJs blending their unique sets across countless styles of tunes – vocal house, smooth R&B, electro and commercial top 40. Throw in a few sexy podium dancers, a world-class lights show and drink specials, the Freedom Pass is your personal ticket to a night you won’t soon forget!

Fusion, Crown Entertainment Complex, Lvl 3, 8 Whiteman St, Southbank

FREE RANGE FUNK

FRIDAY NIGHT LOFT PARTY

Funk up your Thursday nights with Free Range Funk at the Windsor favourite Lucky Coq. Grab a couch early and enjoy one (or more) of their famous $4 pizzas from 7-11pm. Meanwhile DJs Who, Agent 86, Lewis CanCut and special guests tempt you into the night with their eclectic bag of treats. Setting the mood early is delightful jazz, deep soul, and funk. Later it’s fruity disco, choice house, and hipster dance drops. Free entry every Thursday.

Lucky Coq, 179 Chapel St, Windsor

Kitty Schmidt couldn’t find quality dance music in Fitzroy so she’s decided to open up her bedroom doors. Living above Melbourne’s stalwart lesbian/gay Libation Bar, she’s now throwing a monthly party in her boudoir. Come into her renovated upstairs loft, cocktail bar, dance floor and smoking terrace. With quirky house, deep disco and erotic electronica being spun by Marvin Roland, Mr. Pyz and Kitty Schmidt DJs. Libation, 302 Brunswick Street, Fitzroy

BIMBO THURSDAYS

FUN HOUSE Celebrate Thursday night at Co. with club classics and dance floor anthems.

Co., Crown Entertainment Complex, Lvl 3, 8 Whiteman St, Southbank

FRIDAY14TH

Saturdays at Lucky Coq tick all the boxes so start your night early and stay til close! Famous $4 pizzas from 7-9pm (that’s dinner sorted) then from 9pm spread over two levels with DJs playing hip hop, funk, disco, house and electro. Rotating guests on both levels keep the tunes fresh. Free entry.

Lucky Coq, 179 Chapel St, Windsor

SATURDAY15TH EDEN SATURDAYS Smashing it every week at Melbourne’s hottest looking venue! Top 40 dance, house and R&B 9-3am, then electro from 3am - 5am. DJ Ontime, DJ Ryza, Scotty Erdos and Azza M. $15/$20, free entry after 4am.

Eden, 163 Russell St, Melbourne

LOUNGE-CLUB Dazzling disco lights? Check. Big dance floor? Check.

Stage to dance on? Check. Music all night long? Check.

We got Melbourne’s finest purveyors of music. You’ll get funk, boogie, disco, house, Latin, afro, techno and much more. Lounge-Club happens every weekend from 10PM and it’s free entry.

Lounge, 243 Swanston Street, Melbourne

FIRST FLOOR SATURDAYS It’s house, electro, dub, anthems, disco and funk with guest DJs Genetix, B-Two and Oohee rocking til the break of day. Doors open 10pm with $5 basics til midnight!

First Floor, 393 Brunswick St, Fitzroy

HOT STEP Google Hot Step and you’ll get a bunch of Vietnamese game reviews and Balkanese dances on YouTube. But that’s nothing like what you can expect to find within the confines of Bimbo on a Saturday night. Developing thick and heavy but altogether groovy, enjoy an eclectic mix of fairy floss funk, doom disco and monk movement minimal every week. Free.

Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

PANORAMA Start your weekend on a good note with Panorama Fridays at Lucky Coq. DJs Matt Rad, Mr George, Tom Meagher and Phato A Mano transform the upstairs area into one hell of a house party with Hip Hop, Funk, R&B, Disco and House. Meanwhile, downstairs gives you a secluded wind down atmosphere with cult films as background visuals and quality cocktails to sip on. Let the new coqtail list wash away a crappy week!

Lucky Coq, 179 Chapel St, Windsor

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SOUND EMPIRE Co. At Crown’s Saturday night party Sound Empire this week features mega sounds from resident DJs Tate Strauss, Miss Sarah, Nova, Johnny M, Matty G, Dean T, Joe Sofo, Marcus Knight, Dinesh, Chris Ostrom, B-Boogie and Sarah Roberts.

Co., Crown Entertainment Complex, Lvl 3, 8 Whiteman St, Southbank

SUNDAY16TH SOUTH SIDE HUSTLE The perfect Sunday soundtrack with DJs Askew, Peter Baker, Booshank, Paz, Miss Butt, Junji, Disco Harry and guests. They will be laying down disco, afro beat and deep house til 3am. For lovers of good music - South Side Hustle.

Lucky Coq, 179 Chapel St, Windsor

MONDAY17TH IBIMBO Have you always wanted to be a DJ but been cruelly cursed with tone deafness and a general inability to version excursion? Well Bimbo Deluxe saves the day once again.. All you need is an iPhone and you’re set. Just download the free ‘remote’ application from the app store, log into the Bimbo DJ wireless network and you choose which song plays next.

Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

TUESDAY18TH BIMBO TUESDAYS Bimbo Tuesday’s have long been the discerning DJs midweek breath of fresh air. An opportunity to indulge in, and to each parade their individual takes on music. A night where by the weird and wonderful is not frowned upon but rather celebrated. Resident selectors Matt Radovich, Andras Fox and Henry Who draw from a colorful array of sounds that warm your midweek blues. From 8pm, free.

Bimbo Deluxe, 376 Brunswick St (Cnr Rose St), Fitzroy

COSMIC PIZZA NHJ and friends host every Tuesday night upstairs at Lucky Coq. Playing uneasy listening, freaked out bass jams, romantic comedy disco, tropi-jazz, soundtracks and shit you won’t hear on the other nights.

Lucky Coq, 179 Chapel St, Windsor

TERRAVITA AESTHETIC: HIGH ENERGY Matt Simmers has been charged with the duty of undertaking this discussion in the absence of his partners-in-crime Chris Barlow and Jon Spero who are visiting family in Boston. Only recently returning from the City of Angels himself, Matt is currently mastering a track for a free giveaway on their new website, which will appear any day now. “And we have all just got back from the Firepower Records tour with Datsik,” he says. “So I’m slowly adjusting back to reality!”

Indeed, the lads – at least Matt and Jon – met back in 2000 while they were partying. He recounts the story.

“We were both listening to drum and bass in a poorly lit back room of an underground rave venue. Chris and I met in a similarly lit back room while we were also both DJs. We started to really become close and when we decided to take over and reopen a local drum and bass vinyl store in Boston – that’s when Terravita was formed.”

Production wise, the lads have approached their obligations using various methods. In more recent times though, they have standardised their procedure – and that has culminated in their more recent output, much of which has garnered the respect of their national and international compatriots.

“I write and engineer a track to a point that we can play it; then the three of us play it in our set and listen to it, only going back to figure out how we can make it more awesome!” Matt explains. “Jon will write lyrics and perform them for the final version. Chris works a lot

on finding the tracks a label. Once we all approve the track, I’ll do a final mix-down and master it.”

Of course the finished product is almost always laced with a rough edge that maintains fluidity and groove that makes it perfect for the dance-floor. “The most exciting thing planned in the near future is our LP on Dim Mak Records that will be out in the next few months. Also we have a lot of collaborations that we’re working on with other artist friends of ours. We have a whole bunch of free music that we’re giving away on our website too – check them out at terravitabass.com.”

On stage, the lads are generally predisposed to playing their own music – as well as a lot of mash ups they’ve made. “The other music we play is from our friends in the industry as well as any tunes we are really feeling. To be honest, I think part of our whole act is that we’re a bit cheeky at times,” chimes Matt. “We really like to have fun with each other and the crowd when we play. We want to be like party demons that make you have so much fun that it hurts a little!”

And with their heads screwed on the right way, they take all their success in their stride. “It’s always a great feeling to have other artists and mentors respect what you’re doing,” professes Matt with pride. “What we’ve also found is that a lot of these other artists are as like-minded as us and we often end up becoming real life friends with one another. I think we still have a long road ahead of us with music. But we take it with a grain of salt. I don’t think we’re the

best at being artists in a particular scene. Some artists embrace the whole genre thing and make it their own – some will even create a movement behind it. To me, that’s an invitation to be lazy with your creative process because you’ve basically wrapped yourself in a bubble of conceptualism with a bunch of other people that will tell you for better or worse that you’re keeping it real. The concept of a scene makes that happen. It takes the emphasis off of how interesting the music actually is and places it on how true you are staying to the scene, not to yourself.

“I’m not sure if it’s because we all have strong personalities or if it’s because we’re just weird and never fit in! Sure, we were all attracted to drum and bass because it was so different. It has a hip hop influence with MCs and its beat structuring is much more

experimenting with different rhythms and sounds as well as branching off into other bass music genres a bit more. I really feel like I don’t want to release anything until I’m 100 per cent happy with it, so I’m kind of taking my time with it.”

Ever the perfectionist, the lad is doing what he loves and is enjoying sharing the spoils. “I really love what I do and I love showing off what I do to my friends, because being a producer and DJ is an awesome way to live. I have plans in the future for side projects as well as branching off into the business side of music, doing things like managing and agency work, along with making xKore as big as could possibly be, in a natural way. I really do hope to be involved in the music industry as long as possible!”

Naturally too, he admits he appreciates music from all genres and not just necessarily dubstep or drum and bass. “I’ve not always been one to stick to a single genre and I really don’t feel any pressure to,” he chimes. “I started out in house and trance some years ago because it was basically all I knew and because it was what I was into at the time. Since then, my tastes have changed; dubstep started to become a thing and so I decided to try it out. Dubstep turned out pretty well for me, although I’m always moving around the bass music genres at the moment, doing electro, moombahcore, drumstep, drum and bass and other types of music. I honestly make whatever I want on

days and if it’s of substantial quality I will release it. I feel no pressure if it’s dubstep of not.”

In turn, Cavender admits that musically he really likes to go all over the place. As far as he is concerned a good set consists of tunes people recognise, new tunes that people will recognise in the future – and then a few massive tracks from smaller artists as well as the odd curveball track that will make everyone shout. “I like to move around all genres in my sets,” he admits. ”There has been a lot of trap being added to my set recently with its rise in popularity and I feel as if trap is a good way to break up and turn around the set for a short while, as well as getting the girls involved in some dirty dancing! I also like to show support to other up and coming artists in the scene for the same reason I felt good about being supported by other bigger artists. It’s a

like rock music – that’s the music we grew up with. Our aesthetic is a high-energy concert atmosphere, which lends itself to certain types of drum and bass as well.”

Regardless, the crew is heading back to Australia for their second visit and are looking forward to bringing their high energy mix of drum and bass, hip hop and rock music, to their fans – old and new.

“Our music revolves around high energy bass music fundamentals.

Expect to hear a lot of new tunes from our upcoming LP as well!”

RK Terravita [USA] plays Riot at RMH The Venue on Friday December 14 alongside Xkore [UK], F3tch [AUS] and more.

XKORE RIOTOUS: DIRTY VIBES Matt Cavender claims he’s been ultra busy lately, just coming off the Firepower Tour with Datsik, Terravita and Getter. And he explains that in the little spare time he has had left, he’s been finishing up a batch of remixes for Metrik, Modestep, Skism and Engine Earz Ft. Foreign Beggars. “I’ve also been slowly writing through my next EP due out sometime in the near future via Inspected Records,” he says. Musically, the man is all about big and heavy beats, something he describes with passion.

“The main thing I strive for in my music is a strong beat that people can dance to in a club – along with a dirty vibe so that people can feel that they can rage out to it when they listen! I have my own ways of writing, my own process and ideas that come up along the way, and I feel this reflects uniquely in the way my tracks turn out. I’m inspired by the usual head honchos in the scene such as Knife Party, Noisia, Sub Focus and such, although I try and listen to and vibe off of music that is outside of the electronic dance music spectrum and is totally different – such as Yoko Kanno and Harry Gregson Williams.”

Studio wise, the lad has, as he said, just finished a swag of remixes for the colleagues he mentioned earlier – and his main focus right now is his next EP. “For that next one, my main aim is to differentiate my music from everybody else. I’ve been

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ESSENTIALS

good feeling to make a difference for someone I think.”

Finally, Matt is excited about the chance to get back to Australia again and can’t wait to experience the people again, while taking in the sights and tearing things up at the odd event.

“This is my second trip to Australia, the first one being in February 2012. This time I’m hitting up Perth, Melbourne and Sydney and chilling in Adelaide for a bit. Being the second time over, what makes it awesome is seeing all the people I met the first time and going for round two on the partying and chilling!”

RK Xkore [UK] plays Riot at RMH The Venue on Friday December 14 alongside Terravita [USA], F3tch [AUS] and more.

CATZ ‘N DOGZ PAW: TO THE FLOOR “Do you want to make us scared?” Grzegorz Demiañczuk laughs. “I just woke up!” Wojciech Tarañczuk groans. The pair are clearly not enthused about the perils of the Australian bush that I feel it’s my Australian duty to inform them of.

Within a week or two, Polish electronic music duo Catz ‘n Dogz (we can call them Greg and Voitek) will be boarding a plane from Europe, and heading Down Under for the first time to play the Subsonic Music Festival, a few hours north of Sydney in the Barrington Tops National Park.

From Szczecin, a city in the West Pomeranian Voivodeship in Poland (inadvertent dog reference, right there), the pair began in 2003, putting on parties and hosting down-tempo electronica radio shows. As so often happens, it wasn’t long until the two friends found themselves making music. Their studio life began under the moniker 3 Channels, but after a bunch of releases on heavyweight labels like Trapez and Damien Lazarus’ Crosstown Rebels, the pair shied away from the name after becoming increasingly pigeonholed as “minimal house”. A call from Dirtybird/Mothership label head honcho Claude VonStroke saw Grzegorz and Wojciech embrace their new identity as Catz ‘n Dogz and the pair explored a more eclectic sound palette, from deeper, late-night fodder, to quirky electronica, to big-room energetic housers, and released their first two albums on Mothership.

The pair have always kept their production work pretty exclusive, only releasing music on three labels: Dirtybird/ Mothership, Get Physical Music, and their own Pet Recordings label. “Somehow it works – it’s kind of enough,” Voitek explains. “If we were with someone else, it’d be too much. With Pets, we can do whatever we want. Get Physical is where our agency is; Phillip from M.A.N.D.Y. [Get Physical label boss] is our really good friend. The Dirtybird guys?

It’s always a good output for us. It’s different – a more crazy sound. If we were just signed to just Get Physical or just Dirtybird, it’d be too boring for us.”

Catz ‘n Dogz’ latest project for Get Physical Music was the September release of Volume 12, their mix for the storied Body Language compilation series. Joining the likes of DJ Hell, Modeselektor and Matthew Dear, who’ve each mixed a volume, Catz ’n Dogz were thrilled to be a part of it – more so considering this was their first ever commercial mix release. As to why it had taken this long to release their first mix, the guys seemed slightly bemused. “I don’t know.

We didn’t get an offer before!” Greg laughs. “Of course it was always our dream, so we’re really happy that it finally happened… We really wanted to do it special so it [took] a lot of time.” For Body Language Vol. 12, Greg and Voitek called in some favours; littered throughout the mix are exclusive tracks and remixes from friends like Squarehead and Trikk. “Right now, everybody’s doing mixes,” says Voitek.

“With Soundcloud and all that, it makes sense to sell [the mix CD]. Later, people can actually get those tracks from other places. If your tracks aren’t exclusive to the mix, people won’t want to listen.”

The experience of putting together their first mix CD wasn’t exactly smooth sailing. “Everything took a while,” Voitek groans, when asked about the process. Many an hour was spent searching for music rights holders who had long since disappeared. “We got refused [on the licensing of music] because some of the labels were completely out of business,” Greg said, clearly nonplussed. Even when the pair had managed to contact the rights holders of some of the more obscure music they wanted for the mix, the master tapes were often long gone. “We had to buy it on Discogs and rip it at home,” laughs Greg. “[But] in the digital world, it makes it special. Before, when you’d go to the shop to find a record, if you didn’t buy it you couldn’t play it, because it was limited to a few hundred copies.”

“This year is the busiest year we’ve ever had.”

In a year of firsts for Catz ‘n Dogs, they will also finally get down to Australia for a string of DJ gigs in December.

Meant to visit our shores a couple of times previously, the scheduling finally came together. “We’re excited,” Greg says. “We have a lot of friends there. We’ve heard the parties are good, and of course the weather will be awesome. Here [in Europe] it’s going to be winter.” The sun is clearly a major drawcard, because Voitek chimes in about it too: “We’re really excited for the weather.

Here [in Berlin] it’s been foggy for five days. There’s no sun. I feel like I never wake up.” With the days growing colder over in Europe, it’s no wonder Voitek feels a little beaten. The wear-and-tear of the touring DJ life has most definitely reared its head. “This year is the busiest year we’ve ever had,” says Voitek, and Greg continues: “[This summer], we played three times in Ibiza. We played Space, DC-10 and Zoo Project. We played a lot of summer openers in Germany and also the US tour was amazing. We had a lot of gigs.”

But it’s not just the DJing that has kept them busy. This summer, the production duo finally decided it was time to live in the same city again. For the last couple of years, Voitek called Berlin home while Greg continued to live in Poland. While the suitcase life of a touring DJ made the separation a little easier, now that they’re back within close proximity, it’s time to get back to what they love the most: making music, and putting on parties. Their Vitamin/Pets Recordings label party at the famed Berlin club Watergate has proved a monthly success, recently playing host to the likes of Ellen Allien and 2012 posterboy Eats Everything. And now the Catz ‘n Dogz are reunited, they can get started on that third album that they owe VonStroke. Probably. “We were supposed to do it for May 2012 but I guess we’re going to do it for the year after,” Voitek shrugs.

The pair are grateful that, when they make it down to Subsonic Music Festival, they’ll be playing alongside two of their Dirtybird label mates: Worthy and Christian Martin.

“When you travel with friends, you hang out, go play your gig, and then make fun of everything. When you go alone, it’s like going to work.” As for whether that makes for more drunken tour shenanigans, Greg plays his cards close to his chest. “It depends on the jetlag. I don’t know. I’ve heard some strange stories about the jetlag from Europe to Australia. We’ll see how it affects us…”

Rick Warner Catz ‘N Dogz [POL] play New Guernica on Friday December 14. Body Language Vol. 12 is out now.

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PURPLEEMERALD HOOHAA

ONETWENTYBAR LUCKYCOQ

BIMBOS

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HELLFIRE CLUB’S 20TH ANNIVERSARY SLAPPY ANNIVERSARY: CARESS THAT WHIP In 1992, Richard Masters was a young independent filmmaker with an interest in the more eclectic and extreme aspects of human behaviour. Masters had travelled to Los Angeles with his girlfriend, where he’d visited a couple of clubs on Santa Monica Boulevard that specialised in sado-masochistic activity.

“I was impressed by these places,” Masters recalls. “You see people being whipped, dressing, all sorts of interesting activities. It was a whole new scene that I was exposed to.”

Back in Melbourne, Masters decided to approach the owner of a club on Queensberry Street on the edge of the Melbourne CBD, with an idea for an S&M themed club. “A friend of mine was having a birthday, and I spoke to the owner about having an S&M night. And that’s how the Hellfire Club started.”

Named after the original Hellfire Club in England operated by Sir Francis Dashwood – the site of which Masters had previously visited during a trip to England – Melbourne’s Hellfire Club provided a public venue for sadistic, masochistic and other fetish activities, backed by a soundtrack of equally enticing and exotic music spun by a rotating band of DJs. “I was a bit of a fan of those old gentleman’s clubs,” Masters says. “I’d studied them previously, and I was a fan of the Marquis de Sade [from whom the term ‘sadist’ is derived]. Before I came along, most of those clubs were gay, but the Hellfire Club had a much broader appeal.”

While Masters – now the director of the Melbourne Underground Film Festival – proudly proclaims his ability to

secure a shock horror headline on the front page of the Herald Sun, the Hellfire Club’s initial splash of publicity was almost accidental. “We had Kate Ceberano come along to the club to see Ollie Olsen, who was DJing that night, and there was also a writer from the Truth there that night. And the next day there was this big headline on the front page of the Truth about Kate Ceberano visiting the Hellfire Club. And the club was packed the next week!” Masters laughs.

The initial Truth story sparked a flurry of media activity, including articles in the Herald Sun and The Age, and even a spot on Steve Vizard’s late-night television show. Despite the rampant media attention, there was little attempt to cajole the fledging club into submission. In fact, Masters says the attitude of the local police authorities was very positive. “The police loved the Hellfire Club!” Masters says. “They loved to have the club on their beat, so to speak. Police understand dominance and submission!” The most significant negative reaction only came when Masters chose a particularly provocative theme for one of the Hellfire evenings. “We did a few theme nights, including a Russian night, and theme based around JG Ballard’s novel, Crash,” Masters says. “When we had a Nazi theme, the Jewish council became very upset.”

The emergence of the Hellfire Club coincided with a wave of popular and media interest in sexuality, including the traditionally marginalised aspects of sexuality. “You had

the real zeitgeist at the time with the Madonna coffee table book, and Tottie Goldsmith’s television show,” Masters says.

While it’s often assumed that S&M activities are the province of the upper-middle and professional classes – an assessment that’s consistent with the clientele who attended Sir Francis Dashwood’s Hellfire Club – Masters says the Melbourne Hellfire Club was patronised by a broad demographic. “It was pretty classless – we had the rich, the middle class and the working class,” Masters says. “When we did events in 2011 and 2012, I was really surprised how much Generation Y was into it.”

The stories of activities and events within the Hellfire Club would make 50 Shades of Grey seem like an Enid Blyton novel. “There was Mr Trough, who’d lie down in a urinal and have people urinate on him,” Masters recalls with a laugh, “or Mr Nude, who’d just wander around nude. We always encouraged diversity, and for people to explore sexuality in an interesting way.”

Twenty years after the Hellfire Club first appeared, and ten years after Masters closed the Hellfire Club and moved his attention back to independent filmmaking (augmented with a return to tertiary study) and attitudes to sexuality remain subject to conflicting social and political forces. While the internet has provided access to a wide range of sexual, especially

pornographic images, public controversies such as that surrounding Bill Henson’s photographic exhibition a couple of years ago suggest that liberal attitudes are not quite as common as a mature society might like to think. “Australian laws on pornography are bizarre,” Masters says. “Just about everything is on the internet, including portrayals of sexuality that’s very violent and nasty. Yet books on consensual S&M are banned.”

This week Masters will celebrate the 20th anniversary of the opening of the Hellfire Club with a special event at the LuWOW venue on Johnston Street, Fitzroy. “We’ll have a lot of older Hellfire people coming out of the woodwork, as well as younger people as well,” Masters says. As always, there will be dressing up, fetishes and plenty of consensual sadomasochistic activity. “We’ve got a Spanking Santa, who’s going to give plenty of discipline,” Masters promises. While Masters says Hellfire is “about a bit of slap and tickle and a bit of fun”, it’s also a credible alternative to the cheap erotica of 50 Shades of Grey. “If you like 50 Shades of Grey, come along and see the real thing,” Masters says.

Hellfire Club’s 20th Anniversary is on at LuWOW this Sunday December 16.

PAUL KALKBRENNER G’TAG: BERLIN BEATS Berlin’s Paul Kalkbrenner has been in the electronic music game since the late ‘90s, but his sixth album, out this month, is called Guten Tag. It’s a curious title for an established artist – Kalkbrenner has headlined festivals around the globe, and even starred in a cult movie, Berlin Calling, and would seem to need no introduction – so I ask why he chose to use it. It turns out that, for native German speakers, the phrase can convey a lot more than just ‘good day’. “When you say that phrase, you can do a lot of funny things with it,” Kalkbrenner explains. “You can turn it into something that means ‘now it’s your turn’, or ‘what do you have to say?’ It can also be ‘that’s me’. When I was looking for a title, I wanted something that could be spoken out without problems all around the world, something that could be understood.”

This new album is Kalkbrenner’s second release on his own label, after many years on the iconic BPitch control imprint. I ask how he’s finding the freedom, and he tells me that everything is a lot easier. “Right now, I don’t have to negotiate with anyone,” he says. “I can do things my way – I can decide how

10.

things should look, how they should sound, how much they should cost and when they should be available. That brings way fewer problems than before.” BPitch control, founded by the legendary Ellen Allien, has launched the career of techno artists from Modeselektor to Apparat, and I’m curious to know if things between Kalkbrenner and the label are still friendly. “I was with them for a number of years, but I grew out of it and wanted to go out on my own,” he says. “They very happily accepted that. There is no bad blood between us at all, and it’s always good to see them.”

Kalkbrenner is a long-time resident of Berlin, and still lives and works there. Unlike many of the city’s artist residents, however, he is not overly sentimental about the place he calls home. “The city certainly inspires me,” he says, “but I would like to think that my inspiration is not just limited to the city, however. I think I could be inspired by any place I was living.” With that in mind, however, Kalkbrenner has no plans to leave Berlin any time soon.

“I do love it here,” he says. “It’s something I can’t verbalise, but when you walk through the city in autumn, when it’s foggy and

100% CLUB PICS

the street lights are coming on, there’s a certain something in the air that I find very inspiring. I have a studio a little bit outside the Berlin city centre. I like to go there in the late afternoon to the early evening to work, and there’s really nothing like it.”

Guten Tag is a stark and beautiful album – like all of Kalkbrenner’s work, it does a lot with a little, and finds tiny moments of euphoria amid the samples and loops. The album is composed entirely of instrumentals, and I ask Kalkbrener why he doesn’t feel the need to collaborate with any vocalists. “I have quite a few things to say, about my life and about the state of the world,” he explains, “but I’d rather say those things with the music, rather than on top of the music in words. The composition is my way of expressing myself, I suppose.” When listening to the album, it’s clear that you’re hearing a master craftsman at work. “When I made this album, I knew exactly

what I wanted to do,” he explains. “The only problem I have is knowing when a track is ready. You can spend an infinite amount of time playing with it, tweaking it. You have to know when it’s finished, and that’s something you learn over time.”

Kalkbrenner is due to return to Australia soon for another round of shows, and I ask him what exactly we can expect. “Since the last time I came to Australia, the visuals and the crew have changed a bit, but from where I’m standing, the show is still fundamentally the same,” he says. “I’m really looking forward to coming to Australia again,” he continues. “People will get to hear some of my new tracks, and also, it’s been so fucking cold in Germany lately, I can’t wait to escape!”

Paul Kalkbrenner [GER] plays at Billboard The Venue on Friday December 14.

ISS! L B E R U P F O S Y A D E FIV FUN! P O T S N O N F O S E G SIX STA ES! G N A H C E M U T S O C SEVEN ZERO EXCUSES!

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Kick start your weekend with Melbourne’s newest Thursday night! Motown Thursdays caters to all true music lovers. Join us on an eclectic musical journey of soul, funk and disco through to early R&B. A live Soul Band features some of Melbourne’s most talented musicians; Carmen Hendricks, Laurent Soupe, Duncan Kinell and Aaron Mendoza just to name a few. DJs keep the records spinning into the early hours; residents are Reg-e, Lee Davies, Kalepe, Dinesh, Suga, Rubz and Alwin Rafferty. Join us around a big, shiny disco ball or two, for free entry, soulful tunes, drink specials all night and a dance floor full of friends!

Fashion Lounge, 121 Flinders Lane, Melbourne

This is it. Faktory Fridays are open for business at Melbourne’s home of R&B, Khokolat Bar. Where else?

Damion De Silva, Ken Walker, Durmy, K Dee, Simon Sez, Yaths and Jacqui Dusk spinning all night long.

Khokolat Bar, Basement, 43 Hardware La, Melbourne

RHYTHM-AL-ISM Start the weekend early with Fusion’s Resident DJs. Music for your funkin’ soul. Special guests every week!

Fusion, Crown Entertainment Complex, Lvl 3, 8 Whiteman St, Southbank

12.

LIKE FRIDAYS Like Fridays at La Di Da serves up R&B and electro house across two rooms giving you a fun filled end to your week. DJs Dinesh, Dir-X, Sef, NYD, Shaun D, Shaggz, Broz and more.

La Di Da, 577 Little Bourke St, Melbourne

LIGHT We celebrate everything that has made Light at Red Love, kicking off with our after work drinks session from 4pm. Our DJ lineup includes each and every one of the Daddy Mack’s who have helped lead Light into our 5th running year of old school R&B. Harvey Yeah, Ripz, TMC and Stel Kar locking down that Old School Flava with guest appearances by G.A.K. & The Seminar of Funk and Nick K. It’s all happening this Friday as we celebrate 5 years of doing our do and bringing that Red Love!

Red Love, Level 1, 401 Swanston Street, Melbourne

100% URBAN PICS

THE LOOSE GOOSE The Loose Goose is focused on providing a wonderful array of cocktails and offers a great CBD location to lounge and relax in while overlooking busy Flinders Lane. A small plates menu is available to graze on whilst trying our delicious cocktails from the classics to contemporary, beer on tap and a wide range of beers, wines and spirits. Every Friday evening DJ Jumps of The Cat Empire will take to the decks at the bar spinning his rare afro Latin funk vinyl collected from around the world from 6.30pm until late.

Papa Goose Cocktail Bar, 91-93 Flinders Lane, Melbourne

SWEET NOTHING FRIDAYS DJ Marcus Knight and DJ Xander James spin hip hop, R&B and house tunes all night from 8pm. Free entry and early drink specials.

Temperance Hotel, 426 Chapel St, South Yarra

THE NICE UP Tom Showtime presents The Nice Up. All flavours of hip hop, ghetto funk and reggae niceness provided. Sailor Jerry nice up the cocktails, Dos Blockos nice up the $5 beers. Fridays done proper.

George Lane Bar, 1 George Lane, St Kilda

All new experience, same great location with a fresh koat of Khokolat. Restless Entertainment reloads your favourite Saturday night party. Damion De Silva, K Dee, Jay Sin and weekly guests playing R&B & ol’ skool sounds strictly for the urban elite.

Khokolat Bar, Basement, 43 Hardware La, Melbourne

REDLOVE SATURDAYS RedLove Saturdays is all about solid classics from the ‘80s, ‘90s and into the ‘00s! Dropping beats of retro pop, disco classics, old school funk, and certainly some of that old school R&B and house to kick! RedLove Resident DJs Phil, HB Bear and Da Gato bringing down the house every Saturday night. If you’re looking for quality service, music to rock, sumptuous drinks and just a cold hard good time; look no further!

Red Love, Level 1, 401 Swanston Street, Melbourne

SHAKA SATURDAY The newest R&B Superclub Shaka Saturdays grand opening is set to hit Melbourne over two massive weeks.

The northern suburbs’ newest, freshest club playing all of your favourite R&B, hip hop, old skool and reggae. Shaka Saturdays is showcasing Australias newest and favourite R&B DJs, including DJ C-RAM bringing video mixing to Melbourne and special guest hip hop band Yellow Cake. Set at one of the most amazing venues Melbourne has to offer with two levels, good music, great ‘Shaka’ atmosphere and cheap drinks, we are hoping to pack it out and create a night for people to remember.

Level 2 The Club, 2 Arthurton Rd, Northcote

All day and night Mon 31 Dec NYE

Free entry, Free pool table, Free BBQ, No hassle, No superstar DJâ&#x20AC;&#x2122;s, No inflated prices, NO FRILLS!

WHERE TO NEXT?

Highlander 11a Highlander Lane, Melb, 9620 2227

Revolt Elizabeth St, Kensington, 03 9376 2115

Hoo Haa 105 Chapel St, Windsor, 9529 6900

Revolver Upstairs 229 Chapel St, Prahran, 9521 5985

Horse Bazaar 397 Little Lonsdale St, Melb, 9670 2329

Rochester Castle Hotel 202 Johnston St, Fitzroy, 9415 7555

Iddy Biddy 47 Blessington St, St Kilda, 9534 4484

Rooftop Cider Bar, Cnr Swanston & Flinders St, Melbourne, 9650 3884

Jett Black 177 Greville St, Prahran

Room 680 Level 1, 680 Glenferrie Rd, Hawthorn, 9818 0680

John Curtin Hotel 29 Lygon St, Melb, 9663 6350

Roxanne Parlour Lvl 3, 2 Coverlid Pl, Melb

Khokolat Bar 43 Hardware Lane, Melbourne, 039642 1142

Royal Derby 446 Brunswick St, Fitzroy, 9417 2321

La Di Da 577 Lt Bourke St, Melb, 9670 7680

Roal Melbourne Hotel 629 Bourke St, 9629 2400

Labour In Vain 197A Brunswick St, Fitzroy, 9417 5955

Ruby’s Lounge 1648 Burwood Hwy, Belgrave, 9754 7445

Lomond Hotel 225 Nicholson St, East Brunswick

Saint Hotel 54 Fitzroy St, St Kilda, 9593 8333

Longroom 162 Collins St, Melbourne, 9663 9226

Sandbelt Live Cnr South & Bignell Rd, Moorabbin, 9555 6899

Loop 23 Meyers Pl, Melb, 9654 0500

Scarlett Lounge 174 Burnley St, Richmond, 9428 0230

Lounge 243 Swanston St, Melb, 9663 2916

Seven Nightclub 52 Albert Rd, South Melb, 9690 7877

The Lounge Pit 386-388 Brunswick St, Fitzroy 9415 6142

Spensers Live 419 Spencer St, West Melb, 03 9329 8821

Love Machine Cnr Lt Chapel & Malvern Rd, Prahran, 9533 8837

Spot 133 Sydney Rd, Brunswick, 9388 0222

29th Apartment 29 Fitzroy St, St Kilda, 9078 8922

Cornish Arms 163 Sydney Rd, Brunswick

Lucky Coq 179 Chapel St, Windsor, 9525 1288

Standard Hotel 293 Fitzroy St, Fitzroy, 9419 4793

303 303 High Street, Northcote

CQ 113 Queen St, Melb, 8601 2738

The LuWOW 62-70 Johnston St, Fitzroy, 9417 5447

Star Bar 160 Clarendon St, South Melb, 9810 0054

Abode 374 St.Kilda Rd, St.Kilda

Croft Institute 21 Croft Alley, Melb, 9671 4399

Mercat Cross Lvl 1, 456 Queen St, Melb, 9348 9998

Station 59 59 Church St, Richmond, 9427 8797

Albert Park Hotel Cnr Montague & Dundas Pl, Albert Park, 9690 5459

Cruzao Arepa Bar 365 Brunswick St, Fitzroy, 9417 7871

Mink 2 Acland St, St Kilda, 9536 1199

Stolberg Beer Café 197 Plenty Rd, Preston, 9495 1444

Alia Lvl 1, 83-87 Smith St, Fitzroy, 9486 0999

Cushion 99 Fitzroy St, St.Kilda, 9534 7575

Miss Libertine 34 Franklin St, Melb, 9663 6855

Sub Lounge & Restaurant 168 Elizabeth St Melb, 0411 800 198

Alumbra Shed 9, Central Pier, 161 Harbour Espl, Docklands, 8623 9666

Damask 1/347 Burnswick St, Fitzroy, 9417 4578

Misty 3-5 Hosier Ln, Melb, 9663 9202

Sugar Bar (Hotel Urban) 35 Fitztroy St, St Kilda, 8530 8888

Back Bar 67 Green St, Windsor, 9529 7899

The Drunken Poet 65 Peel Street, West Melbourne, 9348 9797

Mockingbird Bar 129 Fitzroy St, St Kilda, 9534 0000

Temperance Hotel 426 Chapel St, South Yarra, 9827 7401

Bar Open 317 Brunswick St, Fitzroy, 9415 9601

Der Raum 438 Church St, Richmond, 9428 0055

Musicland 1359A Sydney Rd, Fawkner, 9359 0006

Thornbury Theatre 859 High St, Thornbury, 9484 9813

Baroq House 9-13 Drewery Ln, Melb, 8080 5680

Ding Dong Lounge Lvl 1, 18 Market Ln, Melb, 9662 1020

Neverland 32-48 Johnson St, South Melb, 9646 5544

Tiki Lounge 327 Swan St, Richmond, 9428 4336

Bendigo Hotel 125 Johnston St, Collingwood 9417 3415

Dizzy’s Jazz Club 381 Burnley St, Richmond, 9428 1233

New Guernica Lvl 2, Hub Arcade, 318-322 Lt Collins St, Melb, 9650 4464

Toff In Town Lvl 2, 252 Swanston St, Melb, 9639 8770

Bertha Brown 562 Flinders Street, 9629 1207

Double Happiness 21 Liverpool St, Melb, 9650 4488

Night Cat 141 Johnston St, Fitzroy, 9417 0090

Tony Starr’s Kitten Club 267 Lt Collins St, Melb, 9650 2448

Big Mouth 168 Acland St, St.Kilda, 9534 4611

E:55 55 Elizabeth St, Melb, 9620 3899

Night Cat 279 Flinders Ln, Melb, 9654 0444

The Tote Hotel 67 Johnson St, Collingwood, 9419 5320

Billboard 170 Russell St, Melb, 9639 4000

East Brunswick Club 280 Lygon St, East Brunswick, 9388 2777

Noise Bar 291 Albert St, Brunswick, 9380 1493

Town Hall Hotel 33 Errol St, North Melbourne, 9328 1983

Bimbo Deluxe 376 Brunswick St, Fitzroy, 9419 8600

Edinburgh Castle 681 Sydney Rd, Brunswick

Northcote Social Club 301 High St, Northcote, 9489 3917

Trak Lounge 445 Toorak Rd, Toorak, 9826 9000

Birmingham Hotel Cnr Smith & Johnston St, Fitzroy

Electric Ladyland Lvl 1, 265 Chapel St, Prahran, 9521 5757

Old Bar 74 Johnston St, Fitzroy, 9417 4155

Tramp 20 King St, Melb

Black Cat 252 Brunswick St, Fitzroy, 9419 6230

Elwood Lounge 49-51 Glenhuntly Rd, Elwood, 9525 6788

One Twenty Bar 120 Johnston St, Fitzroy

Transport Hotel Federation Square, Melb, 9654 8808

Blue Bar 330 Chapel St, Prahran, 9529 6499

Empress 714 Nicholson St, Nth Fitzroy, 9489 8605

Onesixone 161 High St, Prahran, 9533 8433

Trunk 275 Exhibition St, Melbourne, 9663 7994

Blue Tile Lounge 95 Smith St, Fitzroy

Espy 11 The Esplanade, St Kilda, 9534 0211

Order Of Melbourne level 2, 401 Swanston St, Melb, 9663 6707

Tyranny Of Distance 147 Union St, Windsor, 9525 1005

Boutique 134 Greville St, Prahran, 9525 2322

Eurotrash 18 Corrs Ln, Melb, 9654 4411

Palace Hotel 893 Burke Rd, Camberwell

Two of Hearts 149 Commercial Road, Prahran

Brown Alley King Street, Melb,9670 8599

Eve 334 City Rd, Southbank, 9696 7388

Palace Theatre 20-30 Bourke St, Melb, 9650 0180

Union Hotel Brunswick 109 Union St, Brunswick, 9388 2235

Brunswick Hotel 140 Sydney Rd, Brunswick, 9387 6637

Evelyn 351 Brunswick St, Fitzroy, 9419 5500

Palais 111 Main Rd, Hepburn Springs, 5348 4849

Veludo 175 Acland St, St Kilda, 9534 4456

Builders Arms 211 Gertrude St, Fitzroy

Ferntree Gully Hotel 1130 Burwood Hwy, Ferntree Gully, 9758 6544

Palais Theatre Lower Esplanade, St Kilda, 9525 3240

Victoria Hotel 380 Victoria St, Brunswick, 9388 0830

Cabinet Bar 11 Rainbow Alley, Melbourne, 9654 0915

Festival Hall 300 Dudley St, West Melbourne, 9329 9699

Papa Goose 91 Flinders Ln, Melbourne, 9663 2800

Wah Wah Lounge Lvl 1, 185 Lonsdale St, Melb

Caravan Music Club 95 Drummond St, Oakleigh

First Floor 393 Brunswick St, Fitzroy, 9419 6380

Penny Black 420 Sydney Rd, Brunswick, 9380 8667

Wesley Anne 250 High St, Northcote, 9482 1333

Caseys Nightclub 660A Glenferrie Rd, Hawthorn, 9810 0030

Forum Theatre 154 Flinders St, Melb, 9299 9800

Pier Live Hotel 508 Nepean Hwy, Frankston, 9783 9800

Westernport Hotel 161 Marine Pde, San Remo, 5678 5205

Caz Reitops Dirty Secrets 80 Smith St, Collingwood, 9415 8876

The Fox Hotel 351 Wellington Street, Collingwood, 9416 4957

Pony 68-70 Lt Collins St, Melb, 9662 1026

Willow Bar 222 High Street, Northcote, 9481 1222

CBD Club 12-14 McKillop St, Melb, 9670 3638

Fusion Lvl 3, Crown Complex, Southbank, 9292 5750

Portland Hotel Cnr Lt Collins & Russell St, Melb, 9810 0064

Windsor Castle 89 Albert St, Windsor, 9525 0239

Chaise Lounge Basement, 105 Queen St, Melb, 9670 6120

The Gallery Room 1/510 Flinders St, Melbourne, 9629 1350

The Prague Hotel, 911 High St, Northcote, 9495 0000

Workers Club 51 Brunswick St, Fitzroy, 9415 8889

Chandelier Room 91 Cochranes Rd, Moorabbin, 9532 2288

Gem Bar & Dining 289 Wellingston St, Collingwood, 9419 5170

Pretty Please 61c Fitzroy St, St Kilda, 9534 4484

Workshop Lvl 1, 413 Elizabeth St, Melb, 9326 4365

Chelsea Heights Hotel Cnr Springvale & Wells Rd,

George Basement, 127 Fitzroy St, 9534 8822

Prince Bandroom 29 Fitztory St, St Kilda, 9536 1168

Yah Yah’s 99 Smith St, Fitzroy, 9419 4920

Chelsea Heights, 9773 4453

Gertrude’s Brown Couch 30 Gertrude St, Fitzroy, 9417 6420

Prince Of Wales 29 Fitzroy St, St Kilda, 9536 1168

The Vine 59 Wellington St, Collingwood, 9417 2434

Cherry Bar AC/DC Ln, Melb, 9639 8122

Grace Darling Hotel 114 Smith St, Collingwood, 9416 0055

Public Bar 238 Victoria St, North Melb, 9329 6522

Chi Lounge 195 Lt Bourke St, Melbourne, 9662 2688

Grandview Hotel Cnr Heidelberg Rd & Station St, Fairfield, 9489 8061

Railway Hotel 280 Ferrars St, South Melb, 9690 5092

Co. Lvl 3, Crown Complex, 9292 5750

Great Britain Hotel 447 Church St, Richmond, 9429 5066

Red Bennies 371 Chapel St, South Yarra, 9826 2689

Colonial Hotel (Brown Alley) Cnr King & Lonsdale St, Melb, 9670 8599

Grind N Groove 274 Maroondah Hwy, Healesville

Red Love Lvl 1, 401 Swanston St, Melb, 9639 3722

Commercial Club Hotel 344 Nicholson St, Fitzroy, 9419 1522

Grumpy’s Green 125 Smith St, Collingwood, 9416 1944

Retreat Hotel 226 Nicholson St, Abbotsford, 9417 2693

Cookie Lvl 1, 252 Swanston St, Melb, 9663 7660

Gypsy Bar 334 Brunswick St, Fitzroy, 9419 0548

The Retreat Hotel 280 Sydney Rd, Brunswick, 9380 4090

Corner Hotel 57 Swan St, Richmond, 9427 9198

HiFi 125 Swanston St, Melb, 1300 843 4434

The Reverence Hotel 28 Napier St, Footscray, 03 9687 2111

FOR MORE VENUES, VISIT: BEAT.COM.AU/VENUES

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14.

