Beat Magazine #1366 by Furst Media

ISSUE 1366

| 10 APR 2013 | BEAT.COM.AU

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TOOL

BEATS: KARL HYDE

THIS WEEK: BONJAH, CLAVIANS, EVERMORE, SONGS, OBSCENE FESTIVAL, FRIGHTENED RABBIT, SELF IS A SEED, OH PACIFIC, TULLY ON TULLY

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The good news is that a world class design education needn’t take forever. It should be well planned, continually adapted to the times and presented by passionate professionals. That’s what happens at Shillington College and we have the record to prove it. Our students are taught by outstanding designers and are getting top design jobs. Starting with no prior experience they graduate with a professional portfolio and an in-depth knowledge of the design programs. Enrol now for our full-time June course. The college will be hosting an Open Night on Friday 12 April with a 45 minute presentation starting at 6pm. Bookings are not required to attend.

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IN THIS ISSUE...

HOT TALK

TOURING

WIL ANDERSON

ARTS GUIDE,

ART OF THE CITY, COMIC STRIP

A CLOCKWORK ORANGE 31

SUPANOVA, ASSASSINS, SONG

MELBOURNE INTERNATIONAL COMEDY FESTIVAL COVERAGE

BONJAH, BILAL, TIM GUY

INDUSTRIAL STRENGTH

THE FLAMING LIPS

SUPER WILD HORSES, SONGS, CLAVIANS

TEGAN & SARA PG 60

OWL EYES

THE BLACK SEEDS

TOOL

BLUE ÖYSTER CULT, A DAY BY THE GREEN,

THE FLAMING LIPS PG 53

FLAMIN’ GROOVIES 59

BRITISH INDIA

HUNGRY KIDS OF HUNGRY, TEGAN & SARA, FRIGHTENED RABBIT

EVERMORE

OBSCENE EXTREME FESTIVAL, EPICA

CORE/CRUNCH!

MUSIC NEWS

ALBUM OF THE WEEK, SINGLES, CHARTS

THIS WEEK IN BEATS

KARL HYDE

SUPER WILD HORSES PG 54 3 NEWTON STREET RICHMOND, VICTORIA 3121 Phone: (03) 9428 3600 Fax: (03) 9428 3611 email: info@beat.com.au www.beat.com.au

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PUBLISHER: Furst Media Pty Ltd. MUSIC EDITOR: Taryn Stenvei ARTS EDITOR / ASSOCIATE MUSIC EDITOR: Nick Taras EDITORIAL ASSISTANT: Nick Taras INTERNS: Alexandra Duguid, Clementine Zawadzki GENERAL MANAGER: Patrick Carr SENIOR ADVERTISING & EDITORIAL CO-ORDINATOR: Ronnit Sternfein BEAT PRODUCTION MANAGER: Pat O’Neill GRAPHIC DESIGNERS: Pat O’Neill, Mike Cusack, Ben Pell, 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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COMING UP

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THU APR 18 GENERAL ASSEMBLY THE NEW POLLUTION FRI APR 19 MERRI CREEK PICKERS KRISTA POLVERE BAND THE MILLAR JUKES SAT APR 20 MASS CULT LES MINIJUPES MILD HORSES FRI APR 26 FEARLESS VAMPIRE KILLERS (LAST EVER GIG)

WARMTH CRASHES IN SAT APR 27 DIRTY F (ALBUM LAUNCH) CHICO FLASH THE SINKING TEETH FRI MAY 3 DIGGER & THE PUSSYCATS MESA COSA, HIGH FANGS PRONTO SAT MAY 4 (12NOON - 5PM) CRATE DIGGER RECORD FAIR HELLO SAILOR VINTAGE FAIR FRI MAY 10 MIMI VELEVSKA

If you’re out after midnight on a Friday or Saturday night, Melbourne has lots of public transport options to get you home. Last trains leave the city between 12 and 1am Last trams leave the city between 1 and 2am NightRider buses leave the city and run until early in the morning.

“Some of Cold War Kids’ most promising and satisfying music since their debut” All Music Guide Brand New Studio Album 05.04.2013

“CWK hve gone back to the sort of idiosyncratic weirdness that made us fall for them in the first place.”

Features the smash single “Miracle Mile”

NME

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HOT TALK

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- FREE SHIT THE BLACK SEEDS Heralding from Wellington, the heavyweight reggaesoul band has been taking the world by storm with their ﬁfth album Dust And Dirt. The eight-piece have been combining funk, rock, with Jamaican beats 1998, earning a respectable fan-base worldwide. Know for their intense shows, The Black Seeds are a band not to be missed. The Black Seeds will be performing at The Hi-Fi on Saturday April 27 and we have a double pass, a copy of Dust And Dirt and a t-shirt to giveaway. Hit up beat.com.au/freeshit for your chance to win.

AEROSMITH After announcing their ﬁrst Australian tour in 24 years, Aerosmith have complemented their Saturday May 4 Rod Laver Arena show with a second Melbourne show announced for the Sidney Myer Music Bowl on Sunday April 28. Supporting the icons of rock’n’roll at the Sidney Myer gig are Wolfmother, Grinspoon, Spiderbait and The Dead Daisies. Tickets are on sale now via Ticketmaster, with tickets from just $79+bf.

