Beat Magazine #1361 by Furst Media

ISSUE 1361

| 6 MAR 2013 | BEAT.COM.AU

BEAT.COM.AU - THE FUNKIEST WEBSITE IN THE GALAXY

PUSH OVER SURVIVAL GUIDE INSIDE!

BOB MOULD

OPETH

SETH LAKEMAN

WILD NOTHING

BEATS: GREG WILSON

THIS WEEK: SEAN TAYLOR, TORO Y MOI, THE BARONS OF TANG, NGAIIRE, THE PIGS, THE APRIL MAZE, MUSHROOM GIANT, HUSK, FUTURE MUSIC FESTIVAL MAPS & SET TIMES

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IN THIS ISSUE...

HOT TALK

TOURING

GEORGE CLINTON & PARLIMENT FUNKADELIC

ARTS GUIDE, ACTION/RESPONSE

ART OF THE CITY, COMIC STRIP

OTHER DESERT CITIES

CLOUD ATLAS, RUSSELL PETERS

DINOSAUR JR, JON SPENCER BLUES EXPLOSION

THE PIGS, FARREN JONES, THUNDER ROAD, SEAN TAYLOR

INDUSTRIAL STRENGTH, REDD KROSS

NGAIIRE PG 48

NGAIIRE, MORIARTY, BASSEKOU KOUYATÉ & NGONI BA

DINOSAUR JR. PG 54

TORO Y MOI 50

SETH LAKEMAN

BOB MOULD

PUSH OVER SURVIVAL GUIDE

OPETH, MXPX, THE MARK OF CAIN

CRUNCH!

MUSIC NEWS

ALBUM OF THE WEEK, SINGLES, CHARTS

THIS WEEK IN BEATS

GREG WILSON

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

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TORO Y MOI PG56

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PUBLISHER: Furst Media Pty Ltd. MUSIC EDITOR: Taryn Stenvei ARTS EDITOR / ASSOCIATE MUSIC EDITOR: Tyson Wray EDITORIAL ASSISTANT: Nick Taras INTERNS: Alexandra Duguid, Dylan McCarthy, Spence Goucher, Daniel Bell, Jack Parsons 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 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

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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. © 2013 Furst Media Pty Ltd. No part may be reproduced without the consent of the copyright holder.

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

THE BIGGEST IN

FREE SHIT

INTERNATIONAL &

STEVIE PAIGE BAND

NATIONAL NEWS

Australia’s sweetheart of soul, Stevie Paige, bring horns, Hammond and rhythm to The Famous Spiegeltent’s autumn lineup. She brings her world class soul and blues to the cabaret stage on Saturday March 23 and we have one double pass to give away, as well as three of her CDs.

MOON DUO Wooden Shijps guitarist Ripley Johnson and Sanae Yamada emerged in 2009 from San Francisco fusing the futuristic pylon hum and transistor reverb of Suicide or Silver Apples with the heat-haze fuzz of American rock‘n’roll to create Moon Duo. And they’re rad. They play the Northcote Social Club on Sunday March 17 and we have two double passes up for grabs.

KINGFISHA Kingﬁsha are hitting the road in support of their new single Digging For Fire, bringing fellow Brisbane heavyweights Dubmarine along for the ride. They both play The Workers Club on Friday March 15 and we have two double passes to give away. Click clack, front and back to beat.com.au/freeshit.

BLUE OYSTER CULT BIG SCARY Melbournians and all round alt-pop cool cats Big Scary will be beginning a national tour this April following the release of their latest track Phil Collins, a glimpse into their new album Not Art which will be released mid-year. The tour will be their ﬁrst headlining national tour since Vacation in May 2012, which sold out Australia wide. In order to produce a fuller and more energetic sound, the duo will be expanding their live set-up to include a third person. You can catch them at The Corner Hotel on Saturday April 27, tickets on sale from the venue box oﬃce and website.

TAV FALCO AND THE PANTHER BURNS Due to popular demand American rock band Tav Falco And The Panther Burns have announced a second Melbourne show at The Tote Hotel on Saturday March 30. They will be joined by punk-rock group Harry Howard & The NDE, Momo Devil DJ and more. Falco will also be appear at Polyster Records on Monday April 1 for a book signing for his novel, Mondo Memphis, Ghosts Behind The Sun.

Beat Magazine Page 14

Punks, metal heads, sci-ﬁ geeks and horror movie fans; be prepared to feast your eyes on Blue Oyster Cult. BOC have spent the past 40 years creating a string of complex hard rock albums and destroying killer live shows. Held in high esteem by the king of horror himself, Steven King, these guys are sure to tear it up on this tour which will be their ﬁrst ever in Australia. Blue Oyster Cult perform on Wednesday April 24 at The Prince Bandroom and Thursday April 25 at Dig It Up! with Hoodoo Gurus, Flamin’ Groovies, Buzzcocks and many more. Tickets are available on Oztix.

JOSH GROBAN

DIAFRIX

Five years after his stellar sold out debut tour in 2007, Josh Groban is coming back to Australian soil once again with an ensemble of world class musicians, a local eight-piece orchestra and his brand new, sixth studio album All That Echoes which was released earlier this year. Due to overwhelming demand, Groban has announced an additional show in Melbourne on Sunday April 21 at The Palais Theatre in addition to his show at the same venue on Saturday April 20. You can buy tickets from Ticketmaster.

Fresh off supporting Macklemore & Ryan Lewis on their sold-out national tour, Melbourne hip hop duo Diafrix are just about to head off on their I’m A Dreamer tour which will have them doing their thing across the country with Sydney-based rapper Miracle. The release of their new album Pocket Full Of Dreams took hip hop fans by storm and was named iTunes Best Australian Hip-Hop Release of 2012. Catch Diafrix at The Corner Hotel on Sunday March 31, tickets available from the venue box office and website.

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HOT TALK

THE BIGGEST IN INTERNATIONAL &

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

SASKWATCH The ball keeps rolling for Melbourne’s monsters of soul, Saskwatch. After bringing the party to Meredith, a sould-out LP tour and a debut UK tour last year, they stepped into the Curtin Bandroom with Mikey Young, made it their studio for a few days and emerged with their gritty, ripping new track I Get Lonely. They’re taking it up and down the East Coast with a headline show at the Prince Bandroom on Friday April 19. It’ll be an all-out soul stomp. Get along. Ticketing details on the venue website.

BOOGIE 7 With only one month until Boogie 7 takes over your mind and senses, the festival has announced the last two acts to ramble up at Tallarook on the Easter Weekend. The Hillbilly Killers, starring Tim Rogers, Catherine Britt, Bill Chambers, James Gillard and Michael Muchow, will take to the stage, fresh from their first ever shows up at Tamworth, and to finish off the weekend the 25-piece allgirl soul gang, Sweethearts. They join an already glorious lineup including Kitty, Daisy & Lewis, Endless Boogie, Tony Joe White, Henry Wagons & His Very Welcome All Star Company, Velociraptor, and many, many more. They hit Bruzzy’s Farm in Tallarook from Friday March 29 – Sunday March 31. Tickets on sale from the Boogie website.

FLUME After selling out his ﬁrst Festival Hall show in less than 15 minutes, boy wonder Flume has announced a second show for his Inﬁnity Prism tour on Friday May 3, also at Festival Hall. Tickets are on sale now from Ticketmaster.

JAMIE XX One of the world’s hottest producers and a third of indie UK trio The xx, Jamie xx has announced some solo shows this April. He performs a late show at the Prince Bandroom on Friday April 5, after the previously announced show by The xx earlier in the evening at Festival Hall. Tickets are on sale today at 12pm from handsometours.com.

ALT-J British outﬁt alt-J ( ) will be returning to Australia this July. Their Mercury prize winning debut An Awesome Wave has been certiﬁed gold by ARIA and achieved its highest chart placement globally in Australia, peaking at #9 on the album chart earlier this year. The band also featured as part of Laneway Festival this year. alt-J ( ) will play at Festival Hall on Tuesday July 30. Tickets go on sale at 9am Wednesday March 13 through Ticketek.

ONE DAY PROJECT

YACHT

Some of Melbourne’s most well-known rock and metal musicians have banded together for the One Day Project to raise awareness and funds for Autism Spectrum Disorder at a beneﬁt gig at The Evelyn on Sunday March 31. Head over to The Evelyn to see some of Melbourne’s heavy, hard and best, including Frankenbok, Dreadnaught, King Parrot, Heaven The Axe, Bronson, Don Fernando, Wolfpack and The Charge. All funds raised from the event will go to Amaze – Autism Victoria who help people and families in the Autism Spectrum with raising awareness and support. Tickets are $22 and are available from Moshtix.

Eclectic LA-via-Portland duo YACHT are returning for Groovin’ The Moo, and have added a run of headline shows to their Australian itinerary. YACHT have now released ﬁve albums – the last two on LCD Soundsystem mastermind James Murphy’s DFA Records, with the most recent being 2011’s Shangri-La. They last toured Australia in 2009, which included an appearance at the Meredith Music Festival. YACHT will play Ding Dong Lounge on Friday May 3. Tickets through the Handsome touring website.

A$AP ROCKY Due to overwhelming demand for tickets, A$AP Rocky has traded in his previously announced show for a performance at Festival Hall on Saturday June 29. Tickets are on sale from 9am today via Ticketmaster.

THE BEARDS Hilarious beard rock group The Beards will be bringing their songs about beards to the rest of the planet with their ﬁrst ever world tour. As well as their homeland, The Beards will tour the USA, Canada, Germany, The Netherlands, Belgium, England and Scotland. The Beards perform at The Hi-Fi on Saturday June 15.

ZOO TWILIGHTS Q&A:

HUSKY

Band name: Husky. Your name: Husky Gawenda. What is your spirit animal? A wolf or bilby. Which animal in the zoo do you think is the most misunderstood and why? Tasmanian Devils have got a bad name. They’re pretty damn cute and harmless. Which animal do you think best represents your music and why? A platypus – strange, likeable and Australian. Which animal have you always wanted as a pet? A monkey. I’ve got a feeling I’d get along well with a monkey. I like climbing trees and eating bananas and you know, just hanging around. Do you have anything special planned for your Zoo Twilights show? We’ll be playing some brand new songs and will see if the Zoo will let us have a lion on stage with us. HUSKY play as part of the Zoo Twilight Series this Friday March 8. CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

Beat Magazine Page 15

HOT TALK

THE BIGGEST IN INTERNATIONAL & NATIONAL NEWS

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

presents...

Channelling some of the more inspired moments in the annals of folk, country, blues, psych-rock and pop, James Teague has announced a bevy of Melbourne shows this March. James will be hitting the road for his ﬁrst full national tour, backed by his band of musical comrades and with a new single. Check out Where Sorrow Is Forgotten (In The Great Divine) on Soundcloud. James Teague performs at The Old Bar on Wednesday March 27, The Spotted Mallard on Thursday March 28, Grace Darling on Friday March 29 and The Curtin Bandroom on Saturday March 31.

Academy Mix It With The Best

Audio Engineering Courses Full Until Feb

THE RUBENS MYRA FLYNN

THIS WEEK at The Hi-Fi Cheap Sober Sat 9 Mar

After an array of packed gigs across North America and huge success in the big apple itself, Brookyln’s Myra Flynn is ﬁnally on her way to Australian soil. The classically trained indie-soultress couples her edgy, acerbic lyrics with incredible vocals that have labelled her as a huge up-and-comer for this year. With two critically acclaimed records already to her name – 2009’s Crooked Measures and 2011’s For The Record – Flynn is about to record her new album which is yet to be titled. You can catch her performing songs from all three albums in an intimate solo performance at B.East on Saturday March 9.

JUST ANNOUNCED

60 SECONDS WITH

Bilal (USA) Fri 3 May W2AUS — Prince Anniversary Party Fri 31 May

APRIL MAZE

The Beards Sat 15 Jun

BETH ORTON The hugely successful Heavenly Sounds series of performances is set to continue this May with a national tour from the exceptional Beth Orton. On this very special Heavenly Sounds tour, presented in beautiful churches and cathedrals around Australia, Beth will be performing songs from Sugaring Season in intimate duo mode, as well as tracks from her classic recordings Trailer Park, Central Reservation and Daybreaker. Beth Orton performs at St Micheal’s Church on Wednesday May 8. Tickets on sale now through Ticketek.

COMING SOON The Tea Party (USA) Mon 11 Mar

Grinspoon Fri 22 Mar

Define your genre in five words or less: Alternative folk.

Brothers Grim Wed 24 Apr Otep (USA) Fri 26 Apr

What can a punter expect from your live show? An all round good night out, some laughs, some sing-alongs, a lot of cello and vocal harmonies.

The Black Seeds (NZ) Sat 27 Apr Unida (USA) Sun 12 May Born Of Osiris (USA) Thu 23 May The Ghost Inside (USA) Sat 25 May 18+ Sun 26 May U18 Melbourne International Comedy Festival Sam Simmons 28/3 – 21/4 Paul Foot 28/3 – 21/4 Rubber Bandits 28/3 – 7/4 Kransky Sisters 9/4 – 21/4 Festival Club 28/3 – 21/4

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Name: Sivan Agam.

Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? A cross between Cat Stevens, Florence And The Machine and Simon and Garfunkel with cello.

SELLING FAST

DIG IT UP! After a red-hot ﬁrst announcement from Hoodoo Gurus’ sophomore Dig It Up! invitational, a bevy of local talent has been added to the mix. Added to the Melbourne leg are The Moodists – a post-punk super-group featuring Dave Graney, Clare Moore, Steve Miller, Chris Walsh and Mick Turner – Ron S.Peno & The Superstitions, Super Wild Horses, The Straight Arrows, Bored Nothing and Chris Russell’s Chicken Walk. Dig it Up! visits The Palace Theatre and surrounding venues on Thursday April 25. Tickets on sale from Ticketek and Oztix.

Smashmouth (USA) Tue 13 Mar

Damien Dempsey (IRL) Sat 16 Mar

After consolidating their rise with the release of their debut album, The Rubens are setting oﬀ around the country for a headline tour in some of our biggest venues. The tour will be a homecoming for the redhot outﬁt, currently making their European debut before heading over to Texas for this year’s SXSW. Support on the Melbourne leg comes from Walk The Moon and Ali Barter. The Rubens perform at The Forum on Friday May 10.

JAMES TEAGUE

SELLING FAST

The Mark Of Cain Fri 15 Mar SELLING FAST

After a stellar showing at the return of All Tomorrow’s Parties I’ll Be Your Mirror, Harmony have announced a headline Melbourne show. The performance marks the launch of their brand-new limited-edition 7” single Do Me A Favour. Also performing on the night will be The Stevens, Mere Women, and more to be announced. Harmony perform at The Curtin on Friday April 5.

JAMES TEAGUE

The Hi-Fi vt Go ed d n Fu iness Bus urses Co ow N n! e Op

HARMONY

When’s the gig and with who? We’re playing the main stage at Moomba on Sunday March 10, sandwiched between Hey Geronimo and Mark Seymour.

UNIDA After being recently revealed as the coheadliners of the 2013 CherryRock, Unida have locked in a Melbourne sideshow. Unida are a heavy psych hard-rock quartet that features Kyuss vocalist John Garcia, who just toured Australia with Kyuss for Soundwave. Unida was the band Garcia formed in the late ‘90s, and after a handful of monumental releases, Unida went on hiatus in the early 2000s. They’ve since reformed and are ready to descend on Australia for the very ﬁrst time. They’ll be joined on stage by Beastwars and My Left Boot. Unida will play at The Hi-Fi on Sunday May 12. Tickets through Oztix.

TRUCKFIGHTERS Already announced as headliners of CherryRock013, Truckfighters have announced what’s set to be a fucking sick headline show. With three classic stoner rock albums, a documentary and tours across Europe, USA and South America under their belt, this three piece from Örebro, Sweden have been blowing away audiences since 2001. With a new, as yet untitled album set to be released this year, expect to hear some of the new riff-filled tunes from the kings of the fuzz rock face-melters when they hit Melbourne. Truckfighters perform at Ding Dong Lounge on Saturday May 11.

What do you hate about the music industry? What’s to hate? There are no arrogant wankers who make up the rules but can’t play a note, thankfully! Which band would you most like to have a battle/ showdown with? Angus and Julia Stone. Just because people compare us all the time, and we are actually very diﬀerent. Also I think we could win. Do you have any record releases to date? What are they? Where can I get them? From Tuesday March 12 our CDs Recycled Soul and Two will be available in shops across the country. You can also get all our stuﬀ through theaprilmaze. com and iTunes. What makes you happiest about what you’re doing? It connects us with people, we have so many amazing friends from all walks of life, right across the country. If someone made a movie about your life, who would play you? Billy Crudup would play Todd, obviously. I’d audition for the role of me, but someone prettier like Zooey Deschanel would probably take it out.

THE TIGER & ME Melbourne folk-pop sextet The Tiger & Me have announced a tour to launch their foot-tappin’ new single Made It To The Harbour, including a hometown stop-in at the Northcote Social Club on Saturday April 13 with support from The Twoks and Texture Like Sun. Tickets are $15+bf presale or $18 on the door and you can get them from the venue website.

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DRAGON Despite the loss of their frontman Marc Hunter 15 years ago, antipodean rock band Dragon are celebrating their 40th anniversary with a national tour. The tour coincides with the band’s most recent release, The Dragon Years – 40th Anniversary Collection, a compilation of the band’s most treasured work. In the late ‘70s and early ‘80s, Dragon dominated the Australian music scene, despite being formed by Marc and Todd Hunter back in their native New Zealand. Dragon were recognised once again by their adoptive country in 2008 when they were inducted into the Australian ARIA Rock’N’Roll Hall of Fame. Dragon will be playing in Melbourne at The Palms at Crown on Saturday May 11. Tickets are on sale now via Ticketek.

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PUSH OVER Push Over has officially released the 2013 festival playing times with the addition of Ocean Grove and Summer Blood to this year’s massive lineup. Returning to the Sidney Myer Music Bowl, Melbourne’s longest running All Ages festival will celebrate its 21st birthday with an all star cast including The Amity Affliction, DZ Deathrays, Violent Soho, Millions, Northeast Party House, Velociraptor and Dream On Dreamer. Continuing to support youth development in the Victorian music industry, The Push are proud to include FReeZA Mentoring program band Summer Blood to the Green stage lineup, playing alongside the nine Push Start Finalists and triple j Unearthed winners Tully On Tully. Whilst Melbourne five piece Ocean Grove has taken out this year’s Facebook Red Stage competition, following an overwhelming amount of entries to secure the final opportunity to play at the 2013 festival. You can check out all the playing times for your favourite bands on The Push website. Don’t miss all the action at The Push Over on Monday March 11, Sidney Myer Music Bowl, Melbourne. Get your tickets now $40+bf pre-sale from Ticketmaster.

BILAL Bilal’s artistry is always spoken in the same breath as musicians such as The Roots, Raphael Saadiq, Erykah Badu and sometimes even Prince. Now the critically acclaimed singer-songwriter is making his debut trip to Australia, marking the end of an agonising 12 year wait for his fans. He plays The Hi-Fi on Saturday May 4. Tickets from the venue website.

SUPER WILD HORSES On the back of new single Alligator, Super Wild Horses will be playing a special show at the Luwow on Thursday March 21 to let it loose on the world and to give fans a sneak peek of upcoming LP Crosswords, due on April 6 via Dot Dash. Alligator has been making waves not only on our shores but across the globe, with the dynamic video also online now. Tickets for the single launch are $10 and special guests will be announced next week.

SOJA DC-based reggae outﬁt Soja have announced they will be touring nationally in early April. The tour is to celebrate their newest album Strength To Survive, released in Australia later this month and will be coinciding with their Byron Bay Bluefest appearance. Supporting Soja will be Canadian based surf rock band, Current Swell. Soja and Current Swell will be playing in Melbourne at Prince Bandroom on Saturday April 6. Tickets are on sale now via the Prince Bandroom website.

STEVE STEVENS One of the most original and gifted guitarists to emerge from the ‘80s music scene, Steve Stevens is heading to Australia to showcase the latest and greatest gear from Roland and BOSS, plus giving a rare and intimate insight into the workings of a true guitar hero. Having played on recording by Michael Jackson and Robert Palmer, Stevens’ inventive guitar work is as legendary as his glam rock image. The live clinic and conversation takes place at Cherry Bar on Saturday March 23 from 3.30pm. Tickets are on sale now at rolandcorp.com.au.

YOUNG GURU AND TONY ROYSTER JR Jay-Z’s DJ, legendary sound engineer and producer to the stars Young Guru and drummer child prodigy extraordinaire Tony Royster Jr will be making his way Down Under this month. For the first time ever, the aural talents of two of the most respected folk in their fields will merge to elevate the collaboration between live instruments and their pre-recorded counterparts. The performance locations are secret, but you can find the venue details by following facebook.com/AddedFlavaAudioLabs.

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Beat Magazine Page 17

TOURING

WHO'S ON TOUR, WHERE AND WHEN

PROUDLY PRESENTS:

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INTERNATIONAL ED SHEERAN Festival Hall March 6 THE OFFSPRING The Palace March 6 SAM AMIDON The Toﬀ March 6 ANTIBALAS Corner Hotel March 6 AZEALIA BANKS The Palace March 7 CAT POWER The Forum March 7 THE STONE ROSES Festival Hall March 7 DINOSAUR JR Corner Hotel March 7, The Espy March 8 RICKIE LEE JONES Anthenaeum Theatre March 7 PURITY RING Corner Hotel March 8 GOOD LIFE 2013 Flemington Racecourse March 8 WOMADELAIDE Adelaide’s Botanic Park March 8 –March 11 PORT FAIRY FOLK FESTIVAL Port Fairy March 8 – 11 MYRA FLYNN The B.East March 9 TORO Y MOI Corner Hotel 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 SMASH MOUTH The Hi-Fi March 13 BLOC PARTY Festival Hall March 14 LOS STRAITJACKETS The LuWow March 14 BEATLEMANIA Athaneum Theatre March 14-17 NEIL YOUNG & CRAZY HORSE The Plenary March 13, Rod Laver Arena March 15 OPETH The Palace March 15 JON SPENCER BLUES EXPLOSION Corner Hotel March 16 DAMIEN DEMPSEY The Hi-Fi March 16 GUNS N’ ROSES Sidney Myer Music Bowl March 16, 17 MOON DUO Northcote Social Club March 17 THE JACKSONS Melbourne Convention and Exhibition Centre March 19 WANDA JACKSON Corner Hotel March 20 DEWOLFF The Workers Club March 21 THIS WILL DESTROY YOU Northcote Social Club March 21, 22 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, 26, 27 Hanging Rock March 30, 31

Beat Magazine Page 18

MANU CHAO The Palace March 25 CHRIS ISAAK Sidney Myer Music Bowl March 26 WILCO Hamer Hall March 27, 28 KITTY, DAISY & LEWIS Billboard March 27 PAUL SIMON Rod Laver Arena March 27 BONNIE RAITT, MAVIS STAPLES State Theatre March 27 IGGY AND THE STOOGES Festival Hall March 27 FALL OUT BOY The Palace March 27 ROGER HODGSON The Palais March 28 ALLEN STONE Northcote Social Club March 28 BYRON BAY BLUESFEST Byron Bay March 28 – April 1 EMILIE AUTUMN The Espy March 29 TAV FALCO & THE PANTHER BURNS The Tote March 30, April 1 COUNTING CROWS Hamer Hall March 30, 31 THE LUMINEERS Corner Hotel April 2 DROPKICK MURPHYS Festival Hall April 2 BLIND BOYS OF ALABAMA Hamer Hall April 3 ROBERT PLANT Rod Laver Arena April 3 THE XX Festival Hall April 4, 5 PENNYWISE The Palace April 4 THE SCRIPT Rod Laver Arena April 6 DEAP VALLY Northcote Social Club April 6 SOJA Prince Bandroom April 6 BEN HOWARD Corner Hotel April 6, 7 THE DARKNESS, JOAN JETT Hisense Arena April 6 BIRDY The Palais 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 JOSH GROBAN The Palais April 20, 21 BRYAN ADAMS Rod Laver Arena April 20 JOSH GROBAN The Palais April 20, 21 COHEED AND CAMBRIA/CIRCA SURVIVE The Palace April 21 BLUE OYSTER CULT Prince Bandroom April 24 DIG IT UP! The Palace April 25 TOOL Rod Laver Arena April 27 THE BLACK SEEDS The Hi-Fi April 27 BLACK SABBATH Rod Laver Arena April 29, May 1 THE BRONX The Corner April 30, May 1 THEY MIGHT BE GIANTS The Corner Hotel May 2, 3 TEGAN & SARA The Palais May 2 MATT & KIM Northcote Social Club May 3 YACHT Ding Dong Lounge May 3 EXAMPLE The Palace May 3 THE KOOKS The Palais May 1,3 GROOVIN THE MOO Prince Of Wales Showground Bendigo, May 4

ALT-J (Δ) Festival Hall July 30 AEROSMITH Rod Laver Arena May 4 BILAL The Hi-Fi May 4 HAPPY MONDAYS The Palace May 5 FRIGHTENED RABBIT The Corner Hotel May 8 BETH ORTON Mt Michael’s Church May 8 CRADLE OF FILTH The Palace May 10 TRUCKFIGHTERS Ding Dong Lounge May 11 UNIDA The Hi-Fi May 12 FUNERAL FOR A FRIEND The Corner Hotel May 14, Pier Live Frankston May 15 THE GASLIGHT ANTHEM The Palace May 15 TENACIOUS D The Palais May 17,18 DEFTONES The Palace May 17, 18 LOCAL NATIVES The Forum May 18 STAN RIDGWAY Corner Hotel May 18, The Caravan Club May 19 A$AP ROCKY Festival Hall June 28 P!NK Rod Laver Arena July 7, 8, 10, 11, 12, 13, 14, August 27 ALT-J (Δ) Festival Hall July 30 AMANDA PALMER & THE GRAND THEFT ORCHESTRA The Forum September 20

NATIONAL CARNIVAL OF SUBURBIA Oakland, March 6 – 16 LAST DINOSAURS Monash University March 7 MOOMBA FESTIVAL The Yarra March 8 – 11 PETE MURRAY Ferntree Gully Hotel March 9, Corner Hotel March 15 POPSTRANGERS/BORED NOTHINGS Gasometer March 10 NGAIIRE Northcote Social Club March 10 PUSH OVER Sidney Myer Music Bowl March 11 CLARKEFIELD MUSIC FESTIVAL Clarkeﬁeld Hotel March 17 THE BARONS OF TANG Northcote Social Club March 9

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THE CAT EMPIRE Prince Bandroom March 20, 21 PASSENGER Anthenaeum Theatre March 20,21 GRINSPOON The Hi-Fi March 22 PVT Corner Hotel March 23 GREENTHIEF The Espy March 23 BOOGIE 7 Bruzzy’s Farm, Tallarook March 29-31 YACHT CLUB DJS Ding Dong Lounge March 30 DIAFRIX Corner Hotel March 31 DEAD LETTER CIRCUS The Corner Hotel April 12 DZ DEATHRAYS Ding Dong Lounge April 13 THE TIGER & ME Northcote Social Club April 13 NANTES Northcote Social Club April 19 SASKWATCH Prince Bandroom April 19 BRITISH INDIA Corner Hotel April 19 EVERMORE, Thornbury Theatre April 21 TAME IMPALA Festival Hall April 26 THE DRONES The Forum April 26 HUNGRY KIDS OF HUNGARY Corner Hotel April 26 BIG SCARY The Corner April 27 FLUME Festival Hall May 2, 3 MELBOURNE SKA ORCHESTRA Forum Theatre May 4 THE RUBENS The Forum May 10 DRAGON The Palms at Crown May 11 THE SEEKERS Hamer Hall May 14 SOMETHING FOR KATE The Forum June 14 THE BEARDS The Hi-Fi June 15

RUMOURS Grandaddy, Jeﬀ Mangum, Gwar, Fleetwood Mac, Bjork, Bon Jovi = New Announcements = Beat Proudly Presents

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Beat Magazine Page 19

BY LACHLAN KANONIUK It’s impossible to imagine how the course of musical history would have transpired if it weren’t for George Clinton. Certifiably one of the all-time greats, Clinton stands as one of the most influential figures in rock history, leading the charge with his landmark outfits Parliament and Funkadelic (Clinton’s collective oeuvre is labelled with the umbrella term P-Funk). P-Funk enjoyed a massive resurgence in the early ‘90s with the boom of west coast g-funk rap, with Clinton’s work forming many foundations in the form of samples. These days, George Clinton & Parliament Funkadelic still tour extensively, spreading forth the good word of P-Funk to new generations, while featuring intergenerational personnel within their extensive ranks. I don’t know what to expect from our interview. Clinton has been my personal hero/god (musical or otherwise) since my 14-year-old self discovered Atomic Dog on a late night Rage-binge. As with his musical output, Clinton often conducts his interviews from another dimension. But after an elongated process of criss-crossing from various hotel switchboards in LA, George is lucid as ever, exuding wisdom with an inimitable, weather-beaten and warm cadence. The world is a different place than the one The Parliaments – Clinton’s late-’50s outfit which evolved into Parliament – first emerged. Still, the messages put forth by P-Funk over the past six or so decades remain pertinent. Whether its Funkadelic’s social commentary of You And Your Folks, Me And My Folks, Parliament’s career-long narrative of good versus evil (or in this case, Funkentelechy Vs. The Placebo Syndrome), or Clinton’s solo cry to Paint The White House Black. Or it can be as simple as “shit, goddamn, get off your arse and jam!” “Those things are still relevant – free your mind and your arse will follow – I think there’s a resurgence of people finding out about what we were talking about,” Clinton rationalises. “A lot of what we said was through dance music, and people just danced to it, but now they’re beginning to relate to the things that we said. In the late ‘60s, early ‘70s when Funkadelic were doing rock stuff, with a lot of social messages – like Maggot Brain. But in the ‘70s they related to the dancing at first. But now they’re relating to what was said – Think, It Ain’t Illegal Yet, Funkentelechy, Three Blind Mice – all the stuff we was talkin’ about back then.” Constantly evolving since what has become fabled performances in the ‘70s, the P-Funk live experience is still quite like no other. Though Clinton has been a relatively constant visitor to Australia over the years, this will be the first time in over a decade that we will see the full, 22-piece, P-Funk spectacular. “We like doing what we do. That’s the main thing that makes it easy for us to do it. Everybody loves what they do,” Clinton beams. “Our shows have always been like a circus. The grandparents will go, the parents will go, Beat Magazine Page 20

and the kids will go. We have enough history and enough styles of music that everybody relates to us in some kind of way. They don’t mind seeing their parents’ heroes, or their kids’ heroes. We kind of get around that, which is hard to do because kids hate their parents’ stars and vice-versa. Kids don’t like their older brothers’ and sisters’ heroes. But I think with hip hop having so much P-Funk DNA, a lot of the younger generation transfer to us kind of easy. It’s for three generations, all the way from 75 to 80 year-olds, to 12, 13 year-olds.”

And it’s not just the audience exhibiting intergenerational qualities. Legendary guitarist Garry Shider (aka Star Child aka Diaper Man) passed in 2010, but his legacy lives on. “His son is with us now,” explains Clinton. And Clinton himself is joined onstage by his granddaughter Sativa (who often busts out a showstealing rap). “That feels good. First of all it keeps you closer to young people. They keep me posted on what’s coming up – my son is there, my grandson,” Clinton states. While the P-Funk legacy is one of the most inﬂuential forces in music – applying to rock as well as rap,

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“To some extent, yes. You get groups like Chili Peppers, Jane’s Addiction. You can hear P-Funk in them,” Clinton assesses – there is still the insatiable quest to discover new music. “[P-Funk’s influence] feels good, but I’m trying to find something new. I love the fact that stuff’s still alive, but I’m out there to find what’s next and to find something new, I search YouTube to find what’s cookin’ for the most part. There’s a small clique of people putting it out, and they’ve got the power. So you have to find alternative ways to find new shit or to get new shit played, to get people to hear your new shit. I think YouTube is probably the richest with that right now,” Clinton offers. “I feel more comfortable with the internet being an alternative to regular record companies because record companies weren’t doing anything for artists anyway. Now you at least have a chance of getting stuff out there when you want to, and you’re getting paid. If you only sell a few, you still make more money than what you were getting from the record companies,” he says. Suffering from the follies of the business aspect of music more than most, Clinton is still a tireless crusader for musicians’ intellectual property rights. “I’m fighting for the rights to my stuff right now, but I’m glad we’re surviving and we’re still around to fight for the rights to our stuff, or to at least put in motion. We’ve been to congress, to senators, to record companies. Especially now with the new copyright law taking effect next year, for the first time in a long time – since 1978. That’s getting ready to be tested. Record companies don’t want to abide by the law. I’m glad to still be around to watch it change.” Too sprawling to encompass here (I recall spending countless hours researching in the pre-Wiki era during high school), the rich Parliament mythology and cast of characters – namely protagonists Star Child and Dr Funkenstein, and antagonist Sir Nose D’Voidoffunk – provides fertile ground for either stage or the big screen. When I raise the possibility with Clinton, he reveals the wheels have already been set in motion. “We’re working towards that right now. A P-Funk show, a play. And a movie of the Star Child, Sir Nose, Mr Wiggles, Dr Funkenstein, Clones, the Mothership,” he lists. “There will be a movie somewhere along the line.” As for the future of P-Funk, you get the sense that the group will be eternal. Clinton agrees. “I don’t think it will stop. It will just be different. There’s a group called Drugs that’s a part of it right now, one called 420. Members have their offshoots, but there will always be some P-Funk, some Funkadelic around.” As for the imminent touchdown of the Mothership in Australia, we’re in for more than something a little special. “We’ll be doing everything up there. Funk got Viagra in it. You’re ready to be hard. We got the energy, the people give it back. It makes it so easy to do when the people are part of the show.” GEORGE CLINTON & PARLIAMENT FUNKADELIC will be bringing their 22-piece Galactic Circus to Billboard The Venue on Saturday March 9, and Golden Plains Lucky Seven, taking place Saturday March 9 until Monday March 11 (soldout).

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Beat Magazine Page 21

THIS WEEK: ON SCREEN Black and White Lines is set in suburban Melbourne, in the year 1963. After spending a few months in juvenile detention for an unacceptable schoolyard incident, Michael Cox (Alex Forras) has been placed at a new Melbourne technical school for boys. But now, for disputing the judgment of teacher Mr Piper (Jeremy Kewley) during a physics lesson, Cox has been unfairly made to attend a Saturday morning school detention with an unruly bunch of youths who would rather play with knives and wreck school property than learn to read and write. It’s exactly the sort of crowd Cox needs to avoid, but as the morning detention progresses, the other boys learn of a dark past that will result in devastating consequences. Black and White Lines is a 24 minute short film written and directed by first time filmmaker Darren L. Downs and it’s official launch screening will be at Loop Bar in this Saturday March 9. Head down to Loop for pre drinks from 5pm, with the film screening at 6.15pm. Admission is free.

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ON STAGE Celebrate International Women’s Day and bring a friend or colleague along to a free performance of I Don’t Wanna Play House, followed by a light lunch. This confrontational, gripping and critically acclaimed autobiographical, one-woman show by Tammy Anderson deals with the heartbreaking topic of child abuse and domestic violence, and ultimately escape. A mesmerising, highly personal story based on her own upbringing, Tammy Anderson brings to life each character through a swirl of monologue, movement and country music. Throughout the monologue are moments of darkness and trauma, as well as inspiration, love and laughter. Much like life itself. It’s on at the Melbourne Town Hall tomorrow, Thursday March 7 and is a free event.