VENUE DIRECTORY

THE HIVES

BY MITCHELL ALEXANDER

This can’t be a coincidence, it just can’t. I’m minutes from talking to Nicholaus Arson, stolid guitarist for hard rocking Swedes The Hives, and the hold music sounds like…well, it sounds terrible, for starters. Plinky pianos and lifeless Flamenco guitars with a drum beat that sounds like it was recorded on an old Nokia 3210. But there’s a recurring theme, and if you squint your ears hard enough it’s a straight up rip-off of Mott The Hoople’s anthemic classic All The Young Dudes. The David Bowie-penned sing-a-long ode to living free and dying young (or perhaps the other way around) is a gorgeous cult ‘70s glam pop track that wouldn’t be out of place on Lex Hives, the fifth and latest album from The Hives.

Apart from the five years between this release and its predecessor The Black and White Album, what’s different about Lex Hives is the band’s slight sonic mutations – eschewing their fuzzy garage clatter for some shiny power pop fare. So the band sounds slightly like Mott The Hoople, and then I’m forced to listen to hold music that sounds slightly like Mott The Hoople. Don’t you see what’s happening?! Or maybe it is a coincidence and I should leave the conspiracy theories for the tin hat people. Meh. But at least I’m confident in the connection between Lex Hives and its power pop leanings. No conspiracy theories there, as Nicholaus acknowledges the album’s influences, but suggests that the ‘70s neon swagger has always bubbled away just beneath the band’s surface.

“Yeah, we’ve always liked bands like Cheap Trick, Mott The Hoople and Electric Light Orchestra, along with the heavier rock‘n’roll things that people associate with our sound,” says Arson. “With Lex Hives, some of the songs are more poppy tunes, and there are others that sound like old Hives.

“So a song like My Time Is Coming, that was basically written like a punk song, but then something like Wait A Minute is more like Cheap Trick. When we put out a record, we just play songs we like.”

I point to one song in particular from Lex Hives – Go Right Ahead – that is actually co-credited to Electric Light Orchestra’s bandleader Jeff Lynne, for its similarities to ELO’s Don’t Bring Me Down. As lifted hooks go, it’s not the most flagrant example in rock‘n’roll songwriting, but it was wise to ask for permission first as opposed to waiting for the lawsuit to land. Just ask Noel Gallagher.

“We didn’t actually think about it until the song was done, then we went, ‘Yeah, yeah, it’s pretty similar’,” explains Arson with a laugh. “We could have tried to change chords and melodies, but we really liked the song so we just ended up sharing the song with Lynne.”

The tale of The Hives is by now well-known, bursting out of the small Swedish town of Fagersta at the start of the 21st Century. Releases like 2004’s Tyrannosaurus Hives rode the ‘new rock’ wave with the likes of The White Stripes and The Strokes, but by that time they were already ten-year veterans of playing in Sweden.

Unlike a lot of the bands from that era that burned briefly before fading away, a decade of gang-like camaraderie, experience and trying to crack into the mainstream surely put them in good stead. The Hives have outlived most, if not all, of their contemporaries.

The band as a live spectacle onstage continues to be a major drawcard, a force of nature that is difficult to explain and even harder to bottle.

“I’m not even sure if it can be accurately captured…the difference between The Hives live and The Hives on record would be kind of like watching internet porn and having great sex in real life,” Arson says slyly. “It’s like they’re both pretty good, but for different reasons.

“You can try and capture it on film, but it would be kind of hard – you can’t include the sweat and the crowds.

The bands I remember seeing when I was really young, they stick in my mind because they were so over the top, and that’s what we try to do. And as [lead singer and brother] Pelle and I got older, we would see more shows. There were no big American acts, but we would take everything. If there was a blues show, we’d go and see that, or a rock show, and we’d derive whatever we could. And that’s a personal experience that’s difficult to replicate with an album or a DVD.” Difficult, perhaps. But that doesn’t sound like it will stop The Hives from trying. “We were planning on recording a live album for this tour, but we would just run out of time,” Nicholaus explains. Lex Hives is the band’s first self-produced, self-funded and selfreleased album, having separated from Interscope after The Black and White Album. Arson offers that “it was pretty hard to find time to do everything” with the increase in responsibilities. “But we are also planning on doing something next year, because that will be our 20th anniversary, so maybe we can play a bunch of live shows and pick out the best songs and end up with a greatest hits live album.”

The Hives will return to Australia in the dying days of 2012, clutching a cracking new album underarm, their drawcard status at this year’s Falls Festival almost guaranteed. There are big plans afoot for 2013 as they celebrate their second decade together. While contemporaries fracture into side projects, forced eclecticism and general ambivalence, the thundering prehistoric sounds of The Hives roar out – stronger, louder and with bigger hooks than ever before.

Secret Sounds Presents

with special guests

WED 9 JAN PALACE TICKETS ON SALE MON 29 OCT from ticketek.com.au & 132 849

THE HIVES play Falls Festival taking place in Lorne from Friday December 28 to Tuesday January 1 (sold out) and in Marion Bay, Tasmania, from Saturday December 29 to Tuesday January 1. They also play The Forum on Sunday January 6. Lex Hives is out via Dew Process.

HOT CHIP IN OUR HEADS STANDARD + DELUXE ALBUMS OUT NOW hotchip.co.uk | secret-sounds.com.au

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Beat Magazine Page 49

INDUSTRIAL STRENGTH

LIFELINES

MUSIC INDUSTRY NEWS & GOSSIP

with Christie Eliezer * Stuff for this column to be emailed to <celiezer@netspace.net.au> by Friday 5pm MELBOURNE MUSIC ATTENDANCE

WEEK

TRIPLES

This year’s Melbourne Music Week drew 44,000 over ten days, up from 15,000 last year. Lord Mayor Robert Doyle said he was pleased with this “undeniable success for the city”, adding “MMW showcased our city’s thriving local music scene and reinforced our status as a world music city.” Part of the City Of Melbourne’s Music Strategy, in its third year MMW offered a unique model of co-production by partnering and working directly with local promoters, venues, labels and businesses in the music sector.

Ninety diverse events were staged across 47 locations, engaging 60 event partners and 50 curators. MMW steering committee member Cr Cathy Oke said this year’s program was enhanced by cutting-edge and diverse events staged in unique locations across the city. “Melburnians love their music scene and have shown once again their support and passion for local talent,” she declared.

Among the highs were Morning Ritual’s breakfast gigs at Little King Café, Feast Of Metal and Paul Kelly’s secret gig as part of Tram Sessions. Festival hub, Where?House, in the old Argus building, sold out seven of ten nights. A total of 24,000 people visited Where?House for lunch and after-work drinks, free workshops, screenings and concerts. The three “Labels Series” events curated by Melbourne labels Chapter Music, Siberia Records, Cutters and Two Bright Lakes all sold out. Venues reported record attendances during the Live Music Safari, with Cherry Bar alone reporting 753 punters. Melbourne Town Hall was at full capacity when 1,600 came to see international headliners Goblin with The Night Terrors and Thematica featuring members of the Midnight Juggernauts. Cinemix’s two programs sold out, as did rooftop cinema’s three screenings and Kids Dance Party at Artplay.

VENUES FAREWELL #1: PONY’S FINAL 24 HOURS Over 24 acts and between 350 to 400 punters met for last drinks at The Pony for its final 24 hours. Just to add to the place’s grunge, the plumbing packed up at 6am, leading to shit floating everywhere. The Thod who got back together for the occasion were suitably shambolic, each of the Yis were crowd-surfing by the end of their set, Deaf Wish arrived straight from the airport at 9am after catching a flight from Sydney and put in a blistering beer breakfast set, and everyone agreed that Euphoriacs who went on at 3am were best act of the event. A suitably exhausted Pony sound engineer Andre joined his band Fathom. At the end co-owner Jon Perring thanked everyone for coming. Even as the crowd shuffled off, wreckers were moving in to dismantle the place. “Let us in, we want one more drink,” a couple of tragics shrieked. A good ending to the bar’s 12 year run, and booker Andy Moore now concentrates on Bar Open in Fitzroy and his band Digger & The Pussycats.

VENUES’ FAREWELL #2: HEAVENS DOOR CLOSES Gay venue Heavens Door on Commercial Road had its last hooray on the weekend, with its Final Play including seven shows performed by Swish and her 14 dancers, and a R&B playlist from DJ Atua. Owner Brian Frewin is “kicking up his heels and sold it to venue operators from Chapel Street. It’s the latest specifically queer venue in the one-time gay hub in South Yarra to go in the past 12 months, with The Market and Priscilla’s closing while The X-Change closed but revived as DnM Bar & Nightclub.

THREE NEW NAMES FOR AAM BOARD At the Association of Artist Managers’ AGM on Nov 30, Umbrella Music’s Greg Carey, Bossy Music’s Claire Collins and Mucho Bravado’s Ben Preece were voted to the board. Standing down were Kim Thomas, Gregg Donovan and Heath Bradby. Cath Haridy was re-elected chairperson, Briese Abbott vice chair and Tom Harris of White Sky as treasurer. Others remaining on the board are Bill Cullen, Denny Burgess and Buzz Bidstrup.

HILLTOPS INITIATIVE BACK

The Hilltop Hoods Initiative is back next year, with one hip hop/ soul act up for the $10,000-value grant. The grant includes legal advice from David Vodika and Media Arts Lawyers, and a Shure Microphone pack. You must not have released an album, you must

Q&A

GOOD WORKS #2: THE MUSIC NETWORK PROJECT

THINGS WE HEAR

Musicians from the Port Phillip and northern suburbs who also experience mental health challenges, perform their latest works at The Espy tonight for Strumarama. The Music Network provides weekly songwriting and performance workshops and welcomes people of all skill levels. The Network is part of Wild@heART Community Arts. Entry by gold coin donation.

* Nick Cave & The Bad Seeds’ two shows at the Opera House sold out immediately. Promoter Billions Australia added a third show, which sold out in an hour – and crashed the Opera House website in the process. An extra date at the Enmore Theatre was tacked on at the end of the tour on Saturday March 9. * Aussie promoters Boom Boom posted on their website they plan to take legal action against Chicago DJ/producer Lil Louis for blowing out his July visit at the last minute. They want their $11,700 advance back, for starters. * It’s the attack of the reunited AOR bands: Stevie Nicks, while announcing a 34-date North American run for Fleetwood Mac, said they’d hit Europe in the northern summer, and “then we might do 15 or so shows in Australia.” Meantime, guitarist Steve Lukather who’s here in late summer with Ringo Starr’s Allstars, told this column Toto would be here in 2014. * On Wednesday at the Sydney Entertainers Christmas lunch at Northbridge Golf Club, author David Johnston will present Support Act Ltd national welfare coordinator Lindy Morrison with a $1,000 cheque from proceeds of the sales from his book about the Australian ‘60s scene The Music Goes Round My Head.

He gave $1,000 to the Melbourne branch in April. * Andrew G(ünsberg) has quit as host of MCM Media’s nationally syndicated radio show, The Hot Hits, after ten years. * In Billboard’s Aussie correspondent Lars Brandle’s report on the Sydney electronica conference, he came up with some figures for Tiesto. The Big T listens to 100 new records each week, flies 240 times a year, visits America’s EDM capital Las Vegas 20 times a year, and has a full time staff of 35. * Kaiser Chiefs drummer and songwriter Nick Hodgson has quit after 15 years to concentrate on his Chewing Gum record label and Chewdio studio where Vaccines, Mark Ronson and Ryan Jarman have recorded. * Hard rock boyos Loaded Billl debut their new singer Jason Gibbons and bassist Gary Standley at the Seaford Tavern this Saturday December 15. * According to Meredith cops, there were only two arrests at the festival on the weekend: one drug-affected punter tried to assault a policeman (not always advisable) and another tried to get in carrying white powder and cannabis. *Port Macquarie will host the inaugural Beatles Festival on March 1, 2 and 3.

MUSIC VICTORIA WORKSHOPS SURVEY: WHADDYA WANT? Throughout 2012, Music Victoria ran regular workshops – many of them free for musicians and music businesses on everything from social media and networking, financial and legal issues, marketing and publicity, regional touring, and accounting and tax issues. Now they want to know what topics and issues you’d like covered in future workshops run by Music Victoria and in conjunction with other organisations such as The Push, APRA, Small Business Victoria and major regional festivals. Complete the survey at surveymonkey.com/s/MVworkshops2013 by Wed Dec 19.

GOOD WORKS #1: SONIC FORGE FESTIVAL In the past two years, the Sonic Forge metal festival raised $7,000 for Haiti’s Center of Hope orphanage, drawing 1,000 people a year. It’s on this Saturday December 15 at The Espy, presented by Welkin Entertainment and Pony Music Presents. There’ll be 30 acts over three stages. Bands include Ne Obliviscaris, Be’lakor, Death Audio (who’re launching their album), Dreadnaught, The Schoenberg Automaton, Eye Of The Enemy, Alarum, A Million Dead Birds Laughing, Myraeth, Orpheus, Create/Destroy and Gods Of Eden. Organiser Tim Charles tells us that past proceeds saw the orphanage being able to buy school uniforms, school supplies for a class and pay a teacher’s salary for a year. Charles put the festival together in between juggling a day gig as a violin teacher, running Welkin Entertainment, playing in Ne Obliviscaris and being daddy to an eight-month-old daughter.

GOOD WORKS #3: GLIMMERING FOR PEACE Non-profit organisation PEACE successfully raised funds in Bendigo to set up a refugee camp on the Thailand/Burma border, said its president Phil West. Lois Peeler, an original member of ‘60s indigenous musical group The Sapphires hosted a screening of the award-winning movie The Sapphires and then did a Q&A with the 60 folks who attended.

LEE MORGAN GETS HONOURED

Lee Morgan won the Victorian Indigenous Performing Arts Awards’ Lifetime Achievement Award in music. The Gunditjmara Kirrae Whurrong man from South-Western Victoria went on stage at 14-years-old and has been touring and recording with top names for the past 30 years. Of late he’s worked on his own career, releasing his debut album Feed Me two years ago, and his next is out in 2013.

AUSSIES ABROAD #1: AURORA JANE, JUNGAL, TEAM UP

Just back from long stints abroad are Aurora Jane (eight months) and all-girl Jungal (six months). They team up to mark their return, at The Retreat in Brunswick this week (Thursday December 13).

Aurora Jane tells us that visiting Cuba was her highlight. “Havana is an incredibly vibrant city and has a thriving jazz scene that was immensely inspirational.” In between jamming and catching up with local acts, she also got some of the locals to record horns for her track Too Much of A Good Thing Is Never Enough, overcoming language barriers with much gesticulations. Another high was returning to India, where the scene is booming. “Venues are cropping up everywhere: about 20 or more in Delhi where five years ago there were three.” But old bureaucracy habits die hard: soundcheck for a gig in Gurgaon ran really late when corrupt cops pulled over the equipment truck wanting a pay-off by claiming it was overloaded.

AUSSIES ABROAD #2: CLAIRY BROWNE MAKES SPLASH IN US

information and to register your interest, visit melbourneprize.org or call the Melbourne Prize Trust on (03) 9696 4410.

SLAM RETURNS SLAM (Save Live Australian Music) is back on February 23 with National Slam Day to celebrate the role of venues and live music in our lives. More than 150 registered this year, register your venue at slamrally.org.

LAUNCHING PAD #1: DEEZER ANNOUNCES FREE PLATFORM At an event in Sydney, music subscription service Deezer announced it was launching its free ad-supported service in Australia on Tuesday December 11. Aiming at a mass market audience, it is offering users up to 12 months of unlimited free music if they register before June 2013. After that, users receive two hours per month of free listening on PCs and laptops only, also providing users with a free one month trial of Premium+ (PC/laptop and mobile) upon mobile activation. This will assist in encouraging discovery on mobile and tablets. The launch event, at the Oxford Art Factory, saw live sets by Flume, Urthboy, Bertie Blackman and Bento streamed to 160 countries.

LAUNCHING PAD #2: MUSIC LICENSING DIRECTORY

Clairy Browne & The Bangin’ Rackettes are making a splash in the US with their brand of soul, jump blues, doo-woop, jazz and R&B. Their first tour there saw their show at The Mint in LA and Webster Hall in NY sell-out. They’re riding on the back of a Heineken ad featuring themselves and their single Love Letters, some A1 business associates whose clients include Rihanna and Slash. Their debut album is about to be issued there. On their first US TV appearance, on AXS TV, they recounted how they visited Venice Beach in LA where Jim Morrison used to write Doors songs, how they rehearsed in a coffin factory and are making a tour DVD. A world tour began last week and hits Japan, London, Belgium, Netherlands, Germany, Switzerland, France and the U.K. before wrapping up January 6 at the Summer Of Soul festival in Australia.

Twin brothers Winston and Adrian Giles unveiled the Music Licensing Directory (musiclicensingdirectory.com) for artists and music rights holders to get their music licensed and tap into a global multi-billion dollar industry. It lists and analyses 400 companies around the world which license music into film, TV, advertising and games as well as new companies that license music directly to brands and new media. Its CEO, Winston, a musician and producer whose music has been licensed by Nokia and Coca-Cola, said no other platform offered such a “quick and simple” service, and that branding and sync were becoming more important as revenue earners. Adrian set up the successful internet measurement company Hitwise.

FOURTEEN NIGHTS AT SEA SIGN RECORD DEAL

The ARIA chart is heading for the 1000th No.1 single in Australia.

It hit #997 two week ago with Macklemore and Thrift Shop.

Chart historian Gavin Ryan set up a Facebook page called 1,000 Australian Number One Songs. It runs from the first chart topper in 1940, with clips from YouTube and Vevo.

Melbourne’s Fourteen Nights At Sea signed with Hobbledehoy Records Co. Their style is summed up as “full of subtle minimalism, slow builds, and destructive metallic resolutions” (think This Will Destroy You, Godspeed...). Their Untitled debut album is out on CD and digital for the first time, while a follow up is set for an autumn release.

MELBOURNE PRIZE FOR MUSIC OPENS Expressions of interest have opened for the $60,000 Melbourne Prize for Music, $30,000 Outstanding Musicians Award and $13,000 Development Award for 2013. The Prize, which acknowledges excellence and taste, was set up in 2004, and held in a three year cycle. This is the third time for music. For more

LAUNCHING PAD #3: AUSSIE #1 FACEBOOK

NEW GRANTS FOR SMALL LABELS The Australia Council’s music board set up a new pilot grant scheme for small to medium labels. It will offer up to $50,000 to help with costs such as recording, websites, marketing and administration. Earlier this year, it liaised with industry bodies like ARIA, PPCA, APRA/AMCOS and AIR, artists, managers and others, and got Assoc. Professor Shane Homan from Monash University to compile a report. Everyone agreed that small to medium firms needed the most support. The report is at australiacouncil.gov.au. Deadline for applications is February 18.

MIDNIGHT WOOLF VS MESA COSA

Pablo from Mesa Cosa asks Lluis from Midnight Woolf: Who are Norton records and why are you playing at their benefit?

Norton Records are an awesome record company from New York. Billy Miller and Miriam Linna (played drums for The Cramps) have been diggin’ up, resurrecting and bringing out some of the best primitive rock’n’roll around, they’ve been doing it since the mid ‘80s.

Can you share a quick and amusing anecdote about your time on the road?

On this last tour, a couple of dates fell through at the last minute so we had to improvise something quickly, so our bassist and driver in Spain, Satur (Wau Y Los Argghhh!), called a friend of his, first time promoter Felix. It was a very interesting night. The gig was at Felix’s cousin’s horse stable in the outskirts of town, the look on the horses faces while we were lugging in our gear was priceless. They made a good crowd. That night we stayed at his apartment which we later found out is a brothel, we all thought it was strange they had a hand sanitiser machine thing in the bathroom and mirrors all over the place. But hey, when would you get the opportunity to stay a whole night in a brothel for free?

Do you have any hot tips on bands from Spain that people should check out?

Beat Magazine Page 50

be an APRA member and be an Australian resident. Go to apraamcos.com.au.

Hospitalised: Yothu Yindi leader Mandawuy Yunupingu after collapsing at his Northern Territory home, most likely from stress of their ARIA induction.

Indicted: Lamb Of God frontman Randy Blythe on manslaughter charges, after a three month investigation by authorities, in the Czech Republic for the death of a fan who died two weeks after being allegedly injured at the band’s concert in Prague in 2010.

Died: iconic US jazz composer and pianist Dave Brubeck (Take 5, Blue Rondo A La Turk) whose 1959 exotically rhythm Time Out album was the first jazz album to sell over a million, and remains one of jazz’s best sellers. The 91-yearold was on his way to his cardiologist when his heart failed.

Died: influential US guitarist Mickey Baker, 87. Part of pop duo Mickey & Sylvia, he set the groundwork for ‘50s rock and roll as sessions guitarist on Ruth Brown’s (Mama) He Treats Your Daughter Mean and Big Joe Turner’s Shake Rattle And Roll, and inspired The Who’s Pete Townshend.

Died: Ed Cassidy, 89, co-founding drummer of ‘60s psychedelic LA band Spirit with stepson, Randy California.

Previously he formed the Rising Sons with Taj Mahal and Ry Cooder and recently acted on General Hospital.

Died: original Hawkwind guitarist Huw Lloyd-Langton, 61, after a two year battle with cancer. “One of the great guitarists with an individual style and character,” the band posted a statement.

Wau Y Los Arghhhs!, La Moto De Fernan, Los Chicos, Dr Explosion.

Spaniards are known for their ‘colourful’ language, what is your favorite Spanish insult and what does it mean?!

This one is actually in Catalan, I love it – “La Figa t’abuela te pels en la esquena.”

It’s literal translation is “Your grandmother’s c**t has hair on her back”. Work that out.

Lluis from Midnight Woolf asks Pablo from Mesa Cosa: Hey guys! What’s the story behind Mesa Cosa, where and how did you guys get together?

A fortune teller told us to start a band, so we did. Stew (tambo) had just moved in from Sydney. We’ve known each other forever.

We put some ads up, we found Knives our drummer, drunk at a party, after he got a bunch of bad tattoos on his arm, and Lloyd our sax player just kept on showing up at parties until we finally made him a member.

Your sound is really diverse and eclectic, what are some current bands that you are into or influence you?

The B52’s and Los Saicos are our main influences but they’re not really current. Ian listened to Nevermind backwards yesterday and liked it, and we found a box full of warped 7” Macedonian

Midnight Woolf gypsy records a while back that Stew really digs. We all listen to random stuff, some current bands we like are J.C Satan (rad band from France), Ty Segall, Mujeres, Davila 666, Acid Baby Jesus, Los Explosivos and of course Jet, Nickelback and Creed – but mostly Jet. You guys are playing Camp A Low Hum in New Zealand, can you tell us a bit about that?

We’re really excited, it sounds like it’s going to be the best festival ever, no backstage areas, no VIP passes, no band announcements, no sponsors, and 130 bands that aren’t famous but rule, all taking place in a beautiful New Zealand backdrop. There’s chaos and it’s all a super rad party haven for three days. We are pretty pumped, we also hear Thee Oh Sees might be making an appearance.

Can you tell us a little about how you record?

In our living room in Brunswick with Nao and we try to leave in most of the mistakes and noises. Luckily we have businesses on either side of the house so we can jam ‘til whenever and there’s

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Mesa Cosa no problem. We’re working on a new EP, maybe a record, at the moment and we might go to Schoolhouse or a shop front to try get some more reverb into the sound.

What’s your favourite Norton records release, or artist?

There are some incredible artists on Norton. To name a few: Link Wray (for prez), ? & The Mysterians (that guy is a trip), The Iguanas, The Sonics, The Hentchmen, Sun Ra, King Coleman, The Pretty Things. They’re pretty much one of the best labels ever and they deserve all our support, so come to the benefit this Saturday at The Old Bar. Its only $10 on the door and all proceedings go to the mighty label that is Norton Records.

MESA COSA and MIDNIGHT WOOLF play The Norton Records benefit gig this Saturday December 15 at The Old Bar. Norton Records lost its warehouse to floods following Hurricane Sandy. Also playing are The Reprobettes, Wrong Turn and some rad DJs.

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Beat Magazine Page 51

SUN RISING

BY AUGUSTUS WELBY

This year marks the 60th anniversary of legendary Memphis record label Sun Records. Founded by record producer Sam Phillips, Sun was largely responsible for establishing rock’n’roll music as an important cultural artform in the ‘50s. Earlier this year, Melbourne’s David Cosma and Damon Smith conceived Sun Rising: The Songs That Made Memphis, a performance-based tribute to Phillips and the astounding musicians he worked with. The hip-shaking five-piece Sun Rising band showcase the music of Elvis, Jerry Lee Lewis, BB King, Howlin’ Wolf, Carl Perkins Johnny Cash as well as some lesser known Sun alumni. David Cosma reveals the decision to do a Sun Records tribute was the inevitable outcome of a longstanding personal passion.

“I’m a massive Elvis fan and have been since my earliest memory of music. That’s been a massive influence on me, in particular early Elvis. Damon’s equally as big of a Jerry Lee Lewis fan. We’d been talking about it for a while and we thought rather than just tribute the two guys, there’s a lot more on offer that came from that studio, especially early on. Once we really started digging we found there was an unbelievable amount of artists worth telling people about that had come from this one little studio, all produced by Sam Phillips.”

Cosma is thoroughly acquainted with the history of Sun Records and explains that Sam Phillips initiated Sun Studios to promote music that the commercial tastes of the time ruefully overlooked.

“His main criteria at that time, before discovering the likes of Elvis, was to give a voice mainly to the black artists, because that music wasn’t getting any recognition whatsoever. Major labels weren’t interested in any sort of rhythm and blues music. His main objective early on was to just uncover music that wasn’t getting a fair run out there.

He grew up in Alabama on a 300-acre plantation, so he was already to exposed to grass-level blues, guys singing in the cotton fields, women singing while they’re doing their chores, that sort of thing.”

Phillips’ endeavour to introduce rhythm and blues to a wider audience coincided with a remarkable instance of ‘right place at the right time’, which led him to discover many of the musicians who effectively set rock ‘n’ roll music in motion.

“It’s not every day you’ve got Elvis Presley living not far and dropping in to say hello. Johnny Cash was from the area, Howlin’ Wolf had a radio spot in West Memphis at the time.

A lot of these guys were from in and around the area.”

Sam Phillips certainly had a knack for identifying artistic flair but Cosma’s research suggests Phillips didn’t need to actively intervene to sculpt the classic songs recorded at Sun Studios.

“Elvis’ debut, That’s Alright Mama, totally came by mistake.

It wasn’t like Sam was really pushing for something. Howlin’ Wolf, for example, he just invited him in and pressed record and let him do what he did best, which was sing away with his intensity. If anything he had the ability to recognise potential talent and then get the best out of them without pushing too much of a direction on them.”

The entire Sun catalogue is characterised by stunning integrity and the Sun Rising set-list includes a large portion of quality songs that Cosma believes would be unfamiliar to most people.

“Even the Elvis songs, generic Elvis fans probably wouldn’t know, apart from maybe That’s Alright Mama or Mystery Train. We cover Rufus Thomas Jr, an early Howlin’ Wolf song, an early BB King song, Ike Turner. Probably 80 per cent of the songs, even by artists that are well-known, are probably not songs that are familiar to people.”

Focusing exclusively on the early Sun recordings distinguishes the show from being a covers gig. The Sun Rising band approach it as an authentic tribute, rather than an impersonation.

“We’ve really done our best to keep it as authentic to the original recording as we can. It takes quite a bit of discipline not to overplay. We run it chronologically too.

It starts really early on in 1951, before the label actually came into play but Sam Phillips was still recording at that studio, chronologically up until about the mid-‘50s with Jerry Lee Lewis.”

Another crucial component of the show is relating various anecdotes from the period. Seguing with background stories contextualises the songs and offers the audience an in-depth Sun Records education.

“We wanted to put together a show that wasn’t just necessarily an hour worth of music. We’re in the fortunate position of having the stories that come out of Sun. Whether it was how the artist was discovered or maybe a story behind the song, that’s enabled us to link 80 per cent of the songs with a story. We like to think they’re all accurate, but they are all interesting. That’s been a big part of the feedback from people who have seen the show: ‘We really enjoyed the music but we really enjoyed the unexpected history lesson too’.”

Cosma confirms that Sun Rising will continue beyond the epochal 60th anniversary year.

“Our intention is to really keep this thing going. I’m such a fan of that music and so is Damon and the guys in the band, but we didn’t know how it was going to be received. It’s been received so well I think we’d be nuts not to carry it on.”

long time, so we can come back to it at any time,” Altmann says. “It falls back pretty easily into place,” Agars add.

It seems a long time since The Vandas’ halcyon period, when the band was signed to Liberation Records, and found itself on the Big Day Out bill. In fact, it seemed at one stage that The Vandas would achieve a level of popular and commercial currency far in excess of the average local band. “There were those glimmers of hope, yes,” laughs Altmann. “We were in that stage when we wanted to play a lot as well,” Agars says. “But I don’t think we really thought about the future that much – we were just playing shows and having fun,” adds Altmann. “We did Slow Burn, and then I started doing my solo record, because I had all these songs that weren’t really Vandas songs. And that was around the time I turned 30, and I was less interested in playing high energy, sweaty kind of shows. I wanted to sit back a little bit.”

Agars and Altmann note that The Vandas had at its heart a democratic compromise which, while successful at the time, eventually led to other problems. “Mikey and I had different musical styles, and when we all came together

in The Vandas, it was a mixture of all that, and that’s why I think it was inevitable that we’d want to do our own separate thing,” Altmann says, “so Mikey went off and did Gruntbucket, and I did Que Paso”.

While Vandas’ live appearances have been rare over the last few years, Altmann says he’s written the odd song that would sit easily into The Vandas’ repertoire. “I’ve got some that have been accumulating,” Altmann says.

“We talk all the time about doing another album – it’s just a case of being in the right place at the right time.”

Both Altmann and Agars are looking forward to reuniting this week. “I’m really looking forward to doing some of the really early Vandas stuff. Maybe there will be some extra people on stage – some all-in action,” Altmann says.

“We’re getting together to rehearse in the next couple of days – I think this is the first time I’ve ever looked forward to rehearsing,” Agars says.

Come and celebrate the 60th anniversary of Sun Records at Cherry Bar on Saturday December 15.

They also play The Palais in Hepburn Springs on Friday December 14.

THE VANDAS

BY PATRICK EMERY

It’s almost ten years since Chris Altmann and Gus Agars left their hometown of Adelaide for the more vibrant live music pastures of Melbourne. Their band, The Drowners, then with bass player Julien Chick, ceased to exist not long after arriving in Melbourne; with the addition of guitarist Mikey Madden, a new outfit, The Vandas was born. “I remember there was a decisive moment when The Drowners finished, and The Vandas was born,” Agars recalls. “We played our last show in Richmond, and then went to Mick Thomas’s house the next day and started recording demos,” Altmann says.

Named after the former Easybeats member and legendary producer Harry Vanda, The Vandas became one of Melbourne’s favourite young groups. But despite releasing a couple of EPs and a full-length album – both of which received generous critical acclaim – The Vandas gradually faded from view, as the members’ competing commitments took precedence.

“Logistics just got in the way,” explains Agars. “It just happened that way, and then I ended up moving away, which really put a halt on all The Vandas stuff indefinitely,” Altmann says.

Altmann had decided to focus on writing and recording his debut solo album (under the Que Paso moniker). About 18 months ago – not long after The Vandas played their last gig at The Tote – Altmann left Australian shores, packing his things and heading over to his wife’s home territory of Canada. “We lived in this place called Peterborough, about an hour and a half north-east of Toronto. There’s a lot of cool stuff going on around there – Ronnie Hawkins [who, in the early ‘60s, provided the members of The Band with their earliest education of the lascivious pleasures

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of rock’n’roll] lives about 20 minutes away. I haven’t been able to meet him yet, but he still plays around there,” Altmann says. Altmann has also found time to travel down to Nashville to hone his songwriting skills. “There’s a really good alternative scene going on there, especially in east Nashville,” Altmann says.

Meanwhile, Mikey Madden found time to record a second album with Gruntbucket, punctuated with the odd Chrome Nips gig. Julien Chick has been playing bass with Mick Thomas’s Roving Commission and Michael Meeking and the Lost Souls, while drummer Gus Agars has occupied the drum stool for everyone from Tex Perkins and his Ladyboyz, to Tim Rogers, Mike Noga and his Gentlemen of Fortune and The Gin Club. “I played with an Argentinian Elvis impersonator the other week as well,” Agars says.

With Altmann briefly back in Australia to play a series of solo shows, as well as playing alongside Susannah Espie, and Madden, Agars and Chick able to find time in their occasionally busy schedules, The Vandas are reforming for a one-off 10th birthday show at the Spotted Mallard in Brunswick. “The Vandas is something we’d been doing for a

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THE VANDAS play the Spotted Mallard in Brunswick on Friday December 14.

TWO DOOR CINEMA CLUB

BY RACH SENEVIRATNE

“One day I’m complaining to our manager, saying, ‘Fuck this, I wanna have a week off, my girlfriend’s gonna kill me’ and shit like that, and then five minutes later I’m looking at the calendar and saying, ‘Well, there’s five days here – why aren’t we going to Colombia?’” Two Door Cinema Club’s bassist Kevin Baird is nursing a cough and a strong hangover on a bleary Sunday morning, and the effects of being on the road since he was 18 (he’s now 23) are more evident than ever.

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TWO DOOR CINEMA CLUB play Festival Hall with The Vaccines and The Jungle Giants on Saturday December 29 (licenced, all-ages). They also play Falls Festival taking place in Lorne from Friday December 28 to Tuesday January 1 (sold out) and in Marion Bay, Tasmania, from Saturday December 29 to Tuesday January 1. Beacon is out now via Cooperative Music.