BERMUDA FLOAT # 2

THE TROUBLE WITH TEMPLETON

Bermuda Float has returned, with Bermuda Float #2; a garage-driven night cruise. This year’s alljamming boat party includes an arty-centric lineup of acts including the brainchild of garage-rocker Kyle Thomas, King Tuﬀ, The UV Race, Mighty Duke and the Lords, Made For Chickens By Robots and Peace Pipe DJs, with cooking duties taken on by Pearl Oyster’s Floating Kiosk. This will be happening on ANZAC Day, Thursday April 25 on the Victoria Star and departing from Dock 9 at Central Pier at 6pm. Tickets are on sale via Moshtix now.

On their way home from a successful North American jaunt, Brisbane’s The Trouble With Templeton have announced a run of East Coast dates. The band played for big crowds of both international music industry and a swathe of new fans at a run of shows including the prestigious Communion Records Showcase, the Filter Showcase, the Aussie BBQ and various appearances at SXSW and Canadian Music Week as well as appearing on Last Call With Carson Daly. Nice. The Trouble With Templeton perform at Northcote Social Club on Wednesday April 17.

A DAY BY THE GREEN A Day By The Green is back for round ten. This time around the lineup features La Femme, The Ears, Cold Harbour, Chris Russells’ Chicken Walk, Burn In Hell, Jack Howard & The Long Lost Brothers, Dirty Harriet and the Hangmen, Dead River, The Twoks and Vincent J Kramer. It all happens on Saturday April 13 at the St Kilda Bowling Club. We have a feature article further back in these here pages. Give it a scan.

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ROCK AGAINST WORK Lead guitarist for garage pop group The Bowers, Jacky Winter plays his ﬁrst shows of 2013 at Chinatown’s Ferdydurke for their Friday lunchtime Rock Against Work. This April he will play solo, instrumental electric guitar with no loop pedals or any other shit. Winter has just returned from two weeks in NYC recording his 2nd LP with producer Matt Verta-Ray (Heavy Trash, Jon Spencer Blues Explosion, The Dirtbombs). Playing a bunch of these new songs sees Winter re-work music from his bands The Bowers and Dynamo as well as stuﬀ he loves that he didn’t create. Free entry from 12pm to 2pm at Ferdydurke (Level 1 and 2, 31 Tattersalls Lane), every Friday in April.

Deep Heat

HOT TALK

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LIVE AT THE GASOMETER To celebrate its third birthday as a live music venue, the Gasometer Hotel has revealed Live at the Gasometer...We Hated It Before You; a live LP series. The LPs are a series of shows/recordings featuring the bands and friends of the Gasometer who have supported the Melbourne music venue and bar over its ﬁrst three years. Each show will be recorded in its entirety, then each band will select two songs. These will be mixed, mastered and a limited number will be pressed with artwork and screen printing from Steve Cohen at Too Far Gone printing. The ﬁrst in the series is happening at the Gasometer on Saturday April 13, featuring White Walls, Deep Heat, Shit Weather, Gold Tango, Gentlemen and Cuntz. Cost is $15 on the door, including an LP once pressed.

ELIZABAND Elizaband, the solo project from Melbourne singersongwriter Rory Cooke, will take to The Spotted Mallard to launch his EP Troubled Trees. The follow up to the 2011 debut album Firework Dogs, Troubled Trees was recorded to 2 inch tape by Richard Andrew (Underground Lovers, Crow, Registered Nurse) at Pharmacy Studios over four days in the Winter of 2012. A sonic reﬂection on outsider humanity, the EP is a welcome new addition to Rory Cooke’s rich catalogue of DIY guitar art which began as the founding member of the highly inﬂuential Gaslight Radio in Queensland in 1995. Troubled Trees will be available in selected independent record stores and online from April 19. Elizaband performs at The Spotted Mallard on Saturday April 20.

THE MILK CARTON KIDS Attention-garnering Americana duo The Milk Carton Kids have announced their maiden visit to Australia. Despite being a relatively new venture, The Milk Carton Kids have already released two acclaimed albums (2011’s Prologue and their brand new eﬀort The Ash & Clay) and shared stages with acts such as Old Crow Medicine Show and K.D. Lang, as well as undertaking literally hundreds of their own headlining shows. The Milk Carton Kids perform at Thornbury Theatre on Thursday June 6 and at St Kilda MeMo on Saturday June 8.

...AND YOU KNOW US BY THE TRAIL OF DEAD ...And You Know Us By The Trail Of Dead will return to Australia this May to perform what is arguably their best and most inﬂuential record, Source Tags & Codes. The shows will take place in two parts: a complete performance of Source Tags & Codes, followed by a set of highlights from their extensive back catalogue... And You Know Us By The Trail Of Dead will perform at the Corner Hotel on Wednesday May 22. Tickets on sale now from the Handsome website.