ON DISPLAY Will Coles may best be known for his uncommissioned public installations. For years he’s been gluing down concrete mobile phones, teddy bears, footballs, squashed drink cans, skulls, and remote controls, as well as the more conspicuous concrete TVs, washing machines and suitcases. Usually they bear a message, sometimes just a word, but they are always trying to plant a seed of thought. A famous culture jammer, Coles skillfully represents a culture obsessed with individuality, yet completely taken in by advertisements that sell that myth. His work can be found on streets all over the world: many throughout the streets and laneways of Melbourne. For those already familiar with his small concrete ‘street works’ dotted around town, now’s the chance to see his larger gallery sculptures. In his ﬁrst-ever appearance in a Melbourne gallery, Dark Horse Experiment presents their opening show for the 2013 this Friday March 8. Opening night festivities start at 6pm and admission is free.

BEAT’S PICK OF THE WEEK: Tess left her small country town in the back of a police wagon after confessing to lighting a fire which devastated the town and killed her best friend. Years later, she’s back and most of the town are not happy to see her. Her boyfriend is now engaged to the local police sergeant. His brother is a firefighter who remembers the fire vividly and her grandmother has denounced her publicly and is demanding Tess leave town immediately. The main reason for Tess’ return is her mentally challenged brother who is delighted to see her. Tess looks to be settling back in until another fire breaks out and she is the prime suspect. Torn between leaving with her brother or staying to fight for her ex, Flame Trees is the story of one woman’s fight for redemption. Written by acclaimed dramatist Wayne Tunks, Flame Trees a modern Australian drama about fire and the fear it brings. It opens today, Wednesday March 6 and will be on at Theatreworks in St Kilda until Saturday March 16.

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ACTION/RESPONSE BY JOSH FERGEUS

The third biannual Dance Massive initiative is set to launch across Melbourne from Tuesday March 12, led by a consortium including Arts House, Dancehouse and the Malthouse Theatre. Supported by the Australian Council for the Arts and Arts Victoria, Dance Massive 2013 features a large number of artists presenting distinctive contemporary dance works around Melbourne. One of them is Action/Response, led by curator Hannah Mathews. “I’m a visual arts curator, I’m not really involved with dance,” says Mathews, “but I’m very interested in in the crossover between dance and visual arts. It’s appearing more and more in artists’ practices. In the last couple of years it’s had a real vibe again – there’s a lot of movement and choreography and that’s why I’m interested and why I’m involved.” Action/Response is a multifaceted project developed by Mathews which features a number of artists performing separate works across North Melbourne’s Errol Street precinct. “It’s also a response to my living in North Melbourne for a couple of years and noticing the unique vibe of Errol Street,” attests Mathews. “It’s quite a modest landscape – the buildings are all one or two ﬂoors, but the area is slowly undergoing gentriﬁcation. I wanted to do something on the Errol Street streetscape before it becomes irretrievably remodelled.” Creating Action/Response required Mathews to get up close and personal with her local community. “Being part of the community and having witnessed change

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OZ THE GREAT AND THE POWERFUL PLUS STAR TREK

IMAX Melbourne have announced something really special: for the upcoming screenings of Oz The Great And Powerful, they will show the opening nine minutes of the highly anticipated Star Trek sequel, Star Trek Into The Darkness, beforehand. Star Trek Into The Darkness will be one of the biggest movies of 2013 so you don’t wanna miss this shit. Oz The Great And Powerful, directed by Sam Raimi (the dude behind the blockbuster Spider-Man movies starring Tobey Maguire), is set for release on Thursday March 7, starring James Franco and Mila Kunis. We have some double passes to give away.

over the last couple of years it was great to be able to get out there and knock on doors and ask people if they wanted to be involved,” says Mathews. She received a great response. “There are things going on within all sorts of spaces. We are working in cafes, parks, a pub, laneways. There will be things going high and low. There will be music coming out of upstairs windows. There will be man who’s an incredible opera singer performing with turntables in a front window of a café. There’s a work being presented in a tax oﬃce.” At the core of the project are two everyday actions, falling and turning. They are, of course, often used in symbolism and metaphor, and have provided Mathews and her collaborators with a rich source of inspiration as they developed the various works. “I was interested in something ubiquitous, something which we all do, knowingly or unknowingly,” states Mathews. “That’s where I wanted to start.” At the outset of the project Mathews invited a number of writers, each with distinctive backgrounds, to write a piece based on one or other of these actions. “Ramona

TAKEN 2 A sequel to the highly successful first film, which follows Bryan Mills (Liam Neeson) as a CIA operative attempting to track down his daughter after she is kidnapped in France, Taken 2 is set in Istanbul where Mills and his wife are taken hostage by the father of a kidnapper Mills killed while rescuing his daughter in Taken. Directed by Olivier Megaton (why not just change it to Megatron), Taken 2 was written by legendary filmmaker Luc Besson, the man behind Leon: The Professional, The Fifth Element, La Femme Nikita and more awesomeness. We have some copies of the DVD to give away. Hit up beat.com.au to win.

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Koval ran the book show on ABC Radio National for forever and used to be a science journalist,” says Mathews. “I asked her to write a piece on turning and she came up with a piece which considers the action of turning from the galaxy right down to the level of molecules. But she also considers the idea of turning a new leaf, turning on one’s heel, and the turning of a wheel. It’s a poetic but very scientific look at the motions of turning.” Chris Johnston, a senior writer for The Age and writer of the weekly music column The Crate, also contributed to the project. “I asked him to write about falling,” remembers Mathews. “I thought he would write about falling in the context of music, but actually he’s written an incredibly beautiful series of vignettes which tell an autobiographical story. He’s written about September 11, about his grandfather in World War II, and about falling out of his bedroom window as a teenager.” After the completion of these written responses, Mathews shared these with ten dancers, musicians and visual artists, all of whom have created a performance response to a combination of the actions and the texts. “It’s really interesting,” says Mathews. “While everyone has considered the action itself, some have been motivated by the text, some have been motivated by the fact I’ve asked them to choose a site to perform in the Errol Street precinct, and some have created a response more influenced by the audience they expect. “Because it’s happening on Errol Street there are a few factors – there’s a dedicated Dance Massive audience which is obvious and well established, but there’s also the general public going about their business. There’s the tram, the supermarket, the school – a whole hub of activity with its own pattern and tempo. The artists are appealing to an ‘informed’ dance audience but also very much to a general audience. Some of the artists, particularly the dancers, responded to that notion of both a dedicated and a transient audience – how am I going to interact with them? I’m quite interested in the response of people stepping off a tram and seeing what’s going on – seeing an artist perform with a large metallic hoops or hearing a duet being performed from the balcony of the North Melbourne Town Hall and the upstairs room of a Malaysian restaurant.” While it’s possible to wander the precinct and view each of the works, Mathews also hopes that the casual audience may encounter one performance then become curious and hunt for others. “They might look up to hear where that voice is coming from, or they might go down that laneway where they don’t normally go because it’s a bit dirty and rubbishy,” she says. “My hope is that these works might get people to pause and look and listen a little bit more closely.”

Action/Response will transform North Melbourne’s Errol Street precinct on Friday March 22 and Saturday March 23 from 6pm – 6.45pm as part of Dance Massive.

Student tickets only $30

15-23 March

247 Days

created by Anouk van Dijk

Book at malthousetheatre.com.au

SAUCERS, SWASTIKAS AND PSYOPS - JOSEPH P FARRELL ($24.95) Oxford-educated historian Farrell continues his best-selling book series on suppressed technology, Nazi survival and the postwar psyops with his new book Saucers, Swastikas and Psyops. Farrell discusses the alleged Hannebu and Vril craft of the Third Reich; The Strange Case of Dr. Hermann Oberth; Nazis in the US and their connections to “UFO contactees; The Danger of Weaponized Gravity; and tons more. What do the following things have in common: George Adamski, Fascists, Nazi scientists, American engineers, the CIA, the Wall Street Morgan interests, I.G. Farben, ITT, SS Commando Otto Skorzeny, the post-war Nazi International, American Intelligence and the Maﬁa Drug Lords? Answer: they are all components of a “breakaway civilization” seeking to protect its control over advanced technologies and to project itself into outer space while waging a covert war here on earth with the same advanced technologies-and the rest of humanity be damned.

THE DMT CHRONICLES: PARMENIDES, PLATO AND THE PSYCHEDELIC - TERENCE TURNER ($24.95) A sort of Zen and the Art of DMT unfolds, as Turner embarks on a shamanic odyssey into ego death, the world outside the world, realities on the other side of color, and encounters with the soul of the universe, being guided by the wisdom of the Mystery Schools and the words of our own great philosophers rather than rainforest mystics. Following in the footsteps of his pseudonym’s namesake, Turner documents his headlong dive into the deepest realms of the DMT experience in search of the Machine Elves and their wisdom.

THE NASA CONSPIRACIES - NICK REDFERN ($22.95) The National Aeronautics and Space Administration was established on July 29, 1958. Ever since that day, NASA has been at the forefront of efforts to explore outerspace, resulting in the Apollo missions to the moon, the Skylab space-station, and today’s space shuttle. But behind the open face of NASA, there is a much more mysterious world. NASA has been linked to a wealth of high-level cover-ups, including: Claims that the Apollo moon landings of 1969 to 1972 were faked as part of an effort to demonstrate military and technological superiority over the former Soviet Union; NASA’s role in hiding the truth about the controversial face on Mars - which many believe to be a carved structure, created in the remote past by long-extinct, indigenous Martians; NASA’s deep and longstanding involvement in the famous UFO crash at Roswell, New Mexico, in the summer of 1947. Deep Throat-like NASA sources that have attempted to blow the lid on NASA’s most guarded secrets concerning the U.S. Government’s interactions with aliens. The NASA Conspiracies throws open all the doors that the Space Agency has kept closed for so long.

THE CIA MAKES SCIENCE FICTION UNEXCITING - JOEL BIEL ($14.95) A stirring work that offers a chilling glimpse into the negligence, greed, murder, and, at times, comical disorganization behind some of the CIA’s most controversial secret operations, this book collects the first five issues of the zine. Summarizing the influence the CIA had in the assassination of Martin Luther King Jr.; the AIDS virus; the killing of Filiberto Ojeda Rios, a Puerto Rican independence movement leader; the Patriot Act; and the Iran-Contra affair, this forthright representation provides an behind the scenes look at the United States’ foreign and domestic policies. The radical claims presented are built on fact and posit an accessible alternative to mainstream histories that help to contextualize current events and the worldwide anti-American backlash.

CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

THE ENTHEOLOGICAL PARADIGM - MARTIN W BALL ($26.95) The Entheological Paradigm is a must-read for anyone who is interested in DMT, 5-MeO-DMT, and the nature of unitary consciousness. In this groundbreaking work, entheogenic researcher, Martin Ball, Ph.D., presents a coherent system of analysis for understanding the psychedelic experience, human identity and consciousness, and the nature of reality as a uniﬁed energetic system. Free from speculative metaphysics, The Entheological Paradigm promises a revolution in humanity’s understanding of itself as well as gives practical methodology for achieving non-dual awareness. Provocative, challenging, and ultimately liberating, this collection of essays is bound to leave its mark in the quest to understand the meaning of it all. Includes the essays, “Digesting the Spirit Molecule,” “The Avatar Dreamhunt,” “Energy, Ego, and Entheogens,” and much more.

RITUAL AMERICA - ADAM PARFREY ($34.95) Secret societies - now a staple of bestseller novels - are pictured as sinister cults that use hooded albinos to menace truth-seekers. Some conspiracy books claim that fraternal orders are the work of serpentine aliens and interbred humans who wish to supplant earth of its energy, and later, its very existence. On the other side of the aisle, books by high-ranked Freemasons--skeptical in tone but no less partisan in approach--protect their organization’s public image by denying the existence of its most contentious ideas. “Ritual America” reveals the biggest secret of them all: that the inﬂuence of fraternal brotherhoods on this country is vast, fundamental, and hidden in plain view. In the early twentieth century, as many as one-third of America belonged to a secret society. And though fezzes and tiny car parades are almost a thing of the past, the Gnostic beliefs of Masonic orders are now so much a part of the American mind that the surrounding pomp and circumstance has become faintly unnecessary.

BLOOD IN, BLOOD OUT - JOHN LEE BROOK ($24.95) From the dead centre of the enormous American penitentiary system, the Aryan Brotherhood was the lion that somehow seized control of the city as well as the zoo, steadily coming to dominate the billion dollar methamphetamine industry that permeates America’s urban sprawl. They outsmarted and out-muscled everyone that tried to stand in their way, including the FBI, who have discovered that even solitary confinement is incapable of suffocating the tactical machinations of its cabal of psychopathic leaders. Bound together by a code of violence and silence, for years the Brotherhood has remained an impenetrable and unstoppable force. Until now. Blood In Blood Out is the first book to give the full inside story of its incredible rise to power. In witty, entertaining prose, ex-convict John Lee Brook draws on his unique access to many of the founding members of the Brotherhood, to tell the full secret story in unflinching, fascinating detail.

VAGINA - NAOMI WOLF ($24.95) An astonishing new work that radically changes how we think about, talk about and understand the vagina - and consequently how we think about women and sexuality - from Naomi Wolf, one of our most respected cultural critics and author of the modern classic, The Beauty Myth. As Naomi Wolf embarks on a life-changing journey to tease out the link between sexuality and creativity, what she discovers is revelatory and exhilarating - a scientiﬁcally supported link between the vagina and female courage, assertiveness and consciousness itself. Emboldened by these new discoveries she looks back in history and show us how the vagina was considered sacred for centuries until it began to be cast as a threat. Even now in an increasingly sexualised world, it is thought of as slightly shameful. Why? Vagina: A New Biography combines cutting-edge science with cultural history to explore the role of female desire and how it affects female identity, creativity and conﬁdence.

Beat Magazine Page 23

FOR MORE ARTS NEWS, REVIEWS AND INTERVIEWS VISIT BEAT.COM.AU THE BANJO PATERSON SHOW

MELBOURNE QUEER FILM FESTIVAL

Melding Paterson’s lyrical poetry with diverse musical compositions from a selection of Melbourne’s ﬁnest singer-songwriters, The Banjo Paterson Show promises to take audiences on a narrative journey as they rediscover the social commentary behind Patterson’s works. The house band The Fujiyama Mamas and orator extraordinaire Dobe Newton (The Bushwhackers) will explore themes of love, death, war, art and of course the bush. After the success of the show’s debut in 2011, the 2013 show promises to return with a contrary take on Australian contemporary life. The show for lovers of music and words alike will take place in the surrounds of the Thornbury Theatre on Saturday March 16.

The annual Melbourne Queer Film Festival, a film festival dedicated to the LBGT community, returns with a thunderous collection of films that will leave you questioning humanity. Exported from Uganda, Call Me Kuchu is a documentary detailing local activists’ fight for the absolution of the death sentence for homosexuality. Peaches will take you through her gender-bender life in Peaches Does Herself, while Turkish film Zenne Dancer will delve into identity and self-discovery. Zenne Dancer has won numerous awards for its poignant cinematography of a young dancer and his undiscovered homosexuality. Melbourne Queer Film Festival will be hosted in the city from Thursday March 14 – Monday March 25.

GORAN BREGOROVIC AT HAMER HALL

SINA KING: BURLESQUE 54

Cult film composer and former rockstar Goran Bregovic will be returning to Australia for a national tour with his 19 piece Weddings and Funerals Orchestra. An Eastern European rockstar of the original order, after being kicked out of music school, Goran Bregovic rose to fame with Led Zeppelin inspired rock band, Bijelo Dugme. He went on to compose soundtracks for Emir Kusturica’s films to world-wide acclaim, including the Cannes Palm d’Or winning film Underground, along with Time of The Gypsies and cult-classic Arizona Dream. The maestro of modern gypsy music will be playing with his 19 piece Weddings and Funerals Orchestra, which comprises a male choir, six member brass band and two female Bulgarian singers, with members doubling on bagpipes, clarinets and penny whistles. He will be appearing at two shows on Tuesday March 19 and Wednesday March 20 at the Art Centre Melbourne’s Hamer Hall.

Sina King’s Burlesque 54 will be bringing a funky fusion of old school disco and jaw dropping burlesque to the Red Bennies this Labour Day weekend. Having earned the title of ‘Miss Burlesque Australia’ and the Eros Shine Awards ‘Best Australian Adult Industry Trailblazer’ in 2011, Sina King is well qualiﬁed to lead partygoers through and evening of disco induced debauchery. Dress disco glam for an evening of dancing, featuring live fantasy entertainment, mirror balls and of course burlesque. Indulge your disco fantasy on Friday March 8 from 7pm. Tickets and information can be found through the Red Bennies website.

CHERRY 2000: ANDROID BURLESQUE Red Bennies and Scarlett Productions present Cherry 2000: Android Burlesque, a new show that brings the battle between real women and androids to the stage. Set in 2017 and paying tribute to the cult ‘80s film Cherry 2000, the new production features showgirls with guns, hip hop, robotic locking, and everything from pole dancing to pyrotechnics. An outstanding cast will bring the sci-fi cult to life in a movie length stage production that promises to blow you away. Satisfy your penchant for sexy science fiction with girls, guns and explosions on Sunday March 10 at Red Bennies.

CARBON FESTIVAL CARBON festival have announced the addition of three more speakers to the CARBON festival 2013 speaker lineup. Joining the exciting list of industry insiders will be Melburnian expat husband and wife graﬃti duo Dabs & Myla, editor at the newly formed, fast-growing menswear website Four-Pins Lawrence Schlossman and graphic artist Mark Drew. CARBON festival 2013 is happening Saturday April 13 to Sunday April 14 at RMIT Storey Hall Auditorium in the Melbourne CBD.

LAUGH OUT LOUD

COMEDY CLUB @ THE PROVINCIAL @ THE LOCAL

04 MON

11 MON

18 MON

KATE MCLENNAN ADAM RICHARD FOX FM STEELE SAUNDERS DAVE O’NEIL ALEXANDRA HOWELL CAN FIONA O’LOUGHLIN

MARCH

MON

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05 TUE

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KATE MCLENNAN ADAM RICHARD FOX FM STEELE SAUNDERS NICK CODY ALEXANDRA HOWELL CAN JIM MCDONALD USA

ADAM RICHARD

ALEXANDRA HOWELL

06 WED

13 WED

KATE MCLENNAN SUPER SPECIAL GUEST! STEELE SAUNDERS NICK CODY

@ THE HAWTHORN MARCH

MARCH

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ALEXANDRA HOWELL CAN DAVE O’NEIL

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08 FRI

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KATE MCLENNAN ADAM RICHARD FOX FM STEELE SAUNDERS DAVE O’NEIL ALEXANDRA HOWELL CAN FIONA O’LOUGHLIN

Villa Mulberry Gallery will be hosting a special exhibition of David Henderson’s paintings this month entitled Recent Work. The Italian-based Australian artist will present a collection of his most recent works created in Venice, Rome, and Istanbul. Henderson is known for his paintings that capture the ﬂuidity and vividness of reality through soft hues imbued with variant greys. Recent Work will also include the ﬁgure painting that shortlisted Henderson for the 2012 Doug Moran National Portrait Prize. Recent Work will be displayed at the Villa Mulberry Gallery from Tuesday March 19 – Monday March 25. Admission is free.

UNWRAPPED HONG KONG fortyfivedownstairs has announced upcoming exhibition Unwrapped Hong Kong, which features a series of contemporary urban scrolls taken from Michael Pearce’s time as Artist in Residence at the Hong Kong Academy of Performing Arts. Drawn into the dramatic colours, cloths and coverings of the city’s wrapped buildings under construction, Pearce explores the conflict, contrast and balance of the Hong Kong cityscape. Pearce is a visual artist and theatre designer who has worked in Australia, New Zealand, Europe and Asia. His contemporary costume design won three Green Room Awards for Best Dance Design including work for Stephen Baynes At The Edge Of Night, performed by the Australian Ballet. The exhibition will run from Tuesday April 9 until Saturday April 20 at fortyfivedownstairs.

GASWORK ARTS PARK CIRCUS SHOWDOWN Registrations for the Gasworks Arts Park Circus Showdown have opened. The theatrical competition that combines tenacity, creativity and pure athletic skill is back to propel the next circus talent onto the local stage. Gasworks are current calling for individual, or group, performers to submit a 10-15 minute piece or version of their act and complete the registration form available on the website. All circus performers can enter. Shortlisted entrants will be invited to perform at Gasworks from Wednesday May 15 – Saturday May 18 in front of an audience in the Gasworks Circus Showdown. Registrations close on Monday March 18.

NEW13 NEW, an exhibition series dedicated to new and emerging artists, will return to the Australian Centre for Contemporary Art this March. Marking the ten year anniversary of the series will be the following artists: Benjamin Forster, photographer Jess MacNeil, Alex Martinis Roe, modernism aﬁcionado Sanne Mestrom, Scott Mitchell, Joshua Petherick, and ﬁlmmaker Linda Tegg. NEW13 will provide the artists with an opportunity to launch from a solid platform into the art industry. Past artists exhibition have experience success following NEW. 2003 artist Daniel Von Strummer’s work was purchased for the Sydney Biennale, followed by a representation at he Venice Biennale. Sure to be interesting, NEW13 will be presented at the ACCA from Saturday March 16 – Sunday May 12. Admission is free.

THE WHITE CUBE WORKSHOP

DILRUK JAYASINHA DAVE CALLAN TRIPLE J

@ THE PORTLAND

PRESENTS RECENT WORK

JIM MCDONALD

Ilona Nelson will be hosting The White Cube Workshop: A How-To Guide For Hosting A Successful Art Exhibition this March. The workshop series that was established to assist new and merging artists, includes tutorials on exhibition proposals, marketing, exhibition spaces, grant applications and all the other trivialities of the art industry. Included in the workshop session is a Q&A session, followed by a portfolio review and access to Nelson’s follow-up mentoring group. Nelson is also offering a free pass for an emerging female artist working towards their first solo exhibition. Entrants are required to email Nelson with a profile and portfolio examples by Friday March 8. The successful applicant will be notified on March Friday 15. The White Cube Workshop will be hosted at The Art Room on Saturday March 23 from 10am – 5pm.

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SUN

DAVE O’NEIL JIM MCDONALD FROM THE USA

BIGGEST NAMES IN COMEDY DAVE CALLAN

BOOK ONLINE @ WWW.LOLCOMEDY.COM.AU EMAIL: INFO@LOLCOMEDY.COM.AU LIKE US ON FACEBOOK @ LOLCOMEDYMELBOURNE Beat Magazine Page 24

CHECKPOINT CHARLIE COMEDY: EUROTRASH The comedy festival is a few weeks away so expect some big-name surprise guests in the lead-up sharing the stage with Melbourne’s best comedians. For just $5. So come ﬁll yourself with cheap piss and put your continence to the test as some damn rad comedians spit funnies into the business end of a loud stick. 8pm tonight at Eurotrash Bar, 18 Corrs Lane, Melbourne. Get down early for a seat.

LOL COMEDY Tonight, at the Portland Hotel, see the biggest name to ever play on LOL stage since they’ve been in existence. So big they can’t even announce who it is. Staying true to the biggest names in comedy, this month they have Kat McLennan, Adam Richard, Dave O’Neil and Fiona O’Loughlin just to name a few and a bunch of international acts and surprise visits form big name comics who will be stopping by to test their stuff in the arena before the Melbourne International Comedy Festival kicks off. To find out who’s playing and buy tickets visit their new website lolcomedy.com.au

THE VARIETY COLLECTIVE This week at the Variety Collective see the stars of the Melbourne International Comedy Festival performing material from their upcoming shows. The very special guest MC is Australian comedy legend Brad Oakes, joined by magician Ben Sheldon, comedian Nellie White and the amazing puppetry of Bobby Bunraku. The Von Muiznieks Family Singers will sing pop songs bluegrass style. Beryl & Martha (Nadia Collins & Liv Cashman) will present a sketch to keep you whippersnappers entertained. And ﬁnally Michael Connell will be performing the ﬁrst half of his upcoming Melbourne Comedy Festival show 1st World Blues. As always tickets are just $10 at the door at The Brunswick Green (313 Sydney Road, Brunswick). Show starts 8pm this Wednesday March 6. Get in early for a seat, get in earlier for a meal.

COMMEDIA DELL PARTE This week at Commedia Dell Parte Jay Morrissey makes his MC debut with an awesome lineup headlined by the amazing comic talent of Celia Pacquola. Supporting Jay and Celia will be Adam Rozenbachs, Michael Connell, Murphy McLachlan, Peter Jones and Rhett Nunn. 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, 1 George Lane, St Kilda.

LITTLE ORPHAN TRASHLEY Following the success Annie The Musical last year is Trevor Ashley’s newest musical pantomime, Little TrAshley Orphan. Set in the lovely Sutherland Sire orphanage, Trevor Ashley portrays the red-headed wonder Fannie, a ten-year-old girl with gender issues. The musical features a dog called Bullshit, an inebriated head matron, and a dodgy-looking photographer called Daddy Warhorse. Little Orphan TrAshley is the newest work of Phil Scott and Trevor Ashley, who created last year’s Swan Lake parody, Fat Swan. If you enjoyed Fat Swan then you’ll enjoy Little Ashley Orphan. Little Orphan TrAshley will be playing at the Comedy Theatre from Thursday July 4 – Sunday July 14.

MICF FUNNY TONNE Every year the Melbourne International Comedy Festival puts a call out for comedy enthusiasts with no life to apply for The Funny Tonne – a competition to see just how many shows it is possible for one person to see during the festival. Applicants are interviewed and a few lucky lads or lasses, oozing stamina and enthusiasm, and once again nothing to do in their lives, get a pass to see as many shows as they can for the whole month. With a unique Comedy Passport in hand, three festival fans join the Amazing Race of comedy, using their own tactics (like quitting your job) to try and win the title. Each Funny Tonne competitor reviews show they see and posts them on the Comedy Festival website daily. The record for The Funny Tonne is held by Funny Tonner Kath Dolgehuy, whose eyeballs and earholes witnessed a whopping 145 shows during the 2011 Melbourne Comedy Festival. To enter, go to comedyfestival.com.au

MICF DAILY FRIDAY ON MY MIND

@ THE MENTONE

THE COMIC STRIP

Most famously noted for her creation of the hit drama series, The Secret Life of Us, Higgs will be involved in a panel discussion hosted by Sandra Sdraulig. The session will see Higgs delve into the creation of television programs, the complications and how she created her newest work The Time of Our Lives, a show that questions the existence of 40-year-olds. Friday on my Mind is a weekly panel discussion hosted at the ACMI on Friday evenings. It is an opportunity for aspiring ﬁlm and television enhtusiasts to engage in the industry through Q&A panel discussions. Friday on my Mind with Amanda Higgs will be hosted at the ACMI on Friday March 8 at 5pm. Admission is free.

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

Autumn is here, which means another year of laughter with the Melbourne International Comedy Festival. This year Beat brings to you MICF Daily your inside track to everything Comedy Festival. Hosted by Funny Tonne winner Mike Brown, this daily audio show brings you interviews with the festival’s ﬁnest comedians plus breaking news on everything happening from the Town Hall and beyond. Today on MICF Daily, Mike speaks with Dom Romeo about his show Stand Up Sit Down: Comics in Conversation. Plus there’s news on Daniel Kitson, reunion acts, RAW Comedy, and how you have the chance to see every single show at this year’s festival. Listen and subscribe today at beat.com.au.

OTHER DESERT CITIES BY JACK FRANKLIN

The MTC loves a big play, those sprawling American family dramas, big ideas, big arguments, big egos, in the vein of August: Osage County or Death Of A Salesman. Other Desert Cities, written by Jon Robin Baitz (creator of the US television show Brothers & Sisters – but don’t let that put you off) falls directly into this mould, a family drama and political drama collides at Christmas. That it is a Christmas play is apt for one of the stars, Ian Meadows, who has been in a yuletide Groundhog Day for the last year. “It’s been a while since I shot Moody Christmas but I did direct this thing over in WA which was also set at Christmas, so I have been dealing with family Christmas dysfunction quite heavily for the last year,” he laughs. “It occurred to me when I started rehearsals that my character Trip in Other Desert Cities is attempting to keep the peace in his rather volatile family, there is certainly the correlation between him and Dan in Moody Christmas, even if one is probably filled with more angst and political drama than the other. At least this year at the real Christmas my family were all very good to me, they made a few gags but they were very good, they looked after me – my actual family dysfunction was at a record low this year, they were very kind.” Ian grew up in a little coal mining town in Western Australia, a coal mining town, so acting wasn’t the job of choice where he came from. “My parents were always very supportive and I was basically just an attention seeker from when I was little. My mum would take me to plays, we would drive the hour up to Bunbury, so I was influenced by that,” he acknowledges. After drama in high school he progressed from Curtin University to WAAPA and then out into the world of professional acting. “I think it’s been really good to build slowly,” he says of his career. “Some people have that thing where they get a big job straight after drama school or quite young, so as frustrating as it has been sometimes to get close to things and not get them, I have really enjoyed the ride and in retrospect it’s been useful to have a slow burn to this place where work is consistent. I am really lucky and happy too that I can do a bit of writing, so when one is not working so well the other can pick up a bit of slack and it’s not quite as stressful.” Roles in Mao’s Last Dancer, The Pacific, Rush, Paper Giants and even a stint dating our Sally on Home & Away (resulting from this, the second Google search for his name is “Ian Meadow’s girlfriend” – quite the heart throb it seems – I did ask and he is single so don’t sweat it) have kept him in front of the camera, while also taking time to build up his stage chops. “It is really nice to not have to conform to an idea of who you are or what job you do,” says Meadows. “If you are doing what we do and it’s paying your rent and you are feeling like you are working on things you want to work on, then it’s an incredibly lucky position to be in. “I happened to read this play before I was involved in it, to look at the craft and shape of it, to understand the structure of plays, rather than from a character perspective,” he continues. “The play is an archetype of American contemporary drama, it is a genre of play, the naturalist but politically charged family conflict where there is a young professional in the family who is trying to live up to the ideals of a parent. There is a particular quality to those sort of American plays, so reading it you think, ‘Well this is big stuff’. It is assertive Americans talking, clashing, throwing ideas around in a manner we don’t really do in Australia; it has that potential to be very epic if you can find the right balance then the drama in it can really spark. “They are very big ideas and big personalities, so the joy and the challenge of it is to try and represent these people and emotions truthfully without underselling it or overplaying the whole thing. An epic family drama. A lot of the themes of the play involve the Iraq War and the Left Right divide of politics in the States, it is set in 2004, so I think now is a really interesting time to be touching back on the root of the places and political debates were are in today.” The Broadway run of the show received gushing reviews, with critics crediting the subtle performances of the leads with imbuing the show with a fire power, Rachel Griffith’s as the shit stirring daughter, returning home having written a book that exposes her conservative Republican, Ragan-esque GOP family to some harsh and unwanted attention. It was said that the great Stockard Channing, in the role of wife and mother – in Australia played by Robyn Nevin – had found the part of her career. “It is testament to the writing that those plaudits come in for the actors,” Ian humbly deflects. “John Robin Baitz’s stuff feels like it sits in you, because he writes with such naturalism and the poetry that he does use is very cleverly worked. Our cast of Robyn Nevin, John Gaden, Sacha Horler and Sue Jones, they are some incredible actors who I have watched since before I had a career. It is amazing to watch these guys spark the work into action, and they are great words to be able to do that with. It’s politically explosive drama that has a biting wit behind its drive.”

Other Desert Cities is on at Southbank Theatre, The Sumner until Wednesday April 17.

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

Beat Magazine Page 25

CLOUD ATLAS

rebooted and

d e t i u s e r The award-winning Misfits are backtioinn a power crazed, ac packed series – with a bunch of new gang members!

BY ALICIA MALONE

“It just went from one stage of crazy to the next,” admits Jim Sturgess, laughing as he explains his first thoughts about Cloud Atlas. “It was like, ‘The script is crazy, so who’s directing it?’ Oh, the Wachowskis. ‘Oh, there are two directing teams?’ That’s crazy. ‘And we’re all playing multiple characters?’ That’s crazy. And it just went on and on like that!” Crazy is an appropriate word to describe Cloud Atlas, the epic, time-shifting, character-jumping, makeup extravaganza directed by Lana (formerly Larry) and Andy Wachowski (The Matrix) and Tom Tykwer (Run Lola Run). Based on David Mitchell’s book of the same name, the film features six intercutting stories starring a team of A-listers playing numerous roles, including Tom Hanks, Halle Berry, Susan Sarandon, Hugo Weaving, Jim Broadbent and Jim Sturgess. The stories have a linking theme of how our actions can affect future generations. “That’s the thing that interests me,” says Aussie actor Hugo Weaving, “how the actions you take in your life reverberate somehow, and often the things you are doing in your life are as a consequence of the people who may have been connected to you in time, geography or culture. If you extrapolate that idea, we’re all connected in some way. That butterfly effect. Every action you make has an effect on everyone else in the world, to some extent.” With so much squeezed in to the script, it’s no wonder Sturgess (who plays seven roles) had a little trouble understanding it at first. “I read the script just before I went to bed, and at that point it was over 200 pages long. It was so hard to link everything together for me. So the first thing I did in the morning was read it again. The second time you read it, you know what the film is trying to do and you can understand the ideas behind it.” “There is a worry,” adds Jim Broadbent, “about whether audiences will be able to follow it. But audiences are much cleverer than we give them credit for. You have all the different stories going on, yet you know exactly which one you’re in at any time. You can remember where you are in each story. It’s fascinating to see how the human mind works.” Since Weaving worked with the Wachowskis on The Matrix, they have undergone a transformation of their own: Larry has transitioned from male to female, now going by the name Lana. “I get on extremely well with both of them and I love them very much,” says the actor. “I’m always challenged and stimulated by them and their ideas. I never used to get separate notes from them, which would be the main difference. They’re more individuated than before. “Their notes are so intricate, detailed and poetic,” adds Sturgess. “They would say all kinds of really interesting stuff, like, ‘Try this line and say it with as much

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love in your heart as you can conjure up.’ You would think wow. So I started acting specifically for them, just to get more notes.” Perhaps inspired by Lana’s change, the actors in Cloud Atlas not only played multiple roles, but also different genders and even races. “It’s exactly all the things that I like playing,” says Broadbent. “Different characters, quite extreme characters with different hair, different makeup, different clothes, different ages, different periods. Those are the games I like playing. This was like childhood dressing-up games, but taken to the ultimate degree – the reason why you wanted to be an actor.” And, Sturgess says laughing, all the different makeup led to some funny times on set. “I would be Asian in the morning and then after lunch I would be transported back to the 1900s. There was a lot of fooling around. There was a real energy on the set because it was just such a new experience for everyone, even Tom and Halle and all these people who have made loads of films before. It was like everybody’s first film all over again. Someone would send you a text of Hugo Weaving dressed as a fat nurse. But the funny bit was when we were doing all the makeup tests; the makeup team would throw everything on you to see what worked. I could show you some pretty funny pictures of me looking a little bit like Michael Jackson.” “And towards the end, the cameos grew,” adds Weaving, laughing. “All the actors were saying, ‘I want to be in that story too. Can I play… anything?’” Cloud Atlas premiered at last year’s Toronto Film Festival to a rousing tenminute standing ovation. “It was a really extraordinary reaction,” admits Weaving. “I’ve never been to a film that had that sort of reaction before. It was wonderful. I suppose all the hard work seemed to pay off with that audience. Not with every audience certainly, but to get that reaction was fantastic. Looking at Lana and Andy and Tom’s face – that was a present in itself.” Released in the US in October, the movie received mixed reviews and fairly low box office takings. But for the cast, the reaction doesn’t matter. The simple fact that this unique film was made is an achievement. “[Cinema] has been through quite a dull period,” says Broadbent. “That’s why I get so excited about this one, because it really is audacious, doing something different and being really brave. Some of the British films, they are so sort of predictable and pedestrian. They’re only reflecting other films that have been made recently. They’re safe and they’re not very exciting. It would be great if this film stimulated more people to be brave. My favourite period of cinema was the Easy Rider/Raging Bull era. Cinema was so exciting with all those guys. They somehow got in under the wire and were able to do those great, individual, visionary pieces. Like Cloud Atlas.” Cloud Atlas is in cinemas now.