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After forming in 2007 and earning a legion of fans through the (now archaic, but then groundbreaking) MySpace music platform, the band released Tourist History on the Parisian tastemaking fashion/music label Kitsuné. The album was a half-hour injection of irresistible indie dance that propelled them into the world spotlight, and the band toured relentlessly, almost flogging it for all it was worth. For Baird, it got to a point where he felt the band really needed to move on to the next chapter. “We felt exhausted. We’d started touring around six months prior [to Tourist History’s release], and then we toured it for over a year and a half after it came out – so we’d been on the road for a long time. We still loved the album, but we wanted to play something new and wanted to write something now.” Given the success of their debut, one would assume that backing it up would be a daunting prospect, but that didn’t cross Baird’s mind. “We never really said, ‘Oh shit, we better do something good now’”, he says. “[In the past] few years we had stopped exercising that muscle of writing a song. And it felt kinda weird, we used to do it all the time. Writing together after so long … we were just really excited. We stopped touring and it became fun again, the whole creative process.”

Beacon was always going to be a different album to Tourist History. Their debut was written with the uncultivated chutzpah and naivety of a band who, at the time, had had no success, no touring experience, no scrutiny. Sitting down to write the newer one though, things had changed. “We were a couple years older and we had done a lot, seen a lot,” Baird says, sounding every bit the tour-weary young man he is. “The first album was [filled with] the optimism of what we thought or hoped was gonna happen; the excitement of it. Not that we don’t have fun on the road now or anything, but there was a lot that happened between the first and second album…

Suddenly, [touring] took up all of our lives, for the next two and a half years.”

The overarching loneliness that Beacon exudes is reflective not only of their life on the road, but also of the band having worked on it to the beat of their own drum; it’s not another happy-go-lucky party album in the vein of Tourist History. The band felt the need to show a certain vulnerability and sombreness on the record, rather than pandering to the demands of fans and stakeholders. “We didn’t have some horrible, overbearing producer with a creepy moustache or anything like that. We worked independently of labels; independently of everything. Everyone just let us go off and do our own thing.”

Their ‘own thing’ is a more refined, empathic sound than the What You Know’s and Undercover Martyn’s of their debut. The reason the band was on what seemed like every summer festival lineup around the world was because their music yielded to a live setting, as if envisaging the live performance was a big part of the writing process. “We thought about things a lot more in that aspect [with the first album] because we would write a song, and then a week later we would play a show in Belfast or something.

But with [Beacon] there was no touring while we were writing it, so it was harder to be imagined. We started writing things without thinking about how it would sound live,” Baird says. “When you’re [writing] in a basement, you’re freezing and you’re wearing three jumpers and you’re just sitting there with your instrument. When we’re all piecing the song together like that, it’s hard to imagine playing that to people.”

While this may seem like a risk, Baird claims that playing to your crowds and indulging in their expectations is a stagnant creative mindset. “A lot of people talk about bands ‘selling out’ and people attribute that to many different things. In my head, the real definition of selling out is when you’re ripping yourself off because you know that it’s easy.

You know that song from your first album got on the radio and people liked it and it was successful and you just rip yourself off again ‘cos that format works.”

The band has found itself a comfy niche in both camp indie and camp dance, meaning they can fit perfectly on the bill at Glastonbury or Coachella, but also at something much more dance-music oriented like Sydney’s Field Day. But this hasn’t been some carefully thought-out business manoeuvre; contrarily, Baird sees premeditation as the antithesis to creative progress. “We never really talk about it, y’know we never said to each other what kinda band we are, this is our genre and this is what we stick to. Trying not to calculate it is the secret I think.”

WIT

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Beat Magazine Page 53

KUTCHA EDWARDS

BY BENJAMIN COOPER

Kutcha Edwards is at his home in Northcote, busily packing his car for a journey out to Rubicon in the Yarra Ranges. The singer/songwriter, who hails from the banks of the Murrumbidgee River in NSW, is heading north, but it’s not to perform his signature soulful and blues-inspired tunes. Instead the local Indigenous community have asked him to share his experiences and struggles with addiction with their men’s group. “I get asked to speak with people occasionally, and it’s a responsibility I take very seriously,” he says. “I’m 15 years into sobriety, and if I can pass on some of that information then all the better. I’ve made bad decisions, some of them terrible ones... but I’m lucky because I’m in a place where I can understand why it is that I did those things. As I was saying before – I can help with making a better tomorrow for some people, so I’m going to do everything within my power.”

Edwards has been prolifically combining activism and songwriting since 1991, when he joined Koori group Watbalimba and began the remarkable journey that has taken him from the tiny Riverina town of Balranald to tours of Australia and the world. It is his experiences as a member of the Stolen Generations and his proud Mutti Mutti heritage that has shaped his diverse creative output in groups like Blackfire and Black Arm Band. At the same time he’s been able to forge a successful solo career combining the blues with traditional songs of people and country as well, beginning in 2002 with his friends Paul Kelly and Paul Hester (Crowded House) assuming production duties on the album Cooinda. (It’s important to note that Edwards doesn’t distinguish between the names and characters that crop up in our conversation. Mention of artists

like Kelly and Hester passes easily to Indigenous poet, healer and activist Bobby McLeod, with the Mutti Mutti man self-effacingly stating that, “I’ve met some beautiful people in these years, and all of them are much more than names in an industry. I think music, for all of us, is something that calms and immerses.”)

Edwards speaks in a quietly measured tone as we discuss his music and latest album Blak & Blu. Recorded at Craig Pilkington’s Audrey Studios (Gurrumul, Even) it features a host of Australian blues and roots talents including Dan Sultan, Rebecca Barnard and Jeff Lang.

“This album has just given me a new energy,” he explains. “I think that sometimes this industry can take you to places you don’t want to go, so it’s nice to be able to come back to the basics of conceptualising music along songlines in the traditional way. It feels

strange to be saying this on a mobile phone in Northcote – but I’m constantly trying to understand this old connection to language and what it is I actually am, as a Mutti Mutti man and a storyteller.

“I’m really no different to that old uncle or auntie that sits down in Papunya (Northern Territory) and paints their country,” he continues. “I’m doing the same thing – I am singing of country, but I’m doing it in a language that most people can understand. Of course, it’s also important for me to sing in my own language sometimes... I remember going to see Gurrumul at the Dreaming Festival up at Woodford a few years back, and as I was standing up the back of the tent watching him and his family doing the actions of the songs and singing in their language I realised I was crying. I wasn’t

actually crying externally, but I was yearning to do the same thing with my music. “A little while after that I was playing a show here in Melbourne with Black Arm Band and the Melbourne Symphony Orchestra and a niece of mine came up to me afterwards to ask: ‘Uncle Kutcha, all these other people tonight have been singing in their language, but where’s our language?’ So as you see,” he sighs, and then laughs, “I’m not just writing for myself! I have that desire to keep connecting with my own language and country, and it keeps sending me further on the journey.”

I’m not interested in any of that stuff. So I was just saying no to everyone for six months and then I thought maybe I could get some of my friends to learn some instruments and be in a band.”

At this point, it might seem that Miller’s either playing a role or taking it all for granted. He’s not at all and any pretence that could be inferred by his slacker-approach to music is simply not correct. He comes across as a truly nice guy with a genuinely pure approach to creativity.

Right at this moment, there are literally thousands of Australian artists madly emailing managers and booking agents desperate for a foot in the door and here is someone who makes little effort, declares that he’s not really a very good musician, and manages to have labels hounding him to join their roster. “I think, I mean this might sound a bit juvenile, but I think anyone who’s interested in that kind of stuff is a douchebag,” he says with a chuckle. “It’s good to be ambitious but that stuff

is all shit. I like making music, it keeps me happy, I’d do it for free, I was doing it for free, and I think it’s a negative attitude to desire success. It’s a creative art and success is the devil to that; you should just want to make yourself and other people happy. That sort of attitude towards fame literally makes me want to die.”

When asked about his plans for the future, a question that’s usually met with a two-year schedule of gigging, recording and strategically marketed releases, Miller only knows what he’s doing the next day. “I’m certainly no middle class rich kid. I spend most of my time watching Seinfeld re-runs and eating frozen pizza while recording these days,” he says.

KUTCHA EDWARDS plays The Thornbury Theatre on Friday December 14.

BORED NOTHING

BY KRISSI WEISS

ARIA week has come to a close, backs have been thoroughly patted, and aspiring young musicians are bleary-eyed from looking longingly into the face of artistic success. In amongst this cycle of hope (often dashed by the dismal world that is our current creative economy) sits a young indie artist by the name of Fergus Miller, the man behind Bored Nothing. Armed with an almost apologetic press release promoting his scruffy, debut self-titled album, his story is a truly unique one. Wandering around with no fixed address and with no need to be anywhere at any time, Miller was driven to song writing out of guilt. Not the sort of guilt bred from skeletons in his closet or a tortured upbringing, simply the guilt of having too much time on his hands.

“I was at a Britney Spears crossroads,” Miller says cheekily down the phone as he nurses a hangover. “I’d lost my job, every plan that I had fell through, and I was left with absolutely nothing to do. For some reason I still had a guitar and a computer and my friend let me set up a studio in her lounge room so I recorded a bunch of stuff there.”

With that time in the not-too-distant past, he has a debut album in his hands ready for release. “It all feels odd,” he says. “Especially when connected to these recordings that were literally made to give to friends on the weekends.”

That is how the tale goes, a young man starts making music to fill in time, leaving copies of his CDs in random places for strangers to find, with no marketing, no information about who made them and no motive to ever do anything more than that. “I didn’t have any intentions at all,” he admits. “I don’t play any instruments very well and I only bought my first electric guitar late last year. I had a fourtrack that I wanted to do something significant with so I

decided I’d use the recording equipment and the guitar to make some music to show to my friends at the pub on a Saturday night. I just kept doing it every week, getting CD-Rs and colouring them by hand, and then I started doing 50 at a time. When I went to the pub to show my friends I’d leave a bunch at the pub on the mantelpiece and then leave some on the train on the way home and drop some into a record store and stuff. I felt guilty for having so much time on my hands so I thought I’d share my boredom with other people. I also love finding things so I thought ‘Where can I leave these that no one would expect to find them?’”

From there things seem to move quickly despite Miller’s best efforts to prevent that. “As soon as I started leaving CDs around people found a way to get in contact with me on the internet,” he laughs. “All I had was an email address with Bored Nothing in the title and people found it and every day I’d get like six booking offers and management and labels emailing me which was a pain in the arse ‘cause

ALBERT SALT

WINTERCOATS James (Wintercoats) asks Albert: So we’re both originally from Hamilton, has the transition to Melbourne influenced you musically in any way?

Really? I had no idea! Well I moved to Melbourne when I was 12, so I guess it influenced me in a huge way. I didn’t really listen to anything but classical music when I was living in Hamilton.

Albert asks James (Wintercoats): Why the name Wintercoats?

Well other than having the dull name of James Wallace, as well as sharing that name with the ACL leader, I spent a while cycling through names that didn’t fit. I pretty much just saw one of my coats and thought “that works”.

If you had to describe your music how would you?

Ethereal chamber pop? It’s pretty much centred around dream pop sensibilities.

Any records you’re currently listening to at the moment you’d like to share?

Ahh.. I guess The Information by Beck and Ghosts by Nine Inch Nails – seriously, seriously great music.

What are your plans for the next 12 months?

Things are getting pretty busy from now. I’ve got a string of releases lined up with a tentatively titled EP called Heartful coming before the album next year.

January is pretty busy with the Beach House tour, as well as Spunktones and Perfume Genius.

When did you start writing music?

Probably back when I was about 13, but I don’t like to talk about that. I was listening to way too much Van Halen back then. (I still have a soft spot for Van Halen.)

Beat Magazine Page 54

BORED NOTHING will be at The Gasometer, Saturday January 5. The self-titled debut is out now through Spunk.

What artists have influenced your sound?

Radiohead, Beck, Justice, Death Cab For Cutie, Sufjan Stevens.

If you could choose one musician to collaborate with who would it be?

Kate Bush. That voice, oh god that voice! I’m going to add Jens Lekman to that as well.

So if the Mayan Calender allows us to live another year, what are your plans for 2013?

Release more music! And try to get as many people listening to it.

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

I’m going to steal your last question, and ask if there was a musician you would like to collaborate with, who would it be?

I’m also going to say two, Thom Yorke and Beck.

WINTERCOATS and ALBERT SALT play two gigs at Chapel Off Chapel on Friday December 14 and Saturday December 15, both kicking off at 8pm.

BEST COAST

BY SEAN SANDY DEVOTIONAL

After a year on the road, Best Coast frontwoman Bethany Cosentino spent the day in a backyard jacuzzi; a rare spot of indulgence earned after the band’s relentless tour of their sophomore album The Only Place. Speaking from her home in Eagle Rock, the celebrated nexus of Anytown suburbia and rich bohemian playground, Cosentino is enjoying the opportunity to devote herself to more idle pursuits after a frenetic year.

“I think just being so busy and travelling so much and waking up in different timezones – I can’t believe it’s the end of the year already – I have a difficult time keeping track of what day it is,” she says, in her pitch perfect Southern California drawl. “I have a difficult time deciphering whether I should be in tour zone or home zone. I would say I still experience a bit of a hangover from that, for sure.”

With Cosentino’s 2012 highlights including a collaboration with Iggy Pop for the True Blood soundtrack and an appearance on Conan, it’s hard to begrudge her a bit of time off.

“We finally have sort of slowed down and started to take a bit of a break,” she continues. “It’s been a great year and I’m sad to see it end. We feel really lucky we’ve been this successful.”

The Falls Festival and an East Coast tour in the New Year will mark the band’s third trip to Australia in less than two years, following recent billings at Golden Plains and Big Day Out, and comes ahead of a US stadium jaunt with Green Day in February. While Cosentino is enthusiastic about the months ahead, her constant absence from LA has definitely made itself felt on the band’s latest record.

“When you’re gone all the time, it’s definitely difficult to keep any relationship above water,” she says. “I have a lot of friends and it’s hard to keep any of my relationships perfect. Travelling city to city, you’ve got a lot on your mind and it’s hard to focus. I wanted to make a record that was more centred on that kind of personal stuff.”

Cosentino’s former relationship with Nathan Williams of fellow Californian band Wavves certainly brings itself to bear on The Only Place, in a much less saccharine than the jangly love songs on Best Coast’s debut.

The much-hyped romance did a great deal to lift the profile of both bands and was publicly flaunted enough to earn the pair both the moniker of “hipster power couple” and the dubious honour of an Urban Outfitters fashion spread.

Mindful of the criticism she copped for flaunting her private life, Cosetino says the new album came about as a result of a newfound emotional maturity and decision to be a little more circumspect.

“I think making this record – making a bit more of a grown up record – was a step in the right direction,” she states. “I was going through a lot of emotional stuff.

I turned 26. I wrote lot of songs when I was feeling down and out, and I feel a lot more grown up and a lot more stable and more together than I did before.

“I WANTED TO PULL BACK A BIT, FIGURE OUT WHAT TO SAY AND WHAT NOT TO SAY, WHAT TO SHARE AND WHAT NOT TO SHARE. I DON’T KNOW IF I NECESSARILY REGRET SHARING ANYTHING, BUT AT THE BEGINNING OF MY CAREER I WAS TALKING VERY FREELY IN INTERVIEWS” “A lot of it’s about growing up while you’re trying to change and grow in the public eye. Stuff on the internet is so easy to access and makes it a lot more difficult to live a private life. I wanted to pull back a bit, figure out what to say and what not to say, what to share and what not to share. I don’t know if I necessarily regret sharing anything, but at the beginning of my career I was talking very freely in interviews and now I try to be more guarded.”

That guardedness is on display when discussing the critical reaction to The Only Place, not all of which has been as gushing as the band’s fans. The consensus on the album seems to be that a worthy improvement in production values doesn’t make up for the rehashing of song structures and endless California worship in 2010’s Crazy For You. With plans to record another EP sometime in the new year, Cosentino says she doesn’t feel any need to placate the expectations of critics.

“I just kind of feel whatever naturally comes out of us is what is meant to be. We don’t try to make things too specific. What naturally comes out of you is what you’re meant to be doing. I just kind of write and let what happens, happen. We make music that we’re proud of and happy with, and that’s what’s important to us. Whatever we do next will be a natural progression of growth from this year.”

BEST COAST play Falls Festival taking place in Lorne from Friday December 28 to Tuesday January 1 (sold out) and in Marion Bay, Tasmania, from Saturday December 29 to Tuesday January 1.

They also play The Hi-Fi on Wednesday January 2.

The Only Place is out now on Popfrenzy Records.

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Beat Magazine Page 55

THE WATERBOYS

BY LEIGH SALTER

Mike Scott is so much the archetypal quirky, poetry-obsessed troubadour, it’s as though he was written into being by the very scribes who inspired his love of words.

As a young man, the Scottish-born singer made no real distinction between the value of The Beatles or Bob Dylan and the poets C.S. Lewis and W.B. Yeats as artists. They simply all wound up in his pot, along with a well-considered fascination with paganism and pre-religious spirituality, which resulted in The Waterboys – a band he has remained the sole ongoing member of the 30 years now.

Over the course of ten albums, Mike explored in great depth several points of fascination, but arguably none more than the work of poet, William Butler Yeats. To understand the impact of Yeats on Scott’s work, you only need delve into a random selection of Waterboys songs. The early 20th Century Irish poet’s own interests – paganism, the occult – heavily reflect those of Scott’s greatest works, so when The Waterboys released an entire album of the poet’s words set to music last year, it was somewhat inevitable. Discussing the album – An Appointment With Mr Yeats – and the tour, which will include Australia for the first time, Scott, from his adopted home (and Yeats’s birthplace), Dublin, is feeling strange and delightful.

“I only have a vague outsiders perspective of Australia, but I do also have a kind of expectation I guess,” he explains, anticipating his impending visit. “I completely expect my preconceptions to be shattered, but that’s the exciting thing about travelling to new places.” His band’s invitation

to bring their Appointment With Mr Yeats show to the Sydney Festival prompted a long-overdue full major cities tour. On the origin of The Waterboys’ Yeats project, Scott explains, it was an idea planted within his psyche from a young age. “I knew about Yeats when I was ten or eleven, because my mum was, and still is, a university lecturer in English and she would often mention this Yeats guy, but I didn’t start to really focus on him until I was in my teens. At the same time, I was discovering music and the two things were very closely linked for me, and still are,” he recalls.

“But I envisioned doing this show as long ago as 1991, so it only took me 21 years to make it a reality.”

In the post-punk era, The Waterboys managed to remain accessible, however traditional their influences, and even found themselves lumped in with the media-hyped Scottish ‘Big Music’ scene along with Simple Minds, Big Country and World Party. Big Music was at the time defined simply enough as having ‘big, powerful choruses in the vein of U2’.

Scott, however was far from interested in contemporary

Edinburgh. Preferring instead to split his time between Dublin and New York, environments which inspired his writing as much as any book of verse. “Dublin in the ‘80s was such a wonderful place to come home to after being on tour. It’s where I wrote a lot of The Waterboys songs and the music for the Yeats poems, but also I’ve found that New York has had a profound effect on my work. It’s this huge melting pot of all the world’s music, and is a place where I feel quite creatively unrestrained.”

By the time The Waterboys had released their third and most successful album, This Is The Sea in 1985, they had already introduced listeners to Celtic folklore, Native American Indian rites, political scrutiny and pre-religious spirituality. The latter, a topic which has often been widely mis-interpreted by groups claiming Waterboys to be both Christian and heathen, depending on who you ask.

“I never subscribed to any religion. I always found magic to be much more interesting. When I was in my early twenties, I discovered spiritual literature and found there was a much

greater depth to non-religious ideas about the world.” The deity Pan, from Greek mythology, is a favourite of Scott’s, turning up in a number of songs (The Return Of Pan, The Pan Within). He discusses, “To me Pan represents our connection to one another and to nature. A lot of Christian religion seems to be about escapism, but Pan is a reminder to me that being connected is what’s important.

“I recently wrote my autobiography, and you know... what I found is that I have learned so much from making music and being a musician, but it never stops. It’s like everything I’ve written is me working towards something that I only glimpse now and then. I need to read to make me feel like I am living a full life, and writing is less a decision I make – it’s more a task really... but I have to do it so I can know what lies ahead.”

unknown to cult artist, while still preserving his position on the margins of society. “I wanted to be a counter-cultural person. I also wanted to be an outsider, but I wanted to meet people,” Beal says. Beal admits his music had a long way to go. “At the time my music was only skeletal,” he says.

“My reality as a musician was a fantasy musician – it was only serious to me. At the time I was just a security officer, but these days I’m able to focus full-time on my music.”

With a fledgling musical career now in train, as well as increasingly regular forays into the visual arts and literature, Beal had the ideal vehicles to explore his existential feelings. “The common theme of my art is that I write about existential things,” Beal says. “I ponder what it’s like to be alive, and I ponder my personal feelings from someone who’s an outsider. It’s the same kind of struggle as Albert Camus – the outsider looking in.”

Beal says his music and poetry started out “as me being uncomfortable”; now, he says, it’s about him “trying to work that out”.

“It’s to do with me being comfortable, not about art and music.”

You get the distinct impression the more exposure he receives, the greater the level of personal philosophical investigation. “A lot of people read [my website’s] statement [I am nothing. Nothing is everything.], and automatically say ‘you’re something’,” Beal says. “But the reason for it is that everything I do is just a composite of everything else. I don’t really have anything to offer.”

Notwithstanding his enigmatic sense of self, Beal has come a long way in the last few years. In five years’ time, Beal isn’t sure where he’ll be. “I believe words are powerful,” he says.

“I think by then I’ll be a respected, and reclusive artistic and musical person.”

In 2012, the Chinese Communist Party elected a new leader of the party, and therefore a new Chinese premier.

If you were responsible for the conference entertainment program, whom would you have on the bill?

Money For Rope, Minibikes and Sun God Replica. I wouldn’t be doing anything political, other than patting myself on the back, and feathering my own nest.

After Barack Obama’s re-election this year, which outspoken American rock’n’roller declared “pimps, whores and welfare brats and their soulless supporters have a president to destroy America”?

Would that be Ted Nugent?

Indeed it would. Would you agree with that sentiment?

I agree with everything Ted says, for fear of getting shot in the back.

Which famous prize did Serge Haroche and David J Wineland win “for ground-breaking experimental methods that enable measuring and manipulation of individual quantum systems”, and can you explain the relevance of their study to Even’s Christmas show?

The Nobel Prize. And without that study, we simply wouldn’t exist.

Bryce Courtenay died this year. Have you ever admitted to reading The Power Of One, and if so, what impact did it have on Even’s music?

That might be a question for Ashley John Naylor, because he writes the music. I haven’t read it, and even if I had,

because I don’t write the music, it wouldn’t have any effect.

But I have read the sequel – The Power Of Three.

Two members of the cast of Welcome Back Kotter died in 2012. What is your favourite John Travolta line from the series?

What? Who? Where? I’m so confused!

Dick Clark and Levon Helm both died this year. Name three things those two legends had in common.

They were both drummers. They were both American. And they both smoked a lot of pot.

David Bowie turned 65 this year. Do you think his knighthood should be conditional upon renouncing Loving The Alien?

No. You have to take the good with the bad.

If the world does end on 21 December 2012, will Even transform its Christmas party into an End Of The World Party with the Four Horsemen of the Apocalypse on back-up vocals, and plagues of locusts instead of a smoke machine?

No, because we’ll be dead. But just for the tape, the gig’s at The Hi-Fi – possibly our favourite venue in Melbourne – it’s a stellar lineup, with Charles Jenkins and the Zhivagos and The Bedroom Philosopher. Everyone should come along.

THE WATERBOYS’ first ever Australian tour rolls into Hamer Hall on Wednesday January 30. Mike Scott’s autobiography, Adventures Of A Waterboy, is available now.

WILLIS EARL BEAL

BY PATRICK EMERY

In an increasingly self-centred, self-indulgent and frighteningly narcissistic world, Willis Earl Beal is an enigma. Beal grew up in Chicago as a notionally American child. In his early 20s, Beal joined the United States marines, before he was given a medical discharge. Unsure of what he was going to do, or what life had in store in for him, Beal floated around, dabbling in various odd jobs and other ephemeral pursuits. Beal ignored the hyper-connectedness of social media, and focused on the physical world around him.

Eventually Beal bought an acoustic guitar and a karaoke machine, and taught himself the rudiments of guitar. A selfpenned advertisement – “I want some friends and stuff”, said the ad in a painfully honest tone – in his adopted hometown of Albuquerque brought the attention of a local arts magazine. One thing led to another, and Beal is now travelling the world, playing his idiosyncratic music to a global audience. “I’m not like a prodigy,” Beal says. “I just feel like I have to be heard. I had no resources previously, so in some ways I feel pretty illegitimate – I’m like a fish out of water.”

Beal had moved from Chicago to Albuquerque in the United States border state of New Mexico after seeing the state featured in a movie. “I saw New Mexico in a movie, Off the Map, and I wanted to enjoy that enchanted desolation I saw in the movie,” Beal says. Beal began to write songs, and gradually developed his musical craft, and, in between his work as a security guard, recorded the odd CD-R, which he left around town.

Never a social butterfly, and aware of his ‘otherness’, Beal saw his music as an opportunity to explore his sense of self. “I think I was always headed to this type of life and career, because I always felt I couldn’t relate to people,” Beal says. When Beal drew up an advertisement, and plastered it around Albuquerque, he didn’t feel much would come of it. Beal’s flyers eventually came to the attention of Davy Rothbart, editor of Found magazine, a publication dedicated to showcasing the music of unknown artists.

When one of Beal’s flyers appeared on the cover of Found magazine in January 2010 – complete with Beal’s phone number and a three page interview – Beal was amazed by the reaction. “I was very surprised,” he says. “I hadn’t realised that that magazine was so well known. And I was amazed that people wanted to call me. I have no affinity with the internet – when I look at myself on the internet now, I sometimes feel sick.”

In the relative flicker of an eye, Beal went from complete

WILLIS EARL BEAL plays the Northcote Social Club on Wednesday January 2. He also plays Falls Festival at Lorne from Friday December 28 – Tuesday January 1 (sold out) and in Marion Bay from Saturday Decmber 29 – Tuesday January 1.

EVEN

BY PATRICK EMERY

2012 marks the 13th Even Christmas show, an annual event the band began in the tradition of Weddings, Parties, Anything’s now famous Christmas gigs. 2012 also marks the fourth consecutive year I’ve met Even bass player Wally Kempton for lunch to discuss the highs and lows of the year, and the impending excitement of Even’s last show for the year. But whereas previous interviews have followed a similar, and probably (for Wally, at least) tedious style – loosely constructed questions about Even’s recording and performing scheduled, followed by Wally’s snappy Bazza McKenzie responses – this year I decided to compose 13 questions based on notable events of 2012, with the most tenuous of links to Even, or indeed local music.

What was the stupidest rule change introduced into the AFL in 2012, and what would you do about it?

The stupidest rule change is not allowing Visy to pay Chris Judd the amount they would do so normally in his role as ambassador for the recycling giant and now we have to put all of it under the salary cap. What would I do about it?

Shoot Adrian Anderson in the face – although that wouldn’t solve the problem, so probably negotiate a bit harder, do some under the table dealings, maybe get some advice from John Elliot, or Melbourne, or Essendon, or any other team that’s done it and hasn’t been caught.

At what point in the season did Brett Rattan’s coaching position become untenable ...

After round three. ... and what would you have said to the media if you’d been replaced by Mick Malthouse in the same circumstances?

These are curly questions that don’t relate to music – a bit of warning would’ve been good.

Unfortunately, this isn’t 60 Minutes, and you’re not Michael Jackson.

[Adopts falsetto] Oh, I don’t know how to answer these questions! Um, I would have been dignified, because noone likes a sore loser. Plus, I would’ve just been paid half a million dollars to shut the fuck up. Everyone has their price.

Beat Magazine Page 56

If you were responsible for Carlton’s internal draft choices, whom would you try and recruit?

I’m glad we didn’t get Tippett, because we wouldn’t have him for 11 weeks! I reckon Malthouse did the obvious thing, and not get any new recruits, because we do have enough of what it takes to get the job done, we just need a new approach to getting it done. As far as coaches go, I’m not so sure. Brad Green never set my world on fire as a player, so I don’t know – maybe he’ll turn out to be the greatest coach in the world. Far be it from me to judge – I just play bass.

Ricky Ponting has announced his retirement from international cricket. Name your favourite Ponting batting event, and most painful captaincy moment.

Favourite Ponting batting moment was probably at the Bourbon and Beefsteak in Sydney when he got collected, and most disappointing moment as captain was probably losing that Ashes series was my most cringe-worthy Ponting captaincy moment.

Julia Gillard is under close scrutiny for her professional behaviour 20 years ago. What’s the most embarrassing thing you did in the mid ‘90s ...

Wore shorts on stage. ... and do you think you should be accountable for that now?

Yes.

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Join in the fun of with XMAS EVEN on Saturday December 22 at The Hi-Fi. Tickets from the venue website.

ALABAMA SHAKES

BY JOSHUA KLOKE

If there’s any doubt at all about the authenticity of Alabama Shakes’ Southern roots, guitarist Heath Fogg quickly puts these doubts to rest when he answers the phone from his northern Alabama home. “I’m just hanging out at the house, getting ready to cook dinner,” he says in a thick yet affectionate Southern drawl. So what’s on the menu then? “Fried chicken, mashed potatoes and fried okra. Real healthy stuff,” he jokes. Fogg admits that he might not eat this way every evening, but he has found himself craving Southern food and drink since Alabama Shakes exploded earlier this year and subsequent tours followed.

“I keep coming back to (Southern food),” he says. “I might not have realised how much I loved it until I started travelling. We have a lot of sweet tea here, with a lot of sugar and milk in it. We cool it down, too. And that’s not even nationwide; you go past Tennessee and it’s hard to get sweet tea. I find that’s something I crave when I’m on the road.”

Speaking with the wide-eyed enthusiasm of a child on Christmas morning, Fogg seems sincerely taken aback by the success of Boys and Girls, the band’s debut full-length. Their insanely contagious soul-tinged roots rock has landed them slots on a variety of late night television shows, on the covers of reputable magazines and on tours throughout North America and Europe.

Amidst their success, Fogg can’t help but exude hints of naiveté about their ascent, especially when it comes to their upcoming touring schedule. From November 2012 to April 2013, Alabama Shakes will touch down on five continents. It’s essentially as varied a tour as a modern band can set out on, though Fogg doesn’t find it daunting in the slightest. He chuckles after the schedule is read out to him. For Fogg and Alabama Shakes, perhaps the key to their rise to fame is equal parts genuine approach and ignorance being bliss.

“Maybe because we’re oblivious to it, because I certainly had no idea we were doing all of that,” he says once he finishes laughing. “We just try to take things one day at a time. The promo stuff is starting to build though. In the spring Brittany and I did a promo run in Europe. For a couple of days, we were doing interviews all day. That was really strange. I don’t think I’ll ever get used to that. Otherwise, I just take it in stride.”

In taking the media attention in stride, Alabama Shakes have afforded themselves the luxury of focusing on their live set. And it’s through their powerful live sets that they’ve won many a fan in big name musicians, most notably Jack White. The Third Man boss has publicly lauded the band and soon approached Fogg and co. about releasing a series of 7” singles on his label.

If the media attention simply rolls off Fogg’s shoulders, it’s the appreciation their fellow musicians have showered upon them which has left a lasting impression. Fogg pauses to take in the notion that they’ve become a favourite of Jack White, sounding genuinely blown away. Of course, it’s hard to imagine him reacting any other way.

“ IT’S NOT JUST A GREAT FEELING FOR ME A MUSICIAN, BUT I’M SURE IT’S A GREAT FEELING FOR EVERYONE WHO GETS MENTIONED

BY SOMEONE THEY RESPECT” “I’d say that’s one of the best feelings in the world, to be praised by someone you respect or admire. I think that’d be in any field; I’m sure that if you played baseball and one of your heroes said you had a good fastball, it’d feel the same way. So it’s not just a great feeling for me a musician, but I’m sure it’s a great feeling for everyone who gets mentioned by someone they respect.”

The big-up from Jack White will certainly help Alabama Shakes moving forward, as Fogg admits that the band only signed a one-album deal with their label, ATO Records, as they “just didn’t want to be tied down to anything, especially seeing as how we were so naïve at the time.”

So has this naivete produced any real learning experiences for the band?

“Every time we go on tour it’s a learning experience,” admits Fogg. “That’s the nature of the beast; you have to make decisions quickly and learn on the fly. We do have a lot of good people behind us. We’re not doing this alone, that’s for sure.”

If Alabama Shakes have made efforts to stock good people in their corner, it doesn’t appear as if these people have been boosting Fogg’s ego or pressuring the band to capitalise on their recent success. The idea of a sophomore full-length is as far away from Fogg’s mind as possible right now.

He’s not worried about following up on the hype. Instead, Heath Fogg and Alabama Shakes are taking it easy and enjoying the ride.

“We don’t even have to try and not think about it, because we’re so fortunate to be in a good position right now. We can make a living by doing this, and we plan on making our next record in the same way. We’ll make it when we’re ready; the labels we’re on right now have us both on a onealbum deal. So we’ll get to our next album when we feel good and ready. We’ll just be on our own making a record again, so nobody feels too much pressure right now.”

ALABAMA SHAKES play The Forum on Thursday January 24, and Big Day Out on Saturday January 26 at Flemington Racecourse. Boys and Girls is out via Rough Trade/Remote Control.

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Beat Magazine Page 57

TWO GALLANTS

BY SIMONE UBALDI

Two Gallants are a band operating far outside the mold of contemporary indie music.

The San Franciscan duo plays a visceral fusion of hillbilly folk and minimalist punk, with lyrics steeped in archaic folk tale and arcane literary references. They’re a difficult band on record – hard to penetrate – but live they are something else. Live, Adam Stephens and Tyson Vogel are a hurricane force.

The dynamism between the two musicians has had decades to percolate. Vogel and Tyson met when they were in kindergarten; they picked up guitars at the same time, and formed their first official group when they were barely 12-years-old. They began playing as Two Gallants (a named lifted from James’ Joyce’s The Dubliners) when they were both 21 and have remained Two Gallants for the last ten years. And despite never being in the pocket or on trend as far as indie rock goes, their music has inspired a cult following.

“I don’t really think that this term satisfies, but sometimes I call [our music] traditional noise,” Stephens explains.

“Noise is such a broad term but I think of it as being an expansion of traditional music – traditional American music played in extremely loud settings and by loud and noisy things end up getting distorted and being sorted of warped.”

On stage, Two Gallants’ guitarist and lead singer is a feral, shivering ball of angst, but in conversation he is reticent and uncertain. He has the air of someone who feels misunderstood, which may be a bi-product of playing in a band that has never quite broken through, despite busting their asses on the road and leaving everything on the stage, night after night. Vogel and Tyson did earn critical success over the years - they released a debut album through Alice Records and two albums through Saddle Creek, including the acclaimed 2006 record What the Toll Tells and its brilliant Appalachian troubadour single Steady Rollin) – but it wasn’t enough to sustain them. In 2008, the Two Gallants parted ways indefinitely.

“We just kinda burnt ourselves out. We’d been touring pretty steady for like four or five years straight and you know, I don’t know, it can be pretty intense being in a two-person band. Your personalities end up sort of becoming the same, it doesn’t really work out very well in some ways.

It sounds like a good thing, but I think it kinda ends up being an unhealthy thing sometimes. And I just think we needed a break from each other.”

Both Stephens and Vogel recorded albums when they were apart – Stephens used his time out to make a solo record while Vogel made a string-laced altcountry record with a band called The Devotionals. It was a productive time for the pair, but ultimately they realised that they missed each other. They missed the unique and indefinable chemistry of Two Gallants.

The pair returned to the touring circuit in 2011 and have since released a fourth album, The Bloom And The Blight, through ATO Recordings. It is a very different beast for this folk punk outfit, who are to American traditional music what The Drones or Grinderman are to Australian folk. Where Two Gallants’ previous albums have been rough, raw and spare, The Bloom And The Blight seeks to harness the brutal energy of their shows. It channels grunge into their sound; bigger guitars, broader dynamics and – in fleeting moments, anyway – a hint of their powerhouse live performance.

“A lot of what made me want to take a break from playing with Tyson was that I was writing a lot of songs that were very quiet and I didn’t think really fit our band and I sort of needed an outlet for them. That was why I made a record of those songs and toured on that. I think, having gotten that out of my system, I came back with all these pretty aggressive songs or at least a bit more aggressive mentality to writing songs and it’s kind of what lead us to this album,” Stephens says.

“IT CAN BE PRETTY INTENSE BEING IN A TWO-PERSON BAND. YOUR PERSONALITIES END UP SORT OF BECOMING THE SAME” The Bloom And The Blight was produced by John Congleton, who has worked with everyone from The Walkman to Joanna Newsom to The Roots. He brought a lighthearted-ness to the studio, according to Stephens, helping the band to navigate some fresh ground in the recording process. Stephens doesn’t think it’s a perfect record – he doesn’t seem the type to be capable of being wholly satisfied – but he loves the drum sound and the ambitious scope of the album.

More than anything, he’s just happy to be moving forward with Two Gallants again. They’ve been back on the road in the States, back to Europe where they are very well respected, and toured China earlier this year for the first time. If their hiatus slowed the band’s momentum, Stephens hasn’t noticed it.

“I feel like everything we’ve been doing, from the very beginning, has been a very slow upward process of growth. I don’t think there’s been any stagnancy or lateral moves or anything. I think every time we go out on tour there’s more people and more discussion about us. But to be honest, I don’t really worry about it that much. I love playing the music we play. We’ve got some extremely intense, devoted fans and we’re very, very thankful for what we’ve got.”

TWO GALLANTS play the Northcote Social Club on Saturday February 9 and Sunday February 10 with Deer Tick. The Bloom And The Blight is out now through Warner.

Beat Magazine Page 58

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DJANGO DJANGO

BY AUGUSTUS WELBY

Since releasing their debut album in January 2012, Django Django have garnered unanimous critical acclaim and corresponding public adulation. Although the seeming overnight ubiquity suggests their emergence to be a remarkable stroke of luck, the album’s animated psychedelia is the product of four years’ studio craftwork. Singer Vincent Neff explains that, as well as focusing on recording, the Scottish four-piece spent the last two years playing warehouse parties and dingy clubs in London. In these ramshackle conditions they learnt how to amply occupy the stage, something they previously had limited experience with.