SMOKESCREEN FESTIVAL Billed as “the most dangerous music festival on earth”, the mysterious Smokescreen Music Festival has ﬁnally revealed it’s lineup. While many already assumed that the festival was tied in with an anti-smoking message with its less than subtle references, the lineup, revealed on Sunday April 7, World Health Day, suggests that the festival may indeed be far more anti-smoking message than music festival. Two headline acts, The Coughin’ Nails and M4 Cema, have been announced. Both, as far as we can tell, exist solely within the bounds of Smokescreen, however both also own newly created Facebook pages and both have recorded tracks laden with tongue-in-cheek anti-smoking themes and associated music videos. Support acts have been listed as Lung Cancer, Heart Disease and Clogged Arteries along with other smoking related ailments. Stay tuned to Beat and the Smokescreen website, smokescreenmusicfestival.com.au, for more updates as they happen.

TODD RUNDGREN As a songwriter, video pioneer, producer, recording artist, computer software developer, conceptualist, and, most recently, interactive artist, Todd Rundgren has made a lasting impact on both the form and content of popular music. This July, Todd and his band, which includes keyboard master John Ferenzik (Jeﬀerson Starship), guitarist and former Guitar Player Magazine editor Jesse Gress, drummer Prarie Prince (The New Cars, The Tubes, Jeﬀerson Starship) and on bass Kasim Sultan (Blue Oyster Cult, The New Cars, Utopia), will bring to life 40 years of amazing music to Australian audiences. Todd Rundgren performs at The Corner on Sunday July 21.

ROADSMARTS Victoria’s live music scene has a new interest: to keep fans safe on the roads. Fifteen acts have signed up to a new program developed by Mushroom Marketing in partnership with the Transport Accident Commission (TAC). The Roadsmarts program harnesses the live music industry’s communication channels to share a road safety message. In a recent interview with Beat TV to support the Roadsmarts message Guy Chappell from Yacht Club DJs oﬀered this advice for long drives, “We did an eight minute mix of the songs from Top Gun and that’s what we’d listen to whenever we were feeling really tired, it’s such a great soundtrack to get you feeling up!” For more info on the Roadsmarts campaign visit facebook.com/roadsmartsgigs.

DIE! DIE! DIE! Kiwi darlings Die! Die! Die! have announced a special Melbourne sojourn alongside their ﬂeeting visit to Sydney this month. Performing a matinee show at The Curtin, Die! Die! Die! will showcase their ﬁrebrand tracks from last year’s stellar Harmony as well as their shit-hot back catalogue of hits. Support comes from Duck Duck Chop and more to be announced. Die! Die! Die! perform at The Curtin on Saturday April 13. Doors open at 3pm. CHECK OUT ALL THE LATEST NEWS, REVIEWS AND FREE SHIT AT BEAT.COM.AU

Beat Magazine Page 21

HOT TALK

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King Parrot

The third instalment of the At The Corner series, is coming this May. Considered a fusion of gyrating guitars combined with pounding drums and thrashing vocals, Manifest At The Corner will feature nine of Melbourne best face-melting bands. King Parrot, Dreadnaught, Elm Street, Bronson, Voltera, Contrive, They, Cold Divide and Diprosus will burst your eardrums in delight. Hitting The Corner on Friday May 24, Manifest At The Corner tickets can be purchased through The Corner website and box oﬃce.

Pioneering British DJ and electronic artist Matthew Herbert gives the Australian premiere performance of his acclaimed and controversial One Pig at the Melbourne Rectial Centre on Saturday April 13. The work, heavily protested by animal rights activists PETA, is a soundscape generated by the 20-week lifecycle of a pig at a farm in Kent, from birth to its snuﬄing, oinking maturity and its ﬁnal end. This live performance features Melbourne chef Jesse Gerner who cooks pork, contributing the sizzle of his frypan to the sonic mix. Herbert’s stance is not pro or con eating meat and claims the piece is about considering the industrialised process which leads the animal to our plate. The piece is a part of the Metropolis Festival of New Music. Tickets are $25 from the venue website and Moshtix.

CASH SAVAGE AND THE LAST DRINKS It’s been a while between drinks for Cash Savage. She returns with new single I’m In Love, penned with buddy and all-round top bloke Nick Finch from Graveyard Train. She calls it the nicest song she has ever written. It’s the ﬁrst single from her yet-to-be-titled upcoming second LP, following on from 2011’s Wolf. Cash Savage and The Last Drinks launch I’m In Love at The Workers Club on Friday April 19. Support is from La Bastard and Tim Nielson. Tickets are $15 on the door or $12+bf from the venue website.

EMERGE FESTIVAL

Joan Baez returns to our shores for the ﬁrst time in over 25 years. The musician, whose musical and political inﬂuence is incalculable, is credited with introducing Bob Dylan to the world in 1963. She graced the cover of Time Magazine aged 20 and her performance of We Shall Overcome at Woodstock while she was several months pregnant and her husband David Harris was in jail for draft resistance has indelibly linked her to that song for millions of fans. She plays Hamer Hall on Thursday August 8. Tickets are through the venue website.

VANCE JOY

MANIFEST AT THE CORNER

MATTHEW HERBERT

JOAN BAEZ

Melbourne wonder-kid Vance Joy has sold out two Northcote Social Clubs and announced a third and ﬁnal show in support of this debut EP God Loves You When You’re Dancing. The show is on Sunday April 28 in the evening. Tickets are $10+bf via the venue website.