RUSSELL PETERS

AS SEEN ON ABC2

BY BENJAMIN COOPER

EXCLUSIVE TO T 4 BOXSET SERIES 11-4

new on dvd available from

Beat Magazine Page 26

Russell Peters is that rare comedian who occupies the tricky ground of being both genuine and hilarious in conversation. The Canadian comic flips topics constantly – moving with ease from his current state of hydration to being the biggest comedian to perform in Dubai – yet there’s no calculated meanspiritedness, or attempts to puff up his own ego. As the conversation progresses it becomes clear that Peters is simply excited to be working the circuit, almost a quarter of a century after he first debuted in his hometown of Toronto. “I’m a joyous guy,” he says. “I’m really an instant gratification kinda guy, and it constantly surprises me that I’m popular anywhere so when I hear that people really like my show I get super joyous. It’s a good way to be.” Of course it probably helps that Peters can play his show pretty much anywhere he wants these days; the only condition is that the city in question has to have a stadium large enough to house his hordes of fans. Since a clip of Peters performing on Canada’s in 2004 went viral a few years ago, his popularity has soared. He’s gone from playing club shows across North America to selling out massive arenas in South Africa, Malaysia and Canada as part of his Notorious World Tour. His shows at Dubai’s World Trade Centre last March sold out in less than eight minutes; all the more significant given he sold more tickets in the city than a certain iconic pop star. “I’ve been doing this for 24 years, and it’s pretty great to finally be able to say that I beat Madonna at something,” Peters says. “If you’re going to beat Madonna then Dubai is definitely the place to do it. If anything the show actually wasn’t good enough when I was there. A ARTS NEWS, REVIEWS, INTERVIEWS ONLINE – BEAT.COM.AU/ARTS

year later I can’t help but think about how much they’d love it now we’ve straightened out all the little problems.” And does Peters plan to use his next trip to Australia to engage with any of the typical tourist sights and sounds? “I very much doubt I’ll have even a second to myself,” he says ruefully. “This is a huge production. Having said that, if I am lucky enough to get some time to myself I’ll probably look to meet a nice lady and ask her back to the hotel. I’ll take that experience over anything else.” Russell Peters plays Rod Laver Arena on Thursday March 7.

T here was movement at the T hornbury Theatreâ&#x20AC;¦for the word had passed around, that the words of A.B. P aterson were on their way. The Banjo Paterson Show, produced by Cate de Carteret, will be staged again i n 2013, where at the Thornbury Theatre an eclectic mix of Melbourne singer song g writers will perform P atersonâ&#x20AC;&#x2122;s poetry with the irrepressible alt country rockers The Fujiyama Mamas as houseband. This is P aterson as youâ&#x20AC;&#x2122;ve never heard him before: unmasked, reframed and rockin' out!

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Beat Magazine Page 27

DINOSAUR JR.

BY JOSHUA KLOKE

It’s 11.30pm on a Friday night in Gothenburg, Sweden and Lou Barlow has just walked oﬀstage. The bassist for the iconic three-piece Dinosaur Jr. is relaxing backstage with a beverage after what was, by his admission, a strange night for the band. “We had a very strict DB limit so we had to constantly turn it down,” he says bewilderingly of the Gothernburg show, one of the last of their current European tour. “They were quite strict about it because apparently if we went over this level the place would lose its license.” The 46-year-old shrugs at the notion that this would’ve presented more of a challenge for Dinosaur Jr., often recognised for the sheer volume of their sets, than other acts. Throughout our 20-minute conversation, Barlow is reluctant to hastily agree to many preconceived theories about the band’s existence. “I think noise and melody are perfectly compatible. I think Dinosaur Jr. has always been a very melodic band,” he notes. When pressed further on how concise I Bet On Sky, their

latest release is, Barlow again feigns agreement. “The songs are simpler in some ways, there’s a little more keyboard, a little more acoustic guitar. Since J writes the majority of the songs, I can’t really speak for him.” “I just do what I do,” he adds, with little dramatic ﬂare. One of the most endearing (though for many at times, incredibly frustrating) elements of the Dinosaur Jr. aesthetic has been how low-key they’ve remained about their ascension. From humble beginnings in Massachusetts in

THE JON SPENCER BLUES EXPLOSION

BY LACHLAN KANONIUK

Hurtling like a manic three-headed beast throughout the ‘90s into the mid-2000s, The Jon Spencer Blues Explosion blazed a trail for some of the most successful rock bands of the recent era with their distinctive stripped-back take on blues-rock. After a few years respite to focus on other pursuits, Blues Explosion arrived back on to the world stage in full force, culminating in last year’s release of Meat & Bone – their ﬁrst new studio release since 2004. Eponymous frontman Jon Spencer explains how a stint in Australia resulted in the decision to return to the studio to put together a new full-length LP. “We didn’t work at all for around three or four years, then got back together in 2008. We started playing together just because we wanted to, and it felt very good so we kept on doing it,” Spencer states plaintively. “After some time we ﬁgured we should make another record – it just felt right.

Beat Magazine Page 28

When we made the new record, it was the same way we went about touring – just for us. We didn’t owe anyone a record, it’s not as if we made Meat & Bone because we were in a contract or had an obligation to some company. We did it just because we wanted to do it. The feeling within the band,

1984, the band reunited after an eight-year dissolving of the band. Barlow and Dinosaur Jr. parted ways in 1989 before the band reunited in 2005 with its original members. Three albums later, they’ve evolved into a dependable stalwart of guitar-rock, still remaining loyal to themselves and their vision. Barlow admits that the idea of becoming a more recognisable band is a tempting one, but not one they’d actively pursue by making drastic changes to their approach. “I rejoined the band eight years ago. I don’t think we’ve never shied away from getting bigger,” he says bluntly. “But in terms of playing arenas by opening for bigger bands, I don’t think that helps Dinosaur Jr. very much. I don’t think that broadens the band’s fanbase. What seems to be the most effective thing in terms of making our audience grow is just being ourselves. We have our way of doing things, and that’s what we do. If we were to do anything too radical to engage a larger audience, I think it might backfire.” Fans rejoiced when frontman J Mascis and Barlow buried the hatchet in 2005. While many wondered if the threepiece would be able to capture their fans imagination with the same gusto they had in the late ‘80s, their most recent full-length, I Bet On Sky has left little doubt. Lou Barlow now finds himself and his band in a special place. Not quite elder statesmen, not quite cult favourites. It’s a

the three of us, has been very good and very positive. While the album certainly carries on the tradition of the work we’ve done in the past, it does in some ways feel a bit fresh and new.” Meat & Bone follows on from a deﬁnitive and expansive reissue series, replete with a bevy of supplementary material accompanying each JSBX release. “The purpose was to make those records available again,” Spencer reasons. “They were going out of print, so we made it that people were able to purchase, listen and enjoy. I’m proud of them, I want to have them available for people. It was a very big job, I didn’t want to reissue the records in a straight fashion. I wanted to be as complete and exhaustive and as thorough as possible. We’re a very busy band, we wrote and recorded a lot of material for every one of those records. I was trying to tell the story of the group, not like, ‘Here’s this old record again’. The whole series was trying to tell a story for those ﬁrst ten years. Am I a nostalgic person? No, not really. And I’ve got to be honest with you, before I started that job it was something I didn’t want to be doing. I would much rather be working on new music or a new project.” Blues Explosion’s impending visit marks their second since exiting their hiatus, with their last visit resulting in the seeds for their latest LP. “It was one of the things that got us going on the Meat & Bone record. While we were over there, we were asked to record a song for a television advertisement, a

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strange position that he relishes being in. “Considering most of the elder statesmen of guitar rock are still alive, Jeﬀ Beck, Eric Clapton, I don’t know if I’d put us there. But we’re deﬁnitely in some middle ground. Some strata of classic rock,” he says with relative ease. DINOSAUR JR. headline The Corner Hotel on Thursday March 7 and The Espy on Friday March 8 before heading out to Golden Plains on Saturday March 9.

cover of the song Black Betty. It was kind of funny, because I was there for Big Day Out a while back and the band Spiderbait had a hit with that song. So I was thinking why the people just didn’t use their version or the original for the advertisement,” Spencer recalls. “Anyway, we were asked to record and we had a budget and a day oﬀ, then we cut this demo in Sydney, I believe. That experience kind of proved that if we wanted to make a record, then we could go do it.” THE JON SPENCER BLUES EXPLOSION play The Espy on Friday March 15 and the Corner Hotel on Saturday March 16 (with support from Moon Duo) alongside their appearance at Golden Plains this weekend.

THE PIGS BY AUGUSTUS WELBY

Despite the details given by television show Australia’s Got Talent, four-piece bluegrass band The Pigs aren’t from Tasmania and are in fact based in Sydney. One of the band’s two lead vocalists T-Bone Pig explains the origins of the misinformation presented on the show. “We were doing this long convoluted joke, which I think they edited out every other part apart from us saying that we’re from Tasmania. Now the whole world thinks we’re from Tassie.” The Pigs reached the ﬁnal stages of said TV show performing a re-interpretation of Kanye West’s Gold Digger. A large percentage of The Pigs’ repertoire is similarly unique covers of chart-busting hits and T-Bone reveals the rationale behind adopting the particular songs that they do. “The main thing is that we look for songs that may need some help and there’s not many songs that can’t be improved by banjo. Something like Beyonce’s Single Ladies, her version has just got a couple of keyboard stabs in it, so we’ve ﬁxed it up and given it a whole new lease on life. If you’ve heard it you’ll probably agree we have done it a hell of a lot of justice.” The Pigs’ inclination to enhance songs with a magic banjo touch doesn’t mean they’ll cover any old song purely because they think they can help it. T-Bone adds that they’re usually attracted to decently well written songs, which they then proceed to give a distinctive re-model. “It’s got to have a message or something that we like. We’d

never do a song that we don’t like. We go ‘hang on there’s something cool about this song,’ and we like to take it to our own level or the next level, depends how you see it.” Having also reworked the likes of Kelis’ Milkshake and LMFAO’s Party Rock Anthem, The Pigs add a bluegrass tint to popular hip hop and R&B songs with seeming ease. However, T-Bone explains that there are occasions when the re-formatting process reveals a lack of substance in the song under review. “We do have a few dance or electronic tracks in our repertoire and often they require major rewriting. Often there’s one chord that would go through the whole song, whereas that’s sort of boring if you’re playing that in a band. It’s probably boring for the crowd as well. In a way we rewrite the chordal structures to make it better and people can’t really tell, just that it sounds good. But if it was in its original form it wouldn’t translate very well.”

FARREN JONES BY ZOË RADAS

After crushing his hand under some heavy tiles while working for a truck company – a job he’d taken to secure a bit of extra cash before becoming a new father – Farren Jones decided that he’d best be taking better care of his guitar-strumming digits. The pop-rock singer/songwriter has been doing fierce loops of Melbourne’s live scene for about ten years, and has recently recorded the single Rise for upcoming indie flick Blinder, a cardinal story about reputation and dedication set within a local football scene. “I can’t afford to risk damaging the hands,” Jones told his now ex-boss, but agreed to play the company’s 2012 Christmas function anyway. Blinder’s executive producer Scott Didier was present at the event and began to book Jones for corporate functions, and when Jones heard about the film and offered to pitch a song for the soundtrack, Didier was all for it, even sending him the script. “The original idea, I was going to write a big epic football song, because I thought it was a big stadium sort of football movie,” Jones says. “But it’s

actually a grassroots movie and it’s based on a local club in Torquay.” Inspiration struck quickly. “Within an hour I had pretty much 90 percent of the song structured, and the words. The word ‘rise’ came up and I thought, ‘Yep, this is about redemption, about the guy trying to redeem himself.’ It must have settled in my mind, the script. It all just made sense.” Didier then asked Jones to play at the shooting wrap function, and to bring along the song if he’d ﬁnished it.

THUNDER ROAD

BY ZOË RADAS

The country is getting eager for the imminent arrival of Bruce Springsteen and his E Street Band, the latter of which is now credited with around 20 musicians of the highest calibre, capable of pumping out the giant shows that The Boss had led for over 40 years. “I think over the last years he’s really grown his band,” says Mitch Dean, rhythm guitarist and backing vocalist for Springsteen tribute group Thunder Road. “But say from 10, 15, 20 years ago it was always just seven of them, pretty much. “It’s hard enough to make seven people turn up to rehearsal weekly and take them to a gig, so I can’t imagine wanting to take any more on,” he laughs. Thunder Road, led by powerful frontman Gavin Leadbetter, have enjoyed burgeoning success with their energetic take on a long list of some of Springsteen’s best tracks from across his discography. “I think at the start we basically honed in on his greatest hits, and then from there we branched out,” Dean says. “But since

then we’ve been inundated with requests from the diehards and now we play all sorts of stuﬀ.” It can be tricky to decide how faithful to popular recorded tracks a covers band should be, and Dean explains that while they may take small liberties here and there, they “tend to go towards the live versions of songs.” Each member has more than a little live experience, as Thunder Road initially began as a blooming country rock band. “We sort of just

SEAN TAYLOR BY JOSHUA KLOKE

Sean Taylor has been called one of the more exciting talents as of late in European blues. Except the 29-year-old doesn’t see it that way. Though he’s released five full-length albums in six years, has toured with a host of legendary and influential musicians and maintains a positive outlook on his future as a musician, the London-born Taylor can’t totally agree with the tag he’s been given as of late. “If I’m being honest, I think I’m more of a soul musician,” says Taylor rather directly, reached on the phone from his London home after yet another night in the studio. “But in terms of the blues, I think it’s important to express yourself. The blues can be so soulful, the way [blues players] wear their hearts on their sleeves. I love that. But the troubadours, Tom Waits, John Cale, Joni Mitchell, Neil Young, these are the people I really look up to.” If it’s the troubadours that Taylor truly admires and is attempting to model his career after, he’s already managed to get close. His three headline tours of the United Kingdom

not withstanding, Taylor’s supported Band of Horses, The Neville Brothers and John Fogerty of Creedence Clearwater Revival. They’ve been opportunities that Taylor, who disarms with a genuine charm and enthusiasm, appreciates incredibly. “For me it’s a real dream come true. It’s great to watch their process, what they have to do before they go onstage. To see what guys like John Fogerty go through, you can see that it’s almost natural for them. As if they were born to perform live.” As appreciative as Taylor has been for the opportunities granted to him, it’s brought clarity as far as how long the road

The Pigs tread a fine line between a covers act, a novelty/ comedy act and an authentic country/bluegrass act and dipping into all of these areas makes them a difficult band to succinctly categorise. “At the gigs they get it, they can see it and they’re part of that whole immersive experience. Telling other people, for example doing interviews and trying to advertise and get what you do out there, is actually quite difficult because you’re not just giving that one message ‘yeah we’re this,’” T-Bone admits. It’s a fine balance to make music that involves having a hearty laugh while also wanting to be taken seriously. T-Bone explains that the band’s development from friends jamming into a touring attraction wasn’t exactly planned and it can be

Jones scrambled to demo his material, using local producer Michael Zammit with whom he’d never worked before, and even managed to get Didier to send him some rushes (rushes or dailies are the first prints made of a day’s filming), so that he could put a clip together. “There was three and a half minutes of rushes, so I cut up a clip, made a little montage, but then I started running out of footage,” Jones says. “I thought, ‘What do I do?’ Okay, I’ll just make the song shorter,” he laughs broadly. “Surprising enough, that tightened the song up and made it the way it’s supposed to be; it sounds stronger.” Needless to say, Didier and his associates loved the track. Earlier in the process a friend of Didier’s, Alan Bennett, had played Jones a song which was submitted by another musician in a bid for the film’s theme spot. “The song was a good song, but it was very football and it was very literal,” explains Jones. “And I thought, ‘No, I don’t think that’s where it has to come from’. The movie’s more than football. It’s actually a life story, it’s a scandal, it’s melancholy. I wanted it to be, someone could take it as [specifically applying to the 90 minutes of a football match] if they wanted to, literally, or they could take the song completely out of that context and use it for anything they want. “It was sort of a learning curve for me. I’d never written to a pinched guys from that band, and it was just lucky that most of them were into what our idea was. We did have to grab a few people from outside,” says Dean. “We had to find a sax player, and we had to find a female vocalist, so we managed to find those people after we sort of got it going. We were pretty lucky to already have the nucleus: the bassist, the drummer and the piano player. They were already there ready to go.” Thunder Road’s sets are traditionally quite long, as the band have proven themselves quite determined to satisfy everyone’s desires. “It definitely does [take a lot out of you] when we play those big three-hour shows, my God. I don’t know how Gavin does it,” laughs Dean. “By the end of the night I am transfixed on him, wondering how he’s still going. Usually we sort of factor in a bit of a set break but those times where we’ve done the big shows he says, ‘Nup, let’s just keep going’, and we play through.” The group have thought about performing a full album show but it’s still in the works. “We were toying with doing one of the classics: Born To Run, or Darkness On The Edge Of Town, or Born In The USA – they’re the three that kept getting thrown around. Hopefully one day we’ll get there.” But they are, of course, going to check Brucie out when he ahead of him truly is. “I’ve been playing live for about 12 years, and I have improved in those 12 years, but even seeing some of the people I’ve shared the stage with, you realise how much more you have to learn. And to be able to play with these people, it’s truly a dream come true.” The experience Taylor has gained is beginning to show in his recorded output. Love Against Death, his fifth full-length, is as inspired a listen as anything he’s ever released. He’s managed to look to the troubadours before him and craft a selection of songs that capture a place, time and mood. And the story Love Against Death tells is as vital a story as any other being told. “When I was recording the album, the whole Occupy movement was really heating up. That influenced a couple of songs while I was recording, but even leading up to the recording, there was a bunch of marches, anti-austerity marches in particular that I really identified with. They very much inspired the songs and where the album was heading. Like a lot of people in the world, I felt a sense of desperation,” he says emphatically. “People are losing their homes, committing suicide because they had no money, and yet the banks got off scot free. It’s not all political, but I think the album title, Love Against Death really sums it up. You can choose the avenue of love

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hard to communicate the integrity behind it. “It’s a constant battle because we do want to be taken seriously but also we do have a lot of fun and act a bit like idiots sometimes. When The Pigs started we just did it for a laugh and we did it for complete fun and it didn’t have to be anything. Then the people started to come to the shows and we thought, ‘Oh wow people like this, a few guys up on stage having a laugh.’ Then the songs started to become original stuff. It sort of just morphed into that. There’s some serious stuff, we also love doing the fun stuff and we love doing the covers.” THE PIGS play The Hallam Hotel on Friday March 8 and The Famous Spiegeltent on Saturday March 9 (4pm show).

script before, I’d never written to demand, I’d never written to a deadline before either. But it actually made it easier in a way because I couldn’t stray. I had to always go back – it’s a bit like writing an essay – and refer back to that core.” The soundtrack for Blinder is out now through MGM, available on iTunes or at JB Hi-Fi, featuring Jones as well as tracks by Eagle And The Worm, The Fauves, and The Vines. Blinder hits cinemas on Thursday March 7.

graces the Rod Laver Arena later this month. “Yeah, yeah we’re all going! A few of us are going to multiple shows, so yeah, we’re deﬁnitely there. It is a bit of an outlay,” Dean says. “I think we all got caught up in the moment: buy tickets! Buy tickets! And now we’re like, ‘Gee whiz, did we really need to buy so many tickets?’” THUNDER ROAD will be rocking out at Spencer’s Live on Spencer St. in West Melbourne on Saturday March 9.

or choose the avenue of death in life, and I think these songs speak to that idea. All my heroes have created textures and made ambient music,” he adds, coming back to his heroes that he spoke of earlier. “I’ve tried to do that.” SEAN TAYLOR sets up shop in and around Melbourne for three performances including the Port Fairy Folk Festival from Friday March 8 to Monday March 11. He’ll headline the Northcote Social Club on Wednesday March 13 before returning to the Mechanics Institute as part of the Brunswick Music Festival on Friday March 22. Beat Magazine Page 45

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

MELBOURNE MUSICIANS ATTACKED!

Brad Marr of Massive (recently signed to Third Verse Management) was assaulted by a cab driver after their soldout show at the Vanguard. He refused a short trip and dragged Marr out of the car, punching him in the face. Despite extensive bruising on his face, Marr played the next night in Bendigo. Simon Findlay, drummer with 8 Bit Love, was dragged along the road for 1km by a cab driver who refused to take Findlay’s friend to nearby Hoddle St. The driver closed the window on Findlay’s arm, which was resting on the passenger side window and drove oﬀ at high speed. These incidents come weeks after The Bennies’ Julien Rozenbergs ended with 70 stitches and a three day stay in hospital after being stabbed outside their gig in Byron Bay. He’d tried to calm down some manic punter who’d been thrown out of the gig. The dude allegedly hit a whisky bottle over the guitarist’s head and, with the jagged edge, stabbed him in the armpit, almost paralysing his arm. The Smith Street Band and Bomb The Music Industry donated their guitarists so The Bennies could ﬁnish the tour, and paid for Rozenbergs’ return to Melbourne. He’s expected to make a full recovery.

TRIBUTES ROLL IN FOR DJ AJAX

Tributes rolled in for DJ and producer DJ Ajax. He died after running in front of a truck on College Crescent in Parkville just before 1am. Born Adrian Thomas, he had been celebrating his 42nd birthday. He was a founder of the Bang Gang DJs crew and in 2008 co-founded Sweat It Out, which had a massive hit in 2010 with Yolanda B Cool vs DCup’s We No Speak Americano. Between 2005 and 2009 he was in the Top 5 of the annual inthemix’s DJ poll, topping the list in 2006 and 2007. Sweat It Out stated, “(He) was instrumental in shaping the landscape of Australian dance music. He was a hugely talented individual and was highly respected by the local and international dance music community as a pioneer and innovator.” Modular declared, “Very few people have the gall to call themselves a legend, especially in Australia where proclaiming your own greatness has long been looked down upon. In that regard Ajax was in a league of his own. A true gentleman and a cherished friend, we lost one of Australia’s true legends.”

DIGITAL SALES UP Global music sales are up for the ﬁrst time since 1999 – due to consumers embracing digital, says the International Federation of the Phonographic Industry (IFPI). Last year sales were up 0.3% to US$16.5 billion. The annual Digital Music Report showed that digital revenues grew by 9% and account for 34% of total revenue (in Australia, regarded as one of the Top 8 markets in the world, digital sales are now 46.29%). Adele’s 21 was best selling album globally for the second year, shifting an extra 8 million in 2012 alone. Other biggies were Taylor Swift’s Red (5.2m), One Direction’s Up All Night (4.5m) and Take Me Home (4.4m) and Lana Del Rey’s Born To Die (4.4m). Top selling single was Carly Rae Jepsen’s Call Me Maybe (12.5m) and Gotye’s Somebody That I Used To Know right behind at #2 (with 11.8m).

THINGS WE HEAR

* Tour notes: only four years after calling it quits, Trent Reznor has resuscitated Nine Inch Nails and could tour here next year … 2DayFM breakfast duo Kyle & Jackie O claimed a “reliable source” told them that all ﬁve Spice Girls will tour here next year (although Posh has since said no) … Aside from its dramas with drummers and idiots with ﬂares, Soundwave has had a few other hiccups. Mindless Self Indulgence’s gear got lost in transit just

before Melbourne. Adelaide has so many art and sports events happening through March that Soundwave acts are having problems getting hotels and have to fly to Perth after their sets, claimed the Advertiser. * America’s Warped tour is making a third try to get a foothold in Australia. This time Soundwave’s AJ Maddah is its local promoter for a December run. Previous tries were with Frontier Touring and Chugg Entertainment. * Rihanna and Chris Brown “to marry in July” in the Caribbean, say reports. * Arch vegetarian Morrissey pulled out of US chat show Jimmy Kimmel Live after hearing that stars of a duck hunting show were also guests. * The dry banter between Paul Kelly and Neil Finn at their sublime show in Brisbane may have left some of the crowd with a ‘what the…?’ look. But after Finn performed Kelly’s Deeper Water (about a 17-year-old doing it for the first time in a back seat), he recalled his own first time, in similar circumstances. But in his case, he was just about to climax when the girlfriend’s sister knocked on the car window and yelped “Mum wants you to come inside!” * Thom Yorke is being taught to surf by Atoms For Peace bandmate Flea. * Melbourne’s Empra do showcases in Los Angeles in April, and hold a fund-raiser this Friday at John Curtin Bandroom on Friday with Sexy/Heavy and The Heroines. Empra are releasing a live EP from a set at Revolver last year. * David Guetta’s Titanium has hit 1 million sales in the UK, one of the few to reach that figure there in the last few years. * After 27 years. The Age’s Friday entertainment lift-out EG from this week becomes The Shortlist. * Queen fans might have found the secret grave of Freddie Mercury: a plaque written in French Kensal Rise cemetery to Farrokh Bulsara (his real name) with the right birth and death dates. Meantime, a poll by UK radio station Planet Rock placed Led Zeppelin as most influential band of all time followed by Queen and Black Sabbath. But not world-changing The Beatles. * Ke$ha won’t have to worry about what her mum thinks of her new song about her vagina. Ma helped her write it. * Helping Pure Pop’s Dave Stevens with his buy-a-brick campaign (see story below) is a small team of volunteers who has full time jobs. One is a lawyer rolling out their Twitter campaign during his High Court coffee breaks. * Carngham-Linton Football Netball Club in Ballarat raised almost $9,000 for bushfire relief after a concert at Snake Valley Recreation Reserve drew 500.

PURE POP LAUNCHES ‘BUY A BRICK’ TO RAISE $150K Pure Pop Records on Barkly St, St Kilda hopes to raise $150,000 so it can sound proof its gig space. Operator Dave Stevens has been running the 49-capacity place for eight years, and among those who’ve played gigs are Paul Kelly and Tim Rogers. Last year the City of Port Phillip Council discovered the previous owner had built the venue without a permit. One resident complained about the noise a hundred times. Stevens has until March 31 to come up with the money – with a minimum target of $52,750 – which will also be used to build a second toilet and a stage and rebuild the bar. Says Stevens, “Without highend soundprooﬁng material, our strict 8pm live-music curfew will remain in place. Meaning less time on stage for performers and less time for their appreciative audiences.” His Buy A Brick campaign was inspired by a similar one by Sydney’s debt-ridden music venue The Annandale. $50 gets your name engraved on a metallic plaque ﬁxed to the courtyard and a Buy A Brick T-shirt. A $150 donation gives you a medallion that permits you to push to the front of the line at full house nights. $250 additionally invites you to a party to launch the new courtyard. $300 gets all this plus the chance for you or your band to perform an acoustic set. $500 gets you everything AND a Pure Pop Perk which you negotiate with Stevens before. Go to pozible.com/project/17490.

GEORGE ASH PROMOTED TO ASIA PACIFIC PRESIDENT

Universal Music Australia’s global success with Gotye, Wolfmother and Tame Impala – not to mention its breaking Andre Rieu here big time – has paid off for its president George Ash. He’s been promoted to the newly created role of president of Universal Music Asia Pacific. He’ll handle the entire Asia Pacific region excluding Japan.

REDD KROSS BY KRISSI WEISS

“I’m waiting to watch The Bachelor,” Jeﬀ McDonald, singer for Californian alternative rock band Redd Kross admits. “It’s been a particularly pathetic season so it’s the only show I’m allowed to make comments [on]. I watch it with my wife and my daughter and for some reason they laugh when I comment on that show. I usually get yelled at for my sarcasm during any other show. I’m always looking for that approval so I’m happy when they laugh at me.” The last comment is delivered with good-natured sarcasm itself but as they say, many a truth was hidden in jest. McDonald is getting ready for Redd Kross’ next tour of Australia and having been back on the touring scene for a few years after a lengthy hiatus, gigging seems to have the same magic it did when MacDonald was in school plugging away in The Tourists (precursor to Redd Kross) with his brother Steve McDonald. “We’ve always had this really nice, loyal following over in Australia,” he says. “Last year when we got asked to do the Hoodoo Gurus’ Dig It Up! Festival we just booked a few shows on our own too and they really went well. We had no idea because it had been like 15 years Beat Magazine Page 46

since we’d been there.” It’s foolish to call Redd Kross’ latest album, Researching The Blues, a comeback album. They didn’t go anywhere, they’ve just been a little busy. “The fact is I’ve always been in contact with everyone who’s ever been in our band, we’ve always been friends, and my brother being my brother, well we’re half of the group anyway,” he says. “The ﬁrst time we played together again, I was the only one who had not stepped on a stage for ten years and being the lead singer of an extraverted rock band, things were really daunting at ﬁrst. Once we started playing, it was as though no time had passed. It’s the closest experience I can imagine to a time

MAY SUCCEEDS GRUPPETTA AS SHOCK GM

Craig May is the new general manager of Shock Records. He succeeds Leigh Gruppetta who steps down from the role after eight years of service. May has been working for record companies for 14 years, including EMI, Sony, Stomp, and most recently, Dew Process. In Gruppetta’s time in the role, he expanded Shock’s distribution and ran album campaigns for The Prodigy, Crystal castles, The Black Keys, Bloc Party and Groove Armada. “I’m happy to be leaving with the role in safe hands,” he said.

TEMPER TRAP: SINGLE, ALBUM, GO PLATINUM

The Temper Trap hit a double whammy – both the self-titled album and single Trembling Hands oﬃcially sold over 70,000 copies in Australia. Back in the country this week for Future Music before an April/May run on Groovin’ The Moo, there’s a new single Miracle. Also released is a 2-CD Australian Collector’s Edition. The ﬁrst CD contains all 12 original album tracks and the three bonus songs. Disc 2 contains remixes and acoustic tracks.

CRAWFORD TO HEAD PLEDGEMUSIC IN OZ

Fan-funded music platform PledgeMusic has appointing Scot Crawford its GM for Australia and NZ. Crawford has been in the business for 20 years, most recently as GM of Shock Entertainment. His role includes label integrations, fulﬁllment solutions, and key artist development.

ANNA FITZGERALD AT MINISTRY OF SOUND

Anna Fitzgerald is new National Promotions & Publicity Manager at Ministry of Sound Australia, replacing Luke Brunsdon. She is contacted at anna.ﬁtzgerald@ministryofsound.com.au. Fitzgerald had senior publicist roles at Sony Music Australia, Warner Music Australia and Channel 7.

MADONNA, SPRINGSTEEN, MONEY MAKERS

BIGGEST

Madonna is the highest earning musician, according to Billboard’s Money Makers 2013 list which estimated her fortune as $34.5 million. The Girlie Gone Wild raked in US$305 million globally from her MDNA tour, of which Maddy pocketed $32 million, while her album went to #1 in various places. At #2 was Bruce Springsteen ($33.4m), followed by Roger Waters ($21.1m), Van Halen ($20.1m), Kenny Chesney ($19.1m), Dave Matthews Band ($18.9m), Tim McGraw ($18.3m), Jason Aldean ($17.5m), Coldplay ($17.3m) with Justin Bieber rounding oﬀ the Top 10 list with earnings of $15.9m. As this list shows, live concerts are where the money is. According to Billboard, touring made up 93.5% of Madonna’s revenue, 92% of Brucie’s and 93.6% of Rog’s. The entire top 10 averaged 84.2% of their income from concerts. The number would’ve been higher, but Bieber’s 60.1% dragged down the average. Interestingly most of the Top 10 don’t sell as many records as they used to. Their over-50 fans see the shows but don’t stream the music.

EUREKA REBELLION TRADING LAUNCHES Eureka Rebellion Trading is a new 250-capacity concept store (454 Smith St, Collingwood) which is also an artistic space for the alternative community. It is the brainchild of one-time Canadian metal muso and venue operator Anthony Allayialis, burlesque artist Emily Wheeler and Moonlight Cinema director Tim Nicholson. It combines a tattoo studio run by Corey Shoermer and Adrian Monello, a music and ﬁlm section which stocks metal & hard rock as well as cult horror and mainstream, a barber shop, a space for events and launches, a space for art and photos, and stocks accessories. The store manager is Rhiannon Schoermer of Clear It fame.

RECORD STORE DAY SET FOR APRIL 20 The Australian Music Retailers Association (AMRA) holds its ﬁfth Record Store Day Australia on April 20. The day is to remind fans the role that record stores play in ﬁnding and buying music. On the day there will be in-store gigs, specials and deals. See recordstoredayaustralia.com.au. In the run-up to the day, AMRA will feature an album and clip, along with who nominated it, on its Facebook page, facebook.com/RecordStoreDayAustralia.

machine – nothing had changed and it was surreal.” Researching The Blues appeared with little fanfare but the album is proof that the band isn’t cashing in on the latest nostalgia trend; They simply wanted to start making music together again. “It was weird because we had the basic tracks recorded for a while and we didn’t work on it for ages because we were all busy,” he says. “Then I started working on it on my own and began sequencing it and I was like, ‘Wow, this is actually a really great record.’ It was like listening to someone else’s music because of the time I’d taken off from it. I tried to mix it and it got to a certain level where I couldn’t go any further. I gave it to my brother Steve, he had just come back from his tour of Australia with Off!, and we finished it in a week. We didn’t even know how we were going to release it but somehow it was all wrapped up in a week when we finally came back to it. Then a few people we knew heard it and were offering to put it out officially.” Even McDonald’s time off from the stage did not equate to time off from music. “My daughter is my gig partner,” he says. McDonald also started making music with her along with his wife Charlotte Caffey, daughter Astrid and sisterin-law Anna Waronker in the lineup Ze Malibu Kids. “We’re both really into Korean pop music but she’ll also check out anything so I always have someone to go to concerts with. Charlotte’s always writing and doing tours with The Go-Go’s

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Expecting: Arcade Fire’s Régine Chassagne and Win Butler, their first. Injured: Money For Rope singer and guitarist Jules McKenzie suffered a broken ankle and damaged tendons in his (guitar fret) hand after being cut off by a car while he was riding his motorcycle two blocks from his home in South Yarra. Nevertheless he’s still continuing to play with the band’s upcoming run of festivals. Last year, the band was about to embark on a tour when bassist Michael Cini broke his arm 90 seconds after playing in the Community Cup. Ill: Frenzal Rhomb frontman Jay Whalley revealed the reason behind the band’s withdrawal from The Descendents’ tour. He collapsed on January 25 and a check-up revealed a small tumor on his brain from a pig tapeworm egg he may have picked up on a jaunt through Central America. Ill: an English woman is suffering from a rare form of tinnitus. Rather than an unpleasant noise, she keeps hearing the 1953 song (How Much Is) That Doggie In The Window? loudly. She’s tried therapy, a hearing aid and a CD of bird noises to drown it out, but alas, no go. In Court: Sydney ticket scammer Michael Gregory Shelton, 22, pleaded guilty to 14 charges of fraud. He ripped off ten consumers who’d placed ads in free classified Gumtree site wanting tickets for sold-out concerts, raves and sports finals. He charged $400 for tickets to a music fest which he didn’t have. Police became suspicious when Shelton, who gets $250 a week from Centrelink, had $17,000 in three bank accounts. He’s sentenced in April. Jailed: Bobby Brown, 55 days for drink driving while on probation. Sued: Akon by a blues festival worker who says he is physically disabled after the rapper fell on him during a stage dive. Died: Temptations’ singer Damon Harris (who took lead on their classic Papa Was A Rollin’ Stone,) 62, from prostate cancer.