“We’d never really been a band before. Dave (Maclean, drums) had done production and I’d just written songs at home and Tommy (Grace, synths) had this MySpace page with these weird organ instrumental songs that he’d just written at home. It’s not like we’d been in four bands before this. It took us a lot longer to work out what was happening and how to project yourself and get a bit of confidence on stage.”

Django Django’s non-stop touring schedule this year has seen them widely traverse the UK, Europe, America, and they’ll make their second Australian visit before the year’s end. Due to the studio-based composition of the album, many songs had to be rearranged for live performance.

“From the moment where we tried to take them in a live format we realised that we couldn’t really play it like it was done on the record. There’s lots and lots of harmonies layered up and lots of percussion layered up and we’ve only got eight arms between us, so we have to think about another way of doing it. It made it quite good fun that you could leave the record at the door and re-interpret it for yourself. We just had to take the key elements of each song and try to work with those.”

Certain album tracks were specifically crafted to be apt setlist inclusions, but other songs required major revision to equal the level of exuberance that characterises the band’s live show.

“It’s almost like being a DJ or something, just knowing what records will get people dancing. Skies Over Cairo in particular was written almost for the show.

And then there’s something like Love’s Dart, which has got a beat through it but it’s quite a melancholy song, so we had to really start at the basis of that. The live version of Love’s Dart is kind of acid house; it’s almost like a re-interpretation of an acoustic track. It’s a more synth-based track now. Every one’s slightly different. You

might try two or three different ways of doing it before you get something that you like,” says Neff.

The relentless touring has let them extensively cultivate their live chemistry, which makes it easier to determine the best way to alter a song.

“It takes us less time to get to the root of the problem.

Whereas, we would’ve played a song for a year and half and realised it wasn’t right but we wouldn’t have known how to approach it.”

The evaluative criterion for the success of a song’s arrangement is also closely informed by crowd reactions.

“If you hear a couple of ‘whoops’ or people starting to move, you know that it’s working. If we don’t get that we’ll take it back to the studio and we’ll try a different rhythm or cut it short and add another section.”

Django Django refrain from the prevalent compulsion towards rigidly structuring live shows by employing pre-recorded sounds. Rather than presenting a bland replica of the album material, they designate an area for spontaneity, which adds unpredictability for both band and audience.

“It keeps it fun for us and the songs are ever-evolving.

There’s always a bit of risk, a bit of ‘I hope this works out, here we go,’ which kind of keeps you on your toes. [With] a lot of the rhythms, Tommy and Dave will be on the drum kit together and if they don’t lock right, the whole track falls apart. Hopefully that’s what audiences guess, that there’s no laptop underneath.

We’re always keen to have that element of risk.”

Along with a string of festival appearances, they’ll be doing a few headline shows in Australia in the New Year. Filling a headline time slot is an additional impetus for the band to implement their improvisational resources.

“You kind of have to take some tracks on a bit of an odyssey to fill the time, but not make it boring. It

challenges us to make some extended sections, and maybe surprise the audience – like, ‘ok I know this song but I didn’t know this was where it was going to go’. It’s quite nice for people, they recognise the songs but they get something different in the live set. We’re not just playing the tracks verbatim from the record.”

The band are looking forward to bringing in the New Year in Australia, though Vincent admits they’ll have to be careful not to over-indulge in the festive celebrations before performing.

“We’re all really, really excited. We’ve never played a gig on New Year’s Day so we’ll just have to pace ourselves.”

Partying too hard isn’t the only thing that he’ll need

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to be wary of.

“I’m actually allergic to the Sun,” he exclaims through a gust of anxious laughter. “My face swells up; ‘Bubble boy.’ I’m really excited and I’ve got a slight nervousness.”

DJANGO DJANGO play Falls Festival in Lorne from Friday December 28 to Tuesday January 1 (sold out) and in Marion Bay, Tasmania, from Saturday December 29 to Tuesday January 1.

They also play The Hi-Fi on Saturday January 12.

Django Django is out now via Warner.

Beat Magazine Page 59

NE OBLIVISCARIS

BY ROD WHITFIELD

Tim Charles is a busy, busy man. Everyone says ‘Oh I didn’t have time, I’m so busy’, but when this guy says that, he means it. It’s not just a throwaway line. He is a founding member, clean vocalist, violinist and manager of Ne Obliviscaris, a very prominent Australian extreme metal band who released their debut album this year to rapturous critical and fan reception, and an album that was almost a decade in the making.

He is also the brains, and brawn, behind Welkin Entertainment, a rock and metal booking, management and promotions agency that is growing in stature every day, putting on local, national and international shows, festivals (such as the imminent third instalment of Sonic Forge at The Espy, which Ne Obliviscaris are headlining), managing and promoting bands – the works. On top of this he also teaches violin, and recently became a first time dad. One wonders if the guy ever sleeps.

Ne Obliviscaris have had a fantastic year. Their album, Portal of I, has put them on the world map. So much so that they have recently signed a deal with a prominent European record label. At the time of writing, we still weren’t allowed to announce exactly which label it is, but this will become clear very shortly. Tim is very excited about this and the opportunities it may open up for them, and he was actually able to find a few moments recently to speak to us about all of the above (well, except maybe his recent fatherhood).

“It’s definitely very exciting to be in a position where we have prominent people in the international metal scene believing

in what we do,” he states, “and definitely looking forward to 2013 and hopefully getting overseas to Europe and North America and all of these places that we’ve been wanting to play for so long. And after having such a fantastic year, and with our album Portal of I being received so positively, [headlining Sonic Forge festival] is a fantastic way to finish the year. This will cap the year off before we start 2013.”

The band have even bigger and better things in store for next year as well. “Yeah, the plan for next year is that at some stage we’ll do another big Australian tour,” he foresees, “and aside from that we’ll probably spend a fair chunk of the first part of the year writing for album number two, to be released in 2014. And then there’s the plan to get overseas, we’re not sure if that’ll be to Europe or North America, or both. But that’s the big aim for next year, to really expand after having done so much in Australia, and start taking our music to the world.”

The purpose of the Sonic Forge festival is actually twofold.

Firstly, its aim is to showcase the absolute best bands that Australian heavy music has to offer, in one venue across

three stages on one day. This will be the festival’s third year, and so far it has done exactly that; it is a veritable feast of Aussie metal. But it also raises money for a very important world charity.

“The lineup is pretty massive,” he says with a heavy degree of understatement. “I guess every year we try and put on a lineup featuring some of the best and biggest metal bands from across the country, so we’re really excited to have Be’Lakor, and we also have Death Audio who are using this as their album launch which is fantastic, that album’s really great. Dreadnaught, Alarum, as well as really great interstate bands like The Schoenberg Automaton from Queensland, Myreath from New South Wales, Gods of Eden from there as well, plus The Levitation Hex which features some Alchemist guys as well. So yeah, we’re really happy with the lineup and its got just about every genre covered.”

And so what does the event raise money for? “The

charity involved is an orphanage in Hinche, Haiti, called ‘The Centre of Hope’,” he explains, “which is a newish orphanage, it actually only opened in 2010. It’s been one of those things where, when I first did it [the festival] and decided to make that the charitable focus of the event, I did entertain the idea that I might change the charity every year. But I actually had the great fortune in January 2011 to meet James Lipscomb, who is one of the heads of the orphanage. He himself is based in New York, and was here in Australia on holidays. It was really great to make that personal connection, he made me understand exactly where the money was going and what impact it was having, and it’s because of that I decided to stick with that charity.”

McCall has spent all of October champing at the bit for the release of his new album; Parkway Drive recorded their fourth LP Atlas in Los Angeles with veteran producer Matt Hyde (Slayer, Hatebreed) earlier this year. It’s their most ambitious venture, featuring a whole swathe of new tricks alongside established Parkway tropes. Ben Gordon’s drums have somehow gotten tighter without losing any of their thrust and power, while McCall’s lyrics bleed poetry with a previously unknown prudence. “We decided that we want to refine what we were doing, but also try to bring something new,” McCall explains. “Most of what people see from us is, of course, the live show, which has always been pure adrenaline. But we love recording too, because it’s such a wonderfully creative process that we can just throw ourselves into. When we’re in the studio we’re completely immersed in what we’re doing – every single time we’ve gone to record an album we’ve been in the studio until the final minute of the final day. We’re completely dedicated to

what we do, because we’ve never known any other way.”

The depth of the songwriting on the album presents a number of challenges when it comes to touring their live show, particularly with the presence of female vocals and strings. McCall reckons it’s nothing the boys can’t handle.

“For sure, the new record has a whole lot more music to it and more happening generally,” he agrees. “But we’ve been a band for ten years and we’re up for it. I wouldn’t say we thrive on adversity, but we definitely like a challenge; we’ve never hit a wall we couldn’t overcome, and I’m proud of that. To be perfectly honest, I’m excited to see where this album takes us as a live band,” he says, in the lively tone of a frontman who has spent two months waiting to tour. “These songs are so much more work, and so much more fun than anything we’ve ever done before.”

is as though the band are needing to tell a 12-year story in one brief stint. “Absolutely,” he agrees. “Ultimately we’ll come out and play a show based on the one we’ve been doing for the last couple of years and the last record. The 65 live show has evolved and there’s no way we can play like we did when we were 20 or whatever. But we are trying to represent a little bit of each record and there is the worry that people don’t have the back catalogue here; there’s a hell of a lot of music to get through. Also, the way it’s been released in Australia is strange. Over here, everyone has this chronological order of the journey of the band but taken out of that context; the records say some things really differently. They don’t have that reference to each other but I don’t think that’s necessarily bad; it’s just strange.”

Dancing between festivals and headlining gigs during their time here, Shrewsbury finishes up by discussing the pros and cons of festivals and headline tours as well as the oftdreaded support slot. “Festivals create the opportunity for something magical to happen with a whole bunch of people that can turn into one big party,” he says. “Headline tours

create the opportunity to create a whole atmosphere, and you own the whole evening. We always invite bands that we want to play with us on tour and at times we’ve invited political activists down to have a stall at the show – the Stop The War Coalition and stuff like that – so it creates a whole mood. Support tours are often the most indifferent crowds – The Cure tour certainly had some moments.

It’s good for you as a musician though to not become too arrogant. There was a time when we were younger and you have a whole bunch of people telling you you’re this or that when actually it’s much healthier to realise you’re just a musician who needs to work hard. In a sense if you can treat Madison Square Garden and some 50-person club in the back roads of America as the same thing, then you’re a lot better equipped to get through.”

NE OBLIVISCARIS play Sonic Forge at The Espy this Saturday December 15, with a crushing lineup of local and national heavy music acts.

PARKWAY DRIVE

BY BENJAMIN COOPER

The title of World Conquerors doesn’t sit too easily with Winston McCall. The frontman of Byron Bay’s fearsome Parkway Drive will admit to having a few aspirations for the group, but he never envisaged anything remotely close to the achievements the quintet have notched up in the last decade. “It’s always been a goal of ours to play wherever we could, [but] I wouldn’t say we ever set out to conquer anything,” he says. “When people first started getting into our music we decided to just play wherever people asked us. We never set out to play in every corner of the globe, but we definitely said yes to some of the weirder options that came along.”

It has been an undeniably hard-earned rise for the metalcore heroes. Since forming in 2002, they’ve released four studio albums, two live DVDs and a host of split albums with acts like I Killed The Prom Queen. They’ve also somehow managed the time to tour far and wide, playing their famously epic and intense live show to sweaty rooms filled with fans both new and old. “We figured out the other day we’ve played in 50 countries, and none of the experiences have been the same,” says McCall. “The weirdest thing is we still haven’t been somewhere where no one has known our music, which is hugely humbling as a visitor. There have been moments where we’ll catch each other’s eyes on stage and know the same thought is running through all our heads: this is our life now, and it’s amazing.”

Performing a sold out show to thousands of people in America is certainly a world away from the group’s beginnings in a basement, on the hometown street that gave them their name. When they’re in Australia, the boys spend most of their time at home, with their family and friends in Byron offering the grounding and comfort that is necessary for a group who spend so much time in

transit and switching time zones. “This isn’t going to sound very rock’n’roll, but sometimes it’s just nice to be able to do some washing,” McCall says. “When we come home we get to live normal lives, which we’re so grateful for. All that mundane stuff in daily life actually begins to take on a special sparkle because we spend so much time with our heads down touring.” Is there anything else McCall looks forward to when he gets back to Byron? “I’m actually a pretty big listener of radio whenever I come home. When we’re on the road, I tend to hear the same stuff over and over again, because we’re all sharing and swapping similar things. Radio has a different playlist going on, but I usually struggle to know who any of the bands are because so many acts are emerging all the time. It’s great, because I get to find that new stuff, and at the same time hear stuff from an artist I really admire and have known for a while – like Sarah Blasko. [I really like] the new Blasko album, man. She took a while to grow on me, maybe because she’s creating much more natural sounds than what I’m used to. Once it started to hook me in, though, I was just gone. It just grew like a moth.”

PARKWAY DRIVE play Festival Hall on Saturday December 22. Atlas is out now on Resist Records.

65DAYSOFSTATIC

BY KRISSI WEISS

Sheffield’s instrumental, post-rock sons, 65daysofstatic, have been together for over a decade and yet Australia is only now getting the pleasure of meeting their acquaintance. Yes, those who actively seek out music from the farthest corners of the bloggersphere are already good friends with the band but their catalogue of five studio albums as well as a swag of remixes, singles and live releases are only just finding an official release here in the past six months.

Local band-made-good, sleepmakeswaves, are no strangers to 65daysofstatic and while sleepmakeswaves gave 65dos the once over with a remix, the Brits have returned the favour as well as inviting them along as support for their tour.

“We were in Belgium in a school gym and we had about eight hours to kill before we played,” guitarist Joe Shrewsbury says as he explains the first time the two bands met. “Me and our sound engineer had found an old basketball and were trying to do some stage jumps to get some air into the hoop. I landed on the ground and rolled over and looked up and those guys were standing there looking very perplexed.

They played before we played and I think it’s a real thing with musicians to, in the UK anyway, not to speak to each other until you’ve got the measure of each other. So we didn’t really talk to them until after we all played and then everything was a lot more relaxed.”

Is the choice to size each other up before having a chat motivated by a strong focus on the task at hand, waiting to see if the other band have serious musical chops or waiting to see if they’re a bunch of wankers?

“It’s a bunch of things really. I don’t think it’s unhealthy, it’s Beat Magazine Page 60

healthy competition. I think a lot of music magazines try to suggest that music is this kind of great…” he trails off for a moment. “Let me put this another way, we never came from a scene where there were a whole heap of acts supporting each other and even though we’re all hitting 30 or over 30 now, we’ve still got that gang mentality. We’re quite insular as a group when we’re on tour and I think that’s really the same for most bands.”

The style of music that 65dos play has also been an isolating factor, with Shrewsbury admitting that the band often felt like they had something to prove. “Most of 65’s touring history up until recently was exactly that,” he says. “We played as hard as we could to force your music down people’s throats and that’s ingrained. We still play very hard in a way, and it’s about convincing people of what you’re doing.”

With 65dos’ albums filtering onto the Australian music landscape over the past six months, and this their first tour, it

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65DAYSOFSTATIC will play The Corner on Friday January 4 with sleepmakeswaves and The Townhouses.

They also play Peats Ridge Festival in Sydney on Sunday December 30.

CORE

PUNK, SKA, HARDCORE NEWS, REVIEWS AND GOSSIP

BY EMILY KELLY: EK1984@GMAIL.COM

It was nice to see promoter Michael Gudinski in the press this week desperately trying to explain to our friends out West why they missed out on a Bruce Springsteen show. Maybe it’s because I’m a spoilt little Melburnian lass but boy is it exhausting to hear our relos over yonder screaming blue murder at promoters for not bringing tours to their beloved cities that – let’s be honest – often have a nightlife and music scene akin tp Bendigo on a good night. I’ve always been exhausted by the tantrums thrown at promoters who have to shell out ungodly amounts of money to get their bands and their gear across the Nullabour to play for increasingly thinning crowds. Don’t even start me on the media’s overuse of the term ‘snub’. Gudinski begged of the West, “It’s a limited run. I got on my knees for Perth to be honest with you…but just to even get the dates on the East Coast [was a success]. People don’t understand; they get all territorial whether it’s Perth, Adelaide or New Zealand, it’s the same thing… When people go to play in Italy or France or Spain or Holland, they only play one of two cities and I think it’s difficult because it’s very expensive to get to Perth…”. Seriously dudes. Seriously.

Birds Of Tokyo have been off our radar for a while but they’ll return in triumphant form when they release their fourth album and hit the road to support it this March.

March Fires cops an official release on Friday March 1 and the ‘Birds will hit Melbourne on Saturday March 2 at The Forum. They’ll also play at Pier Live on Thursday February 28 and Kay Street on Friday March 1.

Well this is becoming a nice little tradition isn’t it? The Australia Day celebration that contributes proceeds to the Refugee Council of Australia (as a nifty way of combating shitful, uber patriotic douchefests) has risen its lovely head again. Next year it will be held over at The Reverence and feature bands like Headaches, Nuclear Summer, The Gun Runners, Milestones, Lincoln LeFevre and more. Shows will run throughout the entire weekend too. Hooray!

CRUNCH!

METAL, HEAVY ROCK, CLASSIC ROCK

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CORE GIG GUIDE

Wednesday December 12: Alexisonfire, House Vs Hurricane at Festival Hall The Living End, Money For Rope at Corner Hotel Trash Fairies, Luna Ghost, Hungry Jesus, Dear Theives at The Bendigo Thursday December 13: The Living End, Dave Larkin Band at Corner Hotel For Our Hero, In Your Hands, Sidelines, The Spinset at Next Friday December 14: The Hard Ons, Spazzys, Dead at Northcote Social Club Mezzanine, Skyways Are Highways, Columbia Buffet, The Sunsleepers at Nosie Bar King Cannons, The Hello Morning at The Tote Firearms, Leeches!, Street Fangs at Public Bar The Living End, Something For Kate at The Corner Hotel Saturday December 15: The Workinghorse Irons, Glenn and the Peanutbutter Men, Kill The Apprentice, Someone Elses Wedding Band at The Reverence Earthless, White Walls at Northcote Social Club Suicidal Tendencies, Unwritten Law, The Dudesons at SRH Fest, Billboards Damn The Torpedoes, Leeches!, Bad Vision, Spermaids at The Gasometer Shadow League, The Posers, Bombing Angels, The Vouchers at The Bendigo Debacle, Counterattack, Mr Baldy At The Public Bar The Living End, The Smith Street Band at The Corner Hotel Masketta Fall, Wake The Giants, My Favourite Accident at Bang Sunday December 16: Earthless, Dead River at Northcote Social Club Spazzys at Evelyn Rooftop Sons Of Lee Marvin, La Bastard, Damn The Torpedoes, Uptown Ace, Harvest Smoke and more at The Tote The Living End, Kingswood at The Corner Hotel Monday December 17: The Living End, Area 7 at Corner Hotel Short Fast Loud counted up their annual end of year listener poll live to air last week and the results were far from surprising. Parkway Drive’s Atlas was voted the best album of the year, followed by The Amity Affliction, The Ghost Inside, The Smith Street Band and In Heart’s Wake. Sixteen Aussie acts made it into the Top 40.

(White Lion, Pretty Boy Floyd, Gilby Clark) and bass player Eric Brittingham (Cinderella) are hitting Oz in December to play special intimate shows in selected cities. They’ll be at The Hi Fi on Friday December 21.

The band was formed as a side project so the guys could continue their love of playing and touring.

Gig Alert: Public Image Ltd Public Image Ltd – featuring one Mr John Lydon, aka Johnny Rotten …y’know, from the Sex Pistols – are heading to Australia in April 2013 in support of their latest album, This Is PiL. It’ll be their first time back in Oz in 20 years. This Is PiL was just named in Mojo Magazine’s Top 50 Albums of the Year roundup. PiL will be playing stuff from the new one as well as tracks from throughout their career. Guitar nerd fun fact: Steve Vai played on PiL’s hilariously-titled album Album (it was named Album on vinyl, Compact Disc on CD and Cassette on cassette. They should reissue it as Shitty Spotify Stream).

LA Guns: Stacey Out, Tracii In? Huh. Here’s an interesting rumour that just drifted across my desk: is Stacey Blades out of LA Guns?

Is Tracii Guns coming back after several years of (not very successfully, it must be said) running his own competing version of LA Guns? If you’re not familiar, Tracii was one of the founding members of Guns N’ Roses, and that’s where the ‘Guns’ of their name came from. I know that sounds like a lame reverse-engineered joke or something but it’s true.

Blades has been with Phil Lewis’s version of LA Guns for eight years, including the band’s planned Australian tour last year, which was supposed to feature Warrant and Quiet Riot as well but which fell apart in spectacular fashion.

Gig Alert: Lost Angels Lost Angels, the supergrounp featuring John Corabi (Motley Crue, The Scream, Union, Ratt), guitarist Eric Dover (Jellyfish, Slash’s Snakepit, Alice Cooper, Sextus, and you can also see him playing guitar in the Brady Bunch movie), drummer Troy Patrick Farrell

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Gay Paris Party With Ke$ha, Release Unrelated Video Sydney’s salacious, stupidly hard rockin’ dudes Gay Paris have been smashin’ eardrums and upturned faces with steady riffin’ and cheeky banter on their Death to Spring tour recently. They’ve just released the video for The Demarcation of Joseph Hollybone, which they describe as “the age-old tale of a down-and-out cock doin’ it hard.” Check it out on the YouTubes. They also recently partied with Ke$ha (who has rock cred thanks to her duet with Alice Cooper, as far as I’m concerned) after their Sydney show. Lucky bastards.

Gig Alert: Deathstars Sweden’s Deathstars are hailed by some as the death-glam kings of lust, glitter and sleaze. That’s a hell of a reputation to live up to in the world of metal, nay, in the world at large, and the band certainly seems intent on justice to this claim. Anyone who saw them on their first Australian tour back in 2009 will attest their live show has the polish of their recordings, delivered harder and sleazier. Well they’re coming back in 2013! They’ll be at The Corner on Saturday May 4. May the Fourth Be With You. Sonic Forge Festival This Weekend The Sonic Forge festival returns this week – Saturday December 15 – with a monster lineup including NE OBLIVISCARIS, BE’LAKOR, Death Audio (it’s their album launch), Dreadnaught, The Schoenberg Automaton (QLD), Eye Of The Enemy, Alarum, A Million Dead Birds Laughing, Myraeth (NSW), Subjektive, The Levitation Hex, Orpheus, Arbrynth, Gods Of Eden (NSW), Decimatus, Naberus, The Plague Black, Hours In Exile, Envenomed, Whoretopsy, Adamus Exul, Akaname, The Empire, Create|Destroy, Hybrid Nightmares, Myridian and Krematorium Defiled. Doors open at 3pm and tickets are $22 plus booking fee, available now from The Espy and all Oztix outlets.

Beat Magazine Page 61

MUSIC NEWS

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BINARY SOLO This is one huge celebration of Melbourne's emerging electronic music scene, showcasing the best underground talent that Melbourne has to offer.

A celebration of the bedroom producer hitting a big PA over three great spaces including a rooftop BBQ. Saturday December 15 at The Evelyn, 4pm.

BERLIN POSTMARK The Reverence Hotel is putting on a cheeky afternoon show on Saturday December 15 with Berlin Postmark, Rise Of The Rat and DJ Larrabee. Go spend a lazy afternoon in the beer garden whilst periodically venturing in to hear some blazing licks. Bring the kids down if ya got 'em. Starts at 3pm sharp.

THE WORKINGHORSE IRONS Someone once tell you that Footscray is dodgy? Well that person is insane. Footscray is awesome. The Reverence Hotel is awesome.

The Workinghorse Irons, Glenn And The Peanutbutter Men, Kill the Apprentice and Someone Else's Wedding Band are going to be ingesting this awesomeness and spewing it upon whoever comes to witness the party on Saturday December 15 at The Reverence Hotel. Show starts at 8pm and is $10.

THE RESURRECTION CHRISSY PARTY On Sunday December 16 St Jeromes – The Resurrection is throwing an all day Christmas Party and they’ve put together a lineup sure to rock your Christmas stockings off, including Nai Palm (Hiatus Kaiyote), DJ Stickman, City Vs Country, RRR’s DJ Patrick Delves, Store Bought Cool and You And The Colonies. Plus there’ll be an all day BBQ, all day Bloody Marys and $4 tinnies. This’ll be the Christmas party to end all Christmas parties so avoid the awkward yearly chat with that strange Uncle Alan, ditch the drunken pash by the water cooler with Tim from accounts and get down to The Res for an all day pre-Christmas feast of music, food, sun and booze. Entry is free and doors open at 12pm.

KILL YA DARLINGS

BILL CHAMBERS

Kill Ya Darlings is a completely new musical spectacle developed by Melbourne band, Rapskallion and Vaudeville show creator, Miss Friby. Both Rapskallion and Miss Friby are no strangers to the quirky underground within Melbourne’s bohemian corners.

In the last few years these two venerable entities have developed a quirky camaraderie whilst dazzling audiences together at well known venues and festivals such as The Spiegeltent, National Gallery of Victoria, Red Bennies, Bohemian Masquerade ball, Splendour in the Grass and Rainbow Serpent. See them at The B.East this Saturday December 15.

Yah Yah’s is thrilled to be hosting a fabulous night of fine and authentic Australian country music with Bill Chambers and Harry Hookey. Bill, father of Kasey Chambers, is one of those growling singers who owes a substantial debt to both Bob Dylan and John Prine.

Fast becoming a name on the live scene, Harry has showcased his music at the Americana festival in Nashville TN, and performed with artists as diverse as Leo Sayer, Tim Rogers, Mick Thomas, Doc Neeson and Kasey Chambers. Don’t miss Harry Hookey and Bill Chambers together at Yah Yah’s on Thursday December 13. Doors at 5pm, live music starts at 8.30pm. Tickets at the door or from trybooking.com.

THE DATSUNS The Datsuns, New Zealand’s most internationally applauded rock‘n’roll band, will launch their new album Death Rattle Boogie across Australia this December.

Catch The Datsuns on Wednesday December 19 at Karova Lounge in Ballarat, and Thursday December 20 and Friday December 21 at The Espy in Melbourne.

Recorded in Sweden at lead singer Dolf De Borst’s Gutterview studios and at Neil Finn’s Roundhead studios in Auckland, Death Rattle Boogie took shape under the watchful hand of Nicke Andersson, exmember of Swedish hard-rockers, The Hellacopters.

Don't miss The Datsuns launch Death, Rattle, Boogie at their Melbourne shows this December.

JUDGE PINO & THE RULING MOTIONS With the recent resurgence in lover’s rock, you gotta come see Melbourne’s answer to it: Judge Pino & The Ruling Motions. A Bar Open staple for a long time now, these guys are shit-hot. Soaring high to fly and reaching deep bottom ends, Judge Pino & The Ruling Motions are here to stay. Bringing you the digs from vintage Jamaican sounds of the '70s, rocking out dancehall, lover's rock and reggae rockers hits with bonus live dubs and mad improvisations, these men are here to move you and groove you. Get out to your classic Fitzroy live music local Bar Open on Saturday December 15 to get down with the Judge Pino sound.

Doors 10pm, free entry.

LOWER SPECTRUM This Sunday December 16, Bar Open dishes up three bands who will beat you about the ears with their beats.

Lower Spectrum delivers teething beats, pulsing synths and sprawling sound design. A Art offers lo-fi, synthpop, Gameboy-crushing sonic goodness. The Atlas Room transmits densely textured metamorphic minimalism. Head down and join them at Bar Open on Sunday December 16 for a night of mind bending and face melting music. Doors 7.30pm.

MAY DREAMERS A year after their acclaimed Love Is Your Destiny release, May Dreamers are back to present their rock opera Light Of The World at Bar Open on Thursday December 13.

Head along and hear their heady mix of experimental pop, minimalistic-mesmerising-krautrock soundscapes and vocal arrangements set to a cosmic narrative. Visuals included. They're joined by Yuko Kono Electric Band, who in past performances have demonstrated a vast range from delicate miniatures played on recorders to epic rock guitar solos backed by an excellent band including drummer Jo Talia. Doors 8.30pm, free entry.

Beat Magazine Page 62

BLACK CAB Yah Yah’s is thrilled to have Black Cab return to venue for their 2012 Christmas show on Saturday December 15. The band will be playing material from their forthcoming album Fourth with their extended lineup. Andrew Park from legendary Australian postpunk outfit The Ears will be filling in for an injured Steve Law. Expect some more cameos too. Joining them will be the incredible Pearls and Vowers. Doors 5pm, bands start at 9pm, tickets on the door or from trybooking.com

BOMBAY ROYALE After recently winning this year's prestigious EG Award for Best New Talent Melbourne's Bombay Royale are aligning the planets for a month long east meets west smorgasbord at The Evelyn Hotel. This, ladies and gentlemen, is what happens when one of the most unique bands to emerge from the cultural melting pot of the Melbourne music community, hits the stage. The Bombay Royale will hit the stage on Thursdays in December (excluding Thursday December 27) at The Evelyn. DJ Manchild will also be joining them. Entry is $10 online or $12 at the door.

Pots are $2.50, doors open at 8pm.

MOTHERSLUG Doom from the End of the World, the prophesies are true. Welcome the end on Friday December 21, upstairs at the Gasometer with a night of loud, fuzzy, sludgy psychedelia. While the world outside crumbles in chaos and terror, you'll be protected by a sonic force field, that doom itself cannot touch, provided by a trinity of Melbourne's prophecy defying riff makers. Motherslug are a five-piece taking influences from proto-doom, merged with up-tempo stoner and down-tuned drone, and will be supported

by The Superguns, a four-piece Stoner Metal band here to smash some riffs up your ear holes. Jeezus will be there too. The best kind of Jeezus, a Seedy Jeezus. Head down and get saved. Doors at 8pm, $10.

SHANGRI LA Tonight, S h a n g r i L a returns with a special live electronic set from the sonic wizard himself, Justin K. Fuller. Joining him will be DJs Chairman Meow (Pearls) and Gill Tucker (Beaches) playing rare musical oddities for your aural pleasure. Free from 8pm at the Gasometer Hotel in Collingwood.

BAYONETS FOR LEGS Home grown talent, Bayonets For Legs can’t be summed up by only one genre or the aid of a hyphen. If their sound were a person, they’d be a thinker and a dreamer; a thoughtful individual who’s experienced unrequited love, but is ready to get back on the horse. With an appreciation for alternative country, their lyrics are both meaningful and quaint. Don’t worry though, it’s not the type of songs where you just wanna smack the lead singer for being a whiny bitch. They tell stories both lyrically and instrumentally and it’s easy to venture off to your own dreamy movie sequence backed by Bayonets' soundtrack. Bayonets For Legs have a comfortable stage presence that seeps into the crowd and encourages people to just relax and enjoy the sounds.

Catch Bayonets For Legs when they play The Retreat Hotel this Friday night December 14 from 9.30pm, after Drunken Poachers’ set at 4pm, and followed by The Re-mains at 11pm. Free entry.

BENNY WALKER & BAND Sunday December 16 at The Retreat Hotel features three brilliant acts. Spending six homeless months in Asia can give a man a lot to think about. American songwriter Brett Newski created the LP In Between Exits, a road album written and recorded from Bangkok to Hong Kong to the Philippines and everywhere in between. Makeshift studios in couch-surfer apartments and budget hotels made it possible, capturing the liberating highs and loneliest lows of solo wanderlusting. Catch Bret when he plays in the beer garden this from 6pm, following Jack Carty who plays at 4pm. The night will be closed by Benny Walker & Band, offering their effortless blend of soul, blues, and acoustic folk, Walker’s intimate, eloquent song-writing and rich soulful voice. Free entry.

- SARAH PHELAN (DRILL FOLLY) VS MATTHEW BROWN -

CATFISH VOODOO Catfish Voodoo play jumpin’ blues, in the tradition of the great Chicago players such as Muddy Waters, John Lee Hooker and Little Walter. It’s blues to soundtrack a car- chase and assist in keeping the authorities at bay. You might say it’s the blues of those on a mission from God. Or not, perhaps it’s just a killer way to spend Saturday nights. If you like your blues charged and your bars dark and conducive to low down boogie, get down to the Drunken Poet this Saturday December 15 at 9pm and let Catfish Voodoo do the talking.

DAVE LARKIN BAND Head along and join the mighty Dave Larkin Band with very special guests Little Desert to see out 2012 in true rock'n’roll style at Yah Yahs on Friday December 14. After a brief stint with Aussie FM giants The Living End the night before, the boys return for one last show at rock’n’roll barn, Yah Yah’s, for the year before knuckling down for work on their new album due out sometime soon.

Also playing is Little Desert featuring Roman from Rocket Science on keys, amazing vocalist Esther Rivers and Mick Beard. Their swirling psychedelic attack stems from a time when women danced free and uninhibited, and when art and music were a hedonistic ritual. Born from the call of the mountains, the dusty plains and the dark organist’s lair, Little Desert is a force of the wild.

Doors 5pm, bands start at 9pm, free entry.

Sarah questions Matthew:

Matthew questions Sarah:

What is one of your earliest musical memories?

Being seven-years-old and having a group of friends sitting in a field all in a row and making them cycle through sounds that I designated each of them to make.

What do you think of this latest resurgence in electronic music?

At the end of the day it doesn’t matter how a piece was created, by whom or the delivery format, it’s what happens to the listener’s brain between those headphones or PA the moment the music hits their ears. A connection has to be made.

Do you have any upcoming releases planned?

I have a number of 12 inches coming out here and overseas in the next few months.

Was there any particular musician you saw playing with machines that inspired you to take up that instrumentation?

No. I think it was film music more than pop music. The way I initially imagined this sort of music being made was so far from the truth, so futuristic and abstract.

There has been a rise in the solo producerperformer. Do you think this is to do with a fading romanticism with the band format, or is it a response to changes in technology and economic sustainability?

Technology and economics are always shaping factors with music per se but fashion is the main influence when it comes to the public’s demands.

Where do you stand in the analogue versus digital debate?

I think it’s irrelevant. It’s the interface that is important. If you put the time into any instrument you will discover its voice and find a place for it.

What is one of the vital things about media in general?

That you the consumer must become the collaborator, whether that be by dancing or singing or having it motivate you to do something you wouldn’t normally do. To be a spectator is a terrible sin.

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What is it like playing solo in comparison to playing in your band?

They are two completely different creative outlets.

Within Tantrums I am an organ in a larger body and we all have to play our part to make the larger organism function. I do enjoy the creative freedom of being able to make something completely by myself, getting in the zone and chipping away undisturbed, then looking back at what I’ve done and thinking, 'Jeez, I don’t know where that came from but it sounds like me.'

What are your plans for the next 12 months?

Write more solo electronic music as Drill Folly.

Release it. Play more shows. Curate follow-up Binary Solo events.

A portrait of the artist as a consumer: What are you listening to?

At the moment I’m really into lo-fi, off-beat electronic music coming out of the UK. Patten and Nathan Fake are on high rotation along with my staple diet of Warp records artists.

MATTHEW BROWN and DRILL FOLLY play Binary Solo #1 – A Festival Of Electronic Music at The Evelyn Hotel on Saturday December 15 with Document Swell, The Townhouses, Miles Brown, Justin Fuller, Ckd and many more.

THE EVELYN CHRISTMAS FUNKTION

MOOSEJAW RIFLE CLUB Moosejaw Rifle Club are a three-piece folk/ country/bluegrass band from Melbourne. Layered three-part harmonies over mandolin, guitcho and guitar has their vast and stylish sound crammed into a nutshell. Their original song-smithery melds effortlessly with their more traditional influences appealing to a diverse audience of music lovers.

The band have been honing their chops for a few years now and look forward to hitting the stage at The Retreat Hotel on Wednesdays in December.

Are you sick of boring Christmas functions? Have you had enough of stale work Christmas parties and extended family catch ups? Well you are in luck because on Friday December 14 at The Evelyn, That Gold Street Sound are putting the funk back into 'funktion'. Santa's got a brand new bag and it's full of funky goodness that’ll have you tapping your mistletoe, sleighing up the dance floor and getting down like St. Nick down a chimney. Sharing the stage will be two of Melbourne's finest funk bands and one of Sydney's funkiest. The Seven Ups, The Charlies, BrotherFunk. Don't miss it, it's going to be a Christmas cracker. No Grinches allowed.

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DRUNK MUMS Get down to The Reverence Hotel on Thursday December 13 for a tag team of alco-fuelled rock'n'roll with Nutsack, Drunk Mums and Rayon Moon. After making the move to Melbourne from Cairns the Drunk Mums have been running amok all over town.

Show starts at 8pm and costs $5.

SABRINA & THE RED VANS Yep, it’s another elfing Christmas show with a mix of Chanukah! Come celebrate the holiday season with only a few sleeps 'til Christmas and the last night of Chanukah on Sunday December 16 at The Spotted Mallard. Santa may even come if you’ve been good.

Playing will be Sabrina & The Red Vans, Little Wise, Damon Smith And The Quality Lightweights and some very special guests. From 6.30pm, entry is $8 on the door.

THE DEATH RATTLES The Death Rattles herald in the summer with a Sunday Residency at The Old Bar this December. A bittersweet soup brewed from a love of the delta blues and swamp stomp, lurking somewhere on the road to nowhere are haunted guitars, train tracking drums and bass, and crooning vocals. A ticket to the summer heat wave, this will be their last performances before the release of their debut album in 2013. The Death Rattles invite you to dress to the nines, or sixes and sevens and join them for a Sunday soiree under the blue lights 'til dawn. Old Bar beer-soaked Sundays from 8pm.

CLAIRY BROWN VS SASKWATCH

FALLOE Falloe’s performance takes you into the hearts and minds of lovers, dreamers, drunkards, demons and everyday nobodies and no hopers.

Their song writing is hinged by friends who clearly have a love of creating music together. Fusing folk, roots, blues and rock with both emotive and spirited results, Falloe construct music that encourages the audience to drink, dance, cry, shimmer or smile – and quite often, all of the above. To witness this rollercoaster of emotions get down to Richmond’s Great Britain Hotel on Thursday December 13 for two whopping sets.

8.30pm, free entry.

Melbourne’s two soul big band contenders come together for one smasher of a party at The Hi-Fi on Saturday December 29. It's been a big year for both bands and they intend to celebrate with each other, your mother and all their friends in their hometown to ring out 2012 with a bang. This long awaited double headline will also be the launch of a limited edition split 7" as part of the ticket with a track from each band and Clairy Browne’s new song Walk Of Shame delivered to their inbox on New Years Day as a free gift for friends. This one-off event will come with all the trimmings you've come to expect from this lot, so get dressed up to get messed up, don't complain when your pint glass gets filled to the brim with confetti and prepare to get metaphysical with Clairy Browne & The Bangin' Rackettes, Saskwatch, DJs, dancers and sweet soul music.