HAYWARD WILLIAMS Wisconsin’s Hayward Williams returns to Australia for the third time to release his fourth album nationally. Joining him on guitars, vocals and drums for this tour will be Adelaide’s The Yearlings. Williams is known here and abroad for his Americana-soaked song-writing, his soaring tenor and warm and expressive musicianship. He plays the Northcote Social Club on Thursday April 25. Tickets are from the venue website.

TIKI TAANE New Zealand’s Tiki Taane returns to Australia this June with his acoustic?MC show. The Salmonella Dub member, considered a pioneer on the New Zealand music scene, emerged recently as a solo artist and has performed at the Big Day Out, Homebake and Reggaetown. Joining him for this tour is dubstep heavyweight Optimus Gryme with support from Misﬁts Of Zion. They play The Corner on Saturday June 8. Tickets from the venue and box oﬃce.

THE BELLRAYS If blues is the teacher, then punk is the preacher. Veteran rock and soul band The Bellrays are back with a new album Black Lightning, set for release on Friday May 17. They’ve announced a tour to coincide, playing The Corner on Wednesday June 12. Tickets are $40+bf from the venue website and box oﬃce, and Oztix.

DIG IT UP! The final venues and times have been announced for the sophomore Melbourne leg of Dig It Up! the Hoodoo Gurus invitational. With the on again/off again opening date of the Melbourne venue formerly known as Pony, Dig it Up! Melbourne has been forced to merge acts across all three existing stages: The Palace Main Room, The Palace Attic Bar and The Spleen Bar. The Palace opening time is to be brought forward from last year to accommodate while Spleen will now split its time between comedy (Bob Franklin, Dave O’Neil and MC Lawrence Mooney) and two-piece outfits including current media favourites Super Wild Horses. DJ Yo Grito will spin the garage old and new, as will Melbourne DJ Fantapants, living legend Bruce Milne revisits the halcyon days of Au-Go-Go and Ken Eavel provides the roll to the rock to get the party started. It takes place on Thursday April 26. All information and set times are at feelpresents.com.

From Saturday May 18 to Wednesday July 31, Emerge Festival will be a chance for people from all cultures to make music together, sing, dance, learn about each other, showcase and be proud of their culture, hear each other’s stories and make long-lasting connections and friendships. Multicultural Arts Victoria will celebrate the tenth anniversary of the festival with a colourful series of performance and unique cultural experiences. The Festival launches on Saturday May 18 with Emerge In The West, a massive one-day cultural celebrating in Footscray, with the signature Emerge Main Event taking place at Fitzroy Town Hall on Sunday June 16. For a full calendar of events head to multiculturalarts.com.au.

BIG SCARY Big Scary have announced the supports on their Phil Collins tour, with Caitlin Park and I’lls joining them for their Saturday April 27 show at The Corner. Tickets are from the venue website and box oﬃce.

EVERMORE Evermore have their music bus packed and are ready to roll out one of the biggest tours of their career. A troubadour’s journey around Australia to perform the songs from their new album Follow The Sun. Evermore brothers Jon and Pete Hume start the tour in their adopted home state of Victoria to reach anyone who has been loved the recent singles Hero or Follow The Sun, any of the bands many career hits. Catch Evermore live on Friday April 19 at Macs Hotel, Melton and Saturday April 20 at the Ferntree Gully Hotel, plus The Thornbury Theatre on Sunday April 21. Tickets available from Ticketmaster or the venues. Beat Magazine Page 22

YOU AM I Two decades into an illustrious career, You Am I have announce a re-issue of their ﬁrst three records Sound As Ever, Hi Fi Way and Hourly Daily, as well as an accompanying national tour. Still calling each other friends and band mates, Tim Rogers, Andy Kent, Russell Hopkinson and 15-year-veteran ‘new guy’ David Lane are celebrating their double decade digits at The Forum on Saturday July 6. Tickets are available from Ticketmaster, on sale Tuesday April 16. The re-issues are out on Sony Music on Friday May 24.

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

Neon Trees

HOT TALK

THE BIGGEST IN INTERNATIONAL & NATIONAL NEWS

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

60 SECONDS WITH CREO

NEON TREES Well known for juxtaposing dazzling guitar hooks with thoughtful and reﬂective lyrics the last 12 months have seen Neon Trees climb to the top of the charts with second studio album Picture Show. Lead single Everybody Talks has had, well, everyone talking, making it to #6 on the Billboard Hot 100 and charted ARIA’s top 10. They’re bringing their pop rock to Ding Dong Lounge for special intimate show on Wednesday May 15. tickets are through Oztix and there’s a pre-sale via the Frontier website from 2pm Thursday April 11, with general public on sale at 9am on Tuesday April 16. Something For Kate

SOMETHING FOR KATE After selling out their Forum show on the same tour, Something For Kate have announced an extra show at The Corner Hotel on Saturday June 15. Tickets are bound to sell quickly so grab yours from the venue website or box oﬃce while you have a chance.