NEW SIGNINGS #1: US DEAL FOR CLAIRY BROWNE & RACKETTES

The use of Clairy Browne & The Bangin’ Rackettes’ Love Letter in Heineken’s award-winning campaign The Switch last year sparked interest from US labels and booking agents. They’ve now signed to New York’s Vanguard Records, whose roster includes Chris Isaak, John Fogerty and Indigo Girls. It releases the debut album Baby Caught The Bus on May 21. To set it up, the band does three shows at South By Southwest in mid-March followed by a headlining 18-date club tour between March 18 to April 12.

NEW SIGNINGS #2: NEW HOME FOR CALLEA

ABC Music has signed Anthony Callea and will release his new album THIRTY on April 26. The CD marks his turning 30, and is a collection of originals and pop songs and Italian anthems.

NEW SIGNINGS #3: IVY LEAGUE PACT GEORGI KAY Ivy League Records’ latest signing is 19-year-old Perth singer/ songwriter Georgi Kay. After winning two songwriting competitions, she emerged as singer and co-writer of Ivan Gough & Feenixpawl’s million selling In My Mind which was nominated for the Grammys for the best remix. Kay also acts in the Jane Campion mini-series Top Of The Lake premiering March 24.

BIGGER THAN WHITE BREAD

Anto Macaroni (of Puta Madre Brothers) has changed the name of his production and tour booking company from White Bread Mexican Production Universe to the less-mouthful White Bread Production Universe. Its tours acts through Australia and Europe. New email whitebreaduniverse@gmail.com.

PITBULL WINS LAWSUIT OVER SONG

Lindsay Lohan sued Pitbull over the song Give Me Everything because the line, “So, I’m toptoein’, to keep ﬂowin’, I got it locked up, like Lindsay Lohan” was a violation of her publicity rights, a negative mention of her and caused her emotional distress. The judge threw the claim out, saying that the song was a protected work of art so the publicity claim didn’t apply, and that her name was only mentioned in one line so he hadn’t used her to sell the track.

JB HI-FI KEEPS EXPANDING JB Hi-Fi is will open its 51st store in Victoria next month. This one is at North Melbourne Barkly Square Shopping Centre along Sydney Road, Brunswick. It is one of 15 new stores to open, and is recruiting staﬀ.

still so there’s always music in the house. My sister-in-law Anna Waronker has worked on stuﬀ with me, my daughter and brother and she’s always writing for diﬀerent things. We’re all very close so music has really never stopped in my life at all, I was never getting away from it and living a normal life. I just stopped performing.” REDD KROSS will be at The Espy on Tuesday March 12. Researching The Blues is out now. They also tear up the sold-out Golden Plains this weekend (Saturday March 9 to Monday March 11).

GOSET MUSIC, TONEDEAF AND REMUSIC PRESENTS

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Beat Magazine Page 47

NGAIIRE

BY THOMAS BAILEY

For a 16-year-old girl, moving to another town can be an absolute nightmare. You go to a diﬀerent school, you have to make new friends, you don’t know anybody, and you can feel truly powerless in the new shaping of your immediate surroundings. I’m sure a lot of girls know how this feels. Now, imagine moving to a whole new country at 16. Ngaiire (pronounced “nye-ree”), the sultry-voiced rising queen of future-soul moved to Queensland from her Papua New Guinea home at that fresh-faced age and, she admits to me over the phone from her home in Sydney, it was quite the culture shock. “When you’re 16, you’re kind of growing into a young adult, and redeﬁning your place in the world,” she informs. “There was a lot of adjusting to be done!” Ngaiire, set to release her smouldering debut record Lamentations this June, seems to have been born talented. Her thoughtfully smoky vocals, layered on top of her skillful guitar playing and preternatural ability to craft song that wash over you with their depth and emotive powers, seem to be something she was born with – yet funnily enough, she

kept these talents of hers quite secret. “Nobody in my family even knew I could sing!” she laughs elegantly. “I was so shy when I was young – I would never sing in front of people, I would sing in my room with the door jammed shut. It wasn’t until I was about 18 when my parents discovered I could sing at a birthday party; [singing] was just something I did personally.” From that point, she ended up studying for a Jazz Degree at the Central Queensland Conservatorium of Music in

Mackay. But she soon grew bored – central Queensland was not where the action was, so after two years she packed up her bags and headed on down to Sydney, “where stuff was happening!” she exclaims. Stuff was happening indeed. She threw herself into the musical world feet first, touring with roots collective Blue King Crown and gypsy jazz outfit Monsieur Camembert and getting a good taste for the wide-open road. But it was a performance of hers on a television show – “that will remain … unnamed!” Ngaiire giggles – that put her in contact with consummate professional and all-around nice guy Paul Mac, electronic maestro, tastemaker, and mentor. “[Paul Mac] immediately wanted to meet me and try me on his album,” she says casually. “His management got in touch with me and said, ‘Paul loved you on the show!’ and wanted me to come over and potentially sing on a couple of his tracks. And so I came down, he loved what I did, and we just became friends!” The first single off her upcoming debut, the wickedly smart and throbbing Dirty Hercules is now set to drop. Featuring guest vocals from Nai Palm of much-adored local electrosoul combo Hiatus Kaiyote, Dirty Hercules is at once the flamboyant sound of the future, and reminiscent of all those jazz and soul greats we’ve all known and loved throughout the generations. Ngaiire is here to stay, and the music world is all the richer for it.

Come be a part of the celebration when NGAIIRE drops her new single Dirty Hercules at the Northcote Social Club on Sunday March 10. Watch this space for information regarding her debut record Lamentations, which will be released sometime in July.

MORIARTY

BY SEAN MELROSE-AUKEMA

After an epic amount of international shows, Moriarty are bringing their travelling bandwagon of folk fusion back to Australia’s shores this March. Beat caught up with Zim Moriarty, part-time architect, sketcher, photographer and full-time double bassist of Moriarty – who for now will be a scholar teaching a half-witted apprentice the ins and outs of music history. Zim fronts up to the Skype camera, fresh out of the studio, after locking down some songs they performed as part of a gallery exhibition collaboration. They were asked to do Bob Dylan covers, they thought instead, it would be better to go to his inﬂuences: Woody Guthry and Hank Williams. For them, it’s all about music genealogy. “Rosemary is like an encyclopedia of folk music, Arthur too,” he says. It’s as if they are some sort of French ‘Brothers Grimm’ collective. Zim reels oﬀ band names in triples, with an expertise lending itself to half-moon spectacles. Seeing an opportunity to talk about Dylan, I mention that I was going to ask Thomas (harmonicist) if he thought Dylan cheapened the harmonica, to which Zim responds with a great impression of a man desperately covering his ears. “Thomas hardly ever listens to anything past

1920,” he says. I ask what Zim’s listening to at the moment and he rifles through a broad range of stuff, flashing CD covers, too fast for me to catch. Argentinian tango, German industrial experimental music, God Speed You! Black Emperor, Johnny Cash. Desperate for a Sherlock Holmes link, I mention my disappointment that the band’s name comes from Kerouac’s On the Road, not from Holmes’ nemesis Dr. Moriarty. “You know, there’s actually something there,” he says. Explaining an early love of Doyle’s work, and how, when he read On The Road, the circle completed itself with an epiphany. He also says Arthur (guitarist), when not creating music with Moriarty, creates mysteries. Creates mysteries? “Yeah, he has a business, he works with journalists and they leave clues in different places,” he says. “Thousands of people go

running around trying to ﬁnd them.” I suggest, that with such a great criminal name, from now on they should leave little ‘Moriarty’ calling cards when they steal hotel shampoo. “That could be something.” Each of the previous albums were accompanied by a two year tour, so by now, they could have stolen a tremendous amount of shampoo. So you might think after Australia they’re due for a rest. “Actually we’re going straight into the studio,” he says. They’re going to work on another project, one that began as a challenge to ﬁll a spot on French radio. “It’s like OK, you have an hour, do what you want. The only restriction is that it has to be about a book.” With the allure of an interesting new creative process, this venture

may well turn into an album. Now on their third trip to Australia, to him it’s still “another world.” He mentions walking past a radio station in Alice Springs and asking for a sample of some Indigenous music. He left a copy of The Missing Room, hoping one day Moriarty will return for a show in the red centre.

stopped the heartbeat of Mali. The music is such a deep, cultural thread and so the end of music is being felt quite hard across the people of Mali.” Kouyaté will be bringing this ensemble to Australia following on from the release of the group’s third album, Jama Ko. “At the moment, we’re not able to play or practice publicly because of the fear for our safety and security so it’s just a case of waiting,” he says. “We can’t wait to get out to Australia and bring people the joy of this music.” Things might be horriﬁc in Kouyaté’s country right now and although if he is caught playing music at the moment it could be punishable by death, his immutable spirit and dogged

determination drives his desire to spread the culture of Mali and the joy of music. “No matter what, I’m always going to continue to do music, that’s the strength I’ve got and my only choice,” he says. “People are always taking in the music and despite all the tragedies of what’s going on at the moment, within the music, there’s always beauty.”

MORIARTY will play WOMADelaide at the Adelaide Botanic Garden between Friday March 8 and Monday March 11, then hit The Famous Spiegeltent on Thursday March 14 and a special show at the Werribee Park Mansion on Friday March 15 (bookings at mansionhotel.com.au).

BASSEKOU KOUYATÉ & NGONI BA BY KRISSI WEISS

Doing an interview via an interpreter, on a terrible phone line, to a war-torn country, with an artist who’s driving alone in the dead of the night, is not something that happens every day around here. Malian ngoni maestro, Bassekou Kouyaté, is the artist in question and he’ll be heading out to Australia as part of the WOMADelaide lineup. It’s a good thing he’s used to life on the road, as his beloved country is currently in ruins with the French military embarking on a series of unrelenting aerial assaults of key parts of the country that are under the rule of Islamic militants. Kouyaté is a friendly and humble man, apologising for his “terrible English” at times and although our conversation is repeatedly muted by technological troubles and the jarred nature of a translated chat, Kouyaté is determined to get his message out there. Right now, there is a blanket ban on music (among other things) in Mali and Kouyaté’s journey around the world, showcasing his country’s musical stories

and his continent’s unique instrumentation, has never been more vital to him. “I have a strong connection to the culture of Mali as well as a spiritual connection to the music I perform,” Kouyaté says. “It is really important to transport that culture throughout the world. This new crisis, where the music has been banned, well, by stopping the music it really has

TORO Y MOI

BY JOSHUA KLOKE

Universally heralded by the hipster masses since his 2010 debut Causers Of This, Chazwick Bundick – known better by his moniker, Toro Y Moi – needed a change. The producer took a leap with his latest release, Anything In Return, built on repetitive choruses and an approach that will welcome in anyone unfamiliar with his relaxed hip hop, the record is an unabashed attempt to bring pop to the tastemaking elite. The California native has long been a fan of pop music and, thanks to his reputation and his talent, he’s able to maintain credibility when it comes to the genre, which has been shrouded in criticism for its cut-and-paste aesthetic. “I don’t know how ‘pop’ records got such a bad name,” he says down the line, from a coﬀee shop in Berkeley. “A lot of people say it went downhill in the early 2000s, when all this bubblegum pop was released and it all sounded like it was made in a factory. Maybe that ruined pop music – that, and production techniques like Auto-Tune. Artists don’t even sing songs anymore, and that’s really pathetic. To sing a song the whole way through instead of just copying and Beat Magazine Page 48

pasting stuff, that’s important.” It was his 2011 full-length, Underneath The Pine, that solidified Bundick’s key position in the world of ‘chillwave’, a fuzzy, chilled-out, production-laden genre that has been critiqued more than it has actually been defined. Bundick understands what a buzz word ‘chillwave’ became, but isn’t yet sick of the term. “If anything, I’m totally embracing it,” says the eloquent and soft-spoken 26-year-old. “I’m not shunning it. I’m flattered to be so closely associated with the genre, the word. If I make a psychedelic rock song and people start calling it chillwave, then that’s what they’ll do. But that’s not what I intended to do with it.

“I have songs that I might call ‘80s boogie, but people are going to call it what they will,” he continues. “I’m not trying to escape anything in terms of genres. I was around before that term even existed, so it’s interesting to see how it’s kind of grown.” As it turns out, Bundick’s approach is much more calculated than one might expect. He’s aware that there is a delicate balance between the world of chillwave and pop music, yet he’s sure that for every fan he may lose with his new, poppier approach, any fans he gains will soon be treated to something much less accessible. “It’d be fun to bring in a much wider audience, and then introduce them to some more obscure music,” he says. “I’m quite sure the next record won’t be as accessible and poppy.” For the time being, the strong, polished production of Anything In Return will be rubbing shoulders with some of the pop world’s heavyweights. But only until Bundick makes his next move. “I hope my songs are strong enough regardless of production, but I definitely wanted to try different things with the production of this record. I’m always very uncomfortable to an extent when it comes to songwriting, and I don’t think that’s necessarily a bad thing. In a way I was confident, but I wasn’t sure people would necessarily understand what I was trying to do – or if they ever will.”

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BASSEKOU KOUYATÉ & NGONI BA are joining the impressive WOMADelaide lineup, the world music festival taking place between Friday March 8 and Monday March 11 at Botanic Park, Adelaide. Jama Ko is out now through Out There Records.

TORO Y MOI plays the Corner Hotel with Jonti on Saturday March 9, as well as stopover at Golden Plains this weekend. Anything In Return is out now through Mistletone.

The Wick Home of Original Live Music since 1854

Grass Roots Indie Development Night Thursday nights in April/May Bands and soloists send in your demos for the chance to showcase at Melbourneâ&#x20AC;&#x2122;s newest indie night: Elsternwick.Hotel@alhgroup.com.au to enter the competition and win prizes:

The most promising acts from the series will receive a share of the $3000 recording package as well as a one month residency at the Wick. The Ellste sternw rn rnw n ick Ho Hotel tel 2599 Br Brigh ighton igh ton on n Rd Elwo lwood odd VIC 31 3185 85 (03 0 ) 9531 03 3 32 33218 188 Elster Els te nwi ter n cck. k Hot Hotel@ e alh el@ alhgro group. gro up.com com.au .au a

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Beat Magazine Page 49

SETH LAKEMAN BY GARRY WESTMORE

It was on the first day of Bluesfest 2012 that English folk artist Seth Lakeman first played to an Australian audience. On that day, Lakeman and his band managed to whip the relatively placid first day crowd into a foot-stomping frenzy. It was an auspicious start for the Mercury Award nominee and purveyor of traditional English folk music and nu-folk, as he had suddenly found new fans far from Europe where his music has been known for several years. “It seemed to connect,” says Lakeman of that day. “It was extremely exciting for us seeing people almost discovering the music. We’ve been playing in the UK for six or seven years and to start all over again, well, it’s really exciting for a musician to see that kind of discovery – it’s hard to explain, but it’s a real pleasure and privilege to come back and do it all over again.” Affable and talkative, Lakeman laughs and chats excitedly, often having to pull himself up when he thinks he’s “rambling on.” On the phone from his hometown of Devon in South East England, I can barely keep up with Lakeman as he, when pressed about his favourite non-fiction inspired song, recounts the tale behind Childe the Hunter. “He was lost in a blizzard on Dartmoor [moorland in South Devon] and he was forced to disembowel his horse and crawl inside for the night to survive the blizzard. Do you remember Star Wars?” Yes I do. “That’s it! That’s exactly it. Childe the Hunter made it to the big screen!” He apologises further but has to finish the story. “He scratched in the name of the person he wanted to leave his wealth and his land to in stone. It was found, presented, and passed on.” Lakeman is clearly not lacking in enthusiasm when on the subject of songwriting or foraging for new material. “It’s a magpie thing,” he explains, “where you get snippets from here and there: from libraries, from searching online, to chatting to people in pubs. I’ve discovered a lot just from chatting.” Whereas Lakeman’s last LP was a concept record about a mining town (in which the percussion was made up entirely from mining equipment such as anvils), his next effort will pay homage to the anecdote. Tentatively titled Word of Mouth, it involves Lakeman “interviewing people, taking their experiences, their stories, and turning them into songs.” The interest in stories works both ways as he reminisces about Australian audiences: “I think Australia is certainly a place that can appreciate [storytelling]; it seemed to me last time people were asking about the songs, where they’re from, and I think that consideration is important and has a lot of depth to it.” As well as a great storyteller and lyricist, Lakeman is also an accomplished multi-instrumentalist, swapping between banjo, violin, and mandolin. Where acoustic guitar folk may be more accessible considering the success of other English bands like Mumford and Sons, Lakeman has stuck to his guns and maintained a traditional folk edge.

“I THINK AUSTRALIA IS CERTAINLY A PLACE THAT CAN APPRECIATE [STORYTELLING]; IT SEEMED TO ME LAST TIME PEOPLE WERE ASKING ABOUT THE SONGS, WHERE THEY’RE FROM, AND I THINK THAT CONSIDERATION IS IMPORTANT AND HAS A LOT OF DEPTH TO IT.” “It’s the rhythm you can get out of them,” he says of those instruments. “It’s a voice, or as close as you can really get to singing without actually having the lyrics. The language – it seems to be in tune with yourself. That’s how I feel anyway. That’s the root of me really.” On the subject of roots, Seth’s musical beginnings were intertwined with that of his family; both his brothers were successful musicians and the three were once in a band before going their separate ways. It was thought by some that Seth was the least likely to succeed solo, but his second album Kitty Jay (made for a mere £300 and recorded in his brother’s kitchen) led to a Mercury Nomination, his name in the company of Coldplay and Bloc Party that year. “It was quite a massive record. It pretty much sums up everything I am. The gimmick and the brand is all there isn’t it?” he laughs, his selfdeprecation endearing. “But in a way, when you look back on things sometimes they become bigger than they are,” he adds philosophically. I press him though: wasn’t it a leap of faith? “I guess the whole early part of my career was a leap of faith. You can only go so far unless you throw it all into it. It is a proper gamble.” The gamble has seemingly paid oﬀ, as has the decision the come out to Australia last year. This year Lakeman will be far more present, appearing at Bluesfest, WOMADelaide and here in Victoria at the Port Fairy Folk Festival and the Brunswick Festival. He will also be reunited with a staple of the Australian folk scene, Carus Thompson, whom Lakeman describes as a “fabulous friend”, a “brilliant performer” and a “brilliant songwriter”, his kind words reaﬃrming the feeling that he is a man deserving of success. I might take him home to meet my mum. SETH LAKEMAN plays Port Fairy Folk Festival, running from Friday March 8 – Monday March 11, WOMADelaide in the Adelaide Botanic Park from Friday March 8 – Monday March 11 and the Brunswick Music Festival at The Spotted Mallard on Thursday March 14. He also plays Bluesfest in Byron Bay from Thursday March 28 to Monday April 1. Beat Magazine Page 50

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BOB MOULD BY AUGUSTUS WELBY

Singer and guitarist of ‘80s punk-rock melody makers Hüsker Dü and early’ 90s power trio Sugar, Bob Mould is coming to Australia in support of his latest solo release, Silver Age. Mould has been performing Sugar’s classic debut album Copper Blue in its entirety over the last six months and when he lands on our shores next week we’ll get a comprehensive mix from his celebrated back catalogue. “We still like playing a lot of the songs off Copper Blue. We’re not real fond of playing it start to finish anymore, that’s the only difference. There’ll be plenty of Copper Blue, plenty of Silver Age, plenty of deep cuts going way back – the Hüskers and solo stuff,” he says. Mould’s focus was returned to the past by the 20 year anniversary of Copper Blue (as well as writing the autobiography See A Little Light: The Trail Of Rage And Melody) which prompted him to relive the record on stage from start to finish. “I’d been working on the autobiography starting in the fall of ’08 and I stopped writing music then. The better part of the next three years was pretty much writing the book and not much else. I knew that the 20th anniversary was coming up and we made plans to re-issue the records and bring them back to life for a little bit. Even Records in Europe and Merge Records in America both put out different editions of the catalogues. It got people thinking about that record again. It was nice to get people’s attention back.” Writing the book and re-issuing the records involved thoroughly searching through his past but he hasn’t attempted to revisit his younger self when playing the album live. “It’s strange, I don’t think about whether I’m revisiting being young or not when I’m up there. I pretty much just do what I do. A lot of those songs were written in 1991 and I was actually out doing solo acoustic touring – and that was actually the first and last time that I’ve been to Australia. There’s a way that I play them by myself and there’s a way I tour them with a three-piece and it’s been great to go back in three-piece and play it that way. It’s a lot more aggressive guitar so as a guitar player it’s really fun for me to come at it from that direction,” he explains. Even though he started making records 30 years ago Mould hasn’t been outgrown by his contemporaries and Silver Age maintains the potency of his earlier successes. Mould discusses the fluidity of personal circumstances, which continue to supply new creative material.

“WHEN I WAS YOUNGER I WAS ANGRY, THAT WAS MY VOICE. NOW A LOT OF WHAT KEEPS ME WRITING IS BEING INSPIRED BY OTHER PEOPLE’S MUSIC.”

FEEL PRESENTS

PERFORMING THE ENTIRE SHOW

“I think the angles and the perspective has changed, it always changes, and I think that’s what makes each record a little bit different. If I look back to the ‘80s, at Hüsker Dü, that was a very angry frustrated voice. That’s what people heard in there and that’s what they connected with. Then I go to the first solo record Workbook – it sounds like a person who was isolated for a year and a half up in the country. Environment is so important to what a record becomes, you know; where you write it, what the circumstances are. I can control that to some degree but life is pretty unpredictable and the records are good documents.” Hypocrisy and inanity in contemporary society have long been core concerns for Mould. He recently moved from Washington D.C. to San Francisco and he admits that the 2012 US presidential campaign was a challenging sequence of events to observe. “We just went through a very, very hard, very, very rigorous election over here last year. Obama has been, for the first four years of his presidency, dealing with people who just got in his way and made it impossible for him to make any real progress.” However, Mould believes that the attitudes of people in America are largely becoming more liberally accepting and as a result the base values of rigid conservatives are revealed. “The very conservative side of America, they really exposed themselves last year. A lot of politicians who were pretty far right did some really ridiculous things, very degrading to women. A lot of times they use gays and lesbians as a ledge in America – when in doubt try to turn people on gays. They’re losing the battle too, people are moving on. People are leaving that stuff behind and I think people are getting a better sense of the brevity of our lives, our time on earth,” he surmises. In his early career Mould was inclined towards writing music by an urge to express discontent at dishonesty and social injustice. More recently strong personal ambitions, and the impetus laid by other musicians, has compelled him to further the parameters of his artistry. “When I was younger I was angry, that was my voice. Now a lot of what keeps me writing is being inspired by other people’s music. I need to write songs, I need to make records and they’re never perfect. A lot of us who write and make music for our whole lives we’re just chasing something, chasing perfection and you never get it. Nobody ever really gets there. I love putting words and music together. It’s a challenge, it’s something I can do in my sleep, it’s painful, it’s freeing, it’s a lot of different things. It’s an interesting form of magic.” BOB MOULD performs at The Corner Hotel on Wednesday March 13 with Davey Lane (sold out) and Thursday March 14 with Infinite Void and Iowa.

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Beat Magazine Page 51

PUSH OVER 2013 SURVIVAL GUIDE The massive Push Over 21st birthday party takes place this Monday March 11 at the Sidney Myer Music Bowl with its hugest lineup yet – The Amity Affliction, DZ Deathrays, Violent Soho, Millions, Northeast Party House, Velociraptor, Dream on Dreamer, Northlane, Thy Art Is Murder and heaps more taking to the stage in Victoria’s best all-ages festival. There’s a hip hop showcase, market stalls, MC open mic, beatbox showcase and artist signing area too. It’s going to be an absolutely massive celebration. Check what time your favourite bands are playing and follow the advice of our handy survival guide to help you get through your day. Tickets are still available from Ticketmaster. GETTING THERE AND AWAY It is a short walk from Flinders Street Station or a tram ride up St Kilda Road, getting off at tram stop 16 or 17. FAST FACTS Push Over is a fully supervised drug, alcohol and smoke-free event. Strictly no pass-outs. Minimum age is 12 otherwise 8 with a guardian. 600ml sealed water bottles admitted. No glass admitted. Still cameras are allowed at own risk. Video cameras are not allowed. Food court and markets on site. TIPS FOR PUSH OVER 2012 Bring enough money for the day. Drink plenty of fluids to keep yourself hydrated – it’s a long day! Don’t forget to eat – your body needs fuel to keep you going. Plenty of options in the food court on site, including veg options! When you are in the crowd, remember to be responsible and careful of those around you – no elbows in face mid dance-off. That means you, flaily. Push Over recommends that you bring hats, sunscreen and earplugs. If it’s raining, bring a raincoat. Dress comfortably – it’s a long day! Have heaps and heaps and heaps of fun.

60 SECONDS WITH… OCEAN GROVE

Define your genre in five words or less: Heavy, diverse. Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? A cliché question that will evoke a cliché response, no doubt. Comparisons between bands get thrown around (especially in our variety of music), but it isn’t something we get often. I suppose the answer is in the way we mesh different styles from the heaviest of heavy, to the most melodic and hooky which helps to satisfy audiences of different preferences. Narrowing that down to a singular ‘sound’ could be difficult because monotony isn’t really our thing. I’d say somewhere between BMTH and Adaliah would give you a fair indication of what to expect. What do you hate about the music industry? Hate is a strong word. I supposed for myself, sometimes I wish I could simply write/practice and perform playing music and that’s it. In actuality the amount of hard work, time, money, stress and effort that goes into the ‘behind the scenes’ of a band even with management and booking agents is immense. Sometimes it’s like pulling teeth but I know it’s needed if you want to make something of yourself. Jealousy and trash-talking between bands is a big ‘no no’ in our books also. What’ve you got to sell CD-wise? Our debut conceptual six-track EP Outsider has been freshly printed and is available for purchase now. Although we had interest from labels we really decided Beat Magazine Page 52

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for a ﬁrst release DIY was the only way to go and the only way to pick it up is at a show or from our merch site: oceangrove.bigcartel.com What do you think a band has to do these days to succeed? I’d say there’s loose formula to success these days. A lot of it comes down to marketing. If you market yourself well you have a better chance of ‘blowing up’ as it’s been coined. This perhaps accounts for the fact that some amazing bands go unnoticed and yet some downright sh*t bands are signed and touring the world Describe the best gig you have ever played. Best show to date was probably our show with Dream On Dreamer at the Pheonix Youth Centre just because it’s a smaller venue and was packed out wall-to-wall. Although I’m certain playing on the Red Stage at this year Push Over will pretty much set the benchmark! What advice would you give to bands that are new on the Melbourne music scene? Play the music you want to play and don’t be afraid to go against the ‘trend’, do it because you love it and keep at it no matter what. Anything else to add? Come see us play at Push Over on Monday March 11 at the Sidney Myer Music Bowl. Get your tickets now, $40+bf pre-sale from Ticketmaster.

WILD NOTHING BY AUGUSTUS WELBY

The unassuming indie-pop sounds of Wild Nothing are entirely the product of dexterous studio practitioner Jack Tatum. Tatum is the sole participant on Wild Nothing’s two melodiously rich full-length records but he’s been touring with a live band since releasing debut album Gemini in 2010. The upright arrangements on last year’s follow up LP Nocturne are clearly informed by his experience on stage but he’s uncertain whether the band will become studio accomplices in the future. “I haven’t really put much thought into it. I’m always working on music so I’ll have these ideas and, because I’m on my own, I’ll tend to write a lot of the parts. It’s not to say that I wouldn’t ever do anything like that, but with this project it’s what seems to work and what continues to work.” Tatum’s perpetuation of Wild Nothing as an exclusive enterprise isn’t motivated by requiring dominance, rather it’s a consequence of his lone creative development. “The way I learned how to write songs was just on my own, through my own experimentation and trial and error. Growing up I was never part of a band, I didn’t really have any musical friends,” he relates. Having others to bounce ideas off and arbitrate their success can certainly be valuable in creative endeavours. However, Tatum feels it’s a constructive liberty to pursue one’s whims without the threat of other voices intervening. “I’ve found that I’m a lot more free when I do things on my own. I censor myself less or – it’s difficult to describe, but I’m a really private person as it is. You have all the time in the world when you’re by yourself working on things. You can just try lots of different things and see what works and what doesn’t.”

60 SECONDS WITH

The cycle of creative fertility can’t be dictated, but a daily commitment to musical experimentation is likely to yield productive benefits. Tatum explains that his creative spark generally emerges in periodic outbursts. “We were touring Europe in November and the whole time I was thinking about getting home and starting to work on new things. When I finally got home after that tour I spent a lot of time just working on music. I would try every day to sit down with instruments and just play around and see what came of it. I ended up demoing a tonne of stuff, all kinds of different styles and little instrumentals.” Various internal and external phenomena can set off the impulse to make music, whether it be seeing other musicians play or using songwriting to fend off personal crises. Tatum describes how the major things driving him to write music have changed over time. “I think with a lot of my older music there might have been a certain element of catharsis or it being slightly therapeutic in a way. That started to feel a little bit childish or something, I’m not as interested in doing that anymore. I’m most directly inspired from certain artists or albums that I like. Often it can be extremely direct

to the point where there’s a certain melody or chord change in someone else’s song and I want to work around that or get to the core of what makes me like that idea and do something similar.” The two Wild Nothing albums owe a large debt to Tatum’s record collection; for example Nocturne notably channels the likes of Bowie’s Berlin period and early New Order records. Tatum evidently prefers searching through music history instead of following transient trends and he admits to a current fascination with the work of Brian Eno. “Over the past couple of months pretty much all I’ve been listening to is his early solo records and then ambient stuff as well. I’ve been listening to the album that he did with Cluster and from that I’ve been listening to a lot of other instrumental Krautrock music.” Nocturne proves how Tatum can adeptly re-interpret sounds from the records he prizes and he suggests there’ll be evidence of his thorough immersion in Eno’s abstract sounds on the next Wild Nothing release. “I actually just finished recording a new EP, which we haven’t announced yet, but that will be coming out sometime this year. There’s some way more electronic elements than what I’ve used before but there’s also a couple of completely instrumental ambient songs, which I don’t think people would’ve necessarily expected from me.” Tatum stresses that the new EP is a distinct document of where his increasing curiosity has led him to most recently and not simply a collection of leftovers. “I think a lot of people these days will release an EP and it’s just songs that didn’t make it onto the last album, but I consciously wrote these songs for this release. It gave me a chance to explore a lot of these ideas and these little outlets that I hadn’t been previously.” A full-length album is often scrutinised as a definitive declaration of one’s artistic identity as well as being at the mercy of a multiplicity of expectant ears. Tatum explains that when constructing the forthcoming EP he was able to evade such external influences and let himself roam free.

“With the second record I felt a certain amount of pressure to deliver something solid but now the pressure’s kind of gone, so I made exactly what I wanted to make and it felt really good. I’m looking forward to releasing new music in the next year.” WILD NOTHING plays an early 6pm show at The Tote on Monday March 11 (with Bushwalking and Popstrangers) plus The Toﬀ In Town (with Milk Teddy) on Tuesday March 12. He also appears at the sold out Golden Plains Lucky Seven taking place from Saturday March 9 to Monday March 11. Nocturne is out now via Spunk.

HOUSE PARTY ON WHEELS

What is House Party on Wheels? House Party on Wheels is a large group of musicians, photographers, videographers, web designers and creatives creating mini festivals in people’s lounge rooms, backyards, houses and music venues. If you order a house party with us we’ll bring 10+ bands, food, drinks and provide the clean up. When’s the gig and with who? The launch event is this Saturday March 9 at the Brunswick Hotel. With free entry, 30 bands and $4 schooners (for ﬁve hours) it’s going to be a wild day with every musical genre from indie, acoustic soloists, reggae to metal and electronic. It will give

patrons an idea of the type of party they can have with us and the bands involved in the project. When are you doing your thing next? We have already got house parties lined up with 10+ bands attending each party. We’ll be running another promotional event on Saturday May 18 at the Jewell of Brunswick (lineup to be conﬁrmed). What do you think a band has to do these days to succeed? Bands need to think outside the box, which is why, as a collective we needed to come up with new ways for exposure for unsigned bands, while having

fun at the same time. Rather than just play to the same audience and friends, the idea opens up free exposure to bands and to new audiences. We feel the industry is a lot easier if all the bands work together, so it creates a large network, while everyone can enjoy the parties together. Where would you like to be in ﬁve years? We want to build our name and have multiple house parties around the country happening simultaneously. At the end of the tours we are hoping to all meet up in a mansion or large venue and create an even bigger festival with the lowest price possible for patrons.

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Anything else to add? More information is found on housepartyonwheels. com and the event is found at facebook.com/ housepartyonwheels or to get involved send an email to bookings@lieutenantjam.com.

Beat Magazine Page 53

OPETH

BY JOSH FERGEUS

Every morning you woke up in the past 18 months there was a 50 percent chance that somewhere in the world Opeth were about to melt some faces. Since releasing their tenth studio album Heritage towards the end of 2011 they have played around 200 shows around the world. They’re about to return to Australia to add a couple more. “We were pretty consistent in the early stages of the tour,” remembers bandleader and ever-present singer/songwriter/guitarist Mikael Akerfeldt. “We were focused a lot on the new album and older songs which we thought would fit together with it. We didn’t play much heavy stuff on the last Aussie tour, but for this tour in Australia and Japan we’re going to mix it up a little bit. We sound good, we’ve been touring so much personally I don’t think we’ve sounded better. We feel on top of our game.” This tour has brought some challenges for the band. Despite Heritage winning numerous awards from music publications and having received a generally positive critical reception, some fans were taken aback by the change in musical direction in Akerfeldt’s songwriting. “Some people, especially the metal fans, were a bit disappointed with the Heritage record and the tour that we did. There were some complaints from fans who didn’t like that we didn’t do any of the really heavy stuff,” says Akerfeldt. “I didn’t think metal fans were that narrow minded, but some fans found it quite provocative. Some people

thought that with Heritage we were taking the piss or something, you know? When I took the screaming out they said it’s not Opeth anymore. That surprised me to some extent. “I feel that a lot of metal fans these days don’t really know the history of metal. It only goes back maybe ten years or so for them, whereas for us we grew up with hard rock in the ‘70s. I consider that to be real heavy metal music. My view is very diﬀerent to what it is for younger people, but there’s nothing I can do about that. It’s frustrating but I can understand it, I’ve been there myself. When I was younger I turned my back on many bands because they weren’t heavy enough for me.” Akerfeldt and his bandmates were surprised by the strength of the reaction in some quarters of their fanbase, but people change, bands change. “We just do what we do,” he says. “The last thing I’m going to do is pretend to be something I’m not. I’m not into the most extreme metal music anymore, you know? Our foundations are in that type of music and I still love it, I still love our catalogue of music. But I think it would

be odd if we didn’t change. I see our peers who are the same age as me and they’ve been going as long as we have and they haven’t changed at all and I ﬁnd that a bit weird.” Can fans expect more changes into the future, or a return to the heavier sounds of days gone by? “Whatever I come up with, if I like it then it’s Opeth,” proclaims Akerfeldt. “I was very tired of the contemporary metal scene – not only the music but the whole way that metal sounds. I don’t listen to that stuﬀ anymore. We’re quite a progressive band but I’m quite regressive in my personal taste and music – I go back to the ‘60s, ‘70s or ‘80s. I don’t listen to what’s

going on in the metal world today because quite frankly it’s not for me. It’s not relevant.” One thing Australian fans can expect is to see more of Opeth in years to come. “Australia has always been good to us, ever since our ﬁrst visit there. It was amazing. It’s so far away, literally on the other side of the planet, to go to Australia for a Swedish band and have the support that we have there is amazing. We’re trying to work a lot more in Australia, it’s a priority for us.”