MIKE NOGA & BEN SALTER Mike Noga and Ben Salter, two friends who happen to be members of two of Australia's most acclaimed bands, The Drones and The Gin Club, and who also happen to have two of 2011's most critically lauded solo albums under their respective belts in The Balladeer Hunter (Noga) and The Cat (Salter) have decided to join forces for the first time in a co-headline tour. Taking inspiration from '70s cult comedy heroes Derek And Clive, Salter and Noga promise a night of side splitters, heartbreakers, belly achers, tear jerkers, foot tappers, knee slappers, head hangers and hip shakers. There'll be talking. There'll be songs. There'll be love in the air. And let's face it, there'll be drinking. Playing songs from their respective band and solo careers, as well as some of their favourite covers, the duo will help each other out on stage in what promises to be one fun night on the tiles. Don't miss out. Friday December 14 at The Old Bar.

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Beat Magazine Page 63

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NYE AT THE REV After a mere six months since the Reverence Hotel started operating, the time has come to celebrate the first New Year's Eve shindig at Melbourne's best new pub. For this very special occasion they have put together a lineup full of both old and new favourites. Blueline Medic and The Smith Street Band are teaming up to ring in the new year alongside The Bennies and Initials. The night will feature guest DJs in the front bar all night and stacks of Mexican cuisine to snack on. The night will also be fancy dress. So get your thinking caps on and get dressed up. Tickets are on sale now from the venue website.

JUDE PERL

JUNGAL Just back from their Canadian tour, Jungal will be bringing a mixed bag of roots, rock, folk and pop to The Retreat Hotel this Thursday December 13 alongside Aurora Jane. Dishing up a musical feast through an energetic, rocking live performance, the Jungal sisterhood are renowned for giving punters their all, delivering punchy melodies, powerful grooves and some genuine girl power.

Jungal hit the stage at 9pm followed by Aurora Jane at 10pm. Free entry.

WINTERCOATS & ALBERT SALT A master of ethereal delicacies, Melbourne’s Wintercoats aka James Wallace combines his chameleonic compositional talents and profound arrangement dexterity to create aural artworks of fragility and grandeur. His debut self released EP Cathedral adventured through sweeping and idyllic vocal harmonies underpinned by brash and heavily reverbed string loops. Joining him, fresh, exciting and dynamic Albert Salt is fast emerging as one of the most promising young musicians in the country. Melding jazz, alt-rock and electro/acoustic influences with pop sensibilities, Salt has already enjoyed generous airplay on triple j and a continuing residency at Melbourne’s The Toff In Town wowing audiences with his breathtaking performances.

Catch both these guys at Chapel Off Chapel, Friday December 14 and Saturday December 15 from 8pm.

Tickets available through chapeloffchapel.com.au.

THE NEXT TO NOTHING AESTHETIC The Next To Nothing Aesthetic is a new Melbourne based indie-soul ensemble, although any labelling of the band’s style is pointless as they have a tendency to blur the lines between musical genres. The two core members Freddie Hemara and Don Nadi (from the now legendary Melbourne club bands Patois and Cat) come from an elite group of Melbourne musicians that have no real interest in resting on the laurels of their past successes. But what they definitely do share is a common desire to push new musical boundaries. They play a Sunday residency at Fog from 4pm.

OFF THE HIP RECORDS BENEFIT PARTY

Singer, songwriter and pianist Jude Perl is fast becoming a name synonymous with the word "wow". Her infectious blend of catchy pop sensibilities and funk-driven soul combined with mouth watering vocals sends her audience into a retro-flavoured spin. Her debut EP 3am features the single Girls & Boys which is currently at #4 on the triple j Unearthed pop chart. Appearing on the EP are Tony Floyd (Things of Stone and Wood, The Black Sorrows) and emerging talent’s Timur Togacay and Jeremy Badcock. Aaron Silver (Francolin) and Will Morrissey from the uber-cool Saskwatch also make a special guest appearance. Perl launchers her EP Launch, along with Tommy Rando and Dru Chen tonight at the Northcote Social Club. Doors 7.30pm.

LEECHES Leeches are regulars on the Perth thrash-punk scene and are touring Melbourne for the release of their debut 7" vinyl ROTT (with artwork from the legendary Ray Ahn of Hard-ons and Nunchukka Superfly). They play short and fast songs inspired by early punk and '80s skate punk like Bad Religion and Minor Threat among others.

Check them out at the following shows as part of their Melbourne tour: The Public Bar on Friday December 14 with Firearms and Street Fangs; The Gasometer Hotel on Saturday December 15 with Damn The Torpedoes, Bad Vision and Spermaids; and The Tote on Sunday December 16 with Sons Of Lee Marvin, La Bastard, Harvest Smoke and more.

THE MANGLES For one special night only, male Bangles tribute group, The Mangles will be bringing their 24 minutes of classic Bangles anthems to Yah Yah’s. It's The Mangles, playing all your favourite Bangles songs 100% perfect every time. Eternal Flame, Hazy Shade Of Winter, Walk Like An Egyptian, these are but three of the seven songs you'll hear on the night. Guy And Marcus Blackman Experimentation is Guy Blackman and Marcus Rechsteiner, experimenting. Also playing is Barbecue and Gold Coast (that's Jim BBQ and Jonny Goldcoast, both of Amazing Phillips Sisters and Electric Smile Band – should be interesting) and Divide And Dissolve.

Tonight. Yah Yah’s is not usually open on Wednesdays, so this is a special occasion. Doors 8.30pm, tickets $5 on the door.

MO SESTO After a sell out gig in August this year, with the release of her first solo EP, Mo Sesto is back at The Paris Cat Thursday December 13. Taking pleasure in performing jazz standards and her own songs, Mo’s unique blend of jazz and alternative pop will be on full display.

Accompanied by some of Melbourne and Australia’s best up-and-coming jazz musicians: Adrian Montagnese, Ben Teniswood, Jessica Carlton, Joshua Kelly plus established jazz musician Jon Chidgey; you’ll be hard pressed to find a better way to kick off summer. The show starts at 8pm and you can book your tickets online at pariscat.com.au or purchase at the door for $15.

Adelaide-based act The Scarlet Ives are launching their debut album Dreamer Gypsy Nightmare Pixie at The Old Bar in Melbourne with The Magic Bones and Wiley Red Fox. The album has a diverse and eclectic rock sound with post-rock, indie-rock, dream-pop and shoegaze elements all interwoven together into one fluid piece. Over the years the band has become a mainstay of the Adelaide indie-rock circuit with a polished live rep, known especially for a sweeping atmospheric sound. They’ve supported bands like Big Scary, The Panda Band, Tiger Choir, Winter People and the East Brunswick All Girls Choir, toured Melbourne and headlined shows all around Adelaide. They play Thursday December 14 at The Old Bar.

RED X

Amp'd is the newest rock night in the CBD. It's opening on Saturday December 15 with the very gutsy Heaven The Axe, supported by Bugdust and 180 Proof. This night will certainly blast your head off with these awesome Local Melbourne acts. Amp'd will be spinning all the good tunes and supporting local live acts. Saturdays at The Exchange Hotel, 120 King Street, Melbourne.

9pm 'til late, $15 entry. For more information, check the website at ampdnightclub.net.au.

Beat Magazine Page 64

As one of the first ever "garage" rock bands, The Pretty Things raw sound influenced everyone from likes of Iggy Pop to Nirvana and The Ramones. Psychedelic, leering and completely untamed, their music is backed by pure energy. As a band that make The Rolling Stones look tame, their live shows this December will be nothing short of a brilliant, loud, hot mess. Catch The Pretty Things playing at The Caravan Club on Thursday December 13 and Friday December 14.

LOUNGE Lounge go loud and live with garage-rock bands and DJs on Thursday nights. Northside fashionistas and musos rejoice. Think The Dom NYC circa 1967. Head down and drink cheap booze and get your sweat on to the grit of garage-punk-DIY bands. Free entry. From 10pm at Lounge.

SONS OF LEE MARVIN Melbourne's garage and gonzo elders Sons Of Lee Marvin have just released their third album Cutthroats & Conjurers with some fairly fucked up and loose launch shows that resulted in broken bones and busted instruments. Having recovered slightly, they'll be

Craig Westwood (ex-Headbelly Buzzard, among other bands) brings his weekly ol’ timey music jam session across from The Lomond Hotel, its home for the past five years. BYO instrument or just hang out and enjoy the music in the beer garden. Every Saturday afternoon at The Vic Hotel from 4.30pm.

THE PERFECTIONS Emerging from Melbourne’s thriving soul scene are the unmistakable sounds of six piece garage/soul outfit, The Perfections. Pinned as a rock'n’roll band playing soul music, their live shows are notoriously loose, with less polish and more grit, The Perfections create a raw energy on stage, fronted by the fiery vocals of lead singer Christina Arnold and backed by a wild and punchy horn and rhythm section. Having warmed up crowds in venues all across Melbourne and supporting the likes of Deep Street Soul, Transatlantics and King Salami and the Cumberland 3, The Perfections are proud to announce the release of their debut self-titled 10” EP. It is ready to launch at The Grace Darling on Saturday December 15 for what will be a raucous co-headliner party with Major Tom And The Atoms, The Charlies and The 7ups.

COLLISION AT THE CORNER

After more than a year break, Josh Owen Band return to the front bar of the world famous Espy for four beautiful summer Monday nights by the bay. Honed in the musical melting pot of Melbourne’s Brunswick Street, Josh’s modern day spin on spiritual soul, a melange of funk, jazz, soul and reggae creates a smooth and sensual urban soundscape that stretches the bounds of roots music. Catch Josh Owen Band every Monday in December in the Espy Front Bar.

Collision At The Corner features ten of Melbourne's best live rock acts sweating it out across The Corner Hotel's two stages. Catch Barbarion, King Of The North, Ten Thousand, Bugdust, Empra, The Deep End, The Charge, Riot In Toytown, Voodoocain and Thick Line Thin Line on Saturday January 12, all for a mere $20+BF. Tickets on sale now via cornerhotel.com. Check out facebook.com/CollisionAtTheCorner for all the details.

THE PRIMARY With their unique brand of dreamy gritty noise-rock, The Primary take up residence in their spiritual home of The Evelyn Hotel every Wednesday in December.

Prone to viewing life in monochrome, The Primary are sharing stage space with three super bands each night plus a DJ to fill your silence with music. Entry is $2 and for one month only there will be $12 jugs on the bandroom side. Cheap booze and a tantalising array of bands and the possibility of more cats.

ABBIE CARDWELL CHICANO ROCKERS

&

THE

Hold onto your maracas, gringas and gringos – Melbourne’s most intoxicating live Mexican rock’n’roll act, Abbie Cardwell and the Chicano Rockers are set to spark this Christmas season into a full-blown piñata party. The Chicano Rockers are a ten-piece tequilasoaked party starter, dressed to the nines in authentic mariachi suits that guarantee to get your cans shaking and whistles wet with ecstatic margarita infused madness. Tuesdays at The Toff In Town will be where the Mexican Christmas vibes emanate from as vintage Mexican hip-shaking DJ'ing spins and Abbie Cardwell And The Chicano Rockers (plus surprise special guests each week) rock your inner-city world.

SKYWAYS ARE HIGHWAYS Punk drenched '60s inspired sunshine pop band Skyways Are Highways headline their first hometown show.

Stemming from the coastal region of Byron Bay, and with an upbringing surrounded by the sounds of The Beach Boys and The Get Up Kids, Skyways Are Highways’ sound combines a flood of sunshine pop upon thick bass lines, twisting an optimistic energy and bright drive around a somber story. Friday December 14 will see Skyways Are Highways headline The Noise Bar, to celebrate Western Australian indie hero’s Mezzanine’s EP launch. Supported

by Columbia Buffet and The Sunsleepers.

THE VANDAS Two EPs, one LP (yes, there should have been more by now), two Big Day Outs, and countless shows with the likes of Elvis Costello, The Beasts Of Bourbon and You Am I and all of a sudden they're about to turn ten! To celebrate, The Vandas are playing a rare live show – their first in nearly two years – at Melbourne's newest live venue, The Spotted Mallard in Brunswick. Special birthday guests are The Gung Hoes (feat. Tim Rogers and Davey Lane) and newcomers Cold Irons Bound. Tickets are only from the venue on the night so make sure you get down for doors at 8.30pm on Friday December 14, $12 entry.

Q&A HEAR IN JUNE What makes a good musician?

Someone willing to take risks, try something different.

How do you balance making and playing music with your other commitments?

What other commitments?. Or general sleep deprivation.

Do you have a pre-gig ritual?

One round of shots.

Genre: Alternative/rock/funk.

What do you reckon people will say you sound like?

Red Hot Chili Peppers.

What do you love about making music?

Just taking a break from the regular routine.

What do you hate about the music industry?

Most pop.

AMP'D

OL’ TIMEY WEEKLY BLUEGRASS SESSIONS

JOSH OWEN BAND

THE SCARLET IVES

Local label Off The Hip records is throwing a benefit party Saturday December 15 at The Old Bar to help get Norton back above water. Featuring live sets from Midnight Woolf, Mesa Cosa, The Reprobettes and Wrong Turn, plus DJs Wet Wax, Packed Jetty and Atlantis spinning Norton records all night. New York record label Norton Records lost its warehouse to floods following hurricane Sandy. Most of the entire catalogue was destroyed. Norton Records is home to many artists, including Link Wray, The Sonics, The Real Kids, Hasil Adkins, Esquerita, A-Bones (featuring Billy and Miriam – the founders of Norton Records), Untamed Youth, The Flamin’ Groovies, The Dictators, Andre Williams, Nathaniel Mayer, Roky Erickson and literally hundreds more. Just $10 on the door and all proceeds go to saving the mighty Norton Records.

Red X are the new, bigger, better version of the fabulous Joe Kings from Perth, now Melbourne locals. They’re playing a December residency at Cherry Bar. Catch them play two sets from 9pm this Tuesday December 18. Doors open 6pm to 3am. Free.

THE PRETTY THINGS

If you could assassinate one person or band from popular music, who would it be and why?

One Direction. Everyone knows why.

When and why did you start making music?

Around the age of 16. I wanted to do more than just listen to music.

WATCH INTERVIEWS, CHATS & AWKWARD SILENCES... BEAT.COM.AU/TV

What's your favourite song and why?

Pearl Jam's Alive, because it's just one beast of a song. Or This Velvet Glove by the Chili Peppers, the instruments just work together, obviously.

What makes you unhappiest about what you are doing?

The singer's late, again.

HEAR IN JUNE play the Barley Corn Hotel this Friday December 14.

STRANGERS

MUSIC NEWS

Cherry Bar are throwing their Best Of 2012 Series continuing tonight with SheriďŹ&#x20AC; and Strangers, who have the toughest sound out of Sydney this year. Free entry, Cherry DJ 'til 3am.

YOUR COMPREHENSIVE LOCAL GUIDE

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MINIBIKES

ROCK THE BAY

Melbourne pop quintet Minibikes have had a busy year so need some Chrisymas cheer and they've decided to do just that by throwing a wee party at the Workers Club in Fitzroy on Friday December 21. With singles Kill To Feel and Oh Japan getting a nice old ďŹ&#x201A;ogging over the airwaves, Minibikes prepare to release a third radio single oďŹ&#x20AC; their terriďŹ c debut LP For Woods Or Trail, this time the greatly named Ooo Woo Hoo Hoo. Guests at the Workers Club on Friday include the wonderful Pony Face and the fabulous Heavy Beach who have just released an EP of their own.

On Saturday February 16, Rock The Bay Festival at The Espy will celebrate its ďŹ fth year with a lineup that's shaping up to be the biggest and best yet. Australia's much loved and hairiest band, The Beards, will headline the festival along with local heroes Electric Mary, Sydney's Sleepmakeswaves, Bellusira, Tim McMillan Band (returning from Germany), Engine Three Seven, King Of The North, The Khyber Belt, Sleep Parade, Breaking Orbit (NSW), New Skinn, Moroccan Kings, Manatarms (Chile), One, Sons Of Abraham and heaps more!

Tickets just $29+BF and go on sale now through OzTix, The Espy, Fist 2 Face, Polyester Records, Greville records, Karova Lounge (Ballarat) and The Nash (Geelong). Head to rockthebayfestival.com for the full lineup.

CASH SAVAGE & THE LAST DRINKS Santa Claus has been busy making a list (and checking it twice) of the naughtiest bands from this year, so youâ&#x20AC;&#x2122;d better watch out, cause itâ&#x20AC;&#x2122;s your shout and theyâ&#x20AC;&#x2122;re all coming to town. Featuring Cash Savage And The Last Drinks, Cherrywood, Heel Toe Express and Eaten By Dogs its gonna be a toe tapping, whiskey swillinâ&#x20AC;&#x2122; Christmas party for all you naughty girls and boys out there. Saturday December 22 at the brand new Spotted Mallard in Brunswick.

PALM SPRINGS For the ďŹ rst three sweaty Wednesdays nights in December the Tote welcomes Palm Springs. This new endeavour is a collaboration between Erica Dunn (Harmony) and Raquel Solier (Fatti Frances) and takes inspiration from minimal blues/folk in the vein of Jessie Mae Hemphill, Karen Dalton and Scout Niblett. The project is a celebration of all things solitary, deserted and waiting for revival; ghostly suburbs, decayed estates and empty tables. Stories told of bummed afternoons, sold cars and lost loves are set upon backdrop of minimal ďŹ nger picking, erratic chords and tough, tempered drums. Support come from Big Tobacco and Sarah Mary Chadwick. 6 clams at the door from 8pm, tonight.

JANE DUST AND THE GIANT HOOPOES Jane Dust and the Giant Hoopoes join Ally Oop and the Hoopsters at Yah Yah's for the Spazzys' launch after party on Sunday December 16 at 8pm. Head on over to Yah Yah's after the Spazzys' launch at the Evelyn Hotel to hear the best oďŹ&#x20AC; the hip from the hop of Ally and the best of space from the pop of Janey.

High-heel sneakers, asteroid collisions and basketball references aplenty.

KINGSWOOD Kingswood launch their new single She's My Baby with The Living End at The Corner Hotel on Sunday December 16. They kicked arse in triple J Unearthedâ&#x20AC;&#x2122;s Splendour In The Grass competition and got down and dirty in the ďŹ elds of Byron Bay alongside Jack White, Bloc Party, The Smashing Pumpkins and At The Drive In. First they gave you the thunderous rock track Yeah Go Die and the penetrating, seductive aural earthquake that is Medusa. Now, Melbourneâ&#x20AC;&#x2122;s indie rock four-piece Kingswood are launching their new single Sheâ&#x20AC;&#x2122;s My Baby with a super-wild B-Side titled Wolf.

They also play Cherry Bar on Friday December 21.

THESE WILD ANIMALS Rocking three-piece hillbilly twangsters Cold Heart are based on an old school stripped back country rockabilly outďŹ t. If you're thinking vintage Johnny Cash, Wayne Hancock, Faron Young, Johnny Horton and Hank Williams youâ&#x20AC;&#x2122;ll be right at home. With Cold Heart youâ&#x20AC;&#x2122;ll get a dose of rockabilly, country and original songs all played in the correct style. All the members of Cold Heart are stalwarts of the inner city country and Melbourne roots music scene and play regular gigs around town when not on the job with Cold Heart.

So sit back grab a beer, but donâ&#x20AC;&#x2122;t cry into it, or get up and dance â&#x20AC;&#x201C; the choice is yours. Catch Cold Heart in The Retreat Hotel front bar this Saturday December 15 from 7.30pm. Theyâ&#x20AC;&#x2122;ll be followed by the ďŹ ve-piece alternative hard rock outďŹ t Rainbow Massacre at 10pm, who create a combination of electrically-charged power-grooves laced with tantalizing psychedelia marked by introspectively honest lyrics. Triple J Unearthed favourites These Wild Animals ďŹ nish the proceedings from 11pm, bringing their dark and understated soundscapes and raw outbursts of heavy aggression to The Retreat. Free entry.

HOWL AT THE MOON Itâ&#x20AC;&#x2122;s been an epic 2012 for Howl At The Moon, releasing their debut album, playing lots of amazing shows, meeting a lot of awesome new people and touring with Mark Lanegan Band. Go help the guys see the year out with a bang at The Spotted Mallard this Saturday December 15. There'll be a few giveaways of their back catalogue and merch. Theyâ&#x20AC;&#x2122;ll be joined by some of the friends theyâ&#x20AC;&#x2122;ve made this year on a few trips to Adelaide, Carla Lippis and The Martial Hearts. 8pm, $10 entry.

Since the beginning, the idea behind Boomgates was to get a group of friends together and jam. Like a potluck dinner or a ďŹ ve-course meal each member brings something diďŹ&#x20AC;erent to the table. Itâ&#x20AC;&#x2122;s a tasty blend of calm and smooth with a rough and rocking undercurrent. Over the years theyâ&#x20AC;&#x2122;ve honed this idea into something quite delicious. Theyâ&#x20AC;&#x2122;ve released a string of 7" singles and have just put out their debut LP Double Natural to critical acclaim. They also just slayed it at Meredith on the weekend. They play at The Evelyn for a rooftop show with Superstar on Saturday December 15 from 2pm.

CUB SCOUTS

CATCALL

Brisbaneâ&#x20AC;&#x2122;s Cub Scouts are hitting the road to round out 2012, celebrating the release of their debut EP Told You So. Featuring singles Evie, the Queensland Music Awards Song of the Year, Do You Hear and the latest triple j favourite Told You So, the EP is a reďŹ&#x201A;ection of a band stepping into the spotlight, having spent nearly twelve months on the road, supporting the likes of Loon Lake, Ball Park Music and Pluto Jonze, building anticipation for their debut.

The bandâ&#x20AC;&#x2122;s headline show hits Melbourne at The ToďŹ&#x20AC; In Town on Saturday December 15 featuring special guest Phebe Starr. Tickets $10+bf from Moshtix, or $15 on the door. Doors 8pm.

Recently returned from her European sojourn, Catcall â&#x20AC;&#x201C; Sydneyâ&#x20AC;&#x2122;s most organic pop star â&#x20AC;&#x201C; is back and ready to hit the stage once more before the years end to celebrate the release of the vinyl release of her debut album The Warmest Place.

Producing the singles Swimming Pool, Satellites and The World Is Ours, the album was loved by critics and pop fans the world over, with Satellites even spending a number of weeks at the top spot of Brazilâ&#x20AC;&#x2122;s Antenna Music Chart. Catcall launches The Warmest Place vinyl at The ToďŹ&#x20AC; on Thursday December 13 with special guests Forces, Special Awards DJs and more. Doors at 7.30pm.

Q&A ESTHER HOLT

THE SPAZZYS The Spazzys are back. Formed in Melbourne in 2000 by sisters Kat and Lucy and their friend Ally, the band hasn't released an album in Australia since 2004, the Top 40 Aloha. In the interim, they've still played many shows around Australia since, dabbled in side projects and even acquired a law degree here and there, but ďŹ nally â&#x20AC;&#x201C; ďŹ nally â&#x20AC;&#x201C; we see the long-delayed release of their second album, Dumb Is Forever.

Theyâ&#x20AC;&#x2122;re playing the Northcote Social Club on Friday December 14 plus throwing a rooftop album launch at The Evelyn on Sunday December 16 with The Hierophants, Dusty Springclean and The Pops. 3pm.

MAGIC MOUNTAIN BAND Come celebrate the start of summer in style with two of Melbourne's very best instrumental bands.

Thatâ&#x20AC;&#x2122;s right, surfâ&#x20AC;&#x2122;s up, so grab a board and ride The Bluebottles guitar twanginâ&#x20AC;&#x2122;, tub thumpinâ&#x20AC;&#x2122;, booty shakinâ&#x20AC;&#x2122; wave of classic rock'n'roll all the way to shore. If thatâ&#x20AC;&#x2122;s not enough Magic Mountain Band will grab you by the scruďŹ&#x20AC; of the ear and lead you to a whole other world of supernatural experience.

From hypnotic, tribal rhythms to luminous, ambient landscapes and back again. Don't miss out. $10 on The ToďŹ&#x20AC; door tonight.

Define your genre in five words or less: Folk infused country pop-rock.

What do you love about making music?

The therapeutic nature of it: I ďŹ nd there is no need for a shrink when you can write a song, which is ultimately more rewarding and remarkably cheaper.

What do you hate about the music industry?

The egos involved. But then again, I suppose egos are a part of life and any industry really.

What can a punter expect from your live show?

Energy, honesty and sexy band members.

Whenâ&#x20AC;&#x2122;s the gig and with who?

The gig is Saturday December 15 at Ding Dong Lounge, Melbourne CBD. Supports by Tessa And The Typecast fronted by the lovely and very talented Tessa Pavlich, and Wishful which features the two lovely daughters of Paul Kelly, Maddy and Memphis Kelly. It will be an estrogen-fuelled night (in all the good ways)!

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Whatâ&#x20AC;&#x2122;ve you got to sell CD-wise?

Nothing, until the December 15 when my EP is out.

You can buy my single Countless Verse from iTunes or bandcamp before then.

What do you think a band has to do these days to succeed?

DeďŹ ne success. I guess if I knew the answer to this question, Iâ&#x20AC;&#x2122;d be a lot more successful than I am now.

If you could go on tour with any musician or band, who would it be?

Such a hard choice. I would say Feist, I love her new album Metals, but Sarah Blasko is also very much up there, alongside Paul Kelly. Too hard to choose, all are remarkable in their own way.

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NEW YEARS EVE /,9( '-¡6 35( 6$/(6 21 7+( '225 $// '5,1.6 ,1&/86,9( &$// -(66( Beat Magazine Page 65

MUSIC NEWS

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LOTEK Lotek will be performing newly written tracks from his forthcoming project as well as all the favourites from his last album International Rudeboy. As ever he will be backed by his band The Rebel HiFi including horn section and live dubs. At this show, Lotek will be joined by guests Florelie Escano and Kryptamistik. After years of lending her voice supporting international and local artists, performing at major festivals such as Glastonbury and Falls, Manilla-born Melbourne soul singer and songwriter Florelei Escano is now venturing out on her own. Inspired by Aretha Franklin, Stevie Wonder & James Brown, Florelie's voice and songwriting abilities absolutely delivers. Don’t miss the first of two weeks with Lotek and his friends. Catch them this Friday December 14 at Bar Open. Doors 10pm, free entry.

MELODY MOON

KING CANNONS King Cannons have two hometowns. The six-piece rock’n’rollers started their life as a band in Auckland before making the jump over the Tasman to base themselves in Melbourne town. Both cities have made huge contributions to what has shaped King Cannons and the band have decided to choose the start of each summer for annual celebrations. They released their critically acclaimed debut album The Brightest Light in mid-2012 in Australia, New Zealand, Germany, Holland, Austria and Switzerland. They’ve played shows in all of those countries including Big Day Out and support slots with The Living End and Shihad. King Cannons are not a band that you can expect to fit into the traditional two year release, tour, release cycles.

Only months since the release of their debut, they’re already in the studio tracking new tunes because they are the best songs that they’ve ever written. Both summer stomps see King Cannons choosing their favourite new bands as support and they will be playing extra long sets including a catalogue of tunes old and new. Friday December 14, The Tote, 9pm.

THE SHADES The Shades were conceived in the creative breeding ground of Walter Jeffermenko's Steiner Primary School class. Piecing together the thick organ sounds of the enlightened despot and the genius of the caveman, the band played its first decent show in 2003 at St. Kilda's Esplanade Hotel. The heavily '70s influenced tunes were recorded the following year on Sole Believer, The Shades' first compact disc. The following years brought the band some great gigs and the sound matured as three of the shades finally went through the last stages of puberty. The Shades disbanded shortly after releasing their second piece of work entitled Simplicity and haven’t been sighted on the touring circuit since. Nearly five years on, a truly momentous occasion awaits. A night simply not to be missed, The Shades are reuniting and will put on special comeback show on Monday December 17 at The Toff In Town. All you sole believers out there, get ready for the gig of your live – The Shades are back. Tickets $15+bf from Moshtix, $10 on the door. Doors at 7.30pm.

Melody Moon will be launching her debut video clip on Saturday December 15 at The Wesley Anne, Northcote. It’s been a successful year for this rising indie-songstress, whose song Carried Away hit number nine on the Amrap AirIt Great Southern Charts when first released in June. The clip was directed by Fabian Lapham and shot on the red

by Matt Wood at various locations down the Great Ocean Road, Point Lonsdale and Footscray. The night will be hosted by comedian and actor Matt Burton and will feature performances by the band, the director, the actors, local musicians and a secretlyformed dance troupe. Come dressed in your best and be the first to view this exciting new clip. Doors 8pm. $7 entry.

SHADOW LEAGUE This Saturday December 15, head down to The Bendigo Hotel for another pre-Xmas drink/sing-along. Shadow league will be playing their great brand of folk punk, along with fellow punks The Posers, Bombing Angels and The Vouchers. Head down and have a dance and a sing-a-long and drink long into the night.

CARLA LIPPIS Carla Lippis brings her country noir troupe The Martial Hearts to The Spotted Mallard on Saturday December 15 with Howl At The Moon and Second Hand Heart. Music starts at 9pm, entry is $10. They then play The Vic Hotel on Friday December 14 with Cookie Baker and Miles and Simone.

LAMARAMA Lamarama is a seven-piece collective that has been described as a psychedelic groove rock folktronica auralgasm, with flute. With having just released their debut EP – ETC – Lamarama are tearing up fat grooves and soaring flute solos all over Melbourne including a gig at The B.East this Friday December 14.

QUINCE Melbourne garage rock’n’roll band Quince are set to take on The Tote Saturdays in December. The front bar of the iconic venue will feature the suburban boys every Saturday afternoon, plus a very special guest support. Quince lead singer Braydan Pettigrove says “I can’t wait to take my pants off and piss on the pool table.” Rad. Free entry from 5pm to 7pm in the front bar.

NEON AND VENOM You'd have to be a bloody fool to stay away from The Tote this Saturday December 15. A free barbie and four solid Melbourne rock outfits for five bucks is a steal. Steve Lucas' grimy Neon And Venom will be tearing The Tote a new one with help from Dozers, fresh from a stint in the US, as well as Jackals, who are back and ready to melt your face off after a brief hiatus. Human Grooming will kick of the evening around 8.30pm with some obnoxious punk tunes and some master shreddery. $5 on the door, 8pm, with a free BBQ from 7.30pm. Go have a snag.

PUGSLEY BUZZARD Steeped in the sounds of that great city of New Orleans, Pugsley Buzzard’s unique brand of piano-driven boogie has been causing feet to develop their own consciousness across both this country, and the world. Known to make ladies sigh, and grown men cry, Pugsley boogifies dance floors leaving a slew of drop-jawed, sweated up punters in his wake. It would have to be evil if it weren’t so damn good.

Catch Pugsley Buzzard and his dangerous boogie at The Drunken Poet from 4pm this Sunday December 16, with Jeb Cardwell continuing the party at 6.30pm.

THE ROMEO KNIGHTS Before embarking on the psychomaniac frenzied frantic wild goose chase, ring in the hot nights and barbecues at Mecca of live music, The Tote, on Thursday December 13.

The Romeo Nights will be road testing new tunes before they hit the studio next year to record the follow up to their 2011 self titled debut EP. The rambunctious Volytion, Kids In Cults and Cotton Sidewalk will be sure deliver more demonated donkey punch than the fat man can poke his dirty red sack at. $8 on the door, doors at 8pm.

60 SECONDS WITH… JED CARDWELL

Define your genre in five words or less: Swampy toe tappin’ groove.

What do you love about making music?

I love that it makes both myself and other people happy.

If you could travel back in time and show one of your musical heroes your stuff, who would it be and why?

I’d travel back to meet Robert Johnson because his music inspired me to want to play the guitar and sing.

What can a punter expect from your live show?

They can expect to be moved emotionally as well as physically.

How long have you been gigging and writing?

For 23 years.

What part of making music excites you the most?

The part when you feel that you’ve just created something that sounds bloody fucking good.

What makes a good musician?

Someone who stays true to themselves and doesn’t try to be anyone else.

How do you stop your pre-gig jitters?

I tell myself that I'm glad that I'm here and that I really know my shit.

JEB CARDWELL plays The Drunken Poet on Sunday December 16.

Beat Magazine Page 66

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MONTRESOR From 7.30pm on Sunday night, let yourself be taken away with a night of musical craziness at The Bendigo Hotel. On Sunday December 16, Snötjek, Montresor, Bear The Mammoth and The Black Galaxy Experience showcase their unique approach to experimental and instrumental music. $5 entry.

THE GRACE DARLING XMAS PARTY Come celebrate the end of a wonderful 2012 Xmas style at The Grace Darling. It's free entry to see Reptiles, Miles Brown and Duck Duck Chop in the band room with the addition of the pop up bar, sporting wallet-healthy drink specials. Head down early as there will be delightful finger foods on offer, DJ Shags in the main bar and just good old hospitality in the form of a super happy hour (free booze).

No wonder they won Time Out's Pub Of The Year.

Thursday December 13, 7pm. Free entry.

THREE QUARTER BEAST Three Quarter Beast mix catchy and amusing vocals with spooky, badass sounding guitar riffs and tribalistic beats that can explode into a punk frenzy with the flick of a switch. After the successful launch of their Unshaven EP, they return to the best venue in town, The Brunny, for their last show before the end of an age. Make sure you are there to see them share the stage with some cool ass bands, Carp, Messed Up and Cheetstreet. This epic night of explosive sounds; kicks off at 9pm, this Saturday December 15 at The Brunswick Hotel. Free entry and cheap drinks.

THE STAX ON SOUL XMAS PARTY Get your groove on at The Stax On Soul Xmas Party as Melbourne’s finest purveyors of soul celebrate the festive season at The Flying Saucer Club on Saturday December 22. The Stax On Soul Revue Band was born out of the much loved and anticipated annual soul fest that has been held at Yah Yah’s. It came about from the mutual love and respect everyone had for the music and artists that have come off the legendary Stax Records label – an iconic name synonymous with southern soul, gospel, funk, jazz and blues. The nights were a huge success as everyone’s aim was to reproduce and give justice to the Stax Records artists such as Otis Redding, Wilson Pickett, Carla and Rufus Thomas, Linda Lyndell, Sam and Dave, Albert King, Johnnie Taylor, Eddie Floyd, Isaac Hayes, Little Milton, Booker T and the MG’s plus many more by inviting the creme of the crop of Melbourne artist’s such as as Dan Sultan, Liz Stringer, The Wolfgramm Sisters, Sime Nugent, Ella Thompson, Jordie Lane, Matt Walker, Abby Dobson, Shirley David and many more fine artists, all to contribute their favourite Stax tunes.

Tickets are $30+bf for reserved seats, $23+bf general admission, $25 at the door. Can you dig it?

Be quick – tickets selling fast!

For all the latest news check out beat.com.au

JERICCO On Sunday December 16 Melbourne rockers Jericco will be hosting a sausage sizzle and action at The Tote to help raise the last few dollars they need to finish off what they say has been a long and eventful year full of highs and lows recording their debut album. Also hitting the stage and the grill will be Black Devil Yard Boss, The Volatiles and Indian Mynah. Jericco also have some big names flipping burgers and frying onions to help the cause, for what promises to be powerful back yard BBQ full of rock. Pop down for a beer and snag. 3pm, $15.

THE RED LIGHTS With their debut EP Not In This Town launched into the anticipated Evelyn crowd just earlier this year, The Red Lights have been busy gearing up to celebrate the release of their new single Ghosts.

Having achieved some YouTube damage for the song with a stop-motion visual for their first clip, the boys are keen to throw a massive party and invite some blistering acts along for the ride. Joining will be Perth juggernauts Stillwater Giants, who will be bringing across their summery charm and a swag of killer surf pop tunes for good measure. Also fresh talented boys We The People, who have been garnering some serious notice for their impressive My Castle EP will take the stage for what is set to be a massive show.

Get down to the John Curtin Hotel on Saturday December 15. Tickets $6 at the door.

MUSIC NEWS

YOUR COMPREHENSIVE LOCAL GUIDE

SUZUKI NIGHT MARKET FIREBALLS Fireballs have been touring overseas since their last Xmas show and since then we have been hanging out to get back to it. They have since missed rocking around the Xmas tree for their hometown psychos. So you all better get yourselves ready to go and have a smashing time with Melbourne's bad boys of psychobilly The Fireballs for the Xmas Psycho Spectacular. Don’t miss Fireballs, playing Friday December 21 at The Prince in St Kilda with support from The Working Horse Irons, Green Machine and Death Valley.

Tickets available from the venue or through Moshtix for $30+bf.

Now in its 15th year, the Suzuki Night Market attracts over 200 stall holders and showcases some of Melbourne’s finest artisans, producing locally made clothing, jewellery, prints and an array of cultural goods. The hawker-style food stalls offer everything from traditional African curries through to the sweetest of honey dumplings. Don’t stop at one stall; take a trip around the world one dish at a time. If your legs tire from all that shopping, settle in with your favourite beer, wine or sangria and listen to some of Melbourne's finest musicians. No matter if you are a jazz enthusiast, country music fan, folk fanatic or world music aficionado, the Suzuki Night Market gig guide has you covered. Open every Wednesday night 'til Wednesday February 27 at the Queen Victoria Market.

CLANDESTINE: APOCOLYPSE LIGHT OF THE SOUTHERN SOL As part of a two-fold series of primal sound and noise rituals collectively named as Sistere! Solritual. Unearthed

by Cancermahluk, these performances are set to take place across two venues that will see Occult Blood, Rotteur and Voidhanger opening the portal on the cryptic, unholy date of the 12/12/12 at Bar Open while part two is set to take place and closes at Tapeprojects Space in Carlton on Friday December 21 as part of the Litha: Summer Solstice, the longest day of the year with Abre Ojos, Grist, Eko Eko Azarak and Animal Spirits. Tonight, doors at 8pm, free entry.