AS MANAGEMENT PRESENTS

Name: Jorjee. Deﬁne your genre in ﬁve words or less: Alternative, fuzz-fuelled, melodic, bipolar and anthemic. Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? A three-way between Smashing Pumpkins, Bruce Springsteen and The Bronx. What do you love about making music? Freedom, energy, no regulations. Being able to communicate through instruments and escape from reality (to a degree), and the fact that you appreciate having a few $$$ in your account on the rare occasion it happens. What can a punter expect from your live show? Lots of energy, emotion and sweat, and a very loud show. What’ve you got to sell CD-wise? We’ve just released our debut EP The Memo. Available online through iTunes, Amazon, etc. You can stream it free from our Facebook and website as well. We sell the physical copies at our gigs. When’s the gig and with who? Friday April 12 at The Espy Basement with Bonez, Palace Of The King and Cotangent. How long have you been gigging and writing? Since January 2010 – two and a bit years. What do you think a band has to do these days to succeed? Everything and more. Sound amazing, be social (online and in person), plan seven moves ahead with 30 backup plans and most importantly – write amazing songs. What part of making music excites you the most? Travelling the world, playing shows, and constantly being in good company (the rest of the band). What part of making music discourages you? Money. Touring, CD pressing, recording and all the rest becomes very expensive for self-funded artists.

Describe the worst gig you have ever played. Well not too long ago we had an awesome sound check in Byron. Then the venue got shutdown not too long after the second support came on due to "noise complaints". Tell us about the last song you wrote. It’s a slower number that was inspired by a close friend who was riding through a hard time. It’s called Monday Mourning and is our current single oﬀ our EP. When, and why did you start writing music? It has always been in me somewhere. Even when I was a kid I’d just hum tunes I’d make up in my head and pretend I was in a band. But it started to become a lot more real when I was 15-ish. I essentially wanted to create music that gave me the same feeling as my favourite artists songs would on every listen. Do you have a pre-gig ritual? If so, what is it? I tend to keep to myself before a show – a man of few words. Name an interview question you wish someone would ask you, and answer it. I’m so excited you guys are headlining Glastonbury! It’s been a long time coming. Are you guys excited? CREO : Thank you! Yes we most certainly are! If your music was a chocolate bar, which one would it be, and why? Cadbury Marvellous Creations Jelly Popping Candy Beanies. Like us or not we’ll still be banging in your head after the show. Anything else to add? Check us out online at facebook.com/ creotheband, triplejunearthed.com/creo and creotheband.com.

ADRIAN BOHM PRESENTS

“This comic is that good… three words: do not miss” MELBOURNE HERALD SUN

“Has the audience simultaneously weeping with laughter and nodding in agreement.” ★★★★ – HERALD SUN

TH E RA CI ST

HURRY! SELLING FAST!

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R UBLE OVE YOU’LL DOLAUGHTER WITH EGO EXAMINER SAN DI

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

Beat Magazine Page 23

TOURING

WHO'S ON TOUR, WHERE AND WHEN

PROUDLY PRESENTS:

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

INTERNATIONAL PUBLIC IMAGE LTD The Palace April 11 ZUCCHERO Palais Theatre April 12 DIE! DIE! DIE! The Curtin April 13 MICK TAYLOR Ferntree Gully Hotel April 19, Corner Hotel April 20, 21 EXTREME The Palace April 19 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 HAYWARD WILLIAMS Northcote Social Club April 25 DIG IT UP! The Palace April 25 TOOL Rod Laver Arena April 27 THE BLACK SEEDS The Hi-Fi April 27 FLAMIN’ GROOVIES Caravan Music Club April 27 AEROSMITH Sidney Myer Music Bowl April 28, Rod Laver Arena May 4 BLACK SABBATH Rod Laver Arena April 29, May 1 THE BRONX The Corner April 30, May 1 THEY MIGHT BE GIANTS The Corner Hotel April 23, 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 BILAL The Hi-Fi May 4 HAPPY MONDAYS The Palace May 5 FRIGHTENED RABBIT The Corner Hotel May 7, 8 BETH ORTON Mt Michael’s Church May 8 JULIAN MARLEY Corner Hotel May 9 OM The Hi-Fi May 10 CRADLE OF FILTH The Palace May 10 TRUCKFIGHTERS Ding Dong Lounge May 11 JELLO BIAFRA Corner Hotel May 11, 12 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 14, 15 NEON TREES Ding Dong 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 BOBBY WOMACK Hamer Hall May 21 ...AND YOU KNOW US BY THE TRAIL OF DEAD The Corner May 22 KAKI KING Corner Hotel May 30 THE REVEREND HORTON HEAT Billboard May 31, Caravan Club May 23 THE MILK CARTON KIDS Thornbury Theatre June 6, St Kilda Memo June 8 THE BLACK ANGELS The Palace June 14 MUNICIPAL WASTE Corner Hotel June 23 A$AP ROCKY Festival Hall June 28 IDINA MENZEL Hamer Hall June 30 P!NK Rod Laver Arena July 7, 8, 10, 11, 12, 13, 14, August 27 TODD RUNDGREN Corner Hotel July 21 ALT-J Festival Hall July 30 JOAN BAEZ Hamer Hall August 8 AMANDA PALMER & THE GRAND THEFT ORCHESTRA The Forum September 20 FOALS Palace Theatre September 27 RIHANNA Rod Laver Arena September 30 ATP: RELEASE THE BATS Westgate Entertainment Centre October 26