Even if I don’t tour the world my whole life I’m going to end up working on music in some way.” MxPx’s latest recording, Plans Within Plans, released last year, was the band’s ninth studio album. Released on their own label Rock City Recording, the album has rated well with fans and critics alike. “It’s a pretty powerful punk record,” says Herrera. “We’ve experimented quite a bit over the years and found that this is what we can play, what we can do best. The average listener might listen to it and think that we haven’t progressed much over the years. I think we’ve actually regressed, into what we do best. “It’s been an interesting couple of years what with the

economy and global politics – everything that’s been happening in the world. We see that and we wonder how it’s going to aﬀect what we do, but I’ve learned to just not worry about it. It’s going to be what it’s going to be. We’ve already done so much great stuﬀ and we’re continuing to go to new cities, new countries, it’s been amazing. As soon as I think the best is behind me, it only gets better.”

The Mark Of Cain have created a presence around them over their lengthy existence. Their sparse yet skull-crushingly taut rhythms, Kim’s pounding, pulsating bass lines and John’s riﬂemen in the bell tower philosophical stance, combined with their 1,000 yard stare stage show, means that they appear unapproachable and aloof. Strangely, nothing could be further form the truth, and the story behind the quasi-military album title backs this up. “Seriously,” he asks when pushed to explain the title, “it was a bit of a joke. I was saying to Kim, looking at how I write songs, I said to him, ‘Fuck I should call this Songs Of The Third And The Fifth because all I seem to do is write songs on the third and ﬁfth frets!’ And then we decided it sounded semi-military, if people didn’t know better they would assume it was military based, which always works for us.” If people didn’t know better, that is something always associated with a band with which the larger music

population is unfamiliar. The Mark Of Cain are such a band, part driving rock band, part high art concept and equally as important, park John’s way of exorcising his personal demons. There’s a lot to this band, something John acknowledges somewhat begrudgingly. “Yes, I have to go through the same fucking discussion with people every time around. It sounds like this because it came from this and so on but that’s our cross to bear isn’t it? It doesn’t hold us back but I am often saying, ‘Jesus Christ I have to go through this again?’”

OPETH are playing The Palace on Thursday March 14 with Katatonia in the support slot.

MXPX

BY JOSH FERGEUS

I first saw MxPx at the age of 17 at The Hi-Fi. A deliriously happy, sweaty mob of teenagers pogo-ed around the tightly packed bar to Chick Magnet, Responsibility and My Life Story. The three-piece released Before Everything & After that year – certainly not their best record – and played a series of quintessential pop punk shows around the country. Ten years later, they’re back for more. “It’s been pretty amazing to do this for 20 years,” muses Mike Herrera, the perennial pop-punk frontman. “You go through a lot of years where you’re doing the band thing, touring and touring. You meet people who saw a lot of punk shows or rock shows when they were a kid. I think people go through life – college, career, family, friends – a lot changes and looking back can be cool. Going to shows like ours brings back a lot of memories. I think it can make you think about your life. For me it’s a trip to think of all the times we’ve been to Australia, been all over the place.” MxPx reaching their 20th anniversary ranks them alongside some pretty big names in terms of longevity, including Green Day, The Oﬀspring and Blink-182. “A lot of our friends, our peers, have been in bands that we played with ten, ﬁfteen years ago,” says Herrera. “It’s been really cool to see where everybody has ended up – joined new bands or ended up doing something else. You watch a Black Flag documentary and see interviews with the roadie or somebody who

was a real punker dude in the good old days and now he’s a real estate agent. There’s a real spectrum of people out there who get involved in live music, touring bands, we all end up in a lot of diﬀerent places. Not everybody has made it to 20 years, but we’ve all accomplished something, it’s just a matter of putting it into perspective.” Lineup changes, which have seen Herrera working with new bandmates for the ﬁrst time in many years, have caused him to examine his life. “I think about possibilities, I think about what could have been. I play music, and Tom and Yuri both have real jobs. U2 are never gonna have to worry about a real job. You’re getting paid to do your hobby, and most people do that for free. We’re the kind of band who have been at the cusp of breaking really big worldwide a few times but it hasn’t quite happened. We’re out there working, we’ve got a really dedicated fan base and we’re doing what we love. Music for me is something I just want to get better at all the time. I don’t want to quit because I feel like I’m still learning, still growing.

MXPX play the Forest Edge Festival at Neerim East from Friday March 8 to Sunday March 10. They also play The Corner Hotel on Sunday March 10.

THE MARK OF CAIN

BY JEREMY SHEAFFE

We are fortunate in our corner of the world to have such an abundance of fantastically engaging bands that are not swayed by fashion nor driven by fame. I’m looking at you Front End Loader; you’re in my mind Shihad, same for you Toe To Toe and I am speaking directly to you John and Kim Scott of Adelaide’s notoriously insular The Mark Of Cain. Late in 2012 The Mark Of Cain, completed generally by drummer John Stanier, released their sixth fulllength album, Songs Of The Third And The Fifth. It was also their first new album since 2001’s This Is This. The Mark Of Cain clearly are not burdened by deadlines, commercial restraints or fans expectations. However, anyone with any relationship with the band knows they are bound by their own professionalism, self-criticism and perfectionist attitude. “I don’t really worry about expectations,” says John Scott a few days before the record came out. “If I worried about that we would have been done ages ago. I think the main thing is I wanted to get something finished in that decade,” he laughs throatily, before adding, “and I think I was very aware of people wanting to gear a new record, but this is the hard thing for people to understand; we are not a commercially driven enterprise, we do it when we can and of course it was self financed as well.” Expectation is one thing but reality is another, and it could be the simple fact that there isn’t another band like The Mark Of Cain currently on the Australian scene, or the fact that Songs Of The Third And The Fifth is actually a great record, but the praise started Beat Magazine Page 54

rolling in immediately. Rolling Stone gave it four and a half stars claiming it to be “a career high point”. The Age claimed it had “everything a fan could want, from the familiarity of the band’s crushing, minimal sound to the strong songwriting.” For me, it is heavy, melodic and threatening. The melody is something John agrees he worked hard on. “I definitely was aiming to get back to the earlier melodic stuff of Battlesick and Unclaimed Prize, that was something I strove for. A lot of this was over discussion with John Stanier, talking about music and our favourite bands and he would often come back to say he really enjoyed the vocal melodies that I had on some of those earlier records. We were always talking about doing another album so when it came along every time I sat down to listen to these songs once we recorded them, I mean three or four of them are older songs that we already had vocals for, and some of them are still done in that style of barking commands, whatever you want to call it. I was really trying hard to find melodies in amongst these riffs and how I could make that work. That probably pushed me harder, and I like it, and I really like the feel of this record.”

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

THE MARK OF CAIN play the sold-out Golden Plains festival this weekend and The Hi-Fi on Friday March 15 with Blacklevel Embassy and Wicked City. Songs Of The Third And Fifth is out on Feel.

CORE CRUNCH!

PUNK, SKA, HARDCORE NEWS, REVIEWS AND GOSSIP BY EMILY KELLY: EK1984@GMAIL.COM

Phew. How about that Soundwave, eh? Last week was a fucking huge one for Melbourne metal fans, with a million sideshows as well as the big day itself. During the week I caught Periphery at The Espy, Stone Sour and Linkin Park at Rod Laver, This Is Hell, Anthrax and Fozzy at The Hi-Fi, and had interviews with Misha and Nolly from Periphery, Corey and Josh from Stone Sour and Adam and Jesse from Killswitch Engage, so look out from a few words from those folks in the coming weeks when it’s time to talk about their new album releases.

SATRIANI NAMES NEW BAND, JAMS WITH YOU

Speaking of Keneally and Beller, they’re both part of Joe Satriani’s new live band, along with drummer Marco Minnemann (who plays with Keneally and Beller in KMB, and with Beller and guitarist Guthrie Govan in The Aristocrats). And just a reminder: Thump Music will give fans the opportunity to jam with the one and only Joe Satriani during his Australian masterclass tour in April. To enter, upload a video to YouTube of yourself jamming to a Satriani song, including ‘Thump Music’ in the title and place your full name, ticket ID and state in the video description. Thump will post the videos on their Facebook page for the public to vote, and the most likes wins. The players from the top three videos in each state will be invited to jam with Joe at the clinic. The competition closes on Friday March 29. Tickets for the masterclass are $80 per person and there will be giveaways and extras, from pedals and strings to instruments. The Melbourne clinic is on Saturday April 13 from 12pm to 3pm.

CORE is taking a brief hiatus this week as Emily is on site at Soundwave Perth. She’ll beDESCENDENTS back next week, a little less cross-eyed and hopefully well-rested. God speed.

METAL, HEAVY ROCK, CLASSIC ROCK

LOCAL AND INTERNATIONAL GOOD SHIT WITH PETER HODGSON: CRUNCHCOLUMN@GMAIL.COM

NEW IGGY & THE STOOGES IN APRIL

Better 40 years later than never: Iggy & The Stooges will release their first album of all-new material tougher since their proto-punk masterpiece Raw Power. Ready To Die features Iggy Pop, guitarist James Williamson and drummer Scott “Rock Action” Asheton as well as legendary bass player Mike Watt (filling in for the late Ron Asheton). It’ll be out on Friday April 26 via Warner Music Australia and Fat Possum Records. The results are the closest thing to a time capsule to 1973 – or at least to Iggy’s subsequent efforts with Williamson, including 1977’s Kill City and 1979’s New Values – that rock’n’roll is likely to proffer in this millennium. Iggy & The Stooges will be at Festival Hall on Wednesday March 27.

GIG ALERT: WHOLE LOTTA LOVE

The Aussie Led Zeppelin tribute Whole Lotta Love is celebrating its tenth anniversary with a May 10 date at the Palais Theatre, featuring Steve Balbi (Noiseworks), Simon Meli (The Widowbirds), Jimmy Cupples, Dallas Frasca and Natasha Stuart alongside musical director/guitarist Joseph Calderazzo, Gordon Rytmeister (drums), Greg Royal (bass), Stuart Fraser (guitars, Noiseworks), Robert Woolf (keyboards), Tony Azzopardi (percussion), Adrian Keating (violin), Rachel Thompson (viola) and Charlotte Roberts (cello).

GIG ALERT: METAL AT THE BENDIGO A couple of killer nights at the Bendigo in Collingwood this week: Uins, Black Jesus, Metal Storm and Sewercide from 8pm on Saturday March 9, and Cemetary Urn, Nocturnal Graves, Destruktor and Maniaxe on Sunday March 10 from 8pm.

BRENDAN SMALL BRINGS GALAKTIKON TO THE STAGE

Brendon Small (Dethklok/Metalocalypse) debuted the live incarnation of his solo project, Galaktikon, over the weekend, featuring Bryan Beller on bass, Tim Yeung on drums, Mike Keneally (Frank Zappa, Steve Vai), Rick Musallem (Mike Keneally Band) and Jude Gold (Musicians Institute) on guitars. They played at WesFest 8, an annual show at the Roxy in West Hollywood in to beneﬁt the Wes Wehmiller Endowed Scholarship at Berklee College of Music. Here’s hoping for more dates in the future!

60 SECONDS WITH… Define your genre in five words or less: Funky progressive rock. Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? Well we grew up in the ‘90s so you can hear an influence there, we’re mainly progressive hard rock with some funk and world music infusion and the crowd can go from a mosh to swingin’ theirs hips in moments. When’s the gig and with who? It’s Friday March 8 with Dead Letter Circus at The Middle aka the Ferntree Gully Hotel. What can a punter expect from your live show? You will be engaged in a high energy performance that will leave at least one end of your undies messy, maybe both. Do you have any record releases to date? What are they? Where can I get them? Yeah we have one released already, you can grab it at huskband.com or at our shows, we’ve just finished our second and it’s already had three songs in the top five on triple j’s Unearthed, you can expect that midyear. If you could go on tour with any musician or band, who would it be? For me personally it’d be Tool or Pink Floyd before they split cause they’re like idols, but then again acts Shpongle and RHCP would be heaps of fun to tour with.

HUSK

If your music was a chocolate bar, which one would it be, and why? A Snickers because although we’re nuts, we’re silky smooth like caramel and at the end of the day we’re mostly milky nougat and some creamy brown chocolate love. When are you doing your thing next? We’re pretty busy doing a gig a week these days. We’ve got a show at the Central Club with THEY on Saturday March 23 and we’re playing local nightclub Kate’s Party at the barn in Bayswater on the Friday March 29. We’re also doing a VIP CD launch at the Panton Hill Hotel on Saturday April 13 and a Suicide Prevention Event on Friday April 5 with the Croydon council and youth group.

GIG ALERT: KINGS AND QUEENS AT THE ESPY Australia is overflowing with alternative music talent, and Melbourne event management company Gunn Music are tapping into that talent and allowing it to shine. Once a month, Gunn Music presents Kings and Queens, a night of alternative rock at The Espy in St Kilda. Friday March 8’s lineup includes Melbourne rockers Ten Thousand, who manage to deftly walk the fine line between the ‘80s hard rock and ‘90s hard rock scenes; the heavier and more progressive Branch Arterial (who are farewelling their drummer Darren), technical wizards Quarterdrive, as well as Copse, Giants Under the Sun, The Tesla Theory and Anti Violet. Presented by Off Ya Tree.

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Beat Magazine Page 55

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YOUR COMPREHENSIVE LOCAL GUIDE

THE DAVIDSON BROTHERS Three-time Gold Guitar winning bluegrass act, the Davidson Brothers have toured the US and Europe and have ďŹ rmly established themselves into the Australian music scene. This Victorian duo released their fourth Nashville sessionâ&#x20AC;&#x2122;s album, Here To Stay in July 2011 and it won six National Awards and gained 19 Country Music Award nominations. Winner of multiple Australian National Bluegrass Championship titles on ďŹ ddle, banjo and mandolin, the Davidson Brothers were selected as Most Outstanding Musicians in the 2010 Melbourne Prize. Head along and make up your own mind when Hamish and Lachlan play the Retreat Hotel beer garden on Monday March 11, Labour Day public holiday from 4pm to 6pm. Free entry.

CLARKEFIELD MUSIC FESTIVAL The second annual ClarkeďŹ eld Music Festival will see some of Australiaâ&#x20AC;&#x2122;s ďŹ nest musicians join forces for a common cause, as they raise money to help assist children and their families living in poverty in Cambodia. The festival will feature renowned Australian musicians Tim Rogers, Mick Thomas and The Roving Commission, Sal Kimber, The Toot Toot Toots, Charles Jenkins And The Zhivagos, The Stetson Family, San Gras And The Dead River Deeps, and local acts Paper Jane, Brother Johnstone, Jarrod Shaw and Sarah Wilkinson. The ClarkeďŹ eld Music Festival takes place as The ClarkeďŹ eld Hotel on Sunday March 17 from 12pm â&#x20AC;&#x2DC;til 9.30pm. $30 presale, $35 at the gate, family tickets $70 and under 12s free.

SUZUKI NIGHT MARKET

FULL UGLY Thereâ&#x20AC;&#x2122;s a lot of damn good pop music springing up around Melbourne at the moment but few do it as well as Full Ugly. Led by Nathan Burgess (Love Connection) these guys drop heart breakers/melters like no oneâ&#x20AC;&#x2122;s business. They take over The Gasometer every Wednesday in March with free shows and an awesome deal where the pub turns into something like an RSL with free pool, free pinball and a $2 raďŹ&#x201E;e with rad prizes including free jugs and food. Nuts. Tonight support is from Parading.

TRANSVAAL DIAMOND SYNDICATE

ANNAâ&#x20AC;&#x2122;S GO-GO ACADEMY Annaâ&#x20AC;&#x2122;s go-go classes are great fun, an excellent cardio workout, and have been described as â&#x20AC;&#x2DC;inspiringâ&#x20AC;?, â&#x20AC;&#x153;a retro hit parade, everything from Elvisâ&#x20AC;&#x2122;s Jailhouse Rock to AC/ DCâ&#x20AC;&#x2122;s Jailbreak, and a â&#x20AC;&#x153;high energy dance party with the hostess with the mostest. Every Thursday night at The Vic Hotel from 6pm and at The Gasometer Hotel on Tuesdays at 7pm and 8.30pm.

LUCKY COQ SESSION

SUNDAY

BLUES

Lucky Coq are hosting a free blues roof session with a free barbeque every Sunday in March. March 10 features Mister Sippy, March 17 features Good Morning Blues Band and March 24 and 31 feature Zevon And The Werewolves Of Melbourne. It kicks oďŹ&#x20AC; at 4pm.

THE INFANTS The Infants are a new band in town. Theyâ&#x20AC;&#x2122;ve already played a bunch of gigs (including support for Thee Oh Sees) and theyâ&#x20AC;&#x2122;re beginning March with a Wednesday night residency at The Old Bar. For this Melbourne four-piece, oďŹ&#x20AC;-kilter is on point. Somewhere between drag races and Sunday drives, The Infants spew visceral vignettes and romantic recreations. Blaise Adamson (vocals/keys) skips from yelps to whispers telling aďŹ&#x20AC;ecting ďŹ&#x201A;ashbulb memories while instrumentally the rest of The Infants, Chris and Anthony Morse (bass/guitar) and Jack Normoyle (drums), bend luxurious and persuasive into harrowing and heady.

Transvaal Diamond Syndicate are a dirty footstompinâ&#x20AC;&#x2122;, hard hittinâ&#x20AC;&#x2122; blues-rock outďŹ t from Brisbane who play a high-energy and entertaining set based on groove riďŹ&#x20AC;s, wailing slide guitar, smoky vocals and driving beats. Crowd participation, ankle-busting stompouts, call-and-response, percussion jams, harp melodies, halftime breakdowns, sweaty participants, megaphone taunts and general in-your-face blues/ rock action is what theyâ&#x20AC;&#x2122;re about. Touring nationally over the next four months, catch TDS when they play the Retreat Hotel this Saturday March 9 at 10pm, followed by Apache Medicine Man 11pm and DJ Fanta Pants â&#x20AC;&#x2DC;til 3am. Free entry.

THE BARONS OF TANG The Barons of TangÂ have ďŹ nally announced a Melbourne show. One of their ďŹ rst local appearances since getting back from Europe, the Tangs are now ready to unleash the fantastic sonicconfusion that theyâ&#x20AC;&#x2122;ve become renowned for. This is a prime opportunity for the band to show case some of the new material that has just been recorded as part of their long awaited debut album. You can see them pulling notes from their instruments like teeth from the gums of the universeÂ on SaturdayÂ March 9Â at The Northcote Social Club.Â Supports on the night feature the fabulous psychedelic-punk antics ofÂ MangelwurzelÂ and Yacht-rock demi-godsÂ Sex on Toast. Tickets are $15 at the door or $10 for concession if still available.

Now in its 15th year, the Suzuki Night Market attracts over 200 stall holders and showcases some of Melbourneâ&#x20AC;&#x2122;s ďŹ nest artisans, producing locally made clothing, jewellery, prints and an array of cultural goods. The hawker style food stalls oďŹ&#x20AC;er everything from traditional African curries through to the sweetest of honey dumplings. Music can be found all over the Suzuki Night Market. Look out for buskers around the site, and there is entertainment around every corner. The Suzuki Night Market runs every Wednesday night until March 27 at Queen Victoria Market, 5pm â&#x20AC;&#x2DC;til 10pm. Entry is free.

BIG DAY NOT OUT Like cans? Like sitting down and watching people do things? Ace. Into kickarse acts like the Dave Larkin Band and San Gras? Cool. Pub Cricketâ&#x20AC;&#x2122;s Big Day Not Out is for you. The unďŹ t, beer-loving denizens of over a dozen local pubs are back on the ďŹ eld for the annual Big Day Not Out at Edinburgh Gardens, Brunswick Street on Sunday March 17. After a long season of trying to ďŹ gure out how many beers there are in an over, the pubs (forming the Yarra Pub Cricket Association) from around the inner northern suburbs duke it out in a daylong battle royale from 10am to 6pm, in one of Fitzroyâ&#x20AC;&#x2122;s most celebrated annual community days. Proceeds all go to local charities, so put this cracker on the calendar.

CASTLEMAINE FRINGE FESTIVAL The Castlemaine Fringe Festival Music is 21 years young. This year will be brighter and bouncier than ever â&#x20AC;&#x201C; and even more unruly. The musical lineup includes Deniz Tek, DD Dumbo, Laura Lee Williams, Mood Swing, Old King Cols and jamming acts almost every night at Caspa, which is the home of the Fringe Festival. It takes place from Friday March 15 to Sunday March 24. All information is at castlemainefringe.org.au.

MUSICFEST PHILLIP ISLAND The sophomore Musicfest Phillip Island takes place on Saturday March 9 and Sunday March 10 with a stellar and diverse lineup of Australian talent including Mat McHugh, StoneďŹ eld, Kutcha Edwards, Lisa Milla, Kira Puru And The Bruise and more. Tickets are $40 for either day or $60 for both days. For more information and ticketing head to musicfestphillipisland.com.au.

JUDE PERL Melbourne based singer, songwriter and pianist Jude Perlâ&#x20AC;&#x2122;sÂ infectious blend of catchy pop sensibilities and funk-driven soul combined with mouth watering vocals sends her audience into a retro-ďŹ&#x201A;avoured spin. Jude and band will be performing songs oďŹ&#x20AC; her ďŹ ve-track debut EP 3am as well as some new tunes yet to be released when she plays at the Retreat Hotel this Thursday March 7 with support from like minded fem-funkster, Megan Bernard. Megan and her four-piece band are inspired by the likes of John Mayer and Erykah Badu, and her sound is a sexy blend of soul,Â pop and rock. Music kicks oďŹ&#x20AC; at 9pm. Free entry.

DUNE Multi-instrumentalist Dune will be releasing her debut EP Oh Innocence on Thursday March 14. Featuring Duneâ&#x20AC;&#x2122;s debut single Shoestring and a brand new single in the form of title track Oh Innocence, this expansive EP boasts ďŹ ve self-produced tracks which traverse a futuristic vista created from textured synths and beats, resplendent with lashings of primal emotion and stark imagery. She launches it at Ding Dong Lounge on Saturday March 23.

DEAR STALKER What better way to spend Labour Day Eve than at The Espy with some of this townâ&#x20AC;&#x2122;s ďŹ nest? Dear Stalker take a break from pre-production for their debut album to bring you a set of high energy grunge-pop tunes thatâ&#x20AC;&#x2122;s sure to get feet moving and bodies grooving. The catchy powerhouse stylings of Atomic Bliss will see out the evening in style. The Basement is where all the action is, so get down there and let yourself go. Sunday March 10.

UNDERGROUND FUTURE Up-and-coming Melbourne dance and electronic bands are coming together for a Labour Day Eve event on Sunday March 10 at The Evelyn Hotel. Donâ&#x20AC;&#x2122;t miss out on the Underground Future, featuring bands taking over the triple j airways. With acts like The Wednesday Experiment, Drop Frame, Tin Lion, Nerves, Von Stache and Ok Sure, as well as lighting and visual eďŹ&#x20AC;ects by Alt Esc Del, this is an original dance party you donâ&#x20AC;&#x2122;t want to miss.

DJ THADDEUS DOE Thaddeus Doe rips deep left ďŹ eld indie drenched in hip hop cuts and all that surrounds, from the proverbial head nod, to the vertical bounce. He plays at The B.east on Friday March 8.

ROCK AND POP CULTURE TRIVIA Melbourneâ&#x20AC;&#x2122;s best trivia night has found a new home at the B.East. Triple Râ&#x20AC;&#x2122;s Jess McGuire and Shock Recordâ&#x20AC;&#x2122;s George H. will present their iconic rock and pop culture trivia nights every Tuesday at The B.East from 8pm, a wicked celebration of all that useless information gathered from ďŹ lm, TV and music delivered in a relaxed three round format with loads of alcohol prizes to give away.

THURSDAY

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GO JANE GO Well known and loved by Australian audiences, Nashville-based legend of Americana music, Kieran Kane, and three-time Juno award winner, David Francey, have teamed together with Kieran’s son, Lucas Kane, to form the band Go Jane Go. Their 2013 Australian tour will launch the new band and their ﬁrst CD. Go Jane Go perform at The Spotted Mallard as part of The Brunswick Music festival on Wednesday March 13, support from Sweet Jean. Tickets available from brunswickmusicfestival.com.au.

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

YOUR COMPREHENSIVE LOCAL GUIDE

RACHEL CHARLES

ALLY OOP & THE HOOPSTERS It’s Golden Plains weekend, but who cares. It’s all about Ally Oop & The Hoopsters. Joined by Justin Fuller playing some ‘tekno’ techno, and Balboa depressing everyone out at the state so the party seems that much sweet, The Hoopsters are headlining a special night at Yah Yah’s on Sunday March 10. Get ready to feel a full spectrum of emotions. Doors at 5pm, bands start at 9pm, free entry.

VARDOS Vardos perform at The Spotted Mallard tonight. Livewire violinist Alana Hunt shreds through furious csardases, Hungarian restaurant serenades and traditional Transylvanian village music. Vardos have roamed extensively through Eastern Europe learning from Roma (gypsy) musicians and performing in Hungary, Switzerland, London, Berlin and the Edinburgh Fringe Festival. They’ve also down their rounds on Spicks And Specks. Free entry, 8.30pm.

HIGH TENSION Melbourne’s High Tension have announced a debut tour across the country’s East Coast this March to launch their self-titled 7” and digital EP. Featuring ex-members of Young & Restless, The Nation Blue, and Love Like Electrocution and Heirs, the band have already made their presence felt despite a relatively brief existence. They launch their new 7” at The Old Bar on Friday March 8 with Batpiss and Dead River. 8.30pm, $10 entry.

Hailing from the gutters of Fitzroy, Rachel Charles finds herself shipwrecked in Perth after floating through European summers apprenticing herself to street musicians and vagabonds alike. The artist sings soft, happy-go-lucky melodies involving animals with problematic natures and bittersweet ends, glorified childhoods, never ending summers – you know, that kind of thing, all delivered with meowing vocals and naive ukulele. She spins her audience into a reality where the absurd and mundane exist in a misty dream of harmony and is set to lull another crowd on Tuesday March 12 at The Old Bar. Starts at 8pm and it’s free.

CORAL LEE & THE SILVER SCREAM Beersoaked Sundays at The Old Bar are proud to have Coral Lee and The Silver Scream every Sunday in March. Coral’s soulful tunes evoke the era of Doris Day and Wanda Jackson and seamlessly combine steam train rhythms, vintage vocals and gritty guitar picking. Coral Lee will show you why she’s considered one of Melbourne’s ﬁnest female blues guitarists, swapping screaming solos with Ben Franz on the lap steel. Swinging from the sides of the rockabilly/R&B bandwagon, The Silver Scream is a collection of some of Melbourne’s favourite musos.

SECONDHAND SQUAD Make sure you get down to The Old Bar on Saturday March 9 for a killer lineup. Kick oﬀ some post-summer beers with Summer Blood, followed by Del Lago who will more than likely be taking their pants oﬀ and Secondhand Squad who made it to Melbourne in their second-hand van all the way from Adelaide. Oh, and Foxtrot will be there doing their thing too. $10 entry, doors at 8.30pm.

BITTER SWEET KICKS On Thursday March 7, the eve of the Labour Day long weekend, The Espy’s front bar will be serving up some gritty rock’n’roll courtesy of the Bitter Sweet Kicks, Ultra Bullitt from France and The Ivory Elephant. This gig will be a celebration as it is the final show for drummer Joseph Cunliffe who is leaving the group for personal reasons. A total bitter sweet occasion, this also marking the end of an era, who after seven years together have never had a lineup change. They’re supported by the French rock’n’soul garage outfit Ultra Bullitt, and three-piece The Ivory Elephant with their gritty Brunswick sound. Kick off the long weekend with a killer night at The Espy.

SAFE HANDS

SOME VELVET MORNING

In late 2012, Safe Hands and Vanity heralded the coming together of East and West with their acclaimed and well received split 7” released through Pee Records and Arrest Records. Now with both bands releasing debut full lengths in the coming months they are taking to the road together in an eﬀort to spread their heavy noisy love to the masses. They’ll be joined at their show at The Public Bar on Thursday March 7 by local champions of the noisy cause, Bateman and Culprits. With high energy live shows high on the agenda for all four bands this will be a night not to be missed.

Chances are you’ve already heard of Some Velvet Morning, Clifton Hill’s very own intimate acoustic venue, bar and cafe. Situated in the heart of Queen’s Parade, it has over the past few months played host to some of Melbourne’s finest musicians and continues to put on an impressive array of gigs five nights a week. Head down and see what all the fuss is about over a delicious locally brewed beer, fine wine or tasty bite to eat from the bar menu. 123 Queens Parade, Clifton Hill.

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Beat Magazine Page 57

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

YOUR COMPREHENSIVE LOCAL GUIDE

MICHAEL PLATER Fresh from performing a series of full band shows to promote the release of his latest album Exit Keys, local art-rock/ Americana singer/songwriter Michael Plater will be turning down the volume and increasing the intimacy on Thursday March 7 at Yah’s Yah’s. He will be playing a special strippeddown show backed by several members of his regular band the Exit Keys. Joining him on the night will be a trio of truly ﬁne acts: the gothic country of Ballarat’s Matt Malone, the folk lyricism of the Tattered Sails and the hauntingly beautiful Straythread. The night kicks oﬀ at 9pm and entry is free.

STRANGERS FROM NOW ON Head down to Yah Yah’s on Friday March 8 and sink a few beers with your pals Strangers From Now On, Bayou and Warmth Crashes In. They’ll dance and scream as best as they can and you can spend your usual entry money on drinks. Strangers From Now On are fresh from performing at All Tomorrow’s Parties Festival’s I’ll Be Your Mirror event in Altona alongside bands such as The Drones, Swans, My Bloody Valentine and Beasts Of Bourbon. Doors at 5pm, bands start at 9pm, and entry, like all good things, is free.

THE BAND WHO KNEW TOO MUCH The Band Who Knew Too Much return to their old stomping ground of Bar Open on Saturday March 9 for a rare one-oﬀ performance. It will be the last time to see them in Fitzroy, or anywhere for that matter, until at least September. Featuring founding members and the original odd couple, Slave ‘Warhorse’ Evans and Bill Weed, this is sure to be one mother of a gig. After 20 years of proving it, The Band Who Knew Too Much are a truly classic Australian band. Doors 10pm, free entry.

VELCRO Velcro will be launching their ﬁrst US release, the Budding Teens EP, at The Gasometer on Thursday March 7. The cassette is a collection of bedroom demos written and recorded over the past couple of years, released by Washingtonbased label Terroir Editions. They will be joined on the night by Great Outdoors and Grandstands. Downstairs that night at The Gaso is a night of duos, featuring Spill, Anthea Caddy/Thembi Soddell, Marni Macleod/Justin K Fuller and No Fuckwitz, all proving that two is better than one.

THE WARDENS The Wardens are a garage rock’n’roll band from Melbourne. There’s nothing pretentious about what these guys do – it is pure, unadulterated rock’n’roll that’s all about great songs and entertainment. As such, their shows will leave you lying dishevelled on the ﬂoor, covered in beer and sweat and screaming for more. Hot oﬀ the release of their debut 7” late last year, they’re ready to tear up Yah Yah’s this Saturday March 9 with special support from French fellow garage rockers Ultra Bullitt, and newbies Two Headed Dog. Best of all, it’s a free show. Doors at 5pm, bands start at 9pm, free entry.

Beat Magazine Page 58

SOMEONE ELSE’S WEDDING BAND Stop everything – in parallel bands since the late ‘90s, the duo known as Someone Else’s Wedding Band keep themselves rather inclusive. Bass player Naf doubles up with percussive hockey pucks as drums as singer Jason accompanies with ukulele. This broad spectrum inﬂuences their more many varied covers, ranging from folk-inspired to instrumental originals riddled with heavy delay. Supported by …And We Are The Enemy and The Shababb, they play at The Victoria Hotel this Saturday March 9. 10pm, free.

GHOST ORKID Since their formation just over a year ago Ghost Orkid have made their mark on the Melbourne scene and show no signs of slowing down. The experimental ﬁve-piece have been reﬁning their sound and working on new material for their debut EP to be realised later this year. Recent festival slots at Rainbow Serpent and FRL have introduced festival crowds to their genre-bending music, and they’ll be dazzling punters at Apollo Bay Music, The Hills Are Alive and more festivals yet to be announced, in the coming months. Their next Melbourne Show is Sunday March 10 supporting Sydney based future-folk/soul artist Ngaiire for her Dirty Hercules single launch at the Northcote Social Club. Also supporting on the night is Hailey Cramer. Tickets are $15+bf presale or $20 door.

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THE EMERGENCY After 11 years and three albums, The Emergency are hanging up their synths and calling it a day ‘cause Milo’s moving to the USA. They’re playing one final show at The Gasometer to celebrate/commiserate with buddies Gold Tango, Evelyn Ida Morris, Fatti Frances and DJ Geoffrey O’Connor. Come down and see them play for the last time and cry with them into their pints. Upstairs that night hear the fuzzy, brat-punk sounds of Sydney’s Bloods as they turn the second floor into a house party; a perfect change of mood when you’ve finished crying. They’re joined by the mighty ScotDrakula and slacker punks Atolls. It’s a momentous night on Friday March 8 at The Gasometer.

MALLEE SONGS Last year, Mallee Songs released a free double album, Two Volumes. Few heard it, but those who did were struck by its strange restlessness. Recorded in improvised bursts using whatever was on hand, Two Volumes documents ﬁve years of home recording, sprawling out like a gravel road through lonely pine barrens. The record refracts psych-folk through hazy pop, producing a collection both solemn and joyous. Holy Lotus is a collective vision, and it goes something like this: lulling drones shimmer over spectral vox at turns hushed and intense; frantic drums circle the mix; and guitars are – quite deliberately – nowhere to be seen. Damaged disco hits to soundtrack the summer that never came. Lil' Leonie Lionheart plays quiet, sleepy folk inspired by the bookish ramblings of David Berman and Phil Elverum. Loﬁdelity, hi-honesty. Folkish covers of R&B. Slacker country and western coastal, eastern city vibes. And a sombre, unique a voice to behold. Catch all three at The Grac Darling Hotel this Thursday March 7 from 8.30pm. $5 entry.

60 SECONDS WITH…

SEXY/HEAVY

SALAD DAYS Salad Days, a born and bred Melbourne based rock outﬁt that are coming straight from the garages to bring you their massive concussion of rock’n’roll, featuring Pat ‘The Mad Dog’ Pleash on guitar, Josh ‘SongBird’ Burton on vocals, Rob ‘The Mantis’ Cliﬀord on drums and on bass Cal ‘The Battle’ Royle. Go and get a taste at The Great Britain Hotel on Thursday March 7 from 8pm, with support from The Rant. Free entry.

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YOUR COMPREHENSIVE LOCAL GUIDE

UNIFIED GECKO

Jack Mitchell is an emerging blues and roots artist new to the Melbourne music scene. Playing a solo acoustic set, he showcases an original and engaging talent as a lyricist and devoted guitarist. With a mix of original music he combines smooth and mellow melody with earthy guitar and a crooning bluesy voice to match. See them on Sunday March 10 at The Great Britain Hotel in Richmond, 7.30pm sharp. Free entry.

HUSK Husk is an alternative rock band from Melbourne. Their debut EP, Contemplating Pupation, received a warm welcome from both fans and fellow artists alike. This release, coupled with a powerful live show and a strong fan base has earned the band support slots with acts such as Grinspoon, Karnivool and Dead Letter Circus. In late 2012, Husk entered the studio to record their highly anticipated follow up, which features a ‘punchier, more groove driven rhythm section and a thicker, funkier guitar sound’ than its predecessor. The ﬁrst taste, Gunslinger, reached #1 on the triple j Unearthed charts, displaying the bands reﬁned approach to song writing and musical prowess. Catch them on Friday March 8 at The Ferntree Gully Hotel supporting Dead Letter Circus.