GOES LIVE

ENJOY LIVE MUSIC FROM SOME OF MELBOURNE’S BEST LOCAL MUSCIANS

FRIDAY DECEMBER 14TH FROM 8PM

JOHN DELORD PROJECT SATURDAY DECEMBER 15TH FROM 4-7PM 7PM

DICKEN ST PREACHERS FROM 8PM

JAHMAKN IT FUNKY SUNDAY DECEMBER 16 SHARE THE EXOTIC LATIN AND CUBAN SOUNDSS TH

SON 3 3-6PM SANTIAGO SON 6:30-9:30PM

SHAR THE EX OTIC LATIN &ES CUBAN SO UNDS ENJOY LIVE MUSIC FROM SOME BEST LOCAL MUSICOF MELBOURNE’S IANS

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SON 3 SANTIA G

CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

Beat Magazine Page 67

ALBUM OF THE WEEK

3RRR SOUNDSCAPE

VARIOUS

Nuggets: Original Artyfacts of the First Psychedelic Era 1965-1968 Down Under Nuggets: Original Australian Artyfacts 1965-1967 Nuggets: Antipodean Interpolations of the First Psychedelic Era (Warner Music)

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When Elektra Records boss Jac Holzman enlisted journalist and sometimes garage musician Lenny Kaye to put together the tracks that would eventually feature on the ďŹ rst Nuggets compilation, the music industry was a far diďŹ&#x20AC;erent beast. Elektra had already taken a punt and released such provocative and seminal acts as the MC5, Love and The Psychedelic Stooges, all of whom ďŹ&#x201A;irted with fame just long enough to be seduced by its chemical and sexual allure. It was an era of ďŹ ve-ďŹ gure record company advances, rose-coloured dreams of pop success and sociopathic corporate behaviour.

Kayeâ&#x20AC;&#x2122;s brief was to unearth and celebrate classic songs from rockâ&#x20AC;&#x2122;nâ&#x20AC;&#x2122;rollâ&#x20AC;&#x2122;s adolescence. Perhaps surprisingly given the rough and proudly unsophisticated nature of many of the songs featured on the compilation, Nuggets has remained one of rockâ&#x20AC;&#x2122;nâ&#x20AC;&#x2122;rollâ&#x20AC;&#x2122;s most visible and inďŹ&#x201A;uential compilations â&#x20AC;&#x201C; like The Velvet Undergroundâ&#x20AC;&#x2122;s debut record, itâ&#x20AC;&#x2122;s said that for every purchaser of the album, a band was spawned. Tracks such as The Seedsâ&#x20AC;&#x2122; Pushinâ&#x20AC;&#x2122; Too Hard, The Standellsâ&#x20AC;&#x2122; Dirty Water, The Thirteenth Floor Elevatorsâ&#x20AC;&#x2122; Youâ&#x20AC;&#x2122;re Gonna Miss Me, Count Fiveâ&#x20AC;&#x2122;s Psychotic Reaction and The Leavesâ&#x20AC;&#x2122; Hey Joe (covered not long after â&#x20AC;&#x201C; in short succession â&#x20AC;&#x201C; by Love, The Byrds and Jimi Hendrix) are instantly recognisable. More obscure tracks like Sagittariusâ&#x20AC;&#x2122; trippy My World Fell Down, The Barbariansâ&#x20AC;&#x2122; chemical country Moulty, The Magiciansâ&#x20AC;&#x2122; dark, dangerous and kaleidoscopic Invitation To Cry and The Magic Mushroomsâ&#x20AC;&#x2122; freakishly Itâ&#x20AC;&#x2122;s-A-Happening are as arresting as ever.

Australia, like the United States at the same time, was heavily under the inďŹ&#x201A;uence of British R&B; though in Australiaâ&#x20AC;&#x2122;s case, this was as much an indirect consequence of government-subsidised migration programs as it was a reďŹ&#x201A;ection of a skewed cultural cringe. Some of the artists and songs featured on Down Under Nuggets: Original Australian Artyfacts 1965-1967 have become etched into the national, and occasionally international consciousness â&#x20AC;&#x201C; The Masterâ&#x20AC;&#x2122;s Apprenticesâ&#x20AC;&#x2122; Buried And Dead, The Missing Linksâ&#x20AC;&#x2122; Wild About You (surely the only garage rock track featuring a future Neighbours actor?), The Loved Onesâ&#x20AC;&#x2122;

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Strangers (Independent) Brisbane duo Gung Ho follow Best Coast, Beach House and Wavves down a spiralling, star-strewn tunnel of dreamy, distorted surf rock. Their vocals reverb endlessly, harmonies washing out and back upon themselves, tied up with a brief but beautiful hook.

DIRTY PROJECTORS

Impregnable Question (Domino/EMI) Impregnable Question is as close as Dirty Projectors get to romance, a quasi-matrimonial declaration of love that is frank but not ďŹ&#x201A;owery, with reďŹ&#x201A;ective, almost conversational lyrics about what it takes for a relationship to last. There is something contrary about this approach to ballad-writing, something oďŹ&#x20AC;-beat or oďŹ&#x20AC;-key, which is reďŹ&#x201A;ected in the arch, ever-sliding melody. It isnâ&#x20AC;&#x2122;t easy to follow, but it is brilliant in its oddness.

PATRICK EMERY Best Track: Baby Please Donâ&#x20AC;&#x2122;t Go covered by BAPTISM OF UZI If You Like This: track down the Pebbles compilations and donâ&#x20AC;&#x2122;t stop In A Word: Raw

THE COLLECTIVE

Last Christmas (Sony) This quintet of X-Factor graduates makes Wham sound staunchly heterosexual.

SEABELLIES

Paper Tiger (Albert Music) The ďŹ rst single from the Seabelliesâ&#x20AC;&#x2122; new album was recorded in Berlin and tends towards Eskimo Joe in its po-faced goth pop theatrics. Cue trembling strings, marching drums and strained, very serious vocal work from singer Trent Grenell.

CUB SCOUTS

Told You So (SGC Media) Creamy, slinking indie rock from a Perth ďŹ ve-piece called Cub Scouts. Told You So blends 8-bit electro melodies with lush guitars and breathy, reverb-heavy vocals; ďŹ nishing the whole sugary concoction with a sticky little hook.

THE SLICE

OH MERCY

Pilgrimâ&#x20AC;&#x2122;s Blues (EMI) More meaty, swinging beats from Oh Mercyâ&#x20AC;&#x2122;s Deep Heat, not massively dissimilar to Drums. The rhythm is diďŹ&#x20AC;erent but the feel is the same, a kind of choir-boygone-bad-meets-bottle-of-whiskey pop, complete with hot organ heat and some ominous piano notes. Nice.

DELTA GOODREM

Christmas (Sony) â&#x20AC;&#x153;The recordings are reminiscent of an old school magical era brought to life again through this EP,â&#x20AC;? says Delta of her new Christmas EP. That is to say, the Delta Goodrem Christmas EP will remind you of an old school magical era brought to life again through the Delta Goodrem Christmas EP. Let that one rattle around in your brain case for a while. Better than listening to her Christmas carols.

INTO THE WOODS

Black Dog (Independent) A peppy â&#x20AC;&#x2DC;60s-ďŹ&#x201A;avoured folk-rock number about dark clouds and bad times by Melbourneâ&#x20AC;&#x2122;s Into The Woods.

Join in a rousing round of doo-wop woah-oh-ohs as you contemplate your doom!

Beat Magazine Page 68

The Loved One and The Easybeatsâ&#x20AC;&#x2122; Sorry. But Down Under Nuggets uncovers yet more buried Antipodean treasure, including The Bee Geesâ&#x20AC;&#x2122; Like Nobody Else, The Black Diamondsâ&#x20AC;&#x2122; sexually-charged I Want, Need, Love You and The Wild Cherriesâ&#x20AC;&#x2122; psychedelically bizarre Krome Plated Yabby.

Forty years later, and the garage rock tradition continues â&#x20AC;&#x201C; notwithstanding the (d)evolution of the music industry, advances in technology and genetic engineering of genres into a thousand counter-cultural splinter movements.

Nuggets: Antipodean Interpolations Of The First Psychedelic Era locates the contemporary Australian garage-rock scene directly in the context of its American antecedents. Much of the album stays true to the look, feel and sound of the original tracks â&#x20AC;&#x201C; Velociraptorsâ&#x20AC;&#x2122; cover of The Electric Prunesâ&#x20AC;&#x2122; I Had Too Much To Dream (Last Night), The Murlocsâ&#x20AC;&#x2122; Psychotic Reaction, The Straight Arrowsâ&#x20AC;&#x2122; Lies and The Frowning Cloudsâ&#x20AC;&#x2122; Letâ&#x20AC;&#x2122;s Talk About Girls. But to listen to Pearlsâ&#x20AC;&#x2122; billowing interpretation of Dirty Water, Eagle And The Wormâ&#x20AC;&#x2122;s intense â&#x20AC;&#x2DC;70s soul take on An Invitation To Cry or Baptism Of Uziâ&#x20AC;&#x2122;s krautrock interpolation of Baby Please Donâ&#x20AC;&#x2122;t Go is to understand the subtle depth and perpetual attraction of the Nuggets milleu.

While many of the original Nuggets artists fell victim to the whims of commercial indiďŹ&#x20AC;erence and the perils of ephemeral success, the music has lived on. In 2052, Lady Gaga, PSY and every other two-bit cheap and nasty pop artist will have disappeared into the rancid dumpster of commercial music history â&#x20AC;&#x201C; but the Nuggets tradition will live on.

SINGLES BY SIMONE I have lost both my snap and crackle. Clinging protectively to pop.

$/,&( '

TOP TENS

Mack The Knife (Independent) Kimble Rendall of Hoodoo Gurus fame has teamed up with ďŹ lm composer Jason Fernandez to record an EP under the moniker The Slice. Their debut single is a noisy and ill-conceived cyberpunk rendering of Mack The Knife, featuring what I assume is Kimbleâ&#x20AC;&#x2122;s voice with a late-â&#x20AC;&#x2122;90s sci-ďŹ robotic eďŹ&#x20AC;ect applied to it. Iâ&#x20AC;&#x2122;m sure it seemed like a cool idea in the studio. But it was a terrible idea.

SINGLE OF THE WEEK ROBERT DELONG

Global Concepts (Liberator) Some wunderkind lovechild of Grimes and Skrillex, deďŹ ning the next wave in DIY dance/rock fusion, Robert Delong is a Seattle-born man child who makes music using â&#x20AC;&#x201C; I shit you not â&#x20AC;&#x201C; Wii remotes and Sega Genesis controllers. With these scraps of plastic and metal, plus drum pads, synths and MIDI interfaces, he crafts big, soupy bass beats and warped, spine-scraping accents; hunks of fun time electro to make you stamp your feet, met with epic, heartfelt vocals. His voice â&#x20AC;&#x201C; a barelybroken, bright-eyed thing â&#x20AC;&#x201C; is almost Ben Gibbardesque in its self-aware sincerity. Excellent.

FOR MORE REVIEWS GO TO BEATTV.COM.AU/REVIEWS

1. 2 MAC DEMARCO 2. Go Easy BLANK REALM 3. Four Girls WOOLLEN KITS 4. Racism UV RACE 5. Mozzarella RICHARD IN YOUR MIND 6. The Cherry Thing Remixes NENEH CHERRY & THE THING 7. Community Words VARIOUS ARTISTS 8. They Shall Inherit MENAGERIE 9. Carry On WILLY MASON 10. Give Me Flowers While I Can Still Smell Them BLU & EXILE

SYN SWEET SIXTEEN 1. We No Who U R NICK CAVE & THE BAD SEEDS 2. Salao WOLF & CUB 3. Strangers GUNG HO 4 Drones . NANTES 5. Get Out OF My Head THE GOOD MORROWS 6. Rites Wild Theme RITES WILD 7. Glow OISIMA FT. ADAM PAGE 8. Tomorrow Mountain BAD DREAMS 9. Heaven POPSTRANGERS 10. What Is This WILLY MASON

COLLECTORS CORNER MISSING LINK 1. Down Under Nuggets-Original Artyfacts 19651967 CD VARIOUS 2. Make â&#x20AC;&#x2DC;Em SuďŹ&#x20AC;er CD THE KILL 3. Spencer P. Jones & The Nothing Butts CD SPENCER P. JONES & THE NOTHING BUTTS 4. Sexual Harassment CD/LP TURBONEGRO 5. Live Forever CD KROMOSOM 6. Failed States CD PROPAGANDHI 7. Allelujah, Donâ&#x20AC;&#x2122;t Bend Ascend CD/LP GODSPEED YOU! BLACK EMPEROR 8. Total Nonsense 7â&#x20AC;? VAGINORS 9. Into The Future CD/LP BAD BRAINS 10. Time Out 2CD+DVD DAVE BRUBECK

WOOLY BULLY RECORDS 1. Four Girls (LP) WOOLLEN KITS 2. Self Titled (Tape) OILY BOYS 3. All Around (LP) COBWEBBS 4. Scene From A Marriage (7â&#x20AC;?) TOTAL CONTROL 5. Blurst of the BirdďŹ sh (7â&#x20AC;?) DAWN OF HUMANS 6. Racism (LP) UV RACE 7. Prison Pit 4 (Book) JOHNNY RYAN 8. I Want to Fuck All the Girls in My School (7â&#x20AC;?)

BAZOOKA 9. Solvents (7â&#x20AC;?) NUN 10. Uck Life (LP) PAINT FUMES

AIRIT NOW 1. Wind SUPER MAGIC HATS 2. Thanks to You STOMPY AND THE HEAT 3. High SUN CITY 4. Strangers GUNG HO 5. Diaspora THE TOWNHOUSES (FEAT. GUERRE) 6. On Your Side NEW GODS 7. Misery Lane MONEY FOR ROPE 8. Die a Happy Man TUKA (FEAT. JANE TYRRELL) 9. This Isnâ&#x20AC;&#x2122;t Happiness THE TEMPER TRAP 10. Days Of Boredom LOWRIDER

BEATâ&#x20AC;&#x2122;S TOP TEN SONGS ABOUT BABIES 1. Sheâ&#x20AC;&#x2122;s Having A Baby THE KNIFE 2. Lose The Baby LOST ANIMAL 3. Baby THE DRONES 4. Baby JUSTIN BIEBER 5. Billion Dollar Babies ALICE COOPER 6. Baby Pizza BALY KNOX 7. Baby Got Back SIR MIX A LOT 8. Brendaâ&#x20AC;&#x2122;s Got A Baby TUPAC 9. Giddy Up Baby SALT N PEPA 10. Baby Did A Bad Bad Thing CHRIS ISAAK

ALBUMS

JON SPENCER BLUES EXPLOSION Meat And Bone (Boombox/Mom+Pop) FOR MORE REVIEWS GO TO

BEAT.COM.AU/REVIEWS

ALL INDIA RADIO

Red Shadow Landing (Independent) That commercial radio is dominated by cheap and tuneless pop music with the artistic integrity of a junk food advertisement is without dispute; that All India Radio make music that’s the antithesis of such specious crap will probably remain a matter of cult interest forever, or at least until someone spikes the water with the right drugs.

Red Shadow Landing finds All India Radio back in the same rich atmospheric territory in which the band was born into. The North Sky is sparse, as you might expect: gazing off into the night sky, the sonic excitement is in the relative silence; The Original builds into a wild crescendo, like a Pentecostal congregation receiving the word of spiritual enlightenment. Owlpacas In Flight is either a casual stroll along Santa Monica beach, or dusk in the Australian outback – or maybe both, in a bizarre sort of way. Golden threatens to have a walk-on part in a country and western tribute, yet evolves into a rich orchestral soundscape where the Dirty Three sits alongside Jeff Lynne in peace and harmony. Transcede is so in touch with nature it makes David Attenborough look like Lang Hancock, while Tomorrowland is awash with the sense of philosophical exploration that science fiction purports to offer – and taken to another level by the pedal steel of The Triffids’ Graham Lee. The Lie leads you into a dark place where truth is an abstract rhetorical tool of counter-productive value; When You Are Here is elegant and warm, like the urbane dinner party guest we’ve all hankered for. The sadness of Don’t Leave is palpable; Like A Butterfly floats through the air and rests in front of you with Louis Tillett-like comfort. Finally, there’s the haunting Best Track: The Original.

Afterlight, an ideal bookend to end the album. There’s If You Like These, You’ll Like This: THE CHURCH, a lot going on in All India Radio’s galactic-emotional THE TRIFFIDS explorations, and it’s all good.

In A Word: Mesmerising PATRICK EMERY

BLANK REALM

Go Easy (Bedroom Suck) The latest album from Brisbane’s Blank Realm sounds so different from their other releases, it almost feels like a debut from a whole new band. Go Easy is anthemic and direct, and with a bit of Flying Nun influence coming through, but it still has the grizzly, wild streak of old.

The attempt to sweep up their chaos into a more controlled environment results in songs that have great hooks and immediate force, but the shaggy demeanor refuses to budge. They’re at their best when they run free and the two astonishing standouts here are also the album’s longest songs: Cleaning Up My Mess is a gentle, slacker-rock ear-worm that slowly wriggles its way into your head, while Pendulum Swing is an invigorating rush of undulating garage rock that warrants full volume and raised fists. Elsewhere, Working On Love has an Eddy Current Suppression Ring swagger, Growing Inside is a hypnotic, druggy spiral down into drudgery and The Crackle Part 2 caters for those wanting a return to the more experimental, psychedelic side of the band. If the first song’s lyric “Think I’ve been acting kind of strange” is a nod to the strange ways of their past work, then the closing title track points towards an easy, breezy direction forward for the band. But you wouldn’t want Blank Realm Best Track: Pendulum Swing to go too easy on us. With this latest release, they If You Like These, You’ll Like This: Sugar Mouth get the balance just right.

DAVID KILGOUR, Hypnotised PONY FACE In A Word: Rousing CHRIS GIRDLER

JONNY TELAFONE

Jonny Telafone (Chapter Music) Fans of mysterious pagan folk, angst-ridden electro-pop, industrial ballads and sexy funk that out-smuts Prince in a creepy Twin Peaks setting, rejoice.

Local “sex man that makes pop songs” Jonny Telafone has a new vinyl EP that covers all of these bases. It doesn’t stop there, with the more extensive CD version of Telafone’s debut for Chapter Music cherry-picking a wide variety of two-minute tracks from his stack of home recordings, most of it originally released through Canberra’s Dream Damage label.

‘Eclectic’ doesn’t even begin to cover it, though the big surprise is how listenable it is and how well it hangs together as a collection. Just as the scattershot piss-taking starts to wear thin, earthier guitar numbers like Drowning In The Lake and Until My Lungs Explode offer a more substantial counterpart to the madness. But this is not someone that is making music to give a sense of balance. Telafone rips through various genres with abandon, making it hard to pin him down, though it’s a collection that brings to mind DIY tricksters like Chris Knox and Stephin Merritt in their earlier years. Twenty tracks is a lot of ground to cover and a handful of Best Track: Burning Hot Like Jesus Was these short songs don’t allow themselves enough If You Like These, You’ll Like This: Infiniheart CHAD time to hit their mark, but there’s never a dull VANGAALEN, A Collection Of Rarities And Previously moment.

Released Material JOHN MAUS In A Word: Jon-of-all-trades CHRIS GIRDLER

EVERY NIGHT FROM 6PM

SLOW COOKED BEEF CHILLI CON CARNE + SOUR CREAM + QUACAMOLE $8.50

Meat And Bone makes no apologies. From the moment the opener Black Mold sounds, it rams home the message – Jon Spencer Blues Explosion are back. No foreplay required; it’s straight to the main event. Meat And Bone grinds, bumps and claws in all the right ways, with raw fuzzy production and pulsating dirty grooves. It seems things are back in order at the JSBX camp.

Following on from the clout of Black Mold, Bag Of Bones propels forward with a more traditional blues-based sound; featuring mouth harp and walking guitar lines, it’s an exemplary display of how Spencer has mastered the art of dynamic alliteration. Boot Cut is a sharp shot of rock‘n’roll with minimal effects used to enhance rather than distract while Get Your Pants Off rolls on in unholy hip-swiveling glory. Strange Baby moves slyly between rhythm and blues and punk noise, hollering for your attention while Bottle Baby parades around abreast with attitude and a particular witty insight into retro obsession. “Everything old, is new, considered hip again/Rotting fruit can make an appetising trend.”

Danger feels like Jerry Lee Lewis on a serious bender and while Black Thoughts has all the trappings of a sweet doo-wop love ode, it’s lyrically venomous in stark contrast. It seems at times on Meat And Bone that Spencer’s rockabilly leanings as displayed in his other musical project Heavy Trash have made their way into the Blues Explosions sound, but not to the point where the two projects become interchangeable. Filled with only lean goodness, Meat And Bone delivers Best Track: Black Mold in entirety and is sure to rekindle the fiery love If You Like These, You’ll Like This: SCREAMIN’ JAY affair that may have waned for some JSBX fans.

HAWKINS, THE DIRTBOMBS, ANDRE WILLIAMS, Bring on the romance.

BLACK DIAMOND HEAVIES In A Word: Alive’n’kickin’ KRYSTAL MAYNARD

MOROCCAN KINGS Battlefrogs EP (Independent)

A driving rock drumbeat opens this Melbourne band’s four-track EP, but the song takes off in an unexpected direction. The ‘drive’ is still very much present but instead of a basic four-on-the-floor rock song that the opening suggests, Chicken Bone is a rough hewn slice of funk power with gravelly, almost Tom Waits-esque vocals.

Grizzly Bear follows, again opening with drums. This time it’s a simple pulsing bass drum that sounds like the engineer put a mic next to the drum and hit record – it’s raw with no effects and it doesn’t sound like a fake techno beat.

Again, the vocals are gritty, but more bluesy this time. Indeed, the song juxtaposes blues and funk beautifully.

The title track brings the pace back and brings the slow burning blues up even more. But the song is no less compelling than those that proceeded it, despite its comparative sparseness. There’s even a touch of Jeff Buckley style ambience in the outro. Superman Escape builds devastatingly from a quiet but menacing opening into a chugging riff and groove.

Moroccan Kings are very difficult to categorise. They bring the funk, the blues, the rock, the dynamics and the quirk factor to the table in droves, and deliver it all with a sense of humour as well, all in the confined space of just four songs. Moroccan Kings are an enigma – an anomaly even – but in the most enjoyable way possible.

Best Track: Superman Escape If You Like These, You’ll Like This: Very hard to say CHRISTINE LAN In A Word: Unique

LED ZEPPELIN

Celebration Day (Warner) When Robert Plant, Jimmy Page and John Paul Jones agreed in 2007 to reform for a one-off gig to pay tribute to former Atlantic Records boss Ahmut Ertegun, Led Zeppelin fans across the globe went into apoplectic fits – could this be the long awaited Led Zeppelin reunion tour? Not long after, Robert Plant poured cold water on such speculation when he announced he’d be concentrating on his collaboration with Alyson Krauss. The collective sense of disappointment reverberated across the world like a plagiarised blues chord blasting out of a Marshall stack. But that hasn’t stopped every effort being made to exploit the excitement of the night when Plant, Page, Jones and John Bonham’s son Jason came together. In some ways Celebration Day is only going to be a disappointment – Plant is crusty and tired, Page looks like a disenfranchised suburban goth in his long coat and white hair, while Jones’ efforts to channel the excitement of 1976 are the stuff of comic relief – yet almost by definition, any Led Zeppelin performance must be cherished.

There are the standard classic Zeppelin moments: the lumbering stoner blues-fest Dazed And Confused, the clichéd hippie-folk metal of Stairway To Heaven and the tight denim ball-hugging beauty of Rock’N’Roll, Black Dog and Whole Lotta Love. But there’s also plenty of rare Zeppelin excursions into the band’s back catalogue, including In My Time of Dying, Nobody’s Fault But Mine and Misty Mountain Hop. Whereas the Zeppelin of 1976 was immersed in the absolute hedonism of the rock’n’roll lifestyle, the Zeppelin of the 21st century is mature to the point of staid. Plant can still shriek like a man under torture in a Cambodian gaol, and what Jimmy Page can’t do with a twin-necked guitar isn’t worth bothering with, but it’s a pale imitation of the past. Maybe that’s why Robert Plant realised Celebration Day should Best Track: Dazed And Confused If You Like This, You’ll Like: all those old blues artists remain a one-off celebration.

Zeppelin ripped off, before settling out of court In A Word: Zeppelin

WED 12TH

KOOYEH

W/ BROTEHRFUNK AND SUPERJUICE THURS 13TH

THE ATTICS EP LAUNCH

MON 17TH

W/ ARCHER & BOW AND THE BOOK OF SHIPS

POP-CULTURE TRIVIA CHRISTMAS SPECIAL

DJ STEVIC & DJ PARTY PANTS PARRY FREE IN THE FRONT BAR

DO YOU KNOW WHAT I MEAN?

TUES 18TH

COLOURWHEEL

$10 MELBOURNE LONG NECKS $6.50 FOSTERS CANS!

FRI 14TH

“LADIES NIGHT” SAT 15TH

THE RED LIGHTS ‘GHOST’ SINGLE LAUNCH W/ WE THE PEOPLE AND STILL WATER GIANTS SUN 16TH

‘LADY WRITER’

A CELEBRATION OF FEMALE SINGER SONGWRITERS FEAT..ANNA PADDOCK & THE SPEKULATORS W JUDE PERL + YELKA

RUSTY@JOHNCURTINHOTEL.COM FOR MORE ALBUM NEWS AND REVIEWS GO TO WWW.BEAT.COM.AU

PATRICK EMERY

WED 19TH

THE DEAD HEIR

W REDS UNDER THE BED AND INDIAN RED THU 20TH

LIZ LIDO

W/ LO PAN + BULLETS IN BERLIN FRI 21ST

ELECTRIK DYNAMITE VS WITCHGRINDER DOUBLE HEADLINE W/ PARTY VIBES AND MOMENTS APART SUN 23RD

HAYLEY COUPER’S CHRISTMAS SHOW + FRIENDS COMING SOON

JUST ANNOUNCED - ROYAL HEADACHE (NSW) 9/3 31/12 THE CURTIN PRESENTS...A NEW YEARS EVE PARTY. FRIENDS - BOOZE - PARTY VIBES!! STAY TUNED. 5/1 CAPTAIN MOONLIGHT, 12/1 TAKE YOUR OWN ‘RECORD LAUNCH’ 25/1 BED WETTIN BAD BOYS (NSW) ‘RECORD LAUNCH’ Beat Magazine Page 69

GIG GUIDE WEDNESDAY DEC 12 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

ACAPELLAGO Wesley Anne, Northcote. 7:00pm.

BEN CARR TRIO + PAUL CAREY & JULIAN SCHEFFER + TOM NOONAN BAND 303, Northcote. 6:30pm. $5.

DIZZY’S BIG BAND Dizzy’s Jazz Club, Richmond.

9:00pm. $14.

JUDE PERL + DRU CHEN + TOMMY RANDO Northcote Social Club, Northcote. 7:30pm. $7.

KOOYEH + BROTHERFUNK + SUPERJUICE John Curtin Hotel, Carlton. 8:00pm.

OLIVIA CHINDAMO & THE JOE CHINDAMO TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15.

THE BEN DELVES GROUP Open Studio, Northcote.

9:00pm.

THE RITA SATCH QUARTET Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $20.

WENDY SADDINGTON + HENRY MANETTA Fortyfivedownstairs, Melbourne. 7:30pm.

INDIE, ROCK, POP, METAL, PUNK & COVERS ALEXISONFIRE (FAREWELL TOUR) Festival Hall, West Melbourne. 8:00pm. $69.

AUSTIN BRADY Bebida, Fitzroy. 8:00pm.

CHOOKIE CHRISTMAS PARTY - FEAT: GOOD NIGHT KEATON + AIRWOLF + LOLA SIREN Workers Club, Fitzroy. 7:30pm. $5.

COLLAGE - FEAT: DAVE LARKIN BAND + FULL CODE + HOUSE OF LAURENCE + MUSHROOM GIANT Espy, St Kilda. 9:00pm.

EMILEE SOUTH + DAVE HAVEA Veludo Bar & Restaurant, St Kilda. 9:00pm.

FRIEND ZONE - FEAT: ANDRAS FOX + FLASH FOREST + JAPANESE WALLPAPER + SUI ZHEN Gasometer Hotel, Collingwood. 8:00pm. $5.

GOING SWIMMING + CASSINI + FLOWERS The Public Bar, Melbourne. 8:00pm.

HUNGRY JESUS + DEAR THEIVES + LUNA GHOST + TRASH FAIRIES Bendigo Hotel, Collingwood. 8:00pm. $7.

JLO (DANCE AGAIN TOUR) + KATE ALEXA Rod Laver Arena, Melbourne. 8:00pm. $149.

MAGIC MOUNTAIN BAND + THE BLUEBOTTLES Toff In Town, Melbourne Cbd. 7:30pm. $10.

NAKED BODIES + OCTOPIANS + SWEET TEENS Old Bar, Fitzroy. 8:30pm. $8.

PALM SPRINGS + MONNONE ALONE + THE UKELADIES Tote Hotel, Collingwood. 8:00pm.

PLAGIARISM BEGINS AT HOME + SHAKER FAKER Grace Darling Hotel, Collingwood. 8:30pm. $10.

SHANGRILA - FEAT: GILL TUCKER + JUSTIN K FULLER + CHAIRMAN MEOW Gasometer Hotel, Collingwood. 8:00pm.

STRANGERS + BUNNY MONROE + SHERIFF Cherry Bar, Melbourne Cbd. 8:00pm.

SUMMER OF CLASSICS - FEAT: LAURA DAVIDSON Pure Pop Courtyard, St Kilda. 4:00pm. $10.

THE LIVING END (THE RETROSPECTIVE TOUR) +

AREA 7 + DJ COSMIC DOLPHIN Corner Hotel, Richmond. 8:00pm. $42.

THE PRIMARY + HOWARD + IVY ST + NERVOUS + TITLE DJS Evelyn Hotel, Fitzroy. 8:00pm.

TRASH FAIRYS + HUNGRY JESUS + LUNA GHOST Bendigo Hotel, Collingwood. 8:00pm. $7.

VICE PARTY - FEAT: THE MANGLES + BARBECUE & GOLD COAST + DIVIDE & DISSOLVE + GUY & MARCUS BLACKMAN EXPERIMENTATION PROJECT Yah Yah’s, Fitzroy. 8:30pm. $5.

ACOUSTIC/COUNTRY/BLUES/FOLK CLANDESTINE (APOCOLYPSE LIGHT OF THE SOUTHERN SOL) - FEAT: OCCULT BLOOD + ROTTEUR + VOIDHANGER Bar Open, Fitzroy. 8:00pm.

JIMI HOCKING + GEOFF ACHISON + NICK CHARLES Clifton Hill Hotel, Clifton Hill. 9:00pm.

KOOKIE KARAOKE - FEAT: FRED NEGRO + BEC ANTHONY + STEVE PROCTOR Prince Public Bar, St Kilda. 8:00pm.

LOREN + FREA HANLY Empress Hotel, North Fitzroy.

8:00pm.

MOOSEJAW RIFLE CLUB Retreat Hotel, Brunswick.

9:30pm.

NIGEL WEARNE Standard Hotel, Fitzroy. 8:30pm.

OPEN MIC Dancing Dog, Footscray. 8:00pm.

OPEN MIC Thornbury Local, Thornbury. 9:00pm.

OPEN MIC Brunswick Hotel, Brunswick. 9:00pm.

OPEN MIC Great Britain Hotel, Richmond. 10:00pm.

OPEN MIC Grind N Groove, Healesville. 8:30pm.

OPEN MIC Thornbury Local, Thornbury. 8:00pm.

OPEN MIC Musicland, Fawkner. 7:30pm.

OPEN STAGE Bridge Hotel, Castlemaine. 7:30pm.

STRUMARAMA - FEAT: BIPOLAR BEARS + HEIDI EVERETT + MYSTERIOUS FOURTH + THE ALLROUNDERS Espy, St Kilda. 7:00pm.

SUNNY RAY Kent St Bar, Fitzroy. 9:00pm.

WINE WHISKEY WOMEN - FEAT: TERESA DIXON & TAMARIN YOUNG + KERRYN FIELDS Drunken Poet, West Melbourne. 8:00pm.

THURSDAY DEC 13 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC A LITTLE PIANO - FEAT: JOSHUA SMELTINK Little Blood, Fitzroy . 8:30pm.

ALWAN Claypots Tavern & Fair, St Kilda. 9:30pm.

FUNK & SOUL NITE - FEAT: DJ SOUL BEAR Barleycorn Hotel, Collingwood. 8:00pm.

IAKI VALLEJO Dizzy’s Jazz Club, Richmond. 8:00pm. $14.

JAMES MACAULAY QUARTET Uptown Jazz Cafe, Fitzroy. 8:00pm.

JAMES MACAULAY’S NEW OLD JAZZ BAND Open Studio, Northcote. 9:00pm.

KIM KELAART TRIO 303, Northcote. 8:00pm. $10.

MO SESTO Paris Cat Jazz Club, Melbourne Cbd. 8:00pm. $20.

MOTOWN THURSDAYS Fashion Lounge, Melbourne.

5:00pm.

OVEREASIES Claypots Evening Star, Melbourne.

8:00pm.

RBS LIVE - FEAT: ZEFFA + GREAT BALLS OF FIRE BURLESQUE Red Bennies, South Yarra. 7:00pm. $10.

SALSA EXPLOSION - FEAT: DEL BARRIO First Floor, Fitzroy. 11:00pm.

SIMEON LENOIR Grumpy’s Green, Fitzroy. 9:00pm.

THE JOHN MONTESANTE QUINTET + REBECCA MENDOZA The Commune, East Melbourne. 6:00pm.

THE MARIALY PACHECO TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. $25.

VELUDO LIVE - FEAT: BROTHER FUNK + DA BOM + SUPERJUICE Veludo Bar & Restaurant, St Kilda.

9:00pm.

INDIE, ROCK, POP, METAL, PUNK & COVERS ANOXICERA + FALSE PROPHET + MICHAEL ROBBINSON Ruby’s Lounge, Belgrave. 8:00pm. $10.

AURORA JANE + JUNGAL Retreat Hotel, Brunswick.

9:00pm.

BAYONETS FOR LEGS + BAREBONES + THE RIVER & THE ROAD Spotted Mallard, Brunswick. 8:00pm. $12.

BOY RED + GLACIERS + MOT & THE FAMILY BAND Empress Hotel, North Fitzroy. 8:00pm.

CARP + COOL HAND LUKE + THE RUN RUN Penny Black, Brunswick. 8:30pm.

CATCALL (THE WARMEST PLACE LAUNCH) + FORCES Toff In Town, Melbourne Cbd. 7:30pm. $15.

CLOWNS + LOSER DENIAL + MESA COSA + TEENAGE MOTHERS Gasometer Hotel, Collingwood.

9:00pm. $8.

DAN WEBB’S QUARTER LIFE CRISIS Cherry Bar, Melbourne Cbd. 8:00pm. $10.

FUTURE FATHERS Tago Mago, Thornbury. 9:00pm.

JOSEPH PAUL + DJ WRECKING BALLS + LOOSE TOOTH + SWEET TEENS + THE FURROWS Revolver Upstairs, Prahran. 8:00pm. $5.

KRIS KRINGLE NIGHT MARKETS - FEAT: SUSY BLUE Northcote Town Hall, Northcote. 5:30pm.

MAY DREAMERS + TRUE STRENGTH + YUKO KONO ELECTRIC BAND Bar Open, Fitzroy. 8:00pm.

NEW LOW FUNRAISER SHOW - FEAT: DICK THREATS + ARTIST FILM WORKSHOP + GEOFFREY O’ CONNOR + MAD NANNA + REGIONAL CURSE + SATANIC ROCKERS + TARA COOK + THOM RUSSELL + ZACHARY BRADKE Gasometer Hotel, Collingwood. 7:00pm. $10.

NUTSACK + DRUNK MUMS + RAYON MOON Reverence Hotel, Footscray. 8:00pm. $5.

PIECES OF H8 + PRONTO Tote Hotel, Collingwood.

6:00pm.

PROLETARIAN RIOT + PRIVATE RADIO + THE CHODES Espy, St Kilda. 8:30pm.

SEVEN YEAR ITCH (EP LAUNCH) + THE DARJEELINGS + WINDSOR THIEVES Workers Club, Fitzroy.

7:30pm. $8.

SKYWAYS ARE HIGHWAYS + COLUMBIA BUFFET + MEZZANINE + THE SUNSLEEPERS Noise Bar, Brunswick. 8:00pm. $10.

SUMMER OF CLASSICS - FEAT: ROSIE HADEN Pure Pop Courtyard, St Kilda. 4:00pm. $10.

THE ATTICS (EP LAUNCH) + ARCHER & BOW + THE BOOK OF SHIPS John Curtin Hotel, Carlton. 8:00pm.

THE BOMBAY ROYALE + DJ MANCHILD Evelyn Hotel, Fitzroy. 8:00pm.

THE LIVING END (THE RETROSPECTIVE TOUR) + AREA 7 + DJ COSMIC DOLPHIN Corner Hotel, Richmond. 8:00pm. $42.

THE MERCY KILLS + LACED IN LUST + SEXXX The

Vineyard, St Kilda. 8:00pm.

THE NEST ITSELF + LUNAIRE + THE BLACK GALAXY EXPERIENCE The Public Bar, Melbourne. 8:30pm. $7.

THE PRETTY THINGS + THE FROWNING CLOUDS Caravan Music Club, Oakleigh. 8:30pm. $55.

THE ROMEO KNIGHTS + COTTON SIDEWALK + KIDS IN CULTS + VOLYTION Tote Hotel, Collingwood.

8:00pm. $8.

THE ROYAL ARTILLERY + WHITE SUMMER + YOU & YOUR FRIENDS Espy, St Kilda. 8:30pm.

THE SCARLET IVES + THE MAGIC BONES + WILEY RED FOX Old Bar, Fitzroy. 8:30pm. $8.

THIS IS THE BAND + HARRY BORLAND & THE UGANDAN NATIONAL CHOIR + PIXIE JUICE + WE ARE NOT FOOLS Brunswick Hotel, Brunswick. 8:00pm.

VULGARGRAD + DJ RUSSIAN DISKO + ROWAN BLACKMORE + THE BAND WHO KNEW TOO MUCH Northcote Social Club, Northcote. 7:30pm. $16.

YOLKE Post Office Hotel, Coburg. 8:30pm.

ACOUSTIC/COUNTRY/BLUES/FOLK BILL CHAMBERS + HARRY HOOKEY Yah Yah’s, Fitzroy. 8:30pm.

BRAVO JULIET + NATURAL BILL LOGIC + NOTHING HURTS ROBOT Gertrudes Brown Couch, Fitzroy.

8:30pm. $5.

BROTHER JOHNSTONE Wesley Anne, Northcote.

8:00pm.

DA BOM,BROTHER FUNK, SUPERJUICE Veludo Bar & Restaurant, St Kilda. 9:50pm.

DAN WATERS Labour In Vain, Fitzroy. 8:00pm.

FALLOE Great Britain Hotel, Richmond. 8:30pm.

GABRIEL LYNCH Wesley Anne, Northcote. 6:00pm.

LOUNGE THURSDAYS Lounge, Melbourne Cbd. 10:00pm.