NATIONAL DEAD LETTER CIRCUS The Corner Hotel April 12 DZ DEATHRAYS Ding Dong Lounge April 13 KYLIE AULDIST Caravan Club April 13 THE TIGER & ME Northcote Social Club April 13 BONJAH Corner Hotel April 13 KIRIN J CALLINAN Grace Darling Hotel, April 13, 14 THE TROUBLE WITH TEMPLETON Northcote Social Club April 17 NANTES Northcote Social Club April 19 SASKWATCH Prince Bandroom April 19 BRITISH INDIA Corner Hotel April 19 UNDERGROUNDLOVERS Corner Hotel April 20 EVERMORE, Thornbury Theatre April 21 MIDNIGHT JUGGERNAUTS Corner Hotel April 24 THE TEMPER TRAP Festival Hall April 24 TAME IMPALA Festival Hall April 26 THE DRONES The Forum April 26

..AND YOU WILL KNOW US BY THE TRAIL OF DEAD The Corner May 22 PROUDLY PRESENTS:

NANTES Northcote Social Club April 19 CHANCE WATERS Northcote Social Club April 26 HUNGRY KIDS OF HUNGARY Corner Hotel April 26 BIG SCARY The Corner April 27 VANCE JOY The Northcote Social Club April 27, 28 FLUME Festival Hall May 2, 3 MELBOURNE SKA ORCHESTRA Forum Theatre May 4 THE RUBENS The Forum May 10, 11 EMMA LOUISE Corner Hotel May 10 DRAGON The Palms at Crown May 11 THE SEEKERS Hamer Hall May 14 THE HEART OF ST KILDA The Palais May 14 JINJA SAFARI The Toﬀ May 15, 16 OH MERCY Northcote Social Club May 16, 17 THE STEVENS The Tote May 17 SAN CISCO Corner Hotel May 25 OWL EYES Corner Hotel June 1 THE SUPERJESUS The Espy June 7, 8 THE BELLRAYS The Corner June 12

Tuesday 30 April The Hi Fi Sydney thehiﬁ.com.au

Thursday 2 May The Zoo Brisbane oztix.com.au • thezoo.com.au

Tuesday 7 May The Corner Hotel Melbourne Wednesday 8 May The Corner Hotel Melbourne SOLD OUT! cornerhotel.com

SOLD OUT! Thursday 9 May Oxford Art Factory Sydney

moshtix.com.au • oxfordartfactory.com

‘PEDESTRIAN VERSE’ OUT NOW

Beat Magazine Page 24

CHUGGENTERTAINMENT.COM | XIIITOURING.COM | FRIGHTENEDRABBIT.COM

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

SOMETHING FOR KATE The Forum June 14, 15 EXPERIENCE JIMI HENDRIX The Palms At Crown June 14 THE BEARDS The Hi-Fi June 15 WAGONS Corner Hotel June 22 THE WHITLAMS Hamer Hall June 28 BALL PARK MUSIC The Forum July 5 YOU AM I The Forum July 6 GOLD FIELDS The Corner July 13

RUMOURS Tom Tom Club, Frank Ocean, The xx, Muse, Riﬀ Raﬀ, Dr Steve Brule, John Maus = New Announcements = Beat Proudly Presents

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Every Wednesday from 7.30pm Hosted By Jess McGuire & George H $16 pot and parma or tasty vege option Table Bookings Advised: 9427 7300

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Beat Magazine Page 25

PARAMORE BY JOSH FERGEUS

It’s been a rough couple of years for emo rockers Paramore. 2010 ended with brothers Josh and Zac Farro leaving the band in acrimonious circumstances, a development which could have devastated the young band given Josh’s key roles in songwriting and the band’s musical direction. However, sitting across from me in a suite at one of Melbourne’s grander hotels singer Hayley Williams, guitarist Taylor York and bassist Jeremy Davis appear positive, happy, and in control as they prepare to release their self-titled fourth studio album. “It feels different this time in a good way,” says Williams, diminutively sitting on her legs curled up against the corner of a couch. “I think the three of us are in a place where we’ve grown up this much together and we’re just really happy with how the band is working. It’s just less tense. We’re doing so much work for the album release and it’s just nice for things to be good within the band. If that’s not working then it makes things, like when we have to do interviews or we have to do photo shoots all day, strange. We’re in a good place and it’s new and exciting to feel positive about how things are working.” The trio are quite open about the experiences of the last few years, and the internal ructions within the band have left each of them to examine what it means to be bandmates. “It’s like any relationship, you figure out when to be there and when to leave people alone,” says York. “We’re finally finding out our dynamic and what each one of us needs. In that way we’ve definitely grown a lot. We try and help each other and keep each others’ spirits lifted.” Davis agrees as he sips at his cola, citing the external scrutiny that can put pressure on relationships. “I think that any relationship that people are watching has added stress on it that may not need to be there. I feel like we’re pretty good at that though, especially now. It’s just a learning process, really. Beforehand we didn’t really get that. As far as the band goes with people leaving and people wondering what’s going on, I think it’s just been good for us to have the support from our fans to say, ‘Take your time, we love you guys, we’re here for you.’ We’ve just had the support from a distance and that’s been good for us,” he says. “I was 16 when we started touring and we just never stopped,” says Williams. Taking some time off since 2009’s Brand New Eyes proved daunting. “The first few months I had no idea what we were doing. I kept thinking maybe we shouldn’t be taking this time off, we should already have the record written, and then I realised it was about how it was going to feel in the long run. We had to take care of ourselves if we wanted to be able to serve Paramore properly. We felt we were pressuring ourselves, but everyone just waited for us to be ready and that’s what made us feel so confident.” Beat Magazine Page 26