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JENNY BIDDLE It’s the biggest celebration of Jenny Biddle’s most vibrant album yet. On Friday March 15 at the Thornbury Theatre, Jenny Biddle and her full band launch their third album, Hero In Me. Produced by Thirsty Merc’s former guitarist, Sean Carey, and funded by fans, Jenny will perform new album favourites, including singles Running Out Of Lies and Hero In Me, and the ridiculous, dignity-destroying, yet much-requested Kangaroo Poo. From sweet sugary folk to rocking guitar-ripping rural blues, Jenny will whip out the banjo, keys, harmonica, and an array of guitars used on the album, including her self-made acoustic guitar, for her ﬁrst band show in two years. Doors open 7.30pm and the evening will kick oﬀ with the bubbly Emmy Bryce. Tickets are $15 presale from Oztix, or $20 on the door, or $55 for a dinner and show deal.

DIPROSUS

RUINS

Thursday March 7 is set to be a huge night at The Bendigo with young metal upstarts Diprosus set to release their debut EP Saved Or Enslaved with the help of some thunderous local bands. Diprosus will be unleashing a heavy set of pounding rhythms, punishing riﬀs and dirty grooves guaranteed to blow minds and melt faces of all who lie in its wake. Also on the bill are the groovy-yet-hardcore Freight Train Theory, followed by the epic sounds of Alaskan Thunder, and the night would not be complete without a razor sharp thrash attack courtesy of speed freaks Harlott.

The Bendigo Hotel will play host to one of the most extreme lineups of 2013 so far. In support of their latest record Place Of No Pity, Tasmania’s Ruins return to Victorian shores for a night of ritual debauchery. They blend an ominous darkdeath metal dynamic amidst their powerful, menacing and melancholic, yet eerily seductive black metal style. They’re joined by Black Jesus, a super band of scrap metal increasingly muscularity played by amputated members of society with brain damage of the ﬁnest quality. Born on earth and heading straight to hell, Metal Storm are a ﬁvepiece speed machine that will bang your head and break your neck, and rounding out the bill is the thrash-death of Sewercide. The Bendigo Hotel, Saturday March 9.

Valid from 8-11pm, Friday March 8, 2013. Courtesy of Mushroom Giant 10th anniversary party.

JACK MITCHELL

First 50 payers pay half price upon presentation of this voucher

Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? It’s sludge’n’roll. We sound like our name so it’s pretty punchy and sassy and I would say that humans into bands like Soundgarden, QOTSA, DZ Deathrays and DFA 1979 will dig on us. How long have you been gigging and writing? Sexy/Heavy is made up of two core members – myself (The Knave) and Floss who started making this sexy noise in Wellington NZ around 2009. We have been here a few years now and the tunes and band are a different beast in the amazing year of 2013. Here in Melbourne we have two live members join to make the four-piece live act and have been properly active here for about six months. What inspires or has influenced your music the most? Moods, groove and the female form. What’s your favourite song, and why? For me it’s Spooky Spark – it’s where I feel I created some kinda bizarre marriage of surf and industrial with a south of the boarder feel hanging out on the middle bar stool. It has so much vibe to it and happy that we pulled off all the subtle things that were in my mind for it before we recorded it. The vocals especially. Spooky. What makes a good musician? To me it’s always, “it’s not what you play, it’s what you play”. Meaning that it doesn’t matter what gear you have, or how technically proficient you are – it’s what you play that counts if you dig. It’s the soul and the feel. It’s instinct and you just can’t teach that. What’ve you got to sell CD-wise? New album is on the way. Seven songs of sludge’n’roll to jiggle your bones in all the right ways. The record features Shihad’s Tom Larkin on drums so it sounds extra beefy in the drum department. Currently you can download all the tunes for free on Soundcloud so that that you can play ‘em to your sister and your sisters friend. The link is at our Facebook. When’s the gig and with who? We play Cherry Bar on Saturday March 9. We play with our fucking awesome buddies Spermaids and a band called Cut. We want to drink with you at the bar and party after.

Masters of Middle Eastern boogie, Unified Gecko are returning to Bar Open on Sunday March 10 for a Labour Day Eve farewell show before members hibernate to the Northern Hemisphere for the colder months. Featuring musicians from Melbourne’s best jazz, reggae and hip hop scenes together with traditional Turkish musicians, Unified Gecko is collide heated up Turkish tunes with reggae vibes and gypsy rhythms in an exhilarating east-meets-west fusion of music. So put your dancing shoes on and join the mayhem. Expect the unexpected – it’s gonna be quite the party with Unified Gecko this Labour Day Eve. Doors 10pm, free entry.

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Beat Magazine Page 59

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BENNY WALKER Benny Walker’s sophomore album Sinners And Saints, is an eﬀortless blend of soul, blues, reggae and acoustic folk. Benny Walker’s intimate, eloquent song-writing is complemented by a rich, soulful voice speaking of the trouble, strife and the wonder of everyday life. It is this voice that recently earned him the Victorian Indigenous Performing Arts Award for Best New Talent 2012, Arts Cultural Australia Day Murray Shire Council Award and a 2011 Deadly Award nomination for Most Promising New Talent in Music. He launches his new album at The Northcote Social Club on Friday March 15.

SAM AMIDON London-based, Amercian-born folk musician Sam Amidon will return to Australia in early March for an intimate Melbourne show. Amidon plays guitar, banjo and fiddle, and has collaborated with the likes of Glen Hansard and Beth Orton. Amidon is distinct for his talent in the fields of free jazz and drone minimalism. He has released three albums of radically reworked folk songs (and an earlier one – his debut Solo Fiddle) and is set to release a new album in coming months. Sam Amidon performs at The Toff In Town tonight. Tickets on sale from Oztix.

HIS MERRY MEN ULTRA BULLITT French high energy rock’n’soul garage band, Ultra Bullitt will be making their way to Australia for the very ﬁrst time. France is not known for its rock’n’roll bands, but this trio may just change this perception. Ultra Bullitt has toured Europe with Nashville Pussy, The Fleshtones, Rob Younger (Radio Birdman, New Christs), The Morlocks, Eddie & The Hot Rods, Cellophane Suckers, Hipbone Slim, The Holy Curse and Bertie Page. Lead singer and bassist Sly Bullitt also tour manages many bands in France and this is where the Australian connection was struck when he looked after SixFtHick, the Hits, Dan Brodie and Bitter Sweet Kicks to name just a few. Catch Ultra Bullitt when they play the Retreat Hotel this Sunday March 10, Labour Day Eve, from 7.30pm, followed by our own home-grown rocker, Spencer P Jones and his Escape Committee. It’s gonna be good. Open ‘til 3am for the public holiday. Free entry.

DEAD WATER CITY

EMPRA

Drawing their inﬂuence from the days when Nashville still had soul, Dead Water City deliver their handwritten songs based on the age old themes of living, loving and losing with delicate poise. Comprised of Tim Murphy (Mojo Juju, Western Union) on acoustic and vocals. and Nick Downey (The Decoys) on lap steel and electric guitar, Dead Water City hit The Vic Hotel on Sunday March 10 playing two sets from 4pm. Entry is free.

Rising from strength to strength, Melbourne rock band Empra have been invited by Livenation and Ticketmaster USA to perform at a series of showcase concerts in Los Angeles in April. With four singles from their self-titled debut album already hitting regular rotation on Triple M’s Radar Radio and having Gotye feature on the track Sabrina, Empra have recently sold out their ﬁrst pressing of their album. In support of the overseas trip, Empra are holding a fundraising beneﬁt concert at The John Curtin Bandroom on Friday March 8. Sharing the stage with Empra on the night are sludge rockers Sexy/ Heavy and female fronted alternative rockers from Canberra, The Heroines. Tickets for the Empra’s USA Tour Fundraiser and Live EP launch are $17.50 presale or $20 at the door, with a free copy of the Live EP.

AUTO DA FÉ Auto Da Fé is the new project of singer/guitarist Andrew Dalziell (Tangrams, Rostovs, The Henchmen, Mirrormen, The Orphanage, Spirits Of The Dead), drummer Lara Wilson (ANAM Orchestra, Orchestra Victoria) and bassist Sam Fiddian (Rostovs, The In the Out, Spencer P. Jones, Downhills Home). Auto da fé play Yakuza murder/love ballads, science ﬁction love songs, Dostoyevskian redemption tales and submissive sex hymns, all grounded in straight forward rock’n’roll. Auto De Fé perform a free gig at The Victoria Hotel on Friday March 8.

JAMES McCANN & THE NEW VINDICTIVES Former Drone and Lowdorado, James McCann has a new band and it packs more punch than Mike Tyson in a screaming Las Vegas auditorium. Featuring members of The Hired Guns, Ron Peno’s Superstitions, The Love Addicts and X, James McCann & The New Vindictives have got a bunch of songs that are equal parts reﬂection, attitude and good ol’ honest rock’n’roll power. James McCann & The New Vindictives launch their ﬁrst single, Ambition, taken from the band’s new self-titled album, at The Tote on Friday March 8. Supports on the night are Barry Savage & The Mau Maus, and Ultra Bullitt.

JOUISSANCE Wander into Bar Open tonoight and be a part of a particularly indulgent and colourful evening of entertainment. The all-star lineup will kick oﬀ with the soothing tunes of Zone Out. At their heels come the melodious Autoportraits on the back of their sparkling new EP, and they’ll be followed by Big Tobacco’s catchy toe-tapping aﬀair. Finally, Jouissance step up to tear down the remainder of the evening. You don’t want to miss this show, it’s your one-stop-shop for a plethora of inviting sounds to dance to: dreamy, doomed, bright, quirky, creepy, truthful, cheesy and beefy. Good music, good people, good looks, good venue, lots of smiles and all for free.

Beat Magazine Page 60

SEXY/HEAVY Melbourne’s lords of sludge’n’roll, Sexy/Heavy tread the gallows of Cherry Bar with a weekend headline show to satisfy your every whim for the punchy and moody, delivered with fat toned elements of stoner, surf, psychedelia and sex drive. You’ll probably get laid. With big plans for 2013 including an oﬃcial album release featuring Shihad’s Tom Larkin on drum duties, an Australian/NZ tour and a remix album in the works, catch them at the Cherry Bar on Saturday March 9 before they get too big-headed. They’re joined by local bands Spermaids and Cut. Tickets available at the door.

POPSTRANGERS, NOTHING

BORED

Mourning the death of another summer, this March New Zealand’s Popstrangers and Bored Nothing are joining forces to take over Melbourne. Joel Flyger, Adam Page and David Larson formed Popstrangers in 2009 with a suite of singles for the legendary Flying Nun soon to follow. Their inherently Kiwi guitar pop has recently gone global, with Carpark Records (Cloud Nothings, Beach House, Toro Y Moi) to release Antipodes in conjunction with Spunk Records. Bored Nothing is Fergus Miller and a bunch of Melbourne cohorts. After self-releasing a handful of EPs, Spunk recently compiled a collection of Bored Nothing’s songs – some older, some brand new – forming his ﬁrst oﬃcial LP. Since, Bored Nothing has played over 30 shows nationally, with local heroes Mining Boom and Bleeding Knees Club through to internationals including Best Coast and Beach House. Popstrangers and Bored Nothing play a double bill show at The Gasometer on Sunday March 10.

His Merry Men bring a fat nine-piece sound and dance party attitude to every gig. They sport suave outfits, face melting dance moves and a dynamite four-piece horn section, the ‘Hell Yeah Horns’. Their classic, ol’skool sound borrows influences from surf rock, neo-soul and hip hop and mixes it all up to create their own big, brassy funkfest. They are bringing theirt first tour of 2013 to The Empress on Saturday march 24 with support from The Bon Scotts. Tickets are $12 presale or $15 on the door.

CRAIG WOODWORD Craig Woodward (ex-Headbelly Buzzard among others) brings his weekly ol’ timey music jam session to The Victoria Hotel. BYO instrument or just hang out and enjoy the music in the beer garden. Every Saturday afternoon from 4.30pm.

VIVE LA DIFFERENCE English, Brazilian, Spanish, Italian and French are on the menu when Vive La Diﬀerence plays, while you enjoy untangling a crab claw and great wines. This versatile band invites you to a musical journey through unique and surprising acoustic covers, blended in a fusion of world and jazz inﬂuences. It’s on Wednesday nights at Claypots from 8pm.

SECRET HANDS Drawing on inﬂuences as diverse as M83, Radiohead, Apparat and The xx, Melbourne/Paris based producer Secret Hands (Nuno Cordeiro) paints sprawling soundscapes falling somewhere between dream pop, indietronica and post-rock. Before shaking the foundations at Lawsfest Festival at the end of March, and also heading up to Sydney, Secret Hands and his three-piece band will be unleashing layers of epic drums, dreamy guitars, and lush synths in the downstairs bandroom at The Gasometer Hotel on Thursday March 14. With support coming from Melbourne producer and dream pop/electronic master Colourwaves, plus a second support act to be announced, the show promises to be grand. $7 entry.

MIDNIGHT WOOLF After a two month break, Midnight Woolf return live to the stage at The LuWow on Friday March 8 to perform tracks off their latest album, I’ll Be A Dog, plus a bunch of hipshaking covers and some floor-stomping favourites. The Woolf will be matching their reverb-drenched, fuzzed-out rock’n’roll with The LuWow’s rum-soaked tropicalia tiki dance floor for a night of insane go-go, exotic dancing, mind bending cocktails and crazy cartoon madness. Be there or kindly be square.

THE RIDING HOOD The Riding Hood (featuring members of The Sand Pebbles, The Sun Blindness, and We Are Gamma) perform at The Great Britain Hotel this Saturday March 9. They play a powerhouse brand of psychedelic rock but it’s also much more than that; it’s a journey and it’s about to depart, so get on board. They’ll be spattering the stage with both new material and epic favourites from their vast back catalogue. They play two sets from 9pm, free entry.

60 SECONDS WITH… MUSHROOM GIANT Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? We get Pink Floyd a bit, and sometimes This Will Destroy You. Leigh from Sleep Parade thought we must’ve been big Isis fans, which none of us were, but he made us go buy their albums anyway. What do you love about making instrumental music? The escapism. It’s the best therapy. Some people play golf, some play XBox, we jam. If you could travel back in time and show one of your musical heroes your stuﬀ, who would it be and why? I personally would’ve loved to have seen Led Zeppelin in their heyday. The energy those guys created and the places they took it was extraordinary. What can a punter expect from your live show? Huge epic soundscapes with huge epic visual projections. And not much in the way of chatter from us, although we might politely point you in the direction of the merch table. What’ve you got to sell CD-wise? We’re coming up to our ninth release, which we’re calling Painted Mantra, due out mid-year, it’ll be out by this year’s Progfest. All our back catalogue is available at our shows. How long have you been gigging and writing? Well this is our ten year anniversary show, slash party. We named the band Mushroom Giant after one of our songs at the time, back in 2003 just prior to the release of our debut album Rails. Dave and I were writing music together at uni back in the Nineties, and jamming everything from The Cure to Soundgarden songs. Those techniques we adopted from those days are probably still with us.

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What’s the strangest place you’ve ever made a recording? The very start of our Kuru album features a recording we made as we walked up High Street Northcote and through the front door of the Wesley Anne. Funny thing is you can still hear that same door squeak even today, and that was recorded five years ago! Tell us about the last song you wrote. Well that took years, literally. I guess it could be seen as four separate songs really. I love it. It’s based on a centuries-old notion of bad omens in the sky, such as the influence of the moon. Why should everyone come and see your band? It’s different. No-one sounds like us. And it’s a huge sound, with huge tones. MUSHROOM GIANT play the Northcote Social Club this Friday March 8 with The Spheres, Jarek and Chico Flash.

OEDIPUS REX Head to The Bendigo Hotel tonight for a spectacular night of musical marvels. Featuring four great bands, Bommy Knocker, Oedipus Rex, Monster Jeans and Big Head Ella, let the sounds of these four exciting acts take a hold of you and all for the insanely low price of $8. Doors at 8pm with bands kicking oﬀ at 8.30pm.

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

YOUR COMPREHENSIVE LOCAL GUIDE

LILY & KING

DAVE GRANEY AND THE MISTLY Australian great Dave Graney And The MistLY play the Post Oﬃce Hotel this Friday March 9 from 10pm. Featuring Clare Moore, Stuart Perera and Stu Thomas, the various members have been involved in making over 25 albums.

60 SECONDS WITH… Define your genre in five words or less: Lyrical, melodic, alternative rock. When’s the gig and with who? Thursday March 14 at Revolver Upstairs. The Mere Poets will open the show followed by Oh Pacific. Ryan (guitar, vocals) grew up in country Victoria and the lads from Oh Pacific are from the same hometown. As far as we can tell it’s a complete coincidence we’re sharing the stage because the last time we saw them everyone was arrested. 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? “Heeeeey I saw this great brand bhut I caan’t remembra the naamme… Witchitah or somethin’.” Which band would you most like to have a battle/ showdown with? Look, we’re going to be obvious here because we’re not the toughest musos around and if it comes to a fight we’re gonna need a guaranteed win. So it would be hard to go past Ed Sheeran because there’s only one of him and five of us. Definitely not Oh Pacific anyway, they fight dirty.

Lily & King are an acoustic junkyard – blissful, beautiful, dirty and wicked. They play hot Dixieland punk dotted with haunting seaside lullabies and street corner stomp. Their set sits somewhere between a captivating ‘40s nightclub routine and the raw, reckless spirit of New Orleans street buskers. With a toy piano, squashed trombone, banjo, violin, half a drum kit and one old guitar, a Lily & King show is a wild and joyful experience. Get involved in the joy this Saturday March 9 at The Drunken Poet from 9pm.

WHITAKER What do you think a band has to do these days to succeed? First you have to define ‘success’. When will you know you’ve ‘made it’? If you don’t figure that out first you’ll be forever chasing the unknown and will probably find it difficult to be satisfied. Honestly, the desire for ‘success’ can be the greatest writer’s block of all. Stay true and focused on the process of writing great music and forget the outcome. It’s the only way to stay friends with your music. Do you have any record releases to date? What are they? Where can I get them? We put out a self-titled album in June of last year. It’s available on iTunes, at gigs and for free if you rob my house. Try to guess where they are – you might be pleasantly surprised! Why should everyone come and see your band? Because we’ll really appreciate it and there’s always the slight chance they will too. Also, free beer! Anything else to add? Okay, sorry, no free beer.

KING PARROT After what could be described as a ‘flying’ start to 2013, King Parrot return to Cherry Bar on Sunday March 10 (Labour Day Eve) off the back of their successful debut album, Bite Your Head Off, and their amazing video for the song Shit On The Liver. In April the band travel to Indonesia for a week long tour capped with an appearance at the world’s most celebrated extreme music festival Obscene Extreme in Jakarta. This Cherry Bar show serves as a fundraiser for the tour and what better way to celebrate than getting Melbourne metal legends Frankenbok on board, as well as Australia’s toughest female fronted rock band Heaven The Axe. Doors at 8pm, $13 entry.

WHITAKER There are many bands across this great country of ours and especially in our very own city of Melbourne that leave you stumped as to why they have not made the next step, one of those bands is Whitaker. Although having spent time signed to some of the biggest labels this country has to offer they have somehow managed to go ‘under the radar’, but anyone that has seen them live will wholeheartedly agree that this is a definite musical injustice. They return to Revolver Band room on Thursday March 14 accompanied by two great up and coming bands in Oh Pacific and The Mere Poets for a night of crowd-moving and captivating live music. Tickets from Moshtix.

FINGERBONE BILL Fingerbone Bill like to party like it’s 1939. Bringing the ole timey, bluegrassy, traditional country sounds to crowds near and far, these lads create the necessary conditions for good old fashioned fun. The four members share the various instrumental duties, changing it up regularly to keep both themselves, and the audience, on their toes. This creates a certain dynamism that brings an extra element to the time honored sounds and themes of country music, it feels vital. Fingerbone Bill will be bringing all this and more to the Drunken Poet this Sunday March 10 from 4pm.

HOUSE PARTY ON WHEELS House Party on Wheels is a revolutionary new way to watch your favourite bands from the comfort of your living room. With over 50 bands already signed up, patrons can order a house party and they’ll bring bands to your party, provide food and alcohol and clean up too. The launch event is this Saturday March 9 at The Brunswick Hotel. Free entry, 30 amazing bands on two stages for 13 hours with $4 schooners from 12pm ‘til 5pm. It’s going to be the party of the year. Bands include Lieutenant Jam, The Wednesday Experiment, Avantair, The Vocal Lotion, The Porchies, Men Imitating Machines, Lung, Slowjaxx ,The Hondas, Proletarian Riot, The Velvets, Sarah Eida, Beloved Elk, Peter Dickybird, June Flights, Bricks, Altamira, Champagne For Kids, Gunslingers, The Black Alleys and Diamond Nights. Soloists include Shane Bauer, Sophie Oﬃcer, Holographic Cocoon, Kurt Rojas, Max Rawicz, Rapparee and Matt David.For more information check out housepartyonwheels.com.

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Beat Magazine Page 61

ALBUM OF THE WEEK

TOP TENS COLLECTORS MISSING LINK

JOHN GRANT

Pale Green Ghosts (Bella Union/Cooperative)

CORNER

1. The Underground Resistance LP

WEDNESDAY 6 MARCH RESIDENCY

ANIMAUX

BETTER THAN THE WIZARDS THE SEVEN UPS ENTRY $8, 8.30PM

THURSDAY 7 MARCH

ANDALUCIA GLACIERS BELOVED ELK CAM LOPEZ

ENTRY $6, 8.30PM $2.50 POTS, $5 VODKAS!

FRIDAY 2 MARCH

PASSENGERS OF SHIT ODIUSEMBOWEL BELLIGERENT INTENT ENTRY $10, 9PM

SATURDAY 9 MARCH BAKED BEATS PRESENTS

HIP HOP NIGHT ENTRY TBC, 8.30PM

SUNDAY 3 MARCH UNDERGROUND FUTURE

THE WEDNESDAY EXPERIMENT DROP FRAME TIN LION NERVES VON STACHE OK SURE! ENTRY $20, 7PM

MONDAY 11 MARCH RESIDENCY

ESC

GORSHA KILLING FIELDS ENTRY $2, 8.30PM

TUESDAY 12 MARCH RESIDENCY

KOOYEH SILENTJAY

ENTRY $2, 9.30PM

COMING UP

TIX AVAILABLE THRU MOSHTIX:

ESC (MONDAYS IN MARCH) KOOYEH (TUESDAYS IN MARCH) ANIMAUX (WEDNESDAY IN MARCH) ELECTRIC HORSE – ALBUM LAUNCH (MAR 14) BROTHERS HAND MIRROR – ROOFTOP EP LAUNCH (MARCH 16) XENOGRAFT/KETTLESPIDER/BEAR THE MAMMOT – SPLIT EP LAUNCH (MAR 16) SOMETHING TO DO WITH AN IDIOT – ROOFTOP (MARCH 17) NEBRASKATAK – EP LAUNCH (MARCH 22) METAL OBESSION 5TH BDAY – AMENTA ALBUM LAUNCH (MARCH 23) DEMON HUNTER + I, A BREATHER – USA (MAR 30) PANDORUM – SINGLE LAUCH (APR 5) BUTTIFEST (APR 6) LANEOUS & THE FAMILY YAH (APR 13) DYING FETUS + PUTRID PILE – USA (APR 20)

The music of John Grant has featured in both an episode of Girls and the film Weekend, the common thread of both stories being an intimate sexual encounter that affects both parties more than they had expected. There’s a passion and longing in Grant’s songs that make it perfect material for a heart newly a-fluttering and/or one on the verge of breaking. Grant has a rich baritone voice that recalls Barry Manilow or Dead Can Dance’s Brendan Perry. While this voice remains a distinctive anchor, his music bears the influence of his collaborators. On his debut, 2010’s piano-led Queen Of Denmark, he immersed himself in Midlake’s pastoral mood. This time, he’s mixing things up from his new home in Iceland, matching his emotive ballads to the electronic pulses of his producer, Biggi Veria from Gus Gus. Meanwhile, Sinead O’Conner, who recently covered the title track of Grant’s previous album, contributes some beautiful, subtle backing vocals to four of Pale Green Ghost’s eleven songs. With one foot in an ’80s-influenced electronica and another back in more familiar territory, the result is a somewhat uneven album. The one constant, other than that impeccable voice, is Grant’s dry humour, dubbing himself ‘the greatest mother-fucker that you’re ever going to meet”, chiding a nemesis for having “a black belt in BS” and lamenting “I should have practiced my scales and I should not be attracted to males.” The album suffers from having a couple of filler tracks in its second half, while a

2. I See Seaweed THE DRONES 3. Ooga Boogas LP OOGA BOOGAS 4. Book Burner LP PIG DESTROYER 5. Eyes Like The Sky KING GIZZARD AND THE LIZARD WIZARD 6. The Axeman’s Jazz BEASTS OF BOURBON 7. Agnus Dei LP THE SECRET 8. Family From Cuba IAN RILEN AND THE LOVE ADDICTS 9. Split 7” WOLFE/FIFTEEN DEAD 10. Live On PBS 8/3/07 LP STRAIGHTJACKET new-wave electro track sticks out like a sore thumb, and not in a good way. But when he gets it right, like on the atmospheric title track or the glacial ballad It Doesn’t Matter To Him, he ﬂoors you. CHRIS GIRDLER Best Track: It Doesn’t Matter To Him If You Like These, You’ll Like This: i THE MAGNETIC FIELDS, How About I Be Me (And You Be You) SINEAD O’CONNER In A Word: Sardonic

NATION

SYN SWEET 16 1. To Dust ALICE RUSSELL 2. One (壱) Uno (壹) EIN RAT & CO 3. Lovefool RAINBOW CHAN 4. Weighing The Promise AINSLIE WILLS 5. We Begin GOLDEN BLONDE 6. Mercury Retrograde PURLING HISS 7. First Days of Something YOUNG DREAMS 8. Half Angel Half Light THE MEN 9. Mitad Del Mundo HELADO NEGRO

SINGLES BY SIMONE

10. Needle BORN RUFFIANS

OFF THE HIP RECORDS 1. Unchained LP&7” MISSING LINKS 2. Spend It With You 12” CARRIE PHILLIS & DT3

Beat will not be out this week because the editor is dead because she had a heart-attack because my column was three days early. (Fact – Dead ed.)

undergroundLOVERS

Au Pair (Rubber Records) The ﬁrst cut from the new, crowd-sourced undergroundLOVERS record does their legacy proud. The track is built around a simple rolling groove, with picked guitar notes and quick ﬂutters of bass tumbling over each other in tight little circles. In the verse, they invoke a slick Madchester funk tradition, very Primal Scream, before the chorus blows up big and dirty, full of mangy guitar chords. Au Pair appears on their seventh studio album, Weekend, available now through Pledge Music.

TULLY ON TULLY

Stay (Independent) A sweet new single from local songstress Natalie Forster and her little folk collective. Featuring guest vocalist Hayden Calnin, Stay is a raw, pounding bit of folk pop with heartfelt melody and a big, swelling chorus.

APPARAT

A Violet Sky (Mute/EMI) Apparat’s new album is based on a German theatre production of War & Peace. The single features optimistic daubs of noise, sounds like sunrise, entwined with elated, layered vocal parts that drift skyward in an ethereal Thom Yorke fashion. If Thom were slightly less of a skittish little gnome, his music would probably sound like this.

BAT FOR LASHES

Lilies (EMI) Lilies is the beautiful opening track of The Haunted Man. The crunching synth beats, sparsely placed, are a textured counterpoint to Natasha’s sailing, angelic voice.

LADY ANTEBELLUM

Downtown (EMI) WHO THE FUCK ARE THESE PEOPLE?! I’m just kidding, I know who they are. And I hate them.

DAVID BOWIE

The Stars (Are Out Tonight) (Sony) Someone got real bloody antsy on the internet about my last David Bowie review, implying I didn’t ‘get’ his music. It’s David Bowie, knucklehead. Everybody ‘gets’ his music. It’s just that some of it – I’m going to say a relatively small bit – is shit. The Stars is okay. It’s no Modern Love, you know, but it doesn’t suck. You can dance to it.

RODRIGUEZ

I Wonder (Sony) If you don’t know what Sixto Rodriguez sounds like by now, there is no hope for you. Hint: Rebirthed cult ﬁgure wins Academy Award and everybody pretends they already had a clue. They did not have a clue. Beat Magazine Page 62

DARKTHRONE

JESSICA MAUBOY

Something’s Got A Hold On Me (Sony) Jessica Mauboy is the new voice of the NRL, and you will be hearing this grotesque dance pop bastardisation of Etta James on an NRL television commercial in the near future. It suddenly occurs to me that I do not know if Jessica Mauboy has released an actual album, or if she just keeps attaching herself to televisual projects like a super hot barnacle.

3. Aloha LP CUNTZ 4. No Room At The Inn LP LEADFINGER 5. Hussy LP WEIRD PARTY 6. Cut Sleeves LP BITS OF SHIT 7. Tales From The Beyond LP LA BASTARD 8. City Slang 7” HELLACOPTERS 9. Redheaded Woman 7” TAV FALCO 10. At Home With You 2xCD X

CHELSEA LIGHT MOVING

Empires Of Time (Matador/Remote Control) Thurston Moore fronts this new post rock four-piece, and Empires Of Time is the ﬁrst single from their selftitled debut album. It’s a fairly mediocre repetition of the Sonic Youth sound, lots of chugging rhythm guitars and abstracted guitar sounds, capped oﬀ with Thurston yodelling “empires of time” over and over in the chorus and calling the band the “third eye of rock’n’roll”. Still punk, just the same old punk.

WOOLY BULLY 1. Aloha LP CUNTZ 2. Future Eaters LP EXHAUSTION 3. Practicing for the Gangbang 7” LIVE FAST DIE 4. None Left 7” RAW PRAWN 5. Suspension (Tape) HALF HIGH 6. Final Fare LP ANGEL EYES 7. Cut Sleeves LP BITS OF SHIT

INC

8. Today is Friday LP FEEDTIME

No World (4AD/Remote Control) Super slinky soul from UK brothers Andrew and Daniel Aged, rightly compared to Prince. The spooling synth notes, high crooning vocal and glassy electro accents are very nearly but not quite cheesy – no mean feat. The video features Andrew and Daniel, hanging out in a forest with the air of disconsolate gay lovers.

9. Sick of Love LP J.C. SATAN

THE ARACHNIDS

ORCHESTRA

Daydreaming (Independent) This song features the words ‘jaded’ and ‘cavalier’, which are on my lyrical black list. The list itself is not lyrical, it just contains lyrics. Also, it does not really exist. The Arachnids are a rockin’ four-piece from Brisbane. I say ‘rockin’’ because I think that is how they would spell it.

10. Blip LP MAD SCENE

AIRIT NOW CHARTS 1. Phil Collins BIG SCARY 2. Lygon Street Meltdown MELBOURNE SKA 3. Vertigo PVT 4. Golden Sun LOWRIDER 5. Daydreaming THE ARACHNIDS 6. UZ MEGASTICK FANFARE 7. All I Heard MITZI 8. You’re The Cops. I’m The Crime DAVEY

SINGLE OF THE WEEK LOON LAKE

On Fire (Independent) Loon Lake continue their blessed rise with this bouncy, electro-ﬂecked new single. Feel that swooping squiggle of synth, swoon to Sam Nolan’s whiney, sex-rattling voice, and continue with your devoted patience, ‘cause these slack little bastards aren’t releasing an album anytime soon.

LANE 9. Come and Go BRIGHTER LATER 10. Rescue MAMA KIN

BEAT’S TOP TEN ABOUT POLITICS

SONGS

1. Fight The Power PUBLIC ENEMY 2. War EDWIN STARR 3. Elected ALICE COOPER 4. Us And Them PINK FLOYD

CREO

Monday Mourning (Independent) I shouldn’t like this maudlin emo from Sydney four-piece Creo, but I do. I love it. It echoes the unapologetic po-faced alt rock melodrama brought to us by Silverchair (which I remember, because I was there) and the kids are going to eat it up with a stick. Also, it’s quite moving, in a po-faced alt rock melodrama kind of way. Also, it reminds me of the Psychedelic Furs.

FOR MORE REVIEWS GO TO BEATTV.COM.AU/REVIEWS

5. The Times they Are A-Changin’ BOB DYLAN 6. Killing In The Name Of RAGE AGAINST THE MACHINE 7. What’s Going On MARVIN GAYE 8. Probably Something By Midnight Oil COZ THE BALD GUY’S IN POLITICS 9. War Pigs BLACK SABBATH 10. Democracy LEONARD COHEN

ALBUMS

THE KITS

Lead Us Into Temptation (Pop Crime Records) FOR MORE REVIEWS GO TO

BEAT.COM.AU/REVIEWS

DELPHIC

Collections (Cooperative) A couple of year back, Manchester trio Delphic arrived on the scene with an outrageously confident debut. Acolyte drew on reference points like early ‘90s New Order and the Haçienda sound, but found a style all of its own – it was a seemingly-effortless combination of indie rock and vintage rave music, and each of its tracks got the endorphins rushing. In light of that strong debut, Collections is a puzzling follow-up. It’s not the dog that many critics are claiming, but it definitely represents a drastic change in tone and style. The most obvious difference is in the arrangements – where the older songs were densely-packed with bleeps and flutters and pulses, the new ones feel far more spare and stripped-back. Often, the focus seems to be on just one element, like the stirring, Eastern-style strings on Baiya or the piano on Tears Before Bedtime. James Cook’s vocals are also way more prominent this time, which makes it a lot harder to ignore the nasal quality that they sometimes have. Opening song Of The Young shows that Delphic are quite capable of producing rousing, hands-in-the-air bangers when they choose to, while Atlas is a weepy six-minute power ballad complete with dubstep breakdowns, a feat that few other bands would be game to attempt. If anything, Collections sounds like an album that was made to be played live – these leaner and more muscular songs will probably translate more readily to festival stages than those on Acolyte. As an album, though, it doesn’t hang together in the effortless way that their first one did. Collections is definitely ambitious, but it never Best Track: Of The Young If You Like These, You’ll Like This: In Ghost Colours quite finds its own voice.