MONSIEUR REMI Bebida, Fitzroy. 8:00pm.

OPEN MIC Acoustic Cafe, Collingwood. 7:30pm.

OPEN MIC Drunken Poet, West Melbourne. 9:00pm.

OPEN MIC Balaclava Hotel, Balaclava. 7:00pm.

SIMON PHILLIPS Two Brothers Brewery, Moorabbin.

8:00pm.

THE TONCHI MACINTOSH BAND Lomond Hotel, Brunswick East. 8:30pm.

TIM CANNON Drunken Poet, West Melbourne.

8:00pm.

FRIDAY DEC 14 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC ANDY BAYLOR’S CAJUN COMBO Post Office Hotel, Coburg. 10:00pm.

BLACK EYED SUSANS + MIKELANGELO & SAINT CLARE + THE ORBWEAVERS Thornbury Theatre, Thornbury. 8:00pm. $25.

CHRISTMAS FUNCTION - FEAT: THAT GOLD STREET SOUND + BROTHERFUNK + THE CHARLIES + THE SEVEN UPS Evelyn Hotel, Fitzroy. 8:00pm. $12.

DJ MRS MILDSTYLE Bebida, Fitzroy. 8:00pm.

EDDIE JAMES & THE PROWL Open Studio, Northcote. 9:00pm.

HEAR IN JUNE Barleycorn Hotel, Collingwood. 8:00pm.

KUTCHA EDWARDS (BLACK & BLU LAUNCH) Thornbury Theatre, Thornbury. 8:30pm. $12.

LOTEK + FLORELIE ESCANO + KRYPTAMISTIK Bar Open, Fitzroy. 10:00pm.

OZ LOCOS + KOOYEH Laundry Bar, Fitzroy. 9:00pm. $10.

JB SMOOVE After commentating the annual 100 metre dash of munted naked punters at this year’s Meredith, ol’ mate JB Smoove is swinging by Melbourne town for two headline shows. Smoove is best known as Leon Black from HBO’s Curb Your Enthusiasm, one of the single funniest characters on television, Smoove is asking you to brace yourself for the ruckus as he brings his hilarious high energy live show to the Thornbury Theatre on Saturday December 15. The late show is sold out, but you can still catch a ticket to the 5pm show if you’re quick.

Beat Magazine Page 70

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

PUGSLEY BUZZARD Wesley Anne, Northcote.

8:30pm. $10.

STEVE SEDERGREEN QUARTET Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. $20.

THE CHANTAL MITVALSKY BAND Bennetts Lane Jazz Club, Melbourne. 8:30pm. $25.

THE FINER CUTS Uptown Jazz Cafe, Fitzroy. 8:00pm.

TRIO AGOGO 303, Northcote. 6:00pm.

Wintercoats

INDIE, ROCK, POP, METAL, PUNK & COVERS 3 MILE FIELD + IVAN CAZE + MAN CUB + RICK DA SCALE Idgaff Bar & Venue, Abbotsford. 8:00pm.

AGILITY (EP LAUNCH) + LANDS + WHITE SUMMER Cherry Bar, Melbourne Cbd. 8:00pm. $13.

BAD ACHES + CHOOK RACE + MINING BOOM Gasometer Hotel, Collingwood. 9:00pm. $5.

BATEMAN + CUT + ROYAL PARADE Cornish Arms, Brunswick. 8:00pm.

BURIED FEATHER & LOWTIDE + BURIED FEATHER + LOWTIDE + THE RIDING HOOD Grace Darling Hotel, Collingwood. 9:00pm. $10.

CARLA LIPPIS DUO + COOKIE BAKER & MILES + SIMONE Victoria Hotel, Brunswick. 9:00pm.

CASH SAVAGE & THE LAST DRINKS Elsternwick Hotel, Elwood. 9:30pm.

CHARLOTTE NICDAO + JAMES MOLONEY + OH PEP! Wesley Anne, Northcote. 3:00pm.

COVERZONE Hallam Hotel, Hallam. 9:00pm.

DAVE LARKIN BAND + LITTLE DESERT Yah Yah’s, Fitzroy. 9:00pm.

DAVE LARKIN BAND Yah Yah’s, Fitzroy. 9:00pm.

FIREARMS + DJ CISCO ROSE + LEECHES + STREET FANGS The Public Bar, Melbourne. 8:30pm. $10.

FREYA HANLY Wesley Anne, Northcote. 6:00pm.

GREY GHOST + DJ ROCK + HAILEY CRAMER + JACKIE ONASSIS + REMI Workers Club, Fitzroy.

7:30pm. $18.

HARD-ONS + DEAD + THE SPAZZYS Northcote Social Club, Northcote. 8:30pm. $14.

I A MAN + ATOLLS + LOWLAKES + POURPARLOUR + SEAN AINSWORTH Espy, St Kilda. 9:00pm.

KING CANNONS + THE HELLO MORNING Tote Hotel, Collingwood. 9:00pm. $18.

LAMARAMA The B.east, Brunswick East. 9:00pm.

LEVITATING CHURCHES + FORTRESS OF NARZOD Penny Black, Brunswick. 9:30pm.

LIKE DECADENCE + LITTLE SECRETS + MAN CITY SIRENS + SHORTFALL Espy, St Kilda. 9:00pm. $12.

MARTIN CILIA + THE BLACK MOLLS + THE REPROBETTES + THE STU THOMAS PARADOX Revolver Upstairs, Prahran. 8:30pm. $20.

MATT DWYER & THE DYNAMITES (XMAS SPECIAL) The Luwow, Fitzroy. 8:00pm. $5.

MIKE NOGA + BEN SALTER + DJ KEZBOT + LADIE DEE Old Bar, Fitzroy. 8:30pm. $15.

MODELS + CRYSTAL THOMAS & THE DAMES The Flying Saucer Club, Elsternwick. 8:00pm. $32.

NIKO Veludo Bar & Restaurant, St Kilda. 5:30pm.

REGINA SPEKTOR Plenary Hall, South Wharf. 8:00pm.

ROCKY & THE TWO BOB MILLIONARES Tago Mago, Thornbury. 9:00pm.

SANGUINARY MISANTHROPIA + DECREPIT SOUL + EVIL INTENT + MARDRAUM Gasometer Hotel, Collingwood. 8:30pm. $13.

SHIHAD + STRANGERS + THE PEEP TEMPEL Espy, St Kilda. 8:00pm. $25.

SINGLES (EP LAUNCH) + BJ WINTER & JAGGER BOYS Ding Dong Lounge, Melbourne Cbd. 8:00pm. $8.

STRAIT SHOOTERS + THE VALES Musicland, Fawkner.

7:30pm.

STRAYLOVE 303, Northcote. 8:00pm. $10.

THE ANCIENTS + STIONARY SUNS AND EXILE & THE SEA + SUPER STAR Empress Hotel, North Fitzroy.

8:00pm.

THE CORSAIRS + MAJOR TOM & THE ATOMS + SEAN AINSWORTH Old Bar, Fitzroy. 8:30pm.

THE LIVING END (THE RETROSPECTIVE TOUR) + AREA 7 + DJ COSMIC DOLPHIN Corner Hotel, Richmond. 8:30pm. $42.

THE PRETTY THINGS + THE BREADMAKERS Caravan Music Club, Oakleigh. 8:00pm. $55.

THE RE-MAINS + BAYONETS FOR LEGS + DJ TRAFFIC JAM Retreat Hotel, Brunswick. 9:30pm.

THE VANDAS + COLD IRONS BOUND + THE GUNG HOES Spotted Mallard, Brunswick. 8:00pm. $12.

WINTERCOATS + ALBERT SALT Chapel Off Chapel, Prahran. 8:00pm.

ACOUSTIC/COUNTRY/BLUES/FOLK BJ WINTERS + SHABON + THE GROVES + THE ROYAL ARTILLERY Brunswick Hotel, Brunswick. 9:00pm.

CARUS THOMPSON + THE PIERCE BROTHERS Ruby’s Lounge, Belgrave. 8:00pm. $12.

LANEWAY Lomond Hotel, Brunswick East. 9:30pm.

LITTLE FLAME Thornbury Local, Thornbury. 10:00pm.

MA PETITE + RED BIRD + THE RIVER & THE ROAD Bridge Hotel, Castlemaine. 8:30pm. $10.

MEG & PAUL Balaclava Hotel, Balaclava. 8:00pm.

MILAN PERKINS Two Brothers Brewery, Moorabbin.

8:00pm.

SUMMER OF CLASSICS - FEAT: TOM & PUGS LYNGCOLN Pure Pop Courtyard, St Kilda. 8:00pm. $10.

SUN RISING Palais, Hepburn Springs. 8:30pm.

TRADITIONAL IRISH MUSIC SESSIONS - FEAT: DAN BOURKE Drunken Poet, West Melbourne. 6:00pm.

UNDERLANDER + NATHANIEL WHITE + SAMUEL TATE + STORYHORSE + TOBY KNOX Gertrudes

WINTERCOATS & ALBERT SALT

BOOMGATES Since the beginning, the idea behind Boomgates was to get a group of friends together and jam.

Like a potluck dinner or a five-course meal each member brings something different to the table.

It’s a tasty blend of calm and smooth with a rough and rocking undercurrent. Over the years they’ve honed this idea into something quite delicious. They’ve released a string of 7” singles and have just put out their debut LP Double Natural to critical acclaim. They also just slayed it at Meredith on the weekend. They play at The Evelyn for a rooftop show with Superstar on Saturday December 15 from 2pm.

Brown Couch, Fitzroy. 7:30pm. $5.

UNDERLANDER + NATHANIEL WHITE + SAMUAL TATE + STORY HORSE + TOBY KNOX Gertrudes Brown Couch, Fitzroy. 8:00pm. $5.

SATURDAY DEC 15 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC BROTHERFUNK Penny Black, Brunswick. 9:30pm.

CHAPEAU CARAVELA Open Studio, Northcote.

9:00pm.

DAINA JOWSEY & THE JOHN MONTESANTE QUINTET Dizzy’s Jazz Club, Richmond. 9:00pm. $20.

FATS WAH WAH Rainbow Hotel, Fitzroy. 9:30pm.

JOE CHINDAMO TRIO Uptown Jazz Cafe, Fitzroy.

8:00pm.

LA MAUVAISE REPUTATION Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $20.

Two of Melbourne’s most unique talents will take to the intimate surrounds of Chapel off Chapel for two special double-headline shows this weekend.

A master of ethereal delicacies, Wintercoats combines his chameleonic compositional talents and profound arrangement dexterity to create aural artworks of fragility and grandeur. Salt is one of Australia’s most promising and original young artists. Beginning in 2009, after over a decade of classical music, he embarked on this musical venture with the assistance of lyricist Patrick Dower. Salt’s style has developed greatly over this short period of time, to the point of complete individuality. The shows take place this Friday December 14 and Saturday December 15.

MICHELLE NICOLLE & THE PAUL WILLIAMSON QUARTET Bennetts Lane Jazz Club, Melbourne.

8:30pm. $25.

SEXTETO ZONA SUL Paris Cat Jazz Club, Melbourne Cbd. 7:30pm. $20.

THE BOYS Wesley Anne, Northcote. 5:30pm.

THE NICK MARKS TRIO Open Studio, Northcote.

5:30pm.

XANI KOLAC & THE TWOKS Bennetts Lane Jazz Club, Melbourne. 8:30pm.

INDIE, ROCK, POP, METAL, PUNK & COVERS BANG - FEAT: MASKETTA FALL + MY FAVOURITE ACCIDENT + WAKE THE GIANTS Royal Melbourne Hotel, Melbourne Cbd. 9:00pm. $15.

BARBARA BLAZE & THE KAHUNA DADDIES The Luwow, Fitzroy. 8:00pm. $10.

BAREBACK TITTY SQUAD + CARDINAL + TAYLOR SHERIDAN + THE GIVE Revolver Upstairs, Prahran.

8:00pm. $15.

THE PUBLIC BAR 238 VICTORIA ST, NORTH MELBOURNE WED - SAT 2PM - 3AM

BAND ROOM RE-OPENED!!!

WEDNESDAY 12TH DECEMBER SUZUKI NIGHT MARKETS:

GOING SWIMMING

74 JOHNSTON ST FITZROY 9417 4155

www.theoldbar.com.au OPEN EVERY DAY 2PM - 3AM FREE WI FI

Wednesday 12th December

NAKED BODIES

CASSINI FLOWERS 8PM FREE

SWEET TEEN OCTOPIANS

THURSDAY 13TH DECEMBER

THE MAGIC BONES WILEY RED FOX

8:30PM $8

Thursday 13th December

THE NEST ITSELF LAUNCH

THE SCARLET IVES

LUNAIRE THE BLACK GALAXY EXPERIENCE 8:30PM $7

MIKE NOGA

FRIDAY 14TH DECEMBER OPEN UNTIL 7AM!!!

Saturday 15th December OFF THE HIP PRESENTS A NORTON RECORDS FUNDRASIER:

FIREARMS (SYD) LEECHES (WA) - LAUNCH STREET FANGS 8:30PM $10 DJ CISCO ROSE

SATURDAY 15TH DECEMBER OPEN UNTIL 7AM!!!

DEBACLE

COUNTERATTACK MR BALDY (EX-THE KILL) 8:30PM $8 DJ KEZBOT FREE POOL ALL DAY AND NIGHT CHEAP JUGS TIL 8PM

for bookings: bandbookings@theoldbar.com.au

8:30PM $8

Friday 14th December BEN SALTER LADIE DEE DJ KEZBOT

8:30PM $15

MIDNIGHT WOOLF MESA COSA, THE REPROBETTES, WRONG TURN, 8:30PM $10 DJ PLAYING NORTON RECORDS ALL NIGHT

Sunday 16th December

THE DEATH RATTLES THE SCOUTS THE ROLLING BLACKOUTS DJ ARMISTEAD

8PM $6

Monday 17th December

UNPAVED PRESENTS:

SONGWRITER SESSIONS W/ LIZ STRINGER, LUKE SINCLAIR, JAMES FAHEY, RUTH LINDSAY, BBQ CHEAP JUGS ALL NIGHT 8PM $7

Tuesday 18th December SCOTT MACPHERSON EXHIBITION

JOSH ARMISTEAD CABIN INN BEN WUNDERSITZ

7PM FREE

band bookings: bandbookings@theoldbar.com.au

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 71

THE LIVING END Well you can’t accuse The Living End of doing things by halves. While most bands are content with recreating a single album in full on tour, The Living End are going all out and performing all six of their albums on their massive retrospective tour. Tonight will see them perform White Noise, Thursday State Of Emergency, Friday Modern Artillery, Saturday The Ending Is Just The Beginning Repeating, Sunday Roll On, Monday The Living End. Yowza. Enough said. Every show takes place at the Corner Hotel. Get down.

ALEXISONFIRE Well, this fire is burning out people. Yep, cheesy metaphors and all, Alexisonfire are playing their last shows on their farewell tour of Australia. For the last time the trademark scream/sing mix of emo, post hardcore and rock’n’roll will grace our shores. Get yourself to Festival Hall tonight and start a death pit circle thing one last time.

BERLIN POSTMARK + DJ LARRABEE + RISE OF THE RAT Reverence Hotel, Footscray. 3:00pm. $8.

BLACK CAB + PEARLS + VOWERS Yah Yah’s, Fitzroy.

9:00pm.

BOOMGATES + SUPERSTAR Evelyn Hotel, Fitzroy.

8:00pm.

CLAMPDOWN Rochester Castle Hotel, Fitzroy.

10:00pm.

CUB SCOUTS (TOLD YOU SO TOUR) + PHEBE STAR Toff In Town, Melbourne Cbd. 8:00pm. $10.

DAMN THE TORPEDOES + BAD VISION + LEECHES! + SPERMAIDS Gasometer Hotel, Collingwood. 8:00pm.

DEBACLE + COUNTERATTACK + DJ APPLECORE + MR BALDY The Public Bar, Melbourne. 8:30pm. $8.

DOLLY DIAMOND & LUKE GALLAGHER Palais, Hepburn Springs. 8:30pm.

EARTHLESS + KING GIZZARD & THE LIZARD WIZARD + WHITE WALLS Northcote Social Club, Northcote. 8:30pm. $30.

ESTHER HOLT + TESSA & THE TYPECAST Ding Dong Lounge, Melbourne Cbd. 8:00pm.

GHOST TOWN + LOW STANDARDS + OUTSIDERS CODE + RISK & REASON + WATCHTOWER Gasometer Hotel, Collingwood. 1:30pm. $10.

GOLD CHISEL Musicland, Fawkner. 8:00pm. $20.

GREENGREENGREEN + ALEXANDER THOM + FOXTROT + SHERIFF Old Bar, Fitzroy. 8:30pm. $6.

HOWL AT THE MOON + CARLA LIPPIS & THE MARTIAL HEARTS + SECONDHAND HEART Spotted Mallard, Brunswick. 8:00pm. $10.

JUDGE PINOT & THE RULING MOTIONS Bar Open,

Fitzroy. 10:00pm.

KILL YA DARLINGS The B.east, Brunswick East.

9:00pm.

LITTLE MURDERS + DANNY MCDONALD Lyrebird Lounge, Ripponlea. 8:00pm.

MIDNIGHT WOOLF + MESA COSA + THE REPROBETTES + WRONG TURN Old Bar, Fitzroy. 8:30pm. $10.

MODELS + CRYSTAL THOMAS & THE DAMES The Flying Saucer Club, Elsternwick. 8:00pm. $32.

NEON & VENOM + HUMAN GROOMING + JACKALS Tote Hotel, Collingwood. 8:00pm.

PAPA PILKO & THE BINRATS + THE TIGER & ME Workers Club, Fitzroy. 8:30pm. $12.

POCKET PERSPECTIVE + MICHAEL GAMBINO + TOM FRANCIS Gertrudes Brown Couch, Fitzroy.

8:30pm. $5.

QUINCE + VALLEY GIRLS Tote Hotel, Collingwood.

5:00pm.

RAINBOW MASSACRE + GONOK MARAK + THE ESCAPADES: EP LAUNCH + THE SPITTING SWALLOWS Ruby’s Lounge, Belgrave. 8:00pm. $10.

RICHIE 1250 & THE BRIDES OF CHRIST Post Office Hotel, Coburg. 10:00pm.

RON S PENO & THE SUPERSTITIONS Labour In Vain, Fitzroy. 5:00pm.

SEEDY JEEZUS + THE MERCY KILLS Tago Mago, Thornbury. 9:00pm.

SONIC FORGE FESTIVAL - FEAT: ALARUM + BE’LAKOR + DEATH AUDIO + DREADNAUGHT + NE OBLIVISCARIS + THE SCHOENBERG AUTOMATON

+ A MILLION DEAD BIRDS LAUGHING + EYE OF THE ENEMY + THE LEVITATION HEX Espy, St Kilda.

8:00pm. $22.

SUICIDAL TENDENCIES + UNWRITTEN LAW + THE DUDESONS Billboard, Melbourne Cbd. 5:00pm. $82.

SUMMER OF CLASSICS - FEAT: HAMISH COWAN Pure Pop Courtyard, St Kilda. 8:00pm. $10.

SUN RISING 60TH ANNIVERSARY TRIBUTE TO SUN RECORDS - FEAT: SUN RISING BAND Cherry Bar, Melbourne Cbd. 8:00pm. $15.

THE LIKELY SUSPECTS + CHAMBERS + LIKE DECADENCE Brunswick Hotel, Brunswick. 3:00pm.

THE LIVING END (THE RETROSPECTIVE TOUR) + AREA 7 + DJ COSMIC DOLPHIN Corner Hotel, Richmond. 8:30pm. $42.

THE PERFECTIONS (EP LAUNCH) + MAJOR TOM & THE ATOMS + THE CHARLIES + THE SEVEN UPS Grace Darling Hotel, Collingwood. 8:30pm. $12.

THE RED LIGHTS + STILLWATER GIANTS + WE THE PEOPLE John Curtin Hotel, Carlton. 8:00pm.

THE ROYAL ARTILLERY + GRAND PERCEPTOR + STEVE BOWTELL + THE VELVETS Idgaff Bar & Venue, Abbotsford. 8:00pm. $10.

THE SHADOW LEAGUE + BOMBING ANGELS + THE POSERS + THE VOUCHERS Bendigo Hotel, Collingwood. 8:00pm. $6.

THE SKA VENDORS & THE REBELLES CHRISTMAS CHOW + THE REBELLES + THE SKA VENDORS + GATOR QUEEN Caravan Music Club, Oakleigh.

8:00pm. $20.

THE STAFFORDS + ALISTAIR MATCOCK + THE SPIN Cornish Arms, Brunswick. 8:00pm.

THE WORKINGHORSE IRONS + GLENN & THE PEANUT BUTTER MEN + KILL THE APPRENTICE + SOMEONE ELSE’S WEDDING BAND Reverence Hotel, Footscray. 8:00pm. $10.

THESE WILD ANIMALS + DJ SHAKY MEMORIAL + RAINBOW MASSACRE Retreat Hotel, Brunswick.

10:00pm.

THREE QUARTER BEAST + CARP + CHEETSTREET + MESSED UP Brunswick Hotel, Brunswick. 9:00pm.

WAKEFIELD FESTIVAL - FEAT: FREESTATE + ANGE STELLA + BELLUSIRA + IAN BANKS + PASCOE + SHADOWQUEEN + THE MONDAY PROJECT + TREAD + XENOGRAFT Empress Hotel, North Fitzroy.

4:00pm.

WOOLLEN KITS + CAMPERDOWN & OUT + TERRIBLE TRUTHS Gasometer Hotel, Collingwood. 9:00pm. $10.

ACOUSTIC/COUNTRY/BLUES/FOLK CATFISH VOODOO Drunken Poet, West Melbourne.

9:00pm.

CHRIS ALTMANN (ALBUM LAUNCH) Bridge Hotel, Castlemaine. 8:30pm. $10.

CITRUS JAM Bebida, Fitzroy. 8:00pm.

COLD HEART + DRUNKEN POACHERS Retreat Hotel, Brunswick. 4:00pm.

FIONA BOYES St Andrews Hotel, St Andrews. 1:00pm.

HEATHER STEWART BLUES Lomond Hotel, Brunswick East. 9:30pm.

LOCAL LIVE MUSIC Great Britain Hotel, Richmond.

9:00pm.

MELODY MOON Wesley Anne, Northcote. 8:00pm. $7.

SATURDAY ACOUSTIC REVUE - FEAT: LILY & KING + NICOLETTE FORTE + KURT GENTLE Chandelier Room, Moorabbin. 8:00pm.

SWAMPLANDS + PETER BIBBY Victoria Hotel, Brunswick. 9:00pm.

THE SWEET SOMETHINGS + THE GALLANT TREES Thornbury Local, Thornbury. 10:28pm.

317 BRUNSWICK ST. FITZROY BAROPEN.COM.AU 03 9415 9601 BOOKINGS: FANTAPANTS@BAROPEN.COM.AU

FRI 14 DEC

MON 17 DEC

CLANDESTINE: APOCOLYPSE LIGHT OF THE SOUTHERN SOL

LOTEK

SCREEN SECT

OCCULT BLOOD ROTTEUR VOIDHANGER 8PM / FREE

THU 13 DEC

MAY DREAMERS

YUKO KONO ELECTRIC BAND TRUE STRENGTH 8.30PM / FREE

10PM / FREE

FILM CLUB

“DOGFIGHT”

(NANCY SAVOCA, 1991)

7PM

SAT 15 DEC

JUDGE PINO & THE RULING MOTIONS

TUE 18 DEC

MAKE IT UP CLUB

10PM / FREE

7PM

SUN 16 DEC

COMING UP

LOWER SPECTRUM

A ART THE ATLAS ROOM

WED 12 DEC VICE PARTY:

THE MANGLES

BLACK JESUS EXPERIENCE The Horn African Music Lounge, Collingwood. 7:00pm.

ESTEE BIG BAND Penny Black, Brunswick. 5:00pm.

FROM NEW ORLEANS TO BROADWAY - FEAT: BOB SEDERGREEN Doncaster Playhouse,, Doncaster.

2:00pm.

GRAND WAZOO Thornbury Theatre, Thornbury.

7:00pm. $10.

NESSA QUINTET Open Studio, Northcote. 8:30pm.

NUDIST FUNK ORCHESTRA + BAD BOYS BATACUDA + MS BUTT + THE DALE RYDER BAND Espy, St Kilda.

5:30pm.

QUARTER STREET ORCHESTRA The Night Cat, Fitzroy. 8:00pm.

SUNLARK Wesley Anne, Northcote. 6:30pm.

THE BEN CARR TRIO Open Studio, Northcote.

5:00pm.

THE WOMEN’S FESTIVAL SEXTET Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15.

INDIE, ROCK, POP, METAL, PUNK & COVERS ANNA SMYRK & THE APPETITES + ELLIOT FRIEND + TIM GUY BAND Grace Darling Hotel, Collingwood.

7:00pm. $7.

CAM TAPP & DECLAN SYKES + JO DAWSON + PAUL O’ROURKE Toff In Town, Melbourne Cbd. 7:30pm. $20.

CATHOUSE CANARY + CRYDEE ARCHERS + CRYSTAL THOMAS & BEN BUNTING Brunswick Hotel, Brunswick. 8:00pm.

DAN PARSONS + ROSE WINTERGREEM + STAFFAN 303, Northcote. 8:30pm. $5.

EARTHLESS + DEAD RIVER Northcote Social Club, Northcote. 7:30pm. $30.

EEO (LP LAUNCH) + PORCH MONKEYS + VELMA GROVE Cherry Bar, Melbourne Cbd. 8:00pm.

FOOVANA UNPLUGGED - FEAT: WISHLIST + PETER MORRISON Bendigo Hotel, Collingwood. 3:00pm.

JANE DUST & THE GIANT HOOPOES + ALLY OOP & THE HOOPSTERS Yah Yah’s, Fitzroy. 8:00pm.

KELLY AUTY BAND Tago Mago, Thornbury. 4:00pm.

LEIGH BARKER & THE NEW SHEIKS + GEOFF BULL & THE FINER CUTS + HEATHER STEWART The Flying Saucer Club, Elsternwick. 3:00pm.

LOST & LONESOME RECORDS OFFICE BREAK-UP PARTY! - FEAT: GREAT EARTHQUAKE + LOWTIDE + THE ICYPOLES + FOOTY + FRANCIS PLAGNE + LAST LEAVES + MONNONE ALONE + TIM RICHMOND Gasometer Hotel, Collingwood. 4:00pm. $12.

LOWER SPECTRUM + A ART + THE ATLAS ROOM Bar Open, Fitzroy. 8:00pm.

MA PETITE (SINGLE LAUNCH) + AL PARKINSON + REDBIRD + THE RIVER & THE ROAD Northcote Social Club, Northcote. 1:30pm. $10.

MUSTERED COURAGE + JOHN FLANAGAN & THE BEGIN AGAINS + THE DROOLING MOUTHS OF MEMPHIS Workers Club, Fitzroy. 1:30pm. $10.

PLYMOUTH REVERNDS + CRUNTBURGERS + WARTOOTH Idgaff Bar & Venue, Abbotsford. 8:00pm.

SNOTJEK + BEAR THE MAMMOTH + MONTRESOR + THE BLACK GALAXY EXPERIENCE Bendigo Hotel, Collingwood. 7:30pm. $5.

SONS OF LEE MARVIN + DAMN THE TORPEDOS + HARVEST SMOKE + LA BASTARD + LEECHES + NICI

THU 13 DEC

WED 19 DEC: UNCOMFORTABLE BEATS FRI 21: DUB CAPTAINS SAT 22: THE AFROBIOTICS NYE: EL MOTH

FRI 14 DEC

DAVE LARKIN BAND

LITTLE DESERT GUY & MARCUS BLACKMAN 9pm / FREE ENTRY / OPEN TIL 5am LATE TUNES / SHAKY MEMORIAL EXPERIMENTATION PROJECT SAT 15 DEC BARBECUE & GOLDCOAST BLACK CAB DIVIDE & DISSOLVE PEARLS, VOWERS 8.30pm

BILL CHAMBERS HARRY HOOKEY

8.30pm / Tix from trybooking.com/CFHQ

9pm / Tix from trybooking.com/CFFI LATE TUNES / APPLEJACK

SUN 16 DEC JANE DUST & THE GIANT HOOPOES ALLY OOP & THE HOOPSTERS 8pm / FREE ENTRY

7.30PM Beat Magazine Page 72

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

99 SMITH STREET FITZROY 03 9419 4920 YAHYAHS.COM.AU BOOKINGS: MARY@BAROPEN.COM.AU

WED 12 DEC

FLORELIE ESCANO KRYPTAMISTIK

SUNDAY DEC 16

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

COMING UP THU DEC 20: PAPA MAUL FRI DEC 21: P76, LITTLE MURDERS SINGING FOR HUMANS SAT DEC 22: “FAVOURITE THING” feat.

THE TREATMENT RAYON MOON, HEAVY BEACH BANG BANG ROCK N’ ROLL CRASH THE CURB THE SUMMERVILLES MESSED UP PIONEERS OF GOOD SCIENCE BJ MORRISZONKLE + GARAGE ROCK DJs THU DEC 27: THE DEAD HEIR SAT DEC 29: NO ESCAPE FOR THE KING SUN DEC 30: MIDNIGHT WOOLF HUMBUG MON DEC 31 (NYE) CLOSED FRI JAN 11: GRAND RAPIDS

BLUE EYES + UPTOWN ACE Tote Hotel, Collingwood.

3:00pm. $15.

SPAZZYS (ALBUM LAUNCH) + DUSTY SPRINGCLEAN + THE HIEROPHANTS + THE POPS Evelyn Hotel, Fitzroy. 3:00pm. $12.

STARS & GREEN + DJANA RAJKOVIC Reverence Hotel, Footscray. 3:00pm.

SUNDAY SINGER-SONGWRITER SESSIONS - FEAT: EDDIE COLE + THE DOCTORS ROCKSTERS Chandelier Room, Moorabbin. 4:00pm.

SUPER XX MAN + LEHMANN B SMITH Grace Darling Hotel, Collingwood. 7:00pm. $5.

THE DEATH RATTLES + DJ ARMISTEAD + THE ROLLING BLACKOUTS + THE SCOUTS Old Bar, Fitzroy.

8:00pm. $6.

THE LARGE NUMBER 12S Labour In Vain, Fitzroy.

5:00pm.

THE LIVING END (ROLL ON) + AREA 7 + DJ COSMIC DOLPHIN Corner Hotel, Richmond. 8:00pm.

THE RE-MAINS Union Hotel, Brunswick. 5:00pm.

THE RESURRECTION CHRISSY PARTY - FEAT: NAI PALM + CITY VS COUNTRY + STORE BOUGHT COOL + YOU & THE COLONIES The Resurrection, Melbourne. 12:00pm.

ACOUSTIC/COUNTRY/BLUES/FOLK SABRINA & THE RED VAN + DAMON SMITH + LITTLE WISE Spotted Mallard, Brunswick. 8:00pm. $8.

SEAN MCMAHON’S WESTERN UNION Bridge Hotel, Castlemaine. 4:00pm.

BENNY WALKER Retreat Hotel, Brunswick. 7:30pm.

BRET NEWSKI Retreat Hotel, Brunswick. 6:00pm.

CHILL SESSIONS Barleycorn Hotel, Collingwood.

8:00pm.

CHRIS ALTMANN Carringbush Hotel, Abbotsford.

4:00pm.

CHRIS WILSON + CHRIS RUSSELL’S CHICKEN WALK + MAX CRAWDADDY Cherry Bar, Melbourne Cbd. 2:00pm.

COLLARD GREENS & GRAVY Rainbow Hotel, Fitzroy.

4:00pm.

DEAN & CARRUTHERS Bay Hotel, Mornington.

3:00pm.

GREG CHAMPION & THE USEFUL MEMBERS OF SOCIETY St Andrews Hotel, St Andrews. 3:00pm.

HUGO RACE Post Office Hotel, Coburg. 8:00pm.

JACK CARTY Retreat Hotel, Brunswick. 4:00pm.

JEB CARDWELL + PUGSLEY BUZZARD Drunken Poet, West Melbourne. 4:00pm.

JIMI HOCKING Wheelers Hill Hotel, Wheelers Hill.

8:00pm.

LADY WRITER - FEAT: ANNA PADDOCK & THE SPEKULATORS + JUDE PERL + YELKA John Curtin Hotel, Carlton. 8:00pm.

MOOSEJAW RIFLE CLUB Great Britain Hotel, Richmond. 8:00pm.

MUSICLANDS HOLLYWOOD XMAS PARTY - FEAT: SILAS LULIC + ANDY BAKER + ANDY LUTZE + JOEY AMENTA + VIC Musicland, Fawkner. 3:00pm.

REBELS WITHOUT A MCAUSLAN + MARTY KELLY & AUBURY MAHER Lomond Hotel, Brunswick East. 5:30pm.

ROSS HANNAFORD & THE CRITTERS Caravan Music Club, Oakleigh. 3:00pm. $20.

RUN RABBIT RUN + ELLIOT FRIEND + STEPHEN WARD 303, Northcote. 2:30pm.

SLIM DIME & THE PRAIRIE Victoria Hotel, Brunswick.

5:00pm.

SONGWRITERS IN THE ROUND Wesley Anne, Northcote. 2:00pm. $8.

SUMMER OF CLASSICS - FEAT: SHERRY RICH Pure Pop Courtyard, St Kilda. 8:00pm.

SUMMER SUNDAY SESSION - FEAT: ASH H KING Ruby’s Lounge, Belgrave. 8:00pm.

SUZANNAH ESPIE & CHARLES JENKINS Standard Hotel, Fitzroy. 7:30pm.

THE CARTRIDGE FAMILY Post Office Hotel, Coburg.

4:30pm.

THE RE-MAINS Pure Pop Courtyard, St Kilda. 3:00pm.

60 SECONDS WITH… DAMON SMITH AND THE QUALITY LIGHTWEIGHTS

Define your genre in five words or less: Callahan, Cave, Wilco in a blender.

So, someone is walking past as you guys are playing, they then go get a beer and tell their friend about you... what do they say?

They’d utter to their friends awkwardly, “That dudes got a big moustache aye.”

Friend says, “Yep, and a pink guitar…”

“Hey. Did you see Australia’s Got Talent this week?”

Friend says, ”What are you insinuating, John? That I’m a fuckwit?”

Needless to say another friendship goes down the toilet incited by horrible TV. What inspires or has influenced your music the most?

I’m a people and ‘thing’ watcher and love to romanticise about relationships between inanimate objects. A defined footprint embedded in a lovely patch of white sand or a redundant cigarette lighter next to a burned out house turns me on.

What do you think a band has to do these days to succeed?

Succeed? Oh, Success…Yes I remember wasting a lot of time wondering about that…A band should try to stay best mates for as long as they can and have as much fun as they can possibly muster with shows they perform. Take the ‘ego’ out of your personality and dropkick the bastard

into the sea. Also, make sure you have a clear definition of what ‘Success’ means. For me it’s never been money, fame and what not…which is great as I don’t have either of those things.

And what makes you unhappiest about what you’re doing?

The constant need to create for songwriters can be tough to say the least when you look at the alluring pressure from day jobs, limited moneys to use for your art and the amount of hard work and years of repetition as far as performing your songs and maintaining a great band to assist you in performing them. Generally speaking though, I’m a happy man, I mean I hate the world and all that stuff… but I’m happy.

Tell us about the last song you wrote.

It’s called, Get a Girl To Love Me in a Week. It’s a sardonic nod to people who obsess over self-help topics and rarely see the beauty and charm in a opportunistic moment worth capturing. Crikey that sounds wanky yeah?

When’s the gig and with who?

Sunday December 16 at the “rare and reclusive, oft neglected, lesser Spotted Mallard” in Brunswick with Sabrina and the Red Vans and Little Wise! Very excited to see both of these groups!

MONNONE ALONE THE UKELADIES w/ GUESTS

THU 13 DEC FREE / FRONT BAR / 6 - 8PM:

PIECES OF H8 BANDROOM - 8PM:

THE ROMEO KNIGHTS

THE RED LIGHTS

year. It is available via iTunes or at shows!

Describe the best gig you have played?

We supported The Rubens in San Remo a couple of weeks ago and it was one of those gigs where everything went perfect. The sound was great, the crowd was huge and they were a real enthusiastic bunch. Probably one of the best gigs ever.

When’s the gig and with who?

Saturday December 15 at John Curtin Hotel with legendary support from Stillwater Giants and We The People.

Anything else to add?

Come get some.

KIDS IN CULTS VOLYTION COTTON SIDEWALK FRI 14 DEC ON SALE NOW

KING CANNONS THE HELLO MORNING

SAT 15 DEC FRONT BAR / 4 - 7PM:

QUINCE w/ GUESTS

RESIDENCY

VALLEY GIRLS

BANDROOM - 9PM (+ FREE BBQ FROM 7.30):

NEON AND VENOM

DOZERS JACKALS HUMAN GROOMING SUN 16 DEC 3PM:

SONS OF LEE MARVIN LA BASTARD DAMN THE TORPEDOS HARVEST SMOKE NICI BLUE EYES UPTOWN ACE LEECHES (WA)

MONDAY DEC 17 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC ALLAN BROWNE’S CHRISTMAS PARTY Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15.

DIVINA PROVIDENCIA Felix, St Kilda. 9:00pm.

PAULS WILLIAMSON’S HAMMOND COMBO Rainbow Hotel, Fitzroy. 9:00pm.

RICHARD ROSE GROUP + ANDY MACGARVIE GROUP 303, Northcote. 9:00pm. $8.

PALM SPRINGS

PRONTO

60 SECONDS WITH… Describe your genre in five words or less...

‘Carly Ray Jepsen who?’

Name an interview question you wish someone would ask you and then answer it.

I’ve always wanted to let people know that I once ate three cheeseburgers in three bites... So I guess the question would be “What’s the most amount of cheeseburgers you’ve eaten in the least amount of bites Dean?” To which I would answer, “Three…the answer is three”.

Which band would you most like to have a battle/ showdown with?

We’ve had some pretty good battles with our bros Dark Arts this year. They always get the better of us though. I’d like another shot at Kashmere Club – and I hope they read this, because next time we share the stage together we are bringing our absolute A-game. Get ready jerks.

What have you got to sell CD-wise?

We released our debut EP Not In This Town earlier in the

WED 12 DEC DECEMBER RESIDENCY

ALBUM OUT NOW

INDIE, ROCK, POP, METAL, PUNK & COVERS

On Tour this December

ACOUSTIC SESSIONS - FEAT: TARA FLINN Veludo Bar & Restaurant, St Kilda. 7:30pm.