The trio also to had to find their feet when it came to writing for the new record, as Josh Farro had taken a great deal of the band’s songwriting experience with him. “We basically didn’t have any sort of a set pattern or routine for this record,” recounts York, who took on a far more significant role in the writing process this time around. “It was frustrating because you want that, you want to figure out your way of doing things. There were times where we had to surrender and I’d just pick up a ukulele or pull up an organ sound on the computer. Sometimes I’d be like, ‘When have I ever played the organ?’ but those would be the times when something random would hit us.”

“WE’RE SO PROUD TO BE IN THIS BAND AND WE’VE NEVER FELT MORE PROUD TO FLY THE BANNER OF PARAMORE. IT’S A NEW SEASON.” A key feature of the album is York joining Williams in the songwriting role. It seems that no-one in the band, including York himself, were quite sure what the end result would be, but Williams is effusive in her support of his contribution. The two worked together and apart to craft the songs on the album, challenging each other by regularly bringing ideas from left field to the table. What gradually emerged were 17 tracks in which the three are obviously personally invested. “That’s why there’s so many songs,” says Davis. We love them all.” Williams agrees. “It’s hard to pick a favourite. Every song feels different. We were just in different places throughout the whole process. Things were growing, life was happening, we were inspired by different things the whole time. So now when I listen to the record it takes me back to those moments. One day

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I might really be into One Of Those Crazy Girls or I’ll listen to Part Two and remember how it felt at the time,” she says. The feeling of connectivity to the music is what led the band to choose to lend the band name to the new album. “Naming a body of work is really challenging,” says York. “Hayley was just like ‘I was thinking we could self-title it?’ And Jeremy and I were like, ‘We can do that?’ It was the most incredible thing. It’s a statement. It’s to let people know that we have arrived and this is who we are. We’re so proud to be in this band and we’ve never felt more proud to fly the banner of Paramore. It’s a new season.” The album was produced by Justin Meldal-Johnsen, a former musical director for Beck and Gnarls Barkley. Meldal-Johnsen, known affectionately as JMJ to the members of Paramore, helped the trio to identify the heart of their new songs, attempting to support and enhance rather than meddle or change. David has stated that Meldal-Johnsen helped the band “paint the exact picture” they wanted. Despite the success of Paramore, given their relative youth and the events of the past two years it would be easy to forgive Williams, York and Davis for being a little nervous about the public reaction to their new music, but there is none of that to be found. “I think for the first time we’re okay with people saying and doing whatever they want,” says Davis. “It has been a struggle for each of us at some point to realise that people are going to say whatever they want. Making this record we were thinking, ‘Alright, let’s try new things’. We just wanted to make something we’re proud of, and we are. We’re always doing it for our core fan base, the ones who’ve been up the front at our shows since the start. But I think there’s definitely something here which may make people who weren’t into us before think, ‘Hey, I like this record. I didn’t listen to your old stuff, but this is good’.” “You have to trust people,” asserts Williams. “You have to trust that your fans are growing with you and they’ll enjoy more than just candy. Sometimes you have to feed them a meal. We had no real plan or no real idea of how it should sound or how it was supposed to be. We just let it happen and it was good. There were days when we tried to force it, where we said, ‘Okay let’s write another loud, riffy, guitar-driven Paramore song’ and there were days where that just didn’t work. You have to let inspiration lead you. We don’t want to force anything, we just want to let it happen. We need the music to speak for itself.” “We’re so proud of where we’re at,” Davis sums up. “The boat is already floating, the plan is just to stay in it and see where you end up. You don’t know what’s around the corner. It’s exciting and we don’t know where we want to take it. We just always want to be able to play shows for fans and make music that people care about.”

Paramore is out now on Atlantic/Warner Music Australia.

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Beat Magazine Page 27

THIS WEEK: ON SCREEN Red Hot Shorts is Melbourne longest running short film festival. Having found a home at ACMI, it presents a regular program featuring an eclectic and inspiring mix of short films and music videos from Australia and around the world. In April, Gusto Films teams up with the Melbourne International Comedy Festival to present a very special edition of Red Hot Shorts. Enjoy a night of witty and amusing short films and music videos, including award-winning local films Op Shop and Four. This is happening at ACMI this Friday April 12 from 7.15pm.

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

concept: building on JD Salinger’s A Catcher in the Rye, the cinematic images of James Dean and Marlon Brando constructed the notion of the teenager as an outsider, and a potential menace to society. Criminologists waged academic battles on the nature of crime and its underlying social and pathological causes; politicians wavered between compassionate attention and retributive policies. For anyone familiar with the standard fare of the tabloid media, it’s an alltoo familiar formula – and we’re still none the wiser. Spencer-Jones thinks that the pressures of adolescence remain just as diﬃcult as they were at the time Burgess wrote his novel. “My mum and dad were both adolescents in the ‘60s, and I’ve spoken to them extensively about it as I’ve been doing the play,” she says. “I think as social media has expanded, then the pressure on young people to have the latest phone, or fashion statement or whatever has only increased. It was no surprise during the London riots that young people were smashing shop windows and stealing the latest things in the window.”

ON STAGE The antithesis of computer and TV screen, Song renews the song cycle form in an immersive experience of live music, sound, text, wind, light and scent. Created by Ranters Theatre with acclaimed Brazilian visual artist Laura Lima, and UK musician James Tyson, Song places the audience within a constructed ‘nature’ – a world formed in the space between shifting skies and cushioning grass. Fragments of stories coexist with deeper narratives, the sounds of weather, the scent of ocean, forest or earth, the colours of day’s end. Song elicits responses to the increasing isolation of contemporary life and our often-romanticised relationship to the natural world. A cavernous indoor space becomes a multisensory environment in which audience members are invited to lounge on Astroturf mats, coming and going as they please. Fluid, fragmented, harmonious, Song is a live and musically rich exploration of place, wanderings and the nature of purposeful existence. Song opens next Friday April 12 at the North Melbourne Town Hall.

ON DISPLAY The Cicely & Colin Rigg Contemporary Design Award is an ‘Award of Excellence’ with focus on contemporary design practice in the state of Victoria. It is arguably the richest and most prestigious prize ever oﬀered to a contemporary designer in Australia, with a prize of $30,000. Held every three years, each exhibition is devoted to a particular design discipline, last year’s being dedicated to ‘vessels’ and the notion of containment. Though the exhibition will remain at the Ian Potter Centre at Federation Square for the next few months, coming up is an opportunity for the public to discuss the works in the exhibition with speakers Ian Mowbray, Richard Morrell, Yhonnie Scarce and exhibiting artists as part of NGV Australia’s Artists response series. This is a free event, happening at the Ian Potter Centre this Saturday April 13.

BEAT’S PICK OF THE WEEK:

While you’re already at the Ian Potter Centre, why not check out their newly opened exhibition, Mix Tape 1980s: Appropriation, Subculture, Critical Style? Remembered as a decade of big hair, shoulder pads, music videos and an art market boom, the ‘80s was a period in which artists took up a diverse range of aesthetic positions not merely as stylistic options but as trenchantly argued ethical choices. Mix Tape 1980s: Appropriation, Subculture, Critical Style explores a decade of dynamic change in contemporary art and culture, from appropriation and sampling in painting and music to the DIY aesthetics of post-punk music, art and fashion; and from postmodern critiques of history, authorship and originality to postcolonial revisions of Australian history and identity. This exhibition opens tomorrow Thursday April 11 and entry is free.

Beat Magazine Page 28

A CLOCKWORK ORANGE BY PATRICK EMERY

At age 14, Alexandra Spencer-Jones was given a copy of Anthony Burgess’s 1962 novel A Clockwork Orange by her “naughty” high school teacher. Burgess’s novel tells the story of 14-year-old Alex DeLarge, the notional leader of a band of droogs whose violent escapades are told through DeLarge’s idiosyncratic ‘nadsat’ dialect (derived by Burgess from the Russian language with which he was fascinated). Spencer-Jones, at the time immersed in JD Salinger’s A Catcher in the Rye, was immediately arrested by the dialogue and themes explored in Burgess’s novel. “I thought the book was really subversive when I first read it,” Spencer-Jones says. “But it’s interesting that as an adult I didn’t read it that way.” Spencer-Jones grew up in a working-class region of England and while she says her own upbringing was relatively stable, Spencer-Jones was aware of children around her whose dysfunctional upbringing could have led to the evolution of a character like Alex DeLarge. “I’ve never met Alex DeLarge,” Spencer-Jones says, “but I was at primary school with people with very difficult home lives. I was fortunate enough to have a strong parenting system, but I saw lots of people who had had a parent leave home, and who didn’t have that stability.” Ten years after she first read the book, SpencerJones was given the opportunity to direct Action Is the Word’s contemporary production of A Clockwork Orange. A critical success in England, the production features a 10-member all-male cast, nine of whom play a total of 74 different parts. “A more stable group of actors you couldn’t hope to meet!” Spencer-Jones laughs. “They’re certainly not rough boys.” A Clockwork Orange is divided into two notional parts: the first describes Alex’s violent activities,

including the rape of two ten-year-old girls; the second covers Alex’s arrest and purported ‘rehabilitation’ at the hands of the prison psychiatrist Dr Brodsky. “In the first half of the book Alex owns his own friends,” Spencer-Jones says. “But when he goes into gaol in the punishment part of the book, he realises that there’s always someone bigger than you.” It’s the first half of the book – aided and abetted by Stanley Kubrick’s vivid and provocative cinematic version of the book – that tends to define images of Alex. But Burgess’s themes are equally more subtle and more provocative than Kubrick’s film: in some respects, Burgess almost excuses Alex’s antics on the basis of his age, and his dysfunctional upbringing. “I think that Burgess captures the confused nature of not just adolescence, but of humanity full stop,