CUT COPY In A Word: Jumpy

It doesn’t seem that long ago when The Kits were playing a cavernous venue in Brunswick to a crowd of seven adults and the proverbial scraggly garage rock dog. In those days, The Kits were another in a long, and generally fertile line of local garage bands. Not long after, The Kits packed their bags and headed to the old country to ply their wares; over five years later, and they’re still there. The Kits of 2013 – well, actually, 2011, seeing as that’s the date the album was released originally – is both the same and different to that previous iteration. The opening track, Open Season, speaks from the same reverential rock’n’roll book from which The New Christs has preached for 30 years, Wild At Heart is adolescent surf rock with a clip across the back of the head from Alex Chilton and Salvation takes Bo Diddley and shoves him into a sweaty bar in early ‘80s Sydney with Le Hoodoo Gurus. Subpop is psychedelia for the Invalid Stout generation and while Lead Us Into Temptation doesn’t corrupt its audience absolutely, it’s Only Ones intensity would confirm ‘50s evangelists’ negative views of the danger to moral fibre by posed by rock’n’roll. On Detroit Feeling, The Kits pay obvious tribute to the antecedents of contemporary garage rock, albeit in a subtle, unpretentious style; Modern Love is fast, snotty and arrogant in a Dead Boys sort of a way. Girl, You’ve Got No Remorse channels the post-Kuepper Saints (perhaps not coincidentally, Chris Bailey produced the album), Count On Me is as primitive as a teenager’s lumpy protestation of love, while Ain’t No Wolf pleads profanely until the lights dim, and the emotions have run dry. It’d be good to see The Kits again. Someone Best Track: Lead Us Into Temptation should tempt them back into that cavernous If You Like These, You’ll Like This: THE STOOGES, Brunswick venue, just for old time’s sake. SCREAMING TRIBESMEN, MC5 In A Word: Earnest PATRICK EMERY

ROSS MCLENNAN

ALASDAIR DUNCAN

The Night’s Deeds Are Vapour (Mistletone/Inertia)

MELBOURNE SKA ORCHESTRA Melbourne Ska Orchestra (Four|Four/ABC)

Melbourne Ska Orchestra, led by Nicky Bomba (drummer and percussionist of the John Butler Trio), first formed for a world-record attempt at the Gershwin Room ten years ago. The idea was to have the largest ever number of skaplaying horn players simultaneously on stage. The only problem was that nobody remembered to check if the record had actually been broken. From these inauspicious beginnings the MSO, not to be mistaken with their counterparts of the Melbourne Symphony Orchestra, have developed, tightening their approach and developing their whopping ska sound via a decade’s worth of festival appearances and sold-out shows. The 33 (or so, who can count?) members of the MSO are finally releasing their first album. The self-titled record features 15 tracks which are out-and-out ska. While the MSO’s live shows have been enjoyed by countless thousands, the album is likely to only really hit the mark with genuine ska fans. Opening with an excellent cover of the theme from Get Smart, the band’s debut has a number of hits and misses. Among the best of the rest are the swinging Time For This Monkey, the romantic advise Best Track: Lygon St Meltdown of the female-fronted While You Wait, and the lead If You Like These, You’ll Like This: THE SPECIALS, single Lygon St Meltdown, which has a killer opening. AMAZULU In A Word: Skank-tastic JOSH FERGEUS

The third album from former Snout frontman Ross McLennan is less ornate and expansive than his previous album, 2008’s Sympathy For The New World. But even though it pares his chamber-rock compositions back and houses them in three-minute trappings, it’s no less playful or poetic than his previous work. McLennan can engage with his voice alone, but again surrounds himself with lush orchestration and a choir. The best songs start simple and then let the backing vocals play a key part in reaching a joyous peak: Get This is a sleepy-eyed acoustic song that gets ragged to a repeated cry of “Ba, ba, get this!”; Clarity smothers itself in a slumber of soft orchestration to be awoken by heaven-sent yelps; and the instantly lovable Sunkissed dances in circles to “do, do, do” harmonies. It can be a challenge to grasp the meaning behind McLennan’s abstract lyrics, so it’s best to let the light and shade of his words lead you into his sinister, ambiguous worlds. There’s enough to reel you in and get a sense of your surroundings. Get This celebrates musicians as the vermin of a human zoo and Grim Faces At The Caravan Park sketches out a dark suburban drama, while Sheila Remembers is a disorientated grasping at fading memories. The album’s ﬁnal word is a defeated “I’ve nothing left to sell”, but the vitality and variety of The Night’s Deeds Are Vapour renders this lyric nonsensical. Best Track: Sunkissed If You Like These, You’ll Like This: Girlfriends LEHMANN CHRIS GIRDLER B. SMITH, Jokes And Trials NED COLLETTE In A Word: Get-this

VARIOUS ARTISTS

Django Unchained OST (Universal Republic)

VERONICA FALLS

Waiting For Something To Happen (Bella Union/Cooperative) “Everybody’s changing/I remain the same,” sings Roxanne Clifford on the new Veronica Falls album. And, indeed, it’s business as usual here, with the London quartet rolling out a traditional sophomore album very much in keeping with their self-titled debut, though this one comes with a sunnier disposition. There’s an instant familiarity to the jangly guitar music, but whatever points are taken off for originality can be doubled back for the generous pop melodies. Put simply, Waiting For Something To Happen is chock-full of great songs. Lyrically, these girl-meets-boy love songs don’t take a direct route. It’s ambiguous as to whether the opening song Tell Me is a loving suggestion or a direct order. Broken Toy bands together damaged goods to make a good enough match and shakes them around to what sounds like a lost classic from The Primitives. Buried Alive is probably the happiest song about its subject, a smothering tale of desperate love. There’s a ragged honesty about these songs that make them easily lovable and the crisp production applied by Rory Attwell brings it all Best Track: Broken Toy together beautifully. With nostalgia delivered this If You Like These, You’ll Like This: The Pains of Being Pure sweetly, Clifford need not bother about whether or at Heart THE PAINS OF BEING PURE AT HEART, Europe not she’s acting her age. ALLO DARLIN’, Fear Of God THE BATS In A Word: Romantic CHRIS GIRDLER

THIS WEEK THURS 7TH

“With his latest soundtrack, Tarantino has embarked on a radical departure from his earlier works, confounding his critics and demonstrating his newfound maturity as an auteur,” said nobody ever. Songs punctuated by Tarantino dialogue, check. Soul/hip hop mashup destined to spend the next decade blaring out of cars with rear spoilers like angel wings and exhaust pipes larger than the average human head, check. The only thing missing at present is the slow ballad soon to be transformed into an obnoxious club banger a la Nancy Sinatra’s Bang Bang. (My money’s on Elayna Boynton and Anthony Hamilton’s Freedom, but a lot more people have MacBooks than back when Kill Bill came out and I don’t understand modern music anymore, so I’ll reserve my judgement.) This time round, Tarantino’s made a virtue of pulling most of the score out of his vinyl collection, complete with the sound of the needle hitting the groove and the occasional crackle and pop. “I wanted people’s experience to be the same as mine when they hear this soundtrack for the first time,” he says, once again showcasing his occasionally pedantic and often dismissive attitude towards historical accuracy. Surely if he wanted to showcase the sounds of 19th century hip hop, he would’ve delved into his wax cylinder collection instead? Whatever, it’s here and it’s now an event in its own right like every other Tarantino soundtrack before it, perhaps even more culturally significant than its film counterpart. What you Best Track: 100 Black Coffins JAMIE FOXX think of it is redundant; sooner or later you’re going to If You Like These, You’ll Like This: Every other goddamn hear this, whether you want to or not. thing Tarantino’s done In A Word: Tarantinoesque SEAN SANDY DEVOTIONAL

NEXT WEEK TUES 12TH

THE DEAD HEIR

‘SWEETALKERS’ PRESENTS... ANTHROPOETRY

FRI 8TH

KUMAR SHOME & THE PUNKAWALLAHS

W/ SEXY/HEAVY + THE HEROINES

ALTIYAN CHILDS

SAT 9TH

SCOTT & CHARLENES WEDDING

W/ DE FREMERY + A CHEEKY GRIN

EMPRA EP LAUNCH ROYAL HEADACHE (NSW) W/ ZOND, NUN + DEEP HEAT

SUN 10TH

SOMEBODY’S

W/ ACID WESTERN, HIDING WITH BEARS, BLUEJAY + SYRE & FRESKO

PERFORMED BY BEN MELLOR (UK)

WED 13TH

W/ ANDY MCGARVIE TRIO + SIMON PHILLIPS

THURS 14TH FRI 15TH

+ SPECIAL GUESTS

SAT 16TH

GRIZZLY JIM LAWRIE ‘RECORD LAUNCH’ W/ BIG SMOKE + SPECIAL GUEST

SUN 17TH

EMMA HALES ‘EP LAUNCH’

W/ HIDING WITH BEARS, MORNING OF THE EARTH + KURT GENTLE

RUSTY@JOHNCURTINHOTEL.COM FOR MORE ALBUM NEWS AND REVIEWS GO TO WWW.BEAT.COM.AU

COMING SOON

22/3 - MY DYNAMITE FAREWELL SHOW 23/3 ROCK VS METAL - KING OF THE NORTH VS KING PARROT 31/3 SLEEP DECADE 5/4 HARMONY W THE STEVENS 6/4 THE GOOD CHINA

FRONT BAR FREE EVERY MONDAY

DO YOU KNOW WHAT I MEAN? POP CULTURE TRIVIA

- MELBOURNE TRUTH CINEMA 6:30PM (BAND ROOM) TUESDAYS FREE IN THE FRONT BAR - 8PM ANNA SMYRK

SLOW COOKED CHILLI CON CARNE WITH SOUR CREAM & GUACAMOLE - $8.50 Beat Magazine Page 63

GIG GUIDE WEDNESDAY MAR 6 INDIE, ROCK, POP, METAL, PUNK & COVERS BIG HEAD ELLA + BOMMY KNOCKER + MONSTER JEANS + OEDIPUS REX Bendigo Hotel, Collingwood. 8:00pm. $8. CABIN INN + PARLOURS + QUO VADIS FOR MEN The Public Bar, Melbourne. 8:30pm. $7. COLLAGE Espy, St Kilda. 8:30pm. DRUNK MUMS + ULTRABULLITT Cherry Bar, Melbourne Cbd. 7:00pm. ED SHEERAN + GABRIELLE APLIN + PASSENGER Festival Hall, West Melbourne. 8:00pm. FULL UGLY + PARADING Gasometer Hotel, Collingwood. 8:00pm. JOUISSANCE + AUTOPORTRAITS + BIG TOBACCO + ZONE OUT Bar Open, Fitzroy. 8:00pm. KISS & MOTLEY CRUE + THIN LIZZY Etihad Stadium, Melbourne. 7:00pm. MESSED UP + LOOSE TOOTH + SMOKE SIGNAL Tote Hotel, Collingwood. 8:00pm. $8. NEIL FINN & PAUL KELLY + LISA MITCHELL Palais Theatre, St Kilda. 7:00pm. THE OFFSPRING Palace Theatre, Melbourne Cbd. 8:00pm. THE SKAMPZ Monash Hotel, Clayton. 9:00pm. WAKEFIELD Dogs Bar, St Kilda. 9:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC DIZZY’S BIG BAND Dizzy’s Jazz Club, Richmond. 9:00pm. $14. DYNAMITE! - FEAT: ANTIBALAS AFROBEAT ORCHESTRA + BOMBAY ROYALE + DJ MANCHILD Corner Hotel, Richmond. 8:00pm. $55. FROCK Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. LO RES + ROB SIMONE BAND + TOM NOONAN BAND 303, Northcote. 8:00pm. THE JAMES MACAULAY QUARTET Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $15. VARDOS Spotted Mallard, Brunswick. 8:30pm.

ACOUSTIC, COUNTRY, BLUES & FOLK COMMUNITY LAUNCH PARTY - FEAT: JAMES SOUTHWELL BAND + NICK ANDERSON + SCOTT BOYD + TROY BARRETT Empress Hotel, North Fitzroy. 7:00pm. $12. JUSTIN BERNASCONI + BILL JACKSON Retreat Hotel, Brunswick. 8:30pm. KLARA ZUBONJA Open Studio, Northcote. 9:00pm. LINCOLN MCKINNON Standard Hotel, Fitzroy. 8:30pm. OPEN MIC Grind N Groove, Healesville. 7:30pm. OPEN MIC Ontop In Ormond, Ormond. 8:30pm. OPEN MIC Brunswick Hotel, Brunswick. 8:00pm. REBECCA BARNARD & BILLY MILLER’S SING-ALONG Caravan Music Club, Oakleigh. 7:00pm. $15. SINCE WE KISSED + BENNY D WILLIAMS + JON WHITTEN + PRIVATE RADIO Wesley Anne, Northcote. 8:00pm. $8. THE INFANTS + ARCHER MOORE + LOCAL GROUP Old Bar, Fitzroy. 8:30pm. $6. WINE WHISKEY WOMEN - FEAT: EMMA WALL & THE URBAN FOLK + KAISHA Drunken Poet, West Melbourne. 8:00pm.

THURSDAY MAR 7 gaynor

The Amithy Affliction

INDIE, ROCK, POP, METAL, PUNK & COVERS A NIGHT OF DUOS - FEAT: ALEX CUFFE & DANIEL JENATSCH + ANTHEA CADDY & THEMBI SODDELL + MARNEY MACLEOD & JUSTIN FULLER + TONY BUCK & MAGDA MAYAS Gasometer Hotel, Collingwood. 8:00pm. $8. AITCHES + DEL LAGO + ELCASET Tote Hotel, Collingwood. 9:00pm. AZEALIA BANKS + NINA LAS VEGAS Palace Theatre, Melbourne Cbd. 7:30pm. $70. BLACK MAYDAY + EDWARD MOUNTAIN + REQUIEM + SPEAK DIGITAL WATER + TOXIC DAZE Brunswick Hotel, Brunswick. 8:00pm. CAT POWER Forum Theatre, Melbourne. 8:00pm. $70. COLD HIKER + STRINGFELLOW HAWKE + THE PRETTY LITTLES Workers Club, Fitzroy. 7:30pm. $10. DINOSAUR JR - FEAT: DINOSOUR JR + STRAIGHTJACKET NATION + WHITE WALLS Corner Hotel, Richmond. 7:30pm. $50. DIPROSUS + ALASKAN THUNDER + FREIGHT TRAIN THEORY + HARLOTT Bendigo Hotel, Collingwood. 8:00pm. $5. FORNAX CHEMICA + RENEGADE ROBOT COPS + WOLF VS FIRE Espy, St Kilda. 9:00pm. LAST DINOSAURS + NAYSAYER & GILSUN + RETURN TO YOUTH + TWINSY + YACHT CLUB DJS Monash University Clayton, Clayton. 6:30pm. $30. LAST DINOSAURS Monash University, Berwick. 8:00pm. LIEUTENANT JAM + CONTRAST + PETER DICKYBIRD + SARAH EIDA & THE GARDEN OF EIDA Bar Open, Fitzroy. 8:00pm. MICHAEL PLATER + MATT MALONE + STRAYTHREAD + THE TATTERED SAILS Yah Yah’s, Fitzroy. 9:00pm. PERLE CONCH First Floor, Fitzroy. 8:00pm. RICKY LEE JONES Athenaeum Theatre, Melbourne. 8:00pm. SAFE HANDS + BATEMAN + CULPRITS + VANITY The Public Bar, Melbourne. 8:00pm. $8. SASKWATCH + DJ PIERRE BARONI + DJ VINCE PEACH Cherry Bar, Melbourne Cbd. 8:00pm. $10. STRAW KING EYE + EUPHORIACS + OLLY DEAR + TOYOTA WAR Old Bar, Fitzroy. 8:00pm. $8. THE DEAD HEIR + A CHEEKY GRIN + DE FREMERY John Curtin Hotel, Carlton. 8:00pm. THE KILLDEERS + ANGE BOXALL + HUMAN FACE Empress Hotel, North Fitzroy. 7:30pm. $10. THE STONE ROSES + ZANE LOWE Festival Hall, West Melbourne. 8:00pm. $100. THE STONE ROSES + ZANE LOWE Festival Hall, West Melbourne. 6:30pm. $100. TO THE AIRSHIP + OSCAR MIKE + THE BLACK ALLEYS + THE CONTORTIONISTS’ HANDBOOK Reverence Hotel, Footscray. 8:00pm. $6. ULTRA BULLITT + BITTERSWEET KICKS + IVORY ELEPHANT Espy, St Kilda. 8:00pm. VELA + CATHOUSE CANARY + GOSSAMER PRIDE Gertrudes Brown Couch, Fitzroy. 8:30pm. $10. VELCRO (EP LAUNCH) + GRANDSTANDS + GREAT OUTDOORS Gasometer Hotel, Collingwood. 8:00pm. $5. ZAC RUSH WITH JAMES O’BRIEN & DAN PARSONS Post Oﬃce Hotel, Coburg. 8:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC BELINDA ALLCHIN BEETET Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $15. HUE BLANES TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. JUDY CARMICHAEL Bennetts Lane Jazz Club, Melbourne. 8:30pm. $28. KIREBOS Dizzy’s Jazz Club, Richmond. 8:00pm. $14.

crawford

PUSH OVER FESTIVAL It’s Push Over’s 21st birthday party, and they’ve chosen to throw you a party, the absolute legends. To celebrate 21 massive years of Australian indie rock, hardcore and hip hop they’ve lined up some truly awesome artists for the all-ages fully supervised smoke, drug and alcohol free event taking place at the Sidney Myer Music Bowl on Labour Day, Monday March 11. Join The Amity Affliction, Velociraptor, Dream On Dreamer, Northlane, Millions, Northeast Party House and heaps more as they blow out the candles for another year. ROSS MCHENRY FUTURE ENSEMBLE + SILENT JAY Toﬀ In Town, Melbourne Cbd. 9:00pm. $25. TANGO RUBINO Edinburgh Castle, Brunswick. 7:00pm. THE OVEREASYS Claypots Evening Star, Melbourne. 7:30pm.

ACOUSTIC, COUNTRY, BLUES & FOLK ALTA (SINGLE LAUNCH) + MULDER + NAI PALM + THE BOSONS Northcote Social Club, Northcote. 7:30pm. $12. HAMMOND SESSIONS - FEAT: DARYL ROBERTS COMBO 303, Northcote. 8:00pm. $10. KATE KELSEY-SUGG The B.east, Brunswick East. 9:00pm. MALLEE SONGS + HOLY LOTUS + LIL’ LEONIE LIONHEART Grace Darling Hotel, Collingwood. 8:30pm. $5. MEGAN BERNARD + JUDE PERL Retreat Hotel, Brunswick. 9:00pm. OPEN MIC Acoustic Cafe, Collingwood. 7:30pm. OPEN MIC Balaclava Hotel, Balaclava. 7:00pm. OPEN MIC Barleycorn Hotel, Collingwood. 7:00pm. OVERDRIVE Lounge, Melbourne Cbd. 10:00pm. PETE MURRAY + NATHAN KAYE The Commercial Hotel, South Morang. 8:00pm. $45. PETE MURRAY Commercial Hotel, South Morang. 8:00pm. SALAD DAYS + THE RANT Great Britain Hotel, Richmond. 9:00pm. SARAH LEE GUTHRIE & JOHNNY IRION Basement Discs, Melbourne Cbd. 12:45pm. SIMON PHILLIPS Two Brothers Brewery, Moorabbin. 8:00pm. SING OUT SISTER - FEAT: ALANNA & ALICIA EGAN + JOJO SMITH & LIZ FRENCHAM Lomond Hotel, Brunswick East. 8:30pm. SKYSCRAPER STAN Labour In Vain, Fitzroy. 8:30pm. STEPHEN MCEWAN & THE YESMEN Wesley Anne, Northcote. 8:00pm. $5. STRINE STRINGERS Wesley Anne, Northcote. 6:00pm. SUMMER OF CLASSICS - FEAT: STEVE LUCAS Pure Pop Courtyard, St Kilda. 4:00pm. SYZYGY Open Studio, Northcote. 9:00pm. THE SMITTEN + JIM GRIFFITHS + MA PETITE Penny Black, Brunswick. 8:30pm. TONY JOE WHITE Caravan Music Club, Oakleigh. 8:00pm.

presents

Jordie Lane

SEAN TAYLOR

''An absolutely superb guitarist..... reminiscent of John Martyn" Bob Harris, Radio 2

“Formidable and skilled…recalls Chris Isaak. ****” Uncut

WEDNESDAY 13th MARCH NORTHCOTE

SOCIAL CLUB

Also appearing @ Port Fairy Folk Festival & Brunswick Music Festival

TIX & TOUR INFO VISIT GAYNORCRAWFORD.COM Beat Magazine Page 64

MOOMBA FESTIVAL My mate’s slogan for this year is “fun for free in twenty one three”. Because he works in the pub sometimes and then just spends all of his money on novelty items like wallets with dogs on them and airhorns and stuff. Anyway, if you want to subscribe to his idea, why not head down to Moomba Festival this weekend. There’s 75 hours, 52 acts and three stages of free music, including Jordie Lane, Ball Park Music and Gossling. It’ll be heaps nice. It’s across Alexandra Gardens, Birrarung Marr and the Yarra River, between Princes Bridge and Swan Street Bridge from Friday March 8 to Monday March 11.

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

FRIDAY MAR 8 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC BLAK ROOTS Bar Open, Fitzroy. 10:00pm. CANNONBALL Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. $25. JUDY CARMICHAEL Bennetts Lane Jazz Club, Melbourne. 8:30pm. $28. LA DANSE MACABRE - FEAT: BRUNSIWCK MASSIVE CREW DJ LILSTORMER Rainbow Hotel, Fitzroy. 9:00pm. REBECCA MENDOZA & THE JOE RUBERTO TRIO Dizzy’s Jazz Club, Richmond. 9:00pm. $20. THE IMPRINTS Open Studio, Northcote. 9:00pm. THE WILBUR WILDE QUARTET Uptown Jazz Cafe, Fitzroy. 8:00pm. THE WOOHOO REVUE City Hall Pop Up Bar, Cheltenham. 5:00pm.

INDIE, ROCK, POP, METAL, PUNK & COVERS AUTO DE FA + THE LIKEDEELERS Victoria Hotel, Brunswick. 10:00pm. BLOODS + ATOLLS + SCOTDRAKULA Gasometer Hotel, Collingwood. 8:00pm. $8. BOY RED + ESSIE THOMAS + SCURVY & THE DOGS 303, Northcote. 6:00pm. $10. CABARET DU LENTIL - FEAT: ELF TRANZPORTER + THE TANGO COLLUSION DUO Abbotsford Convent, Abbotsford. 9:00pm. CAPTAIN AHAB’S MOTORCYCLE CLUB + DJ LEOPARD HEAD + MILES O’NEILL + THE TEN IN ONE The Public Bar, Melbourne. 8:30pm. $10. CHINESE HANDCUFFS + BEN CARR TRIO Edinburgh Castle, Brunswick. 6:00pm. CLAYMORE + ELLIOT GOBLET The Flying Saucer Club, Elsternwick. 8:00pm. $18. DAVE GRANEY & THE MISTLY Post Oﬃce Hotel, Coburg. 8:00pm. DEAD LETTER CIRCUS + HUSK Ferntree Gully Hotel, Ferntree Gully. 8:00pm. $25. DINOSAUR JR + ROYAL HEADACHE Espy, St Kilda. 8:00pm. $50. EMPRA (EP LAUNCH) + SEXY/HEAVY + THE HEROINES John Curtin Hotel, Carlton. 8:00pm. $20. FRED ENGLER & THE TROUBLE SHOOTERS + JO KELLY STEPHENSON Retreat Hotel, Brunswick. 9:30pm. GAY PARIS + KING OF THE NORTH + SHERIFF Workers Club, Fitzroy. 9:00pm. $12. HIGH TENSION + BATPISS + DEAD RIVER + DJ CISCO ROSE Old Bar, Fitzroy. 8:30pm. $10. HORSEHUNTER + APACHE MEDICINE MAN + MOTHERSLUG + THE UNDERHANDED Brunswick Hotel, Brunswick. 8:00pm. HUMAN GROOMING + BEN SNAITH + DW + RATSAK Grace Darling Hotel, Collingwood. 9:00pm. $5. IAN MOSS + BONNIE ANDERSON + THE WORD Trak Lounge Bar, Toorak. 8:30pm. JACKJACKJACK + THE SPIN Penny Black, Brunswick. 9:30pm. JAMES MCCANN & THE VINDICTIVES + BARRY SAVAGE & THE LITTLE CEASARS + ULTRABULLET Tote Hotel, Collingwood. 8:00pm. KEB DARGE + DJ MOHAIR SLIM + THE EXOTICS + THE RECHORDS Revolver Upstairs, Prahran. 8:30pm. $20. KHANCOBAN Wesley Anne, Northcote. 6:00pm. KINGS & QUEENS - FEAT: TEN THOUSAND + ANTIVIOLET + BOUND SOUTH + BRANCH ARTERIAL + DJ IGNITE + GIANTS UNDER THE SUN + QUARTERDRIVE + THE TESLA THEORY Espy, St Kilda. 7:00pm. $15. MUSHROOM GIANT + CHICO FLASH + JAREK + THE

SPHERES Northcote Social Club, Northcote. 7:30pm. $10. PURITY RING + FISHING + HEADACHES Corner Hotel, Richmond. 8:30pm. STONE AGE ROMEO + FOREIGN OBJECTS Barleycorn Hotel, Collingwood. 8:30pm. STRANGERS FROM NOW ON + BAYOU + WARMTH CRASHES IN Yah Yahâ&#x20AC;&#x2122;s, Fitzroy. 9:00pm. SUMMER OF CLASSICS - FEAT: CYLINDERS Pure Pop Courtyard, St Kilda. 4:00pm. THE EMERGENCY + EVELYN IDA MORRIS + FATTI FRANCES + GOLD TANGO Gasometer Hotel, Collingwood. 8:00pm. $8. THE PIGS Hallam Hotel, Hallam. 8:30pm. VOLTERA + ANNA SALEN + DECADENCE OF CAIN + DJ MAX CRAWDADDY Cherry Bar, Melbourne Cbd. 8:00pm. $13.

ACOUSTIC, COUNTRY, BLUES & FOLK ALEXIS NICOLE & THE MISSING PIECES Sporting Club Hotel, Brunswick. 7:00pm. BRENDAN WEST & THE BROKEN BONES + AGNES & JULIAN + MKO Cornish Arms, Brunswick. 8:00pm. FATS WAH WAH Lomond Hotel, Brunswick East. 9:30pm. FLYING ENGINE STRINGBAND Railway Hotel, Fitzroy North. 9:30pm. GRAVEYARD TRAIN + RON PENO & THE SUPERSTITIONS Caravan Music Club, Oakleigh. 8:00pm. $25. LLOYD SPIEGEL + DAVE DIPROSE + MELISSA MAIN DUO Rubyâ&#x20AC;&#x2122;s Lounge, Belgrave. 8:00pm. $15. MILAN PERKINS Two Brothers Brewery, Moorabbin. 8:00pm. MOSE & THE FAMILY + MARCUS Ding Dong Lounge, Melbourne Cbd. 8:00pm. $10. PORT FAIRY FOLK MUSIC FESTIVAL - FEAT: ARLO GUTHRIE + ERIC BOGLE + GURRUMUL + KATE MILLER-HEIDKE + CHRISTINE ANU + GLEN HANSARD + SUZANNAH ESPIE AND MORE + THE LITTLE STEVIES + THE POPES Port Fairy Folk Festival Site, Port Fairy. 12:00pm. $205. SENTIA + AVALERION + AVANTAIR + EASY PLEASE Dancing Dog, Footscray. 8:00pm. SONGWRITERS IN THE ROUND Wesley Anne, Northcote. 8:00pm. SPENCER P JONES Cherry Bar, Melbourne Cbd. 5:30pm. THE ANDIE MCGARVIE GROUP + THE GREENHATCH EFFECT Empress Hotel, North Fitzroy. 8:00pm. THE ARONSTAN BROTHERS Thornbury Local, Thornbury. 10:00pm. THE HARLOTS Elsternwick Hotel, Elwood. 8:00pm. TONY JOE WHITE + CHRIS RUSSELLâ&#x20AC;&#x2122;S CHICKEN WALK + MOJO JUJU Thornbury Theatre, Thornbury. 8:00pm. TRADITIONAL IRISH MUSIC SESSIONS - FEAT: DAN BOURKE Drunken Poet, West Melbourne. 6:00pm. ZOO TWILIGHTS - FEAT: HUSKY + DIE ROTEN PUNKTE Melbourne Zoo, Parkville. 5:30pm. $55.

SATURDAY MAR 9 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC CARLO BARBARO QUARTET Uptown Jazz Cafe, Fitzroy. 8:00pm. CLASSICAL REVOLUTION Open Studio, Northcote. 5:00pm. GEORGE CLINTON & PARLIAMENT FUNKADELIC (THE GALACTIC SPACE CIRCUS TOUR) Billboard, Melbourne Cbd. 6:00pm. $103. HAYDON JONES IN CONCERT Dizzyâ&#x20AC;&#x2122;s Jazz Club, Richmond. 9:00pm. $20. LAUREN LUCILLE DUO Paris Cat Jazz Club, Melbourne Cbd. 7:30pm. $20. LEIGH BARKER & THE NEW SHEIKS Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. $25. MANDY CONNELL + SWING N JAZZ Edinburgh Castle, Brunswick. 4:00pm. SHORT ORDER SCHEFS Post Oï¬&#x192;ce Hotel, Coburg. 8:00pm. THE BAND WHO KNEW TOO MUCH Bar Open, Fitzroy. 10:00pm. THE EMMA GILMARTIN QUARTET Bennetts Lane Jazz Club, Melbourne. 8:30pm. $25. THE PUBLIC OPINION AFRO ORCHESTRA + KAIRO Espy, St Kilda. 9:00pm. VALENTINO FLAMENCO ENSEMBLE The Owl & The Pussycat, Richmond. 7:30pm. $20. YURODIVYE Open Studio, Northcote. 9:00pm. ZOO TWILIGHTS - FEAT: TIMOMATIC + BONNIE ANDERSON Melbourne Zoo, Parkville. 5:30pm. $45.

INDIE, ROCK, POP, METAL, PUNK & COVERS APACHE MEDICINE MAN + TRANSVAAL DIAMOND SYNDICATE Retreat Hotel, Brunswick. 10:00pm. BANG - FEAT: BROOKLYN + CAULFIELD + INCRYPT + SUMMER OF BETRAYAL Royal Melbourne Hotel, Melbourne Cbd. 9:00pm. $20. BAPTISM OF UZI + FLYYING COLOURS + HOLLOW EVERDAYZE Ding Dong Lounge, Melbourne Cbd. 8:00pm. $10. BROOKE RUSSELL & THE MEAN REDS Sporting Club Hotel, Brunswick. 6:00pm. BROTHERS HAND MIRROR + DJ OSCAR KEY SUNG + DJ YOUNG STEEZY & DJ ANN OMINOUS + RODEO +

ROMY Workers Club, Fitzroy. 8:30pm. $8. BUSY KINGDOM + ALANNA DEUTROM + DAN KROCHMAL 303, Northcote. 7:30pm. $10. DEAD LETTER CIRCUS + AURAL WINDOW Pier Live, Frankston. 7:30pm. DIRT RIVER RADIO Retreat Hotel, Brunswick. 7:30pm. FOXTROT + DEL LAGO + DJ DAD JOKES + SECOND HAND SQUAD + SUMMER BLOOD Old Bar, Fitzroy. 8:30pm. $10. GOLDEN PLAINS - FEAT: FLUME + G CAT POWER + GEORGE CLINTON + MOODYMANN + NAYSAYER & GILSUN + PSARANTONIS + PURITY RING + SIX FT HICK + THE MARK OF CAIN + TORO Y MOI + WILD NOTHING + DINOSAUR JR + TALLEST MAN ON EARTH + THE JON SPENSER BLUES EXPLOSION Meredith Supernatural Ampitheatre, Meredith. 12:00pm. GRAND PRISMATIC + PIONEERS OF GOOD SCIENCE Tote Hotel, Collingwood. 8:00pm. HOUSE PARTY ON WHEELS LAUNCH PARTY - FEAT: ALTAMERA + AVANTAIR + BELOVED ELK + GUNSLINGERS + LIEUTENANT JAM + LUNG + MEN IMITATING MACHINES + PROLETARIAN RIOT + SARAH EIDA + SLOWJAXX & HIS FLYING BONG BROS + SOPHIE OFFICER + THE BLACK ALLEYS + THE HONDAS + THE VELVETS + THE WEDNESDAY EXPERIMENT + BRICKS + CHAMPAGNE FOR KIDS + DIAMOND NIGHTS + HEATH ROBINS-POWELL + HOLLOGRAPHIC COCOON + JR HORSEMEN + KURT ROJAS + MATT DAVID + MAX RAWICZ + PETER DICKEYBIRD + SHANE BAUER + THE PORCHIES + THE VOCAL LOTION Brunswick Hotel, Brunswick. 12:00pm. KILL THE MATADOR + APART FROM THIS + THE GUN RUNNERS + TIGERS Gasometer Hotel, Collingwood. 8:00pm. $10. NINE SONS OF DAN Phoenix Youth Centre, Footscray. 8:00pm. OLD VIOLET + NICK ROEBUCK & BLACK BIRD Barleycorn Hotel, Collingwood. 9:00pm. PETE MURRAY (THE BYRON SESSIONS TOUR) + NATHAN KAYE Ferntree Gully Hotel, Ferntree Gully. 8:00pm. $42. RIGHT MIND Gasometer Hotel, Collingwood. 8:00pm. $5. ROCK THE REVOLVER - FEAT: CHINA VAGINA + BRAVO JULIET + RIOT IN TOYTOWN + SUDDEN STATE + THE HUMAN ELECTRIC Revolver Upstairs, Prahran. 7:30pm. $15. ROYAL HEADACHE + DEEP HEAT + NUN + ZOND John Curtin Hotel, Carlton. 8:00pm. RUINS + BLACK JESUS + METALSTORM + SEWERCIDE Bendigo Hotel, Collingwood. 8:00pm. $12. SEXY/HEAVY + CUT + DJ MARY M + DJS ADALITA + SPERMAIDS Cherry Bar, Melbourne Cbd. 8:00pm. SKY PILLAR + MOONDOGZ + OCEANS TO ATHENA + SCARCASM Espy, St Kilda. 9:00pm. $12. SOMEONE ELSEâ&#x20AC;&#x2122;S WEDDING BAND + AND WE ARE

BAPTISM OF UZI Probably one of the most underrated bands in Melbourne, eh? After a hectic 2012 that saw them tour the East Coast with Michael Rother of Neu! and ride the sublime heights of Boogie Festival 6, Baptism of Uzi are gearing up for a rare headline show at Ding Dong Lounge on Saturday March 9 to launch their live EP Alive In Buzi World. Along for the psyched out ride are Hollow Everdaze, Flyying Colours and Atolls. Tickets are $10+bf from Oztix of $12 on the door. THE ENEMY + THE SHABBAB Victoria Hotel, Brunswick. 10:00pm. SOUL SLAP - FEAT: JOSH TAVARAS + BENEATH THE LIES + NIKHAIL + SORDID ORDEAL + THE GREY FILE + WOLF VS FIRE First Floor, Fitzroy. 7:00pm. SUMMER OF CLASSICS - FEAT: STEPHEN CUMMINGS Pure Pop Courtyard, St Kilda. 8:00pm. THE ANGELS (TAKE IT TO THE STREETS TOUR) The Palms, Southbank. 7:15pm. $65. THE BARONS OF TANG + MANGELWURZEL + SEX ON TOAST Northcote Social Club, Northcote. 8:30pm. $12. THE HERBALISER DJS + DJ MOONSHINE + SWOOPING DUCK + THE PSYDE PROJECTS Espy, St Kilda. 9:00pm. THE MELANOMADS + DJ KEZBOT The Public Bar, Melbourne. 8:30pm. $8. THE PIGS The Famous Spiegel Tent, Melbourne. 4:00pm. THE TEARAWAYS + THE BEGGARS WAY Cornish Arms, Brunswick. 8:00pm. THE WARDENS + TWO HEADED DOG + ULTRA BULLITT Yah Yahâ&#x20AC;&#x2122;s, Fitzroy. 9:00pm. THUNDER ROAD (THE SONGS OF BRUCE SPRINGSTEEN) Spenserslive, Melbourne Cbd. 8:30pm. $20. TORO Y MOI + ANDRAS FOX + JONTI Corner Hotel, Richmond. 8:30pm. $43.

THE PUBLIC BAR 238 VICTORIA ST, NORTH MELBOURNE NOW OPEN 7 DAYS A WEEK WEDNESDAY 6TH MARCH

CABIN INN

PARLOURS QUO VADIS FOR MEN 8:30PM $7 THURSDAY 7TH MARCH

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CAPTAIN AHABâ&#x20AC;&#x2122;S MOTORCYCLE CLUB (CORY MCABEE USA) THE TEN IN ONE MILES Oâ&#x20AC;&#x2122;NEILL 8:30PM $10 DJ LEOPARD HEAD UNTIL 7AM!!

GUMBO KITCHEN FROM MIDDAY!! SATURDAY 9TH MARCH

THE MELANOMADS STREET FANGS THE GENERAL LOOSE TOOTH 8PM $8

GUMBO KITCHEN FROM MIDDAY!! DJ KEZBOT UNTIL 7AM!! SUNDAY 10TH MARCH

LABOUR DAY EVE ARVO SHOW: GREENGREENGREEN + GUESTS 3PM FREE

$15 JUGS ALL DAY

MONDAY 11TH MARCH

LABOUR DAY

THE WORLD AT A GLANCE FEVER TEETH ELEVATOR TALK

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HUNTING SEASON MARCUS & ALEX MIA ROSE

7PM $5

FREE POOL ALL DAY AND NIGHT CHEAP JUGS TIL 8PM

for bookings: bandbookings@theoldbar.com.au

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SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 65

PALM Toﬀ In Town, Melbourne Cbd. 9:00pm. $10. THE ROSS WILSON QUARTET Caravan Music Club, Oakleigh. 3:00pm. $33. THE SAM KEEVERS QUARTET Uptown Jazz Cafe, Fitzroy. 8:00pm. TONY BUCK & MAGDA MAYAS Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. UNIFIED GECKO Bar Open, Fitzroy. 10:00pm.

INDIE, ROCK, POP, METAL, PUNK & COVERS

VIEUX FARKA TOURE Dubbed “the Hendrix of the Sahara”, Vieux Farka Toure is one of the hottest talents on the African music scene. Son of the late maestro and two-time Grammy Award-winner Ali Farka Toure, Vieux’s music heralds a new generation of Malian desert blues. A highly gifted guitarist, singer, songwriter and percussionist, Vieux has reinvented the fusion music his father created— bringing funk, reggae, and jam music to the desertblues genre and carrying this new sound worldwide. He plays The Corner Hotel on Monday March 11.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC 2BIRDS + BIG HEAD ELLA + MILANDRA Empress Hotel, North Fitzroy. 3:00pm. $10. ADAM EATON Retreat Hotel, Brunswick. 4:00pm. CHRIS O’NEILL BAND + ANDREW LIM BAND + ANTHONY YOUNG BAND + RUN RABBIT RUN Empress Hotel, North Fitzroy. 8:00pm. CONTANGENT + GRAND PERCEPTOR + HOUNDSTEETH Dancing Dog, Footscray. 8:00pm. HUGH MCGINLAY + PAUL BARRY + ROSIE HADEN Chandelier Room, Moorabbin. 8:00pm. $10. JO KELLY STEPHENSON WITH FRED ENGLER & TROUBLESHOOTERS Lomond Hotel, Brunswick East. 9:30pm. LILY & KING Drunken Poet, West Melbourne. 9:00pm. MYRA FLYNN The B.east, Brunswick East. 9:00pm. NICOLETTE FORTE 303, Northcote. 3:00pm. OLD TIMEY JAM BAND Victoria Hotel, Brunswick. 4:00pm. PHIL PARA Elsternwick Hotel, Elwood. 8:00pm. RAISED BY EAGLES Union Hotel, Brunswick. 5:00pm. STOPPING ALL STATIONS EXCEPT EAST RICHMOND Caravan Music Club, Oakleigh. 8:00pm. $25. THE DIABLO BROTHERS Mordialloc Sporting Club, Mordialloc. 9:00pm. THE EASTERN Union Hotel, Brunswick. 9:00pm. THE PHEASANT PLUCKERS Labour In Vain, Fitzroy. 5:00pm. THE RIDING HOOD Great Britain Hotel, Richmond. 9:00pm. TRIO AGOGO Wesley Anne, Northcote. 5:30pm.

SUNDAY MAR 10 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC ANDY BAYLORS CAJUN COMBO Post Oﬃce Hotel, Coburg. 8:00pm. BIG GOSPEL BREAKFAST - FEAT: TRACEY MILLER & THE SINNERMEN Caravan Music Club, Oakleigh. 9:30am. $20. BLACK JESUS EXPERIENCE The Horn African Music Lounge, Collingwood. 7:00pm. MATT BODEN QUARTET Open Studio, Northcote. 5:00pm. SYSTEM UNKNOWN SOUND SYSTEMS 303, Northcote. 3:00pm. THE BAND WHO KNEW TOO MUCH Open Studio, Northcote. 9:00pm. THE BLACK SORROWS + BAD BOYS BATUCADA + DALE RYDER BAND + HEADSPACE Espy, St Kilda. 5:30pm. THE HARPOONS + BANOFFEE + FOX & SUI + NAI

ALLY OOP & THE HOOPSTERS + BALBOA + JUSTIN FULLER Yah Yah’s, Fitzroy. 9:00pm. ATOMIC BLISS + DEAR STALKER + VIRTUE + VLADIMIR 1 Espy, St Kilda. 9:00pm. BREAK THE WALL The Public Bar, Melbourne. 2:00pm. $8. CAVALCADE + IN YOUR HANDS + THE SPIN SET + THESE CITY LIGHTS Workers Club, Fitzroy. 8:00pm. $10. CORAL LEE & THE SILVER SCREAM + DJ KEZBOT + MISTER SIPPY + RAH RAHS Old Bar, Fitzroy. 8:30pm. $6. DEAD WATER CITY Victoria Hotel, Brunswick. 5:00pm. DEATH THRASH HOLOCAUST - FEAT: CEMETERY URN + DESTRUKTOR + MANIAXE + NOCTURNAL GRAVES Bendigo Hotel, Collingwood. 8:00pm. $12. GOLDEN PLAINS - FEAT: FLUME + G CAT POWER + GEORGE CLINTON + MOODYMANN + NAYSAYER & GILSUN + PSARANTONIS + PURITY RING + SIX FT HICK + THE MARK OF CAIN + TORO Y MOI + WILD NOTHING + DINOSAUR JR + TALLEST MAN ON EARTH + THE JON SPENSER BLUES EXPLOSION Meredith Supernatural Ampitheatre, Meredith. 12:00pm. HALF A BAR Twe12e, Frankston. 7:30pm. KING PARROT + FRANKENBOK + HEAVEN THE AXE Cherry Bar, Melbourne Cbd. 8:00pm. LABOUR DAY EVE PARTY - FEAT: VIOLENT SOHO + UDAYS TIGER + VELOCIRAPTOR Ding Dong Lounge, Melbourne Cbd. 8:00pm. $15. LAKE PALMER + IAMLOVEPROOF Penny Black, Brunswick. 5:00pm. MXPX + RECKLESS FOOLS + THE PLAYBOOK + UP & ATOM Corner Hotel, Richmond. 8:30pm. $44. NGAIIRE (SINGLE LAUNCH) + GHOST ORKID + HAILEY CRAMER Northcote Social Club, Northcote. 8:30pm. $15. PETE ZOCH Elsternwick Hotel, Elwood. 8:00pm. POPSTRANGERS + BORED NOTHING Gasometer Hotel, Collingwood. 8:00pm. $10. PRESIDENTS OF THE UNITED STATES OF AMERICA Palace Theatre, Melbourne Cbd. 7:30pm. $64. REMZELK + MEX’S MAYHEM + MURDER RATS Brunswick Hotel, Brunswick. 8:00pm. SOMEBODY’S + ACID WESTERN + BLUEJAY + HIDING WITH BEARS + SYRE & FRESKO John Curtin Hotel, Carlton. 8:00pm. SPENCER P JONES & THE ESCAPE COMMITTEE + ULTRA BILLITT Retreat Hotel, Brunswick. 9:30pm. SUMMER OF CLASSICS - FEAT: ALEX LASHLIE Pure Pop Courtyard, St Kilda. 4:00pm. UNDERGROUND FUTURE - FEAT: DROP FRAME + NERVES + OK SURE + THE WEDNESDAY EXPERIMENT + TIN LION + VON STACHE Evelyn Hotel, Fitzroy. 7:00pm. $20. WIL WAGNER + MARA THREAT + RIBBONS PATTERNS + ZIGGY BRITTEN Reverence Hotel, Footscray. 3:00pm.

ACOUSTIC, COUNTRY, BLUES & FOLK ALEX BURNS TRIO + FINGERBONE BILL Drunken Poet, West Melbourne. 4:00pm. ALEX LASHLIE + JACK MITCHELL Great Britain Hotel, Richmond. 7:30pm. ARTY DEL RIO Edinburgh Castle, Brunswick. 4:00pm. BLUES MOUNTAIN Bay Hotel, Mornington. 3:00pm. CHERRY ARVO BLUES - FEAT: TRANSVAAL DIAMOND SYNDICATE + DJ MAX CRAWDADDY Cherry Bar, Melbourne Cbd. 3:00pm. CLINKERFIELD Union Hotel, Brunswick. 5:00pm. DAN WATKINS & PADDY MONTGOMERY Sporting Club Hotel, Brunswick. 6:00pm. DONNA DEAN BAND + KEN MAHER & TONY HARGREAVES Lomond Hotel, Brunswick East. 5:30pm.

Bloc Party

FAYE BLAIS Retreat Hotel, Brunswick. 4:00pm. JOE FORRESTER + YOUNG OYSTER Empress Hotel, North Fitzroy. 8:00pm. JOSH FORNER + AMY GANTER + DALE GANNAN + MADELINE LEMAN Bendigo Hotel, Collingwood. 3:00pm. $12. JULES BOULT & THE REDEEMERS Rainbow Hotel, Fitzroy. 4:00pm. MATT MALONE + TONY MILLMAN Empress Hotel, North Fitzroy. 3:30pm. MICK PEALING & BOB SPENCER Daveys Bar & Restaurant, Frankston. 8:00pm. MISTER SIPPY Lucky Coq, Windsor. 4:30pm. MISTER SIPPY Lucky Coq, Windsor. 8:00pm. NIA ROBERTSON + ALISON FERRIER + JAKE SINCLAIR Thornbury Theatre, Thornbury. 8:00pm. OPEN MIC Rose Hotel (williamstown), Williamstown. 3:00pm. OPEN MIC Dancing Dog, Footscray. 2:00pm. PETE MURRAY (THE BYRON SESSIONS TOUR) + NATHAN KAYE Pier Live, Frankston. 8:00pm. $42. RACHEL BY THE STREAM Thornbury Local, Thornbury. 10:00pm. SAL KIMBER & NICK LOVELL Carringbush Hotel, Abbotsford. 4:00pm. SARAH HUMPHREYS + BRONI + KAT ARDITTO Workers Club, Fitzroy. 2:00pm. $12. SIME NUGENT BAND Labour In Vain, Fitzroy. 5:00pm. THE BASTARD CHILDREN Standard Hotel, Fitzroy. 7:30pm. THE BEARDED GYPSY BAND Bennetts Lane Jazz Club, Melbourne. 8:30pm. $20. THE BOYS Wesley Anne, Northcote. 4:00pm.

MONDAY MAR 11 INDIE, ROCK, POP, METAL, PUNK & COVERS CREATURES + BOATFRIENDS + HOW LOVE Toﬀ In Town, Melbourne Cbd. 7:30pm. $7. FEVER TEETH The Public Bar, Melbourne. 7:00pm. $6. MONDAY NIGHT MASS - FEAT: EVELYN IDA MORRIS + THE SUBLETS + TIM RICHMOND + TOTALLY MILD Northcote Social Club, Northcote. 8:00pm. PUSH OVER 2013 - FEAT: DZ DEATHRAYS + THE AMITY AFFLICTION + 12 FOOT NINJA + ALLDAY + D AT SEA + DREAM ON DREAMER + HAND OF MERCY + HIGH TENSION + IN HEARTS WAKE + LURCH & CHIEF + MILLIONS + NORTHEAST PARTY HOUSE + NORTHLANE + SOLILOQUY + THE SWEET APES + THY ART IS MURDER + VELOCIRAPTOR + VIOLENT SOHO Sidney Myer Music Bowl, Melbourne. 3:00pm. THE TEA PARTY The Hi-ﬁ, Melbourne. 8:00pm. $60. WILD NOTHING + BUSHWALKING + POPSTRANGERS Tote Hotel, Collingwood. 6:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC ALLAN BROWNE WITH PAUL GRABOWSKY & FRANK DISARIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15. LEBOWSKIS 303, Northcote. 9:00pm. $8. VIEUX FARKA TOURE Corner Hotel, Richmond. 8:00pm. $50.

ACOUSTIC, COUNTRY, BLUES & FOLK ACOUSTIC SESSION Lounge, Melbourne Cbd. 10:00pm. CHERRY JAM Cherry Bar, Melbourne Cbd. 6:00pm. THE DAVIDSON BROTHERS Retreat Hotel, Brunswick. 4:00pm.

TUESDAY MAR 12 INDIE, ROCK, POP, METAL, PUNK & COVERS BRUNSWICK DISCOVERY Brunswick Hotel, Brunswick. 8:00pm. HUNTING SEASON The Public Bar, Melbourne. 7:00pm. $5. MELBOURNE FRESH INDUSTRY SHOWCASE Revolver Upstairs, Prahran. 6:00pm. $15. REDD KROSS + SPAZZYS + THE CASANOVAS Espy, St Kilda. 7:00pm. $44. TIM RICHMOND + PINTO + RACHEL HOCKING Old Bar, Fitzroy. 8:00pm. WILD NOTHING + MILK TEDDY Toﬀ In Town, Melbourne Cbd. 8:00pm. $40.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC THE FURBELO Open Studio, Northcote. 9:00pm. THE MATT KIRSH TRIO Bennetts Lane Jazz Club, Melbourne. 8:30pm. $15.

ACOUSTIC, COUNTRY, BLUES & FOLK CHARLES JENKINS Labour In Vain, Fitzroy. 8:30pm.

FUTURE MUSIC FESTIVAL Hop on your hoverboard and hightail it down to Future Music Festival this weekend. Prepare yourself for The Prodigy, The Stone Roses, Bloc Party, Dizzee Rascal and the countless others (okay, 37) who will most definitely rock your world. Get ready for all that is Future; lasers, lights, beats, dance, and fun. Like, there’s literally that band fun. playing. It’s at Flemington Racecourse this Sunday March 10. Beat Magazine Page 66

COLLAG Espy, St Kilda. 8:30pm. OPEN MIC Wesley Anne, Northcote. 7:00pm. ZOE K Retreat Hotel, Brunswick. 8:30pm.

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

+ BEAT PRESENT... whatson@thepush.com.au

ACCESS ALL AGES Wednesday March 6th, 2013 With Ruth Mihelcic

Monday’s a public holiday and there’s no better way to spend it than getting down to the Sidney Myer Music Bowl and joining us for the 21st birthday celebrations of Push Over!!! Yeeeeeaaaaahhhhhhhh we’re throwing a bit of a party and you’re invited to kick back with Brighter At Night, Lurch & Chief, High Tension, 12 Foot Ninja, Northeast Party House, and those crazy Queenslanders Velociraptor, Violent Soho, DZ Deathrays and The Amity Affliction on the Blue Stage ‘til your ears beg for mercy. On the Green Stage the Push Start Battle of the Bands grand final will see our nine regional finalists pick up their weapons of choice and fight it out to win the much coveted prize pack of recording time, magazine coverage, mentoring, and some sweet music gear among other stuff. Get behind your local talent and support The Small Print, Pixie Juice, Rise Electric, Seattle Fix, Above Suspicion, Eater of The Sky, Hounds Homebound, Define the Signal and Estates. The stage will be then be graced by the presence of headliners D at Sea and Millions. Red Stage will mess you up with a lineup consisting of The Sweet Apes, Hand Of Mercy, In Hearts Wake, Thy Art Is Murder, Northlane, Dream On Dreamer and the winner of our facebook comp, Ocean Grove. If that ain’t your cup of tea, and your cup of tea is watching an underground hip hop showcase then we have some of that happening too… check out the Black Stage with Push Underground sessions, a beatbox showcase, freestyling, Breakin’ Battles and to top it all off Soliloquy and Allday. It wouldn’t be a proper party without a food court and the opportunity to mingle with your favorite bands, so don’t forget to bring something to get signed in case you get the chance. Tickets to Victoria’s longest running all ages music festival of hardcore, metal and hip hop are through Ticketmaster, go get yours now and WE’LL SEE YOU THERE!!! PS. Applications for the Involve Committee are open and they’ll be selecting someone aged 1217 and another aged 18-25 from each council in Victoria to meet with the Minister for Youth Affairs and provide their views and advice on a range of areas. More info and application forms are at youthcentral.vic.gov.au/involve, apply by Monday.

ALL AGES TIMETABLE Wednesday March 6 Kiss w/ Motley Crue, Thin Lizzy, and Diva Demolition, Etihad Stadium, Bourke St, Melbourne, 5pm, $125-$250, ticketmaster.com.au or 136 100, AA Friday March 8 Cass Ward w/ Brydie Lanyon, and Paper Boat Armada, RPM, Mundy St, Bendigo, 6:30pm9:30pm, $10, Rory White on 5434 6092 or yobendigo.com.au, AA Jam Night w/ open mic, drums kit, byo guitars , Wyndham Youth Resource Centre, 86 Derrimut Rd, Hoppers Crossing, 6pm-10pm, Free, Nunzio Giunta on 8734 1355, AA International Woman’s Day w/ Jungle City and morning tea, Phoenix Youth Centre, 72 Buckley Street Footscray, 4.30-6.30pm, Free, Brimbank Youth Services 9091 829, AA Good Life Festival w/ Psy, Rita Ora, Rudimental, Dizze Rascal, Steve Aoki, Hardwell, Like Mike, Dimirti Vegas, Madeon, DJ Fresh, Zeds Dead, Kill The Noise, Havana Brown, Ruby Rose, Timmy Trumpet, Staﬀord Brothers and Bombs Away, Flemington Racecourse, 3:30pm-10:30pm, $60, moshtix.com.au, U18 Saturday March 9 Nine Sons Of Dan w/ special guests, Phoenix Youth Centre, 72 Buckley St, Footscray, 2pm, $18.40, oztix.com.au, AA Sunday March 10 Disturbing the Peace w/ DJ Snakey and DJ Billy Noonan, Wycheproof Race Course, 8pm-11:30pm, $15, Julie Saylor on 0429 867 897, U18 Monday March 11 Push Over 2013 w/ The Amity Aﬄiction, DZ Deathrays, Violent Soho, Millions, Northeast Party House, Velociraptor, Dream On Dreamer, and more, Sidney Myer Music Bowl, Melbourne, 12pm – 8pm, $40, ticketmaster.com.au, AA

THURSDAY MAR 7TH SKYSCRAPER STAN

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Wed. March 6th: wine, whiskey, women

8pm: Kaisha 9pm: Emma Wall & the Urban Folk Thurs. March 7th:

8pm: Open Mic Poetry, Storytelling and Song Fri. February 8th:

6pm: Trad. Irish music session with Dan Bourke & Friends Sat. February 9th:

9pm: Lily & King Sun. February 10th:

4PM: Fingerbone Bill 6.30PM: Alex Burns Trio Tues. February 12th:

8PM: Weekly Trivia 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 67

BACKSTAGE

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Recording gear available: Our recording studio is in North Fitzroy and consists of the following microphones; AKG C414 XL II, Neumann KM 184 (match pair), Audio Technica 4050, Studio Projects C1, Studio Projects TB1 Valve, Rode NT1A’s, NT2, pair of NT 5’s, AKG D112, C418 Clip on Condensers, Beyerdynamic M88, M69, Sennheiser E906, E602, Shure SM 57’s, SM 58’s, VAS VMI super cardioid

MUSICIANS WANTED 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.

Hours of operation: 12pm - 12am or by appointment. Digital or analogue capabilities of studio: Our studio consists of a new SSL XLogic 4 Channel Super Analogue Class A pre amp, Mackie 32:8:2 86 bus console with meter bridge, Otari MX 80 2-inch 24 track tape machine, Pro Tools LE 8 with Digidesign 002 rack, ADA 8000 8 channel Adat converter, Sebatron vmp-4000e 4 channel class A Valve mic pre, Urei LA-4-A stereo pair, Joe Meek Twin Q 2 channel strip with digital out, Joe Meek 3Q 1 Channel Strip, dbx 160 Vintage Compressor, dbx 386 Dual Vacume Tube pre amp, Orban 418 A stereo limiter, TC Electronics Triple C multiband compressor with digital out, TC Electronics M1 Reverb, Lexicon Reverb, Boss Reverb, Korg SDDE 2000 Delay, BBE 882 Sonic Maximiser, Dual Quad Core GHz G5 (Power Mac) with 10 gig ram, Power Play Pro XL headphone amp, Yamaha NS10M monitors, JBL 4311 monitors, Genelec 1029a monitors, AKG K55 headphones, patch bays to suit, Vintage British, American, Danish and Australian outboard EQ and compression.

• Send your classified listing information to Beat Magazine at 3 Newton St, Richmond 3121 with a cheque, money order or credit card number (including expiry date and name on card, NOT AMEX or DINERS) (1.5% surcharge on Visa and MasterCard) OR deliver it yourself with cash OR you can email your classifieds to us - classifieds@beat.com.au with credit card details • DEADLINE IS THURSDAY 5pm, prior to Wednesdays publication • Minimum $5 charge per week. We do NOT accept classifieds over the phone - sorry.

BANDS WANTED for artist showcase in the Espy Gershwin Room. A great step towards bigger shows. Contact mark@gunnmusic.com.au BATTLE OF THE BANDS. Registration now, starts Wednesday the 28th Dec and every Wednesday after for 8 week (less the 26th Dec & the 2nd Jan). First prize: recording time in a studio. Call Jesse 0411 803 579

SERVICES FREE VENUE HIRE - Fully stocked bar - Huge capacity, whole venue or partial. Call Jesse 0411 803 579

dynamic,Takstar PCM 6100. We have a Hammond Organ L-102, R.Gors & Kallmann Berlin Piano, Upright 85 key piano. Instruments available at Bakehouse rehearsals in Richmond: Fender Hot Rod Deluxe, Fender Twin II, Kustom quad box, Galien-Kreuger bass head, Trace Elliot bass head, Ampeg fridge (4 x 10” + 1 x 15”), EV (1x15) bass cab, 2 x Yamaha Twin guitar amp, Roland JC120 Jazz Chorus guitar amp, 4 x drum kits, Sabian cymbals, baby grand piano and an upright piano. Artists you have worked with: Grinderman, Cat power, Elvis Costello, Olivia Newton John, Cut Copy, Nick Cave and The Bad Seeds, Paul Kelly, Augie March, The Cat Empire, Sufjan Stevens, Little

Birdy, Jackson Jackson, The Drones, The Panics, Jet, Amanda Palmer, Midnight Juggernauts, Dave Graney, Analita, The Dirty Three, Beth Orton, The John Butler Trio, New Buﬀalo, My Disco, Boomgates, Missy Higgins, Something For Kate. In-house engineers: Callam Barter and Simon Cotter. Facilities: We have a kitchenette, lounge, toilet and storage cupboards. Phone: (03) 9417 1271 Website: www.bakehousestudios.com.au/ E-mail: bakehousestudio@optusnet.com.au

MUSIC MANUFACTURING & DISTRIBUTION www.drumsrecords.net, P.O. Box 1187 St. Albans VIC 3021 Australia

EMPLOYMENT EXPERIENCED BAND BOOKER WANTED. If you’re experienced in booking bands and want to work with an experienced well known venue booker at a great venue in Melbourne’s music heartland then send us an email. Let us know a bit about yourself, what type of bands you’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 FLAUNT IT. Internationally acclaimed producer of pro-feminist erotica looking for conﬁdent, adult women to smash the stereotypes and earn good money ($400 and up). Don’t overlook this til you’ve found out more about it. Jessica 9495 6555 or www. feck.com. MALE LIFE MODELS. Aaryon photography and media has ongoing work available to models 18+. No experience necessary. Email recent pictures and contact details to models@aaryon.com for selected interview. PAID PROMOTERS wanted for new Rock Club. Contact mark@gunnmusic.com.au for more details. 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

TUITION MUSIC LESSONS - Guitar, Bass, Drums, Piano and Vocals - Great teachers - Very reasonable rates - Visit www.katzmusic.com.au or call 9530 0984 or 0425 788 252 for more info.

THIS SPACE COULD BE YOURS!

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PA HIRE Comprehensive PA systems delivered, set up and operated with crew. Compact, easy, sound systems you can pickup and assemble yourself.Components such as microphones, speakers and effects are also available separately. Lights also available. For details phone Mark Barry on 03 9889 1999 or 0419 993 966

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LIVE

Soundwave pics by Rebecca Houlden

SOUNDWAVE FESTIVAL Flemington Racecourse, Friday March 1 Gallows

Thrash, death metal, hard rock, metalcore, hardcore, djent, prog, stoner – if you’re anything like me Soundwave is like your music collection coming to life in front of your eyes. It also means you’re faced with some tough choices. Who do you see? Who do you miss? Who do you catch a few songs of before going to see a few from someone else? Which Sidewaves do you hit up in the preceding days so that you can free your calendar and eliminate some otherwise tough clashes? Anthrax were down two members, with drummer Charlie Benante sitting out due to personal stuﬀ back in the States, and Rob Caggiano replaced by Shadows Fall’s Jon Donais (who seemed a little restrained). Drummer Jon Dette kicked arse with an aggressive style that tied together the old and new. But the three guys who did make it – Scott Ian, Frank Bello and Joey Belladonna – put on a killer show with old-school thrash riﬀage and a real sense of oneness with the audience. The setlist included a balance of old and new cuts, an AC/DC cover and a stirring version of Worship Music’s In The End dedicated to Dimebag Darrell and Ronnie James Dio. Midway through Anthrax I caught a few tracks by Fozzy, where the stage presence of Chris Jericho and Rich Ward was particularly arena-sized despite the smaller Stage 5. They’ve long outgrown any ‘they’re just a side project for a wrestler’ stigma: Fozzy are a serious, capable, pro-level band with serious performance and songwriting chops. Next up, Stone Sour, featuring Slipknot’s Corey Taylor and James Root. With a setlist leaning on material from their two most recent (and very aggressive) albums and a preview of a track from the forthcoming The House Of Gold And Bones Part 2, their set was part rock showmanship, part metal power. It’s always fun to see

Taylor outside of the context of Slipknot, smiling and joking rather than playing up the aggro. Next: Periphery. Their Monday Sidewave at The Espy was intense and powerful but they kicked it up a notch at Soundwave with more crowd interaction, more energy and more excitement. They’re all virtuosos but vocalist Spencer Sotelo deserves a special word for his killer performance. Tomahawk performed a wildly diverse set which played as much on the rhythmic interaction of Trevor Dunn and John Stanier as it did the angular riffage of Duane Denison or the vocal textures of Mike Patton. A non-musical highlight was Patton’s stern rebuke of a fan who had the stupidity to call out ‘Do something!’ during a longer-than-he-wanted break between songs. “This guy just said ‘do something,’” Patton snapped. “What would that something be, my friend? Hey? Hippy? What is it? What would you have us do, fuckhead? So you’re unhappy? You’re unhappy but you’re still sitting here yelling at me? Get the fuck outta town.” Kyuss Lives! offered a surprisingly powerful set of classics, and were placed at what was probably the ideal slot for them: heading into mid afternoon, the hot sun belting down and playing up their desert stoner rock atmosphere. These guys are about to change their name to Vista Chino, so keep an eye out for them. Dragonforce put in a typically energetic show with lots of guitar fireworks and the very impressive vocals of new singer Mark Hudson. The audience response was killer too, furthering Periphery’s case that guitar virtuosity – when combined with real stagecraft instead of just standing there – is a hell of a crowd pleaser. A Slayer crowd is always an intense thing, and after a brief wait the thunderous attack of Slayer was unmistakable, even with Jon Dette on drums and Gary Holt taking Jeff

Hannemann’s place on guitar alongside original members Kerry King and Tom Araya. Although Hannemann and Dave Lombardo were definitely missed, it still felt like a Slayer gig, in intensity if not in overall sound, with a huge response to crowd favourites like Dead Skin Mask, War Ensemble, Angel Of Death and South Of Heaven. A Perfect Circle turned in an oddly paced set which was high on atmospherics but lacking in fire. It read as a performance of songs you liked on their albums, rather than a vital, living musical experience. Glad to see ‘em, but not blown away. The Dear Hunter, on the other hand, turned in a charged set of occasionally bluesy, occasionally jangly, often atmospheric progressive indie rock. Any Dear Hunter first-timers who stumbled upon that set walked away with a ‘Whoa. I’ll be iTunes-ing that when I get home’ look on their face. Duff McKagan’s Loaded performed a gutsy set of bluesy, punky, timeless hard rock, including a few Guns N’ Roses songs (So Fine, You’re Crazy and It’s So Easy), tracks from the band’s two albums and Misfits classic Attitude. Danko Jones joined in for a couple of tracks, and Duff even jumped into the crowd for an extended surfing session. Rock. Blink-182 were another band stricken by the Soundwave ‘drummer curse’. For a large chunk of the crowd Blink are the music of their late teens or early 20s, and they turned in a crowd-pleasing set with few surprises. Their particular brand of dick jokes has lost some of its thrust in a postSteel Panther world, but it didn’t really matter. After so long away, the crowd were happy to welcome them back, and whether you like them or not there’s something undeniably fun about Blink. Ghost are the best thing to happen to Satan since the Middle Ages, performing a creepy but undeniably ‘70s-metal-vibed set of evilness. Theatrics and Satanic allegiance aside, Ghost tap into the true spirit of metal and deserve their own headlining tour. Maybe in abandoned churches or something. Linkin Park are very slick from a performance standpoint, and like Blink-182 they embody a certain time in a certain age group’s life, but unlike Blink’s long hiatus, Linkin Park still continue to push themselves musically. Their set was a good overview of their career in both sound and vibe, exploring the electronic atmospherics of recent works as well as the nu-metal crunch of their earlier stuff.

Garbage

The mighty Metallica didn’t play any Sidewaves during this tour: instead they put all their energy into their headlining sets, and did so with a fire and energy that surpassed any of the other times I’ve seen them, even if James Hetfield’s stage banter was much the same as it was last time the band was out. The only real surprise in the set was the first Australian performance ever of My Friend Of Misery, and the almost complete absence of anything post-1991 with the exception of All Nightmare Long from 2008’s Death Magnetic. With a setlist otherwise comprised of tracks from the first five albums, Metallica’s Soundwave run represents the most ‘classic Metallica’ set they’ve ever played in this country. And it did what all good metal does: it brought people together. Two particular events summed up Metallica’s appeal and Soundwave’s in general: a hyperactive and sweaty dude put his arm around me to jointly bellow the chorus to Sad But True, and after the show I chatted with a very stylish, classy girl who you never would have identified as a metal fan, yet she was a Metallica die hard. And that’s why Soundwave is so great; it brings together all of the heavy music-loving community in the name of a single passion, united by their shared love of music that makes you want to pump your fist, floor the accelerator and wear a shitload of black. PETER HODGSON

Paramore

LOVED: Duﬀ McKagan’s crowd surf, Periphery’s sense of fun, Metallica’s brutals. HATED: Not liking A Perfect Circle as much as I wanted to. DRANK: Water. C’mon, it’s a long fuckin’ day.

TOOT TOOT TOOTS The Famous Spiegeltent, Saturday February 23 Ducking out of the marauders’ march that was Swanston Street on White Night and into the conﬁnes of the Spiegeltent, the stage was set for the Toot Toot Toots’ second performance of the weekend. The show was everything they’d promised it would be: a gritty musical hoopla traversing their entire debut album Outlaws, complete with added projections, beaming bosomy dancers and narration from the awesome Tom Pitts. The Toots’ themselves were in ﬁne spirits and hammed up their spaghetti-Western roots to the hilt, with singer Dan Hawkins’ ever entrancing voice at its best: like stones in a Magi Mix. Trombonist Giuliano Ferla was so technically precise he sounded like a trumpeter,

and the trumpeter was so spot-on he sounded like a synth (but better). The violinist was incredible, sawing her bow across that thing like a madwoman. Ferla shared vocal duties with Hawkins, the two sometimes passionately sharing a mic. After a couple of tracks, our ‘kerchiefed narrator appeared at the back of the tent in spotlight to continue the story of the “lucky Jew prick Eli”, and the tale of small outback town Gomorrah Fields, populated with McKenzies and Buchanans and their various petty, deadly vendettas. The Forager’s Daughter began with beautiful vibrato vocals and moved into a slick, lazily syncopated snare beat from drummer Dylan Thomas, trilled and totally cool. Ferla paced the stage maniacally beating

a cowbell and Clint Eastwood squinted over the audience from the projection screen. As the crowd sunk more beers, Pitt’s monologues received some shouted feedback which he took in his stride completely, responding excitedly and easily. The Toots’ never broke character and evoked the styles of every raw Aussie ﬁlm you could think of, particularly the 2005 Nick Cave vehicle The Proposition. A brilliant trumpet and trombone call and answer bridge towards the middle of the set reminded me of the ANZACs, and not just because of the show’s literal connotations. There was a rich, nostalgic and genuine base underlying the production’s more ﬂamboyant elements which drew

all its parts together like a bouquet of Kangaroo’s Paw, if you will. The last song of the set Fare Thee Well, Jesse had heavy, slow ﬁfths of bass like a jug band, and ﬁrst guitar playing a triplet melody over the top. It was about the ghost of the murdered Eli, who is singing a song to his dead daughter. It was sweet and sad and resigned, like Johnny Cash. Absolutely awesome. ZOË RADAS LOVED: Hawkins embracing my brother mid-song. HATED: Having to go back out into White Night. DRANK: Beer of course.

BLINK-182 Sidney Myer Music Bowl, Wednesday February 27 More than anything else, I was scared. First of all, one third of Blink-182 wasn’t even going to show. Travis Barker hasn’t managed to get over his fear of ﬂying after surviving a plane crash in 2008 (who can blame him?) but it was a shame. Sure, he was being replaced by Brooks Wackerman (Bad Religion, Tenacious D) who is a beast in his own right, but Blink-182 without that sweaty, human canvas bashing away in the background, well, it isn’t really Blink-182. And secondly, their Mark, Tom and Travis Show tour in 2001 – when I was 12-years-old and at the peak of my Blink fandom, and they were 26 and at the peak of their Blink beingdom – was the closest I’ve ever come to having a religious experience. How could Blink circa 2013 ever compare? I don’t know if this is just the nostalgia speaking, but Mark and Tom don’t look or sound like they’ve aged a day. Blink-182 is the embodiment of late ‘90s pop-punk, and they are legends at what they do. The live energy they brought to that soggy bowl was enough to bring everyone out of their no-Travis funk as soon as the opening chords of Feeling This hit. Wackerman, while sitting raised and centre on a pedestal obviously designed for Travis, was more than capable of ﬁlling the most tattooedest Beat Magazine Page 70

of shoes; not a beat seemed to be missed. The chemistry of Blink-182 has always been in the relationship between Mark and Tom, and their banter is still as hilariously vulgar as it’s always been – even after all the Angels and Airwaves, +44, and Boxcar Racer bullshit. The set list was a little post-2003 heavy, but all the hits were there, as well as an amazing acoustic performance of Dick Lips and various adaptations throughout the night of frat house classic, Blow Job. There was something oddly resigned in the last few lines of Dammit, screeching out across the postadolescent pop-punkers of the early naughties. “Well I guess this is growing up”, we all screamed at each other as the rain ﬁnally broke free from the threatening clouds. Before we even had a moment to process life, growing up, and what it all means, we were hit with the ﬁnal song: Family Reunion. It was sick. KATE MCCARTEN LOVED: Feeling 13 again. HATED: Feeling 13 again. DRANK: The rain. FOR MORE LIVE REVIEWS & PHOTOS GO TO BEAT.COM.AU

pic by Nick Irving