CHERRY JAM Cherry Bar, Melbourne Cbd. 6:00pm.

JOHNSTON ST SPANISH FIESTA - FEAT: MIDNIGHT WOOLF + DJ DAN LEWIS + HOUNDSHOUNDSHOUNDS + RAYON MOON Old Bar, Fitzroy. 8:30pm.

MONDAY NIGHT MASS - FEAT: PARADING + CATCAT + YUKO KONO Northcote Social Club, Northcote.

8:00pm.

THE LIVING END (THE RETROSPECTIVE TOUR) + AREA 7 + DJ COSMIC DOLPHIN Corner Hotel, Richmond. 8:00pm.

Friday 21st December Thornbury Theatre MELBOURNE

TIX ON SALE NOW FROM OZTIX.COM.AU: DEVIL’S KITCHEN SAT 5 JAN 2013 CBT (GER) FRI 11 JAN 2013 STOMPY & THE HEAT SAT 12 JAN HUNX AND HIS PUNX SUN 20 JAN MARK PATTON (“COME BACK TO THE 5 AND DIME JIMMY DEAN JIMMY DEAN” - Q&A) TUE 22 JAN 2013 WOODS (USA) SUN 27 JAN WARPED (21st BIRTHDAY) FRI 8 & SAT 9 FEB DIRTY BEACHES (CAN) SUN 10 FEB WILD NOTHING (USA) MON 11 MAR COMING SOON:

with Harry Howard and the NDE & Bittersweet Kicks

NEW YEAR’S EVE: BLOODDUSTER

+ CAPTAIN CLEANOFF, BROOZER, BATPISS, SEWERCIDE + BBQ 71 JOHNSTON ST. COLLINGWOOD . 03 9419 5320 TOTE OPEN: WED - SUN / 4.00pm ‘TIL LATE BAND BOOKINGS: AMANDA@BAROPEN.COM.AU

WWW.THETOTEHOTEL.COM SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 73

THE SHADES ToďŹ&#x20AC; In Town, Melbourne Cbd. 7:30pm. $15.

ACOUSTIC/COUNTRY/BLUES/FOLK JOSH OWEN BAND Espy, St Kilda. 8:30pm.

SONGWRITER SESSIONS - FEAT: LIZ STRINGER + JAMES FAHEY + LUKE SINCLAIR + RUTH LINDSAY Old Bar, Fitzroy. 8:00pm. $7.

TUESDAY DEC 18 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC LO-RES Open Studio, Northcote. 9:00pm.

MAKE IT UP CLUB Bar Open, Fitzroy. 9:00pm.

MORDIALLOC JAZZ ORCHESTRA Dizzyâ&#x20AC;&#x2122;s Jazz Club, Richmond. 8:00pm. $14.

THE 10TH ANNUAL AUSTRALIAN CABARET SHOWCASE Bennetts Lane Jazz Club, Melbourne. 6:30pm. $25.

THE JEX SAARELAHT TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15

INDIE, ROCK, POP, METAL, PUNK & COVERS ABBIE CARDWELL & CHICANO ROCKERS + MEXICALI MAMMA + VINTAGE MEXICAN DJS ToďŹ&#x20AC; In Town, Melbourne Cbd. 8:00pm. $15.

ACOUSTIC SESSIONS - FEAT: MICHELLE MEEHAN Veludo Bar & Restaurant, St Kilda. 7:30pm.

BRUNSWICK DISCOVERY - FEAT: TETSUIANS Brunswick Hotel, Brunswick. 8:00pm.

COLLAGE Espy, St Kilda. 9:00pm.

EVAN DANDO & JULIANA HATFIELD + EVAN DANDO + JULIANA HATFIELD + BAMBINO KORESH Corner Hotel, Richmond. 7:30pm. $45.

JOHNSTON ST SPANISH FIESTA - FEAT: SAINT JUDE + DJ OLD HANDS + RAISED BY EAGLES + THE BAKERS DIGEST Old Bar, Fitzroy. 8:00pm.

MELBOURNE FRESH CHRISTMAS AWARDS SHOWCASE - FEAT: NATURAL BULL LOGIC + ALISTER TURRIL + DESERT STEEL + HOUNDSTEETH + HUNGRY JESUS + JOSH CASHMAN + MY SONS + NOTHING HURTS ROBOT + ROBERT KEYES + SPEAKEASY + THE NARROW ROAD + TOM CROSS + VELA Revolver Upstairs, Prahran. 8:00pm. $15.

RED X Cherry Bar, Melbourne Cbd. 8:00pm.

SCOTT MACPHERSON EXHIBITION - FEAT: JOSH ARMISTEAD + BEN WUNDERSITZ + CABIN INN Old Bar, Fitzroy. 7:00pm.

ACOUSTIC/COUNTRY/BLUES/FOLK CHRIS ALTMANN Labour In Vain, Fitzroy. 8:30pm.

OPEN MIC Empress Hotel, North Fitzroy. 8:30pm.

OPEN MIC Wesley Anne, Northcote. 8:00pm.

VICTORIANA GAYE Retreat Hotel, Brunswick. 8:30pm.

XYLOURIS ENSEMBLE Thornbury Theatre, Thornbury.

6:00pm. $25.

CLASSIFIEDS

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We do NOT accept classifieds over the phone - sorry.

60 SECONDS WITHâ&#x20AC;Ś BUGDUST

ACOUSTIC ACTS WANTED FOR FRIDAY NIGHT SPOTS IN FITZROY. Solo/Duo/Groups send an email with pics or samples to drink@the86.com.au. Bar Split is paid, summer dates available.

whatson@thepush.com.au

Define your genre in five words or less: Heavy, venomous rockâ&#x20AC;&#x2122;nâ&#x20AC;&#x2122;roll!

Whatâ&#x20AC;&#x2122;s the strangest place youâ&#x20AC;&#x2122;ve ever played a gig, or made a recording?

We recorded our ďŹ rst full length album (Welcome To The City Of Snakes) on a 2,000 acre pecan orchad in El Paso, Texas. Itâ&#x20AC;&#x2122;s called Sonic Ranch and sits right on the border of El Paso and Mexico, literally a stones throw from the Rio Grande. We would go for walks between tracking and get pulled over by border control thinking we were trying to sneak into America illegally. Fun times!

Whatâ&#x20AC;&#x2122;s your favourite song, and why?

Tough one to answerâ&#x20AC;Ś How about A Day In The Life by the Beatles. Two of my favourite songwriters, each with unique concepts merged beautifully together to make a masterpiece.

What part of making music excites you the most?

Probably the conception. That moment when it bursts to life from absolutely nothing (especially whilst jamming with a band). Pure magic.

Where would you like to be in five years?

Iâ&#x20AC;&#x2122;d be perfectly happy being a part of Australiaâ&#x20AC;&#x2122;s most thriving and healthy music scene right here in Melbourne.

If you could go on tour with any musician or band, who would it be?

I just asked the guys the same question. Bass player Jimiâ&#x20AC;&#x2122;s dream just came true playing with Turbonegro literally days ago, JT (drums) is keen for Led Zeppelin if Dave Grohl

ACCESS ALL AGES Wednesday December 12th, 2012 With Ruth Mihelcic

With the sun coming out, the weather heating up, and most of you on (or nearly on) school holidays, itâ&#x20AC;&#x2122;s a great time to get outdoors and check out whatâ&#x20AC;&#x2122;s happening down at your local skate park. plays drums, Adam (vocals/guitar) would love to tour with Bronski Beat (donâ&#x20AC;&#x2122;t ask). Personally, to play a show supporting Iron Maiden would fulďŹ l all of my teenaged heavy metal fantasies. Scream for me, Bayswater.

How do you balance making and playing music with your other commitments?

We donâ&#x20AC;&#x2122;t put too much pressure on ourselves these days.

Weâ&#x20AC;&#x2122;re all in our 30s, have families and alternate careers weâ&#x20AC;&#x2122;re pursuing. Balance is the key word. We always make sure weâ&#x20AC;&#x2122;ve got music in our lives to keep us sane.

Anything else to add?

Get out and see local live music. You have one of the most vibrant scenes right at your doorstep, covering all genre types. Donâ&#x20AC;&#x2122;t get caught up in some corporate giant â&#x20AC;&#x153;â&#x20AC;&#x2DC;gold seating â&#x20AC;&#x201C; $300 a ticketâ&#x20AC;&#x2122; scam. Spend $10 at a venue seeing a local band. Who knows, they might change your life.

BUGDUST play the grand opening of Ampâ&#x20AC;&#x2122;d this Saturday December 15 alongside Heaven The Axe and 180 Proof at The Exchange Hotel, King St, CBD.

60 SECONDS WITHâ&#x20AC;Ś THE PRIMARY What can a punter expect from your live show?

Energy, electrical shocks and general dorkiness. Plus noise.

What do you think a band has to do these days to succeed?

To actually get oďŹ&#x20AC; their tukkas and do the hard yards.

You will not get places by sitting around and the quick solution is never the good solution. And as well as that, be respectful. As the wise Spencer P. Jones once said to me: â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s nice to be important but always important to be niceâ&#x20AC;?.

Why should everyone come and see your band?

Cheap booze and something actually happening on a BATTLE OF THE BANDS. Registration now, starts Wednesday the 28th and every Wednesday after for 8 week (less the 26th & the 2nd). First prize: recording time in a studio. Call Jesse 0411 803 579 FEMALE BACKING VOCALISTS (2) wanted for studio recording 15-25 January. Will pay cash. 0434 300 959

SERVICES

Wednesday night?

Tell us about the last song you wrote.

Itâ&#x20AC;&#x2122;s called Ships and is the nastiest thing weâ&#x20AC;&#x2122;ve ever written. Itâ&#x20AC;&#x2122;s about clinging to something that has passed.

And has a noise solo with a guitar slide.

Whenâ&#x20AC;&#x2122;s the gig and with who?

We are playing every single Wednesday in December at The Evelyn Hotel (351 Brunswick St, Fitzroy) with heaps of fantastic bands and 12 buck jugs along with a measly two bucks entry. We appeal to the tight arses of Melbourne.

EMPLOYMENT EXPERIENCED BAND BOOKER WANTED. If youâ&#x20AC;&#x2122;re experienced in booking bands and want to work with an experienced well known venue booker at a great venue in Melbourneâ&#x20AC;&#x2122;s music heartland then send us an email. Let us know a bit about yourself, what type of bands youâ&#x20AC;&#x2122;ve booked, where, contacts you have and how long you have been in the game and importantly what you may be able to bring. Be quick. Send email to: shimgapi@gmail.com

FREE VENUE HIRE - Fully stocked bar - Huge capacity, whole venue or partial. Call Jesse 0411 803 579

FLAUNT IT. Internationally acclaimed producer of profeminist erotica looking for conďŹ dent, adult women to smash the stereotypes and earn good money ($400 and up). Donâ&#x20AC;&#x2122;t overlook this til youâ&#x20AC;&#x2122;ve found out more about it.

Jessica 9495 6555 or www.feck.com.

MUSIC MANUFACTURING & DISTRIBUTION www. drumsrecords.net, P.O. Box 1187 St. Albans VIC 3021 Australia

WE WANT EVERYONE Promoters, Bands, DJs Revitalised bar, The Barley Corn, has reopened its doors 7 days a week and we want YOU. Call Jesse 0411 803 579

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Beat Magazine Page 74

Tonightâ&#x20AC;&#x2122;s your last chance ever to catch Alexisonfire, as they play their final tour. If you missed out on tickets you can watch Youtube videos and cry with the rest of us. Wah!

ALL AGES TIMETABLE

Wednesday December 12 Summer Blitz w/ Talent quest â&#x20AC;&#x201C; open to all styles w/ Facepainting, T shirt design, Jumping castle, DJing, MCing, African drumming, and Lions BBQ, The Castle, Hemmings Park, Princes Hwy, Dandenong, 11am â&#x20AC;&#x201C; 2pm, Free, Nick Karlas on 9793 2155 or greaterdandenong. com/youthservices, AA

JLO, Rod Laver Arena, Batman Avenue, Melbourne, 7pm, $101.60 â&#x20AC;&#x201C; $795.25, ticketek.com.au or 132 849, AA Alexisonfire, Festival Hall, 300 Dudley Street, West Melbourne, 8pm, $69, ticketmaster.com.au or 1300 111 011, AA Thursday December 13 Barwon South Western League w/ Skate, Scoot and BMX Coaching & Officiating Workshop, Warrnambool Skate Park, Viaduct Road, 11am â&#x20AC;&#x201C; 5pm, Free, warrnambool.vic. gov.au, AA Friday December 14 Barwon South Western League w/ Skate, Scoot and BMX Coaching & Officiating Workshop, Warrnambool Skate Park, Viaduct Road, 11am â&#x20AC;&#x201C; 5pm, Free, warrnambool.vic.gov.au, AA Ramp Rage w/ Captain Custard, Untold Odyessy, A Fools Paradise, Jam Session, DJ Leo, and skate demo and scooter demo, Davidson Oval, Bairnsdale, 4pm â&#x20AC;&#x201C; 8pm, Free, Chris Taylor on 5150 4861, AA End of the World Underage Dance Party w/ free bouncy castle, sausage sizzle, fairy floss, slushies, comptetitions, games and prizes, EVâ&#x20AC;&#x2122;s Youth Centre, 212 Mount Dandenong Road, Croydon, 6pm â&#x20AC;&#x201C; 9pm, $5 with promo card or $9 without, Maroondah Youth Services on (03) 9294 5709, U18 Junior Underage Dance Party w/ DJs, Wyndham Youth Resource Centre, 86 Derrimut Road, Hoppers Crossing, 6pm â&#x20AC;&#x201C; 10pm, $5, Jamie Cooke on 8734 1355, U18 Christmas Fireworks! w/ Michael Woods and the Chamber Orchestra, Kalina Krusteva and Derek Jones, Melbourne Recital Centre, 31 Sturt Street, Southbank, 7pm, $40 or $20 concession, melbournerecital.com.au, AA

Silent Cinema w/ Modish Events and Entertainment, Bannockburn Cultural Centre, 27 High Street, Bannockburn, 7pm â&#x20AC;&#x201C; 9pm, Free, Sarah Dalton on 5220 7177, AA

&DUOLVOH 6WUHHW 6W .LOGD (DVW 9,& 3K

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If youâ&#x20AC;&#x2122;re closer to Bairnsdale, check out Kulcha Slams FReeZAâ&#x20AC;&#x2122;s Ramp Rage, which will feature Captain Custard, Untold Odyessy, A Fools Paradise, Jam Session, and DJ Leo playing around skate and scooter demos. Itâ&#x20AC;&#x2122;s also free, the details are below.

Regina Spektor w/ Only Son, The Plenary, 1 Convention Centre Place, South Wharf, 7pm, $100, ticketmaster. com.au or 136 100, AA

%$/$&/$9$ +27(/ 7 + 8 5 6 ' ( & 7 +

On Thursday and Friday this week, Warrnambool Council and YMCA are throwing together a Skate, Scoot and BMX Coaching and Officiating Workshop. That means youâ&#x20AC;&#x2122;ll learn practical and fun things like how to run events, coach, and teach others new skills. Itâ&#x20AC;&#x2122;s free and open to anyone aged 12 to 25 years with any sort of skate/ scooter/bmx experience.

Christmas Fireworks! w/ Michael Woods and the Chamber Orchestra, Kalina Krusteva and Derek Jones, Melbourne Recital Centre, 31 Sturt Street, Southbank, 7pm, $40 or $20 concession, melbournerecital.com.au, AA

Define your genre in five words or less: Nasty, noisy, dreamy pop.

DJ AGENCY SEEKING EVENT MANGERS, promoters and party organisers to work with. Text 0411 024 794

MUSICIANS WANTED

+ BEAT PRESENT...

THE RESURRECTION CHRISSY PARTY On Sunday December 16 St Jeromes â&#x20AC;&#x201C; The Resurrection is throwing an all day Christmas Party and theyâ&#x20AC;&#x2122;ve put together a lineup sure to rock your Christmas stockings off, including Nai Palm (Hiatus Kaiyote), DJ Stickman, City Vs Country, RRRâ&#x20AC;&#x2122;s DJ Patrick Delves, Store Bought Cool and You And The Colonies. Plus thereâ&#x20AC;&#x2122;ll be an all day BBQ, all day Bloody Marys and $4 tinnies. Thisâ&#x20AC;&#x2122;ll be the Christmas party to end all Christmas parties so avoid the awkward yearly chat with that strange Uncle Alan, ditch the drunken pash by the water cooler with Tim from accounts and get down to the Res for an all day pre-Christmas feast of music, food, sun and booze.

Entry is free and doors open at 12pm.

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Saturday December 15 Christmas Fireworks! w/ Michael Woods and the Chamber Orchestra, Kalina Krusteva and Derek Jones, Melbourne Recital Centre, 31 Sturt Street, Southbank, 7pm, $40 or $20 concession, melbournerecital.com.au, AA Very West Showcase, Performance Space, Footscray City Arts Centre, 7pm â&#x20AC;&#x201C; 11pm, footscrayarts.com, AA Spectrum Dance â&#x20AC;&#x153;This Is Your Five Minute Callâ&#x20AC;?, The Palms at Crown, 8pm, $45.00 - $60.00, ticketek.com.au or 132 849, AA Monday December 17 The Pier Underage w/ Feenixpawl, The Pier, Cunningham Pier, Geelong, 7pm â&#x20AC;&#x201C; 11pm, $20, oztix.com. au or 1300 762 545, U18

TUESDAYâ&#x20AC;&#x2122;S IN DECEMBER

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GREAT BRITAIN HOTEL FALLOE FROM 8PM

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t BRUNSWICK

EMAIL: BOOKINGS@SPOT TEDMALL ARD.COM

Wed. December 12th: wine, whiskey, women

8pm: Kerryn Fields 9pm: Teresa Dixon and Tamarin Young Thurs. December 13th:

8pm: Tim Cannon & Friends Fri. December 14th:

6pm: Trad. Irish music session with Dan Bourke & Friends Sat. December 15th:

9pm: Catfish Voodoo Sun. December 16th:

4PM: Pugsley Buzzard 6.30PM: Jeb Cardwell Tues. December 18th:

8PM: Christmas Trivia Special The Drunken Poet, 65 Peel Street (directly opposite Queen Vic Market), Phone: 03 9348 9797. www.thedrunkenpoet.com.au SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 75

BACKSTAGE THE PLACE FOR MUSICIANS

for more information or ad bookings call Aleksei on 9428 3600

REHEARSAL PROFILE

KINDRED STUDIOS

Location: 212A Whitehall Street, Yarraville, 3012.

Hours of operation: Monday - Friday 9am to midnight.

Sat - Sun midday to 6pm.

Sat - Sun 6pm to 1am for events and performances by arrangement.

Rooms and facilities: Front theatre stage, 11 music rehearsal rooms, chillout lounge, dance floor, free WiFi, live music, pool tables, group bookings, boutique and tap beer plus snacks available, Instruments available for hire: 2 x Marshall combo guitar amps 1 x Marshall speaker cabinet (no head) 2 x Drum kit 2 x Bass smp (one stack, the other combo) 2 x Roland keyboard Cost of rooms and special deals: Monday to Thursday: Band 6 hrs $65 Band 3 hrs $50 Solo 6 hrs $40 Solo 3 hrs $30 Friday to Sunday: Band 6 hrs $55 Band 3 hrs $40 Solo 6 hrs $30 Solo 3 hrs $20

STORE PROFILE

Parking and loading available? All day parking on Harris Street, with access to Kindred loading bay.

Extras: Front theatre stage for live performance has a projector, theatre curtain, turntables, nexo rig and an in house sound technician for use.

Phone: 9687 0233 or 0418 120 954 Website: www.kindredstudios.com.au E-mail: info@kindredstudios.com.au

GH MUSIC

Location: 100 Mt.Alexander Road, Flemington.

Established: GH Music was recently established and is now open.

Toyland

Recording Studio

Toyland in Northcote for recording bands, singers or any other audio project Recording, Mixing and Mastering Call Adam Cal on 9482 2111 or 0412 060 664

www.toyland.com.au

Opening hours: Mon-Thurday 10-6pm, Friday 10-7pm, Saturday 9-5pm, Sunday closed.

What are some of the brands GH Music stock?

We stock Fender, Gretsch, Pearl, DW, Tama, Martin, Maton, Cole Clark, Yamaha, Roland, ProTools, Vox, Zildjian, Paiste, Cort, Valencia, Ampeg, Ernie Ball, Mesa Boogie, Vox, Mark Bass, Casio, Nord, Pearl, Abelton, Cubase, Shure, Zildjian, Boss, MXR, Jim Dunlop and many more including some of the boutique and lesser know.

What would you consider to be your point of difference?

Our point of difference is the “Rent Plus” program which makes expensive purchases easy. Feel free to come in or give us a call on how it works. It’s simple to set up and will have you playing in no time.

THIS SPACE COULD BE YOURS! CONTACT ALEKSEI ON 9428 3600 OR MIXDOWN@BEAT.COM.AU

Any upcoming events or clinics?

We will be having lots of clinics in the new year for drums, guitars and keyboards which should be really exciting. We also will have a Weekend Warrior program starting in February with Paul Norton coaching.

Phone: 9372 6664 Website: www.ghmusic.com.au

18 Duffy street Burwood 3125

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10 large and identical 30m2 rooms Air-con and ventilation in PA/foldback combos at 1000w Storage and every room Acoustic Engineer-designed soundproofing amp/kit hire

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PH: (03) 903 88101 M: 0417 000 397 Email: hydrastudios@bigpond.com

BACKSTAGE NOW RUNNING FULL COLOUR! Beat Magazine Page 76

BACKSTAGE: BEAT’S ONE STOP SHOP FOR MUSICIANS

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For details phone Mark Barry on 03 9889 1999 or 0419 993 966

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571 High Street Preston VIC 3072 Tel (03) 9471 1023 Fax (03) 9471 1919 Internet: www.jamhutstudios.com

Guitars and Amps wanted Top CA$H Paid

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BACKSTAGE: BEAT’S MUSICIANS DIRECTORY

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* * HUNDREDS HUNDREDS OF OTHER PACKAGING OPTIONS AVAILABLE! FOR A PRICE ON ANY PACKAGE AT ANY TIME VISIT: WWW.IMPLANT.COM.AU/QUOTES WWW.IMPLANT.COM.AU/QUOTES Beat Magazine Page 77

Photos by Kirsty Miliken and Leah Robertson

LIVE MEREDITH MUSIC FESTIVAL 2012 Meredith Supernatural Amphitheatre, Friday December 7 – Sunday December 9 What characters we were. The local chapters of the Turbojugend with their fantastic embroidered denim jackets. The bindi-sporting girls with seapunk-turquoise hair and acute bangs. The kooks in their animal costumes. The babes with their resplendent floral headgear. The wide-eyed teens taking off on their maiden Meredithian journey. The hardened rock dogs clutching a perpetual tinny. All very beautiful people in their own way, you see.

When things kick off in such a loose manner, you know you’re in for something a little special. Pond lead singer Nick Allbrook was a rock‘n’roll terror in an oversized dress shirt, burning through material from Beard, Wives, Denim. A fine display of classic rock acumen, harking back to Sabbath and early Funkadelic, pulled off with showmanship beyond their years.

Speaking of young’uns, local kids Snakadaktal performed their chill, radio-friendly rock with ease. A tad inoffensive, but a pleasant way to countdown to the evening.

I think Earthless’s 50 minute set was two songs long. Maybe three. What I do know is that this is the first time in history that the outdoors has been hotboxed. Shit-hot stoner rock goodness, that.

Mick Harvey, Shags Chamberlain, and a freakin’ huge hat joined Brous onstage. It all came together quite nicely, with enough musical substance on hand to match the overload of style.

“I’m living on the moon.” So sang Grimes on her goddamn triumphantly cheesy closing number, Blood Diamonds collaboration Phone Sex. Elevated at centre stage, hunched over her instrumental setup with constantly raised elbows, Claire Boucher contorted her way through a stellar runthrough of highlights from her breakthrough LP Visions.

Oblivion had a dumb as hell dubstep outro. It was sick.

Grimes was in control while seemingly teetering on the edge of chaos, staring intently over the dancing swarm with her blackened panda eyes while bouncing back and forth from sampler to synth.

Ticking the legacy act box this year were the reformed Sunnyboys. Alone With You was alright, but the rest of the set felt like a lull in Friday’s near flawless run of acts.

Grimes had us living on the moon, Spiritualized had us floating in space. You couldn’t have picked a greater setting, with a mix of stunning lights and the absence of light pollution creating a perfect celestial experience. Come Together was the theme for the weekend, it turned out.

Lonerism and Solitude defined most of Tame Impala’s material. Kevin Parker crafted the latest album on his lonesome, pretty much, in a Parisian apartment. Tonight, 12,000 people came together to expunge all their inner loneliness, standing arm in arm screaming their hearts out to Feels Like We Only Go Backwards. On a weekend that

was pretty much nonstop highlights, Tame Impala shone that little bit brighter. Two albums and one EP deep, the Perth collective can manage to pull off a setlist that reads like a greatest hits package. Right now, they can do no wrong, and they did plenty right at Meredith.

There weren’t many elements coming together to form Omar Souleyman’s early AM appearance. A relentless beat, Souleyman’s sporadic wail, and some rather composed onstage hand-clapping. But my god, it was brilliant.

Souleyman and his beatmaker didn’t hold back for a second during the whole set, and the crowd loved every moment.

A musical world away from the Syrian master, Four Tet managed to still uphold the momentum with a solid and very danceable set. It was enough to make you curse the 4am curfew, for sure.

The wind was a harsh mistress come Saturday. She left my tent a twisted wreck of snapped fibreglass and torn fabric.

Oh well.

City Of Ballarat Municipal Brass Band are a bunch of sweethearts, performing their longstanding Saturday morning duties at Meredith. Twerps are also sweethearts, performing their long-overdue Meredith debut. Tracks from their corker of a debut went down a treat as the sun began pounding us into submission. New songs He’s In Stock and Work It Out, plus a Simon & Garfunkel-esque number led by guitarist Julia, were a breezy delight. All too soon, they signed off with a cover of Psychic TV’s The LaLa Song.

The drummer for the Twerps’ hearty beard was immediately put to shame by heartfelt crooner Chet Faker, who led a fairly sedate set replete with full backing band. His vocal styling became a tad overbearing to digest at times, plus the blend of electronic and organic instrumentation was a little jarring.

Shirtless, pacing the stage like a fucking caged beast, Royal Headache frontman Shogun was a volatile weapon. Around 30 seconds into the relatively downtempo Distant And Vague he pulled the plug. “Nah, too boring. It’s too hot for that shit.” Pretty funny. When they did play songs all the way through, it was incredible. Really In Love, Psychotic Episode, Girls, all firecrackers. A few golden boots went up during Honey Joy. A few more would have went up if they did their cover of Womack & Womack’s Teardrops, though.

All hail Big Jay McNeely. Making his way with sax in hand through the crowd, he made by far the best stage entrance all weekend. Probably pulled off the best set all weekend too.

When he hit the stage, he took a seat front and centre, like royalty on a throne. Land Of 1000 Dances blew everything and everyone away.

Huddled weirdly close together, Hot Snakes provided service with a smile. They performed the first half of their set with Jason Kourkounis on drums, who was later

INCA ROADS Ballarat region, Friday November 30 – Sunday December 2 Inca Roads is probably the only three-day festival in Australia located on a small farm owned by an elderly Italian couple with an intimate crowd of 300 and a lineup boasting some of Australia’s most innovative upand-coming acts. With this year being only its second birthday, Inca Roads is technically still an infant, but it seems to have already found its feet.

The festival itself was beautiful: homemade decorations and art installations were scattered across the farm waiting to be stumbled upon and Instagram’d; the food area dubbed “Taste Town” was comprised only of a taco van and sausage sizzle; and the main stage looked like a bigger version of the cubby house I made when I was 11.

Everything looked like the product of an arts and craft class – it was utterly charming.

Nigerian-rapper-internet-meme Bangs was the first act I caught in full. Rivalling the likes of Kendrick and Kanye, Bangs stunned the crowd with mesmerising choruses like: “Christmas coming real soon, then we gonna have good afternoon”. (“Your boy”) Bangs actually put on a entertaining set. He induced a sing-along amongst the crowd, and soon enough even I couldn’t resist echoing his poetic choruses. I think I even twerked a little bit. I don’t know what happened.

This year Willow Beats hypnotised a cult following with their eclectic blend of experimental electronic pop, perhaps culminating in a spot on the Parklife bill through winning the triple j Unearthed competition. Willow Beats is made up of producer Narayana Johnson and his niece Kalyani Ellis who provides the ethereal vocals on each track. On the Friday night Willow Beats hit the stage as a one-man show, with Narayana cutting, mixing and splicing Kalyani’s recorded vocals between smooth electronic beats. Narayana operated effortlessly without his parter-in-crime, possessing the crowd with tracks like the anthemic From The Underground and the fast-faced Grom The Betrayer.

It’s been a big year for Animaux, racking up frequent air play on triple j and playing a series of sold out residencies throughout Melbourne, so the Inca farm was rightfully buzzing ahead of their Saturday night set.

From the first bar until the last line, Animaux exuded Beat Magazine Page 78

the energy of a young band who love their art, and their sheer excitement seemed to symbiotically rub off onto the crowd. The set climaxed with their cover of Passion Pit’s festival favourite, Little Secrets, where Passion Pit’s signature synth lines were exchanged with soaring brass instruments – somehow making the song even more danceable than the original. It was a cathartic moment that had everyone at the farm jumping with pop-funk running through their veins.

Canyons make the kind of music you’d expect to soundtrack a bunch of face painted people dancing on a farm, so it’s no wonder they were the headliners for Inca Roads. Canyons’ sugary synth was fittingly backdropped by a glowing milky way in the night sky, offering a visual that almost matched the magic of their sound. When the chorus dropped during the summery crowd favourite When I See You Again, I dropped my taco, which I never saw again.

Electric Sea Spider (Jim Sellars) was my most anticipated act for the weekend and he didn’t disappoint.

Showcasing tracks from his recently released full-length album Supercash (released through //THIS THING//), Sellars’ production was reminiscent of Clams Casino with layered tracks typified by disjointed, sporadic pops of electronic hip-hop beats. My neck still hurts from the head-nodding.

Inca Roads delivered an experience I’d expect to get from Falls or Meredith, not a festival in only its second year. As we all packed up our tents with last night’s face paint still in tact, and enough tan lines to look like human pedestrian crossings, I posed the question, “Who wants to come next year?” Let’s just say I didn’t have to bribe anyone into saying yes.

DYLAN McCARTHY LOVED: Narayana from Willow Beats impromptu magic show at our campsite.

HATED: The tan lines.

DRANK: Cheeky Rascal cider kegs. So cheeky.

Royal Headache subbed with Mario Rubalcaba. Rubalcaba, who performed with Earthless the night prior, was one of many performing duties this weekend – the Pond/Tame Impala lads, and Rick from Twerps/Boomgates being the others. Hot Snakes were blisteringly good, screaming their guts up with top notch punk fury.

Meredith’s shaky relationship with hip hop continued with a beguiling set from Rahzel & DJ JS-1. I guess the placing in the timetable was problematic, with the inherently stop-start flow of Rahzel’s beatboxing feeling like a Sisyphean quest to kick Saturday evening into overdrive. He was pissed at the soundperson, and wasn’t afraid of vocalising the fact. Still, it seemed to go over well with the majority of those down the front, which is more than can be said for Juiceboxxx’s Meredith appearance last year, There was a strong contingent of The Toot Toot Toots’ friends at the barrier for their early evening set. Their unabashed joy was infectious, eventually winning over the Amphitheatre.

The Toots’ western rock was complemented with a bit of razzle dazzle provided by a trio of backup dancers. Not as great as the dancing on display in their Gomorrah video, but still pretty good.

Earlier in the year, Saskwatch floored Golden Plains with an arvo showcase of their pristine soul stylings. Making an elusive return to the Supernatural Amphitheatre in the same year, the band took hold of their primetime slot and managed to crush it yet again. Lead singer Nkechi Anele is a superstar, and it won’t be long until the whole world catches on.

The past few years have seen Regurgitator do some superfluous shit. It’s all pretty interesting – the costume changes, the gimmicky record and release strategies, the fullalbum live sets – but tonight they achieved something far more pure. In straight power-trio formation (no spandex onesies, no heavy metal wigs), they performed what could well be the set of their careers. Hearing thousands sing along to I Will Lick Your Arsehole never gets old. They’re a punk band at heart, and one of the finest this country has produced.

And then, the Turbojugend descended. There were surprisingly many of Turbonegro’s global fanbase in attendance at this far-off country location. They were in for something special. Opening with All My Friends Are Dead, the Norwegian legends didn’t let up for their whole set. New lead singer The Duke Of Nothing made his presence felt with an imposing snarling tiger tattoo across his considerable gut.

Bobby Gillespie spent most of his set dangling his long limbs over the front of stage. The gangly Briton was everything a frontman should be, but Primal Scream failed to truly fire.

Again, we came together and it was good, but the set length was a tad overlong.

I think this is the first time I’ve actually managed to catch the Meredith Sky Show. It was a euphoric burst of mindblowing lasers. A little morsel for all your bodily sensations.

DJ Flagrant was weak, with most of the weekend’s interstitial soundtrack DJs spinning superior music. A perfunctory spin of basic hip hop selections failed to fire.

Veteran dance duo Itch-E & Scratch-E were ridiculous.

Ridiculous in a good way, and also ridiculous in a bad way.

I was very confused at the time, but it was overall pretty enjoyable. I think.

DJ Yamantaka Eye was last in the country performing a set at

JB Smoove The Forum’s mezzanine at the 2012 Sugar Mountain Festival.

You could have probably fit around 70 folks on the dancefloor, tops. Tonight there were considerably more people gathered as the Boredoms’ progenitor dished up a delectable serving of house beats.

There’s a recent legacy of the Saturday night closing set, and local duo Otologic proved themselves worthy of the timeslot, keeping the party pumping until sunrise.

I tried to take part in Master Song Tai Chi but my body was crying and being very uncooperative.

Easing into Sunday with some soothing soul, Hiatus Kaiyote provided a fresh take on the genre. It put a smile on the face, and sometimes that is all you need on a rough morning.

Young fella Fraser A Gorman was pretty much made to play Meredith. The dapper gent, joined by his backing band Big Harvest, charmed his way through a performance of erudite ol’ time blues. The cover of The Band’s The Weight made a little too much sense, but the originals were a delight.

Stu from King Gizz might have had the easiest job on the weekend, playing the drum – a singular snare. All power to him, I suppose.

Melbourne outfit Boomgates closed their set with Whispering Or Singing. If I had my wish, the song would have gone on forever, with everyone at Meredith boogying along gently to Brendan Huntley and Steph Hughes’s stunning vocal interplay for all eternity. Sheer perfection.

Ambrose Kenny Smith, frontman for The Murlocs, snarls like an animal and hits his harmonica like it’s the last bong on Earth. A mighty display from one of the many shit-hot garage fuckers emanating from Victoria’s coastal region.

Preceding his duties as Meredith Gift commentator, JB Smoove took to the stage for a wildish improv set. Introduced with a showreel of Leon Black, his Curb Your Enthusiasm character, Smoove managed to hook up two punters onstage (who then had a surprise pash), then bring on a new sidekick; a kid named Pierce (or Piss, as Smoove soon dubbed him).

Later on, the Meredith Gift made a massive evolutionary change, going from a brief sprint to a Amphitheatreencompassing loop. Still, there were lots of boobs and doodles flailing everywhere.

Bittersweet Kicks provided an explosive send-off. Maybe a little bit too explosive for my precious mind.

There’s that feeling, that sensation, walking down the hill towards the stage, the feeling where you anticipate that slap on the back, that arm on the shoulder, that hug from a mate, or is it that feeling of spotting someone in the distance and doing it to them. It’s a lovely feeling, whatever it is, and it only happens at Meredith.

LACHLAN KANONIUK

LOVED: The most consistently brilliant run of acts ol’ Aunty has ever presented.

HATED: Coming home/down.

DRANK: Bloody Marys from Eric’s Terrace. I mean, they weren’t great, but they hit the spot. Oh and those coconuts were delicious. And more than a couple of slabs of Phoenix cans.

REEL BIG FISH & GOLDFINGER The Palace Theatre, Sunday December 2 Good nights start and end with beer. At first I was standing in it while I waited in the queue down a dingy keg-lined alley and by the end of the night I was dancing in it, covered head to toe in sticky liquid gold. Yum. But what are you going to do? Anyone who enters a Reel Big Fish and Goldfinger show should realise they’ve made an unspoken agreement to endure beer being poured on them, plastic bottles hitting them in the face and the occasional kick to the ear. It’s punk rock and this is what we do.

First up, I have to congratulate the American support, Zebrahead, for solving the issue of dehydration. These boys brought the rider onstage with them, setting up a cocktail bar complete with a bartender who was expertly trained to intoxicate others, dance, and pull band members back from the mosh. Brilliant. Time for a career change.

Next up, Goldfinger. Or more like a quarter of Goldfinger.

The band have dissolved and the only original member remaining is singer John Feldmann. But nonetheless, the guy can work the crowd. They love him. The girl standing behind me even wants to marry him. She’d been charmed by his cracks about ‘tossing off’ and anecdotes of his seven year old son confusing the term ‘blowies’ with bubble machines. Maybe the kid should wear earplugs even when his daddy is offstage. Jokes aside, it’s clear Feldmann loves being on that stage as much as we love watching him up there. The entire set from Spokesman to The Only One was a party.

If Goldfinger’s set was a party, Reel Big Fish produced

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a freakin’ fiesta. Trendy and Everything Sucks opened the set. The floor filled with ska enthusiasts and every corner of the venue contained people testing out new and ridiculous dance moves. ‘Saxle Rose’ (Matt Appleton) was running circles around the rest of the brass section (literally) and the band was peppering their set with snippets of Billy Jean and Brown Eyed Girl.

They even called for a wall of skank. Not a wall of overly promiscuous women but instead for the audience to part and skank toward each other. It has the visual effect of a battle scene, if everyone was skipping.

By 12 it was time for Beer. So I grabbed a beer and headed into the mosh only to be greeted by the opening bars of Tequila, shortly followed by their final song (Beer, in case you missed it). They added a short breakdown of Red Red Wine, which was fun but to be honest, red wine reminds me of church. This was a party, better to stick to beer. Sticky, liquid gold beer.

LIZZIE DYNON

LOVED: Learning that ‘Beer can’ in a broad Australian accent sound like ‘bacon’ in a Jamaican accent.

HATED: Not being able to have a smoke with my beer DRANK: ...beer, obviously.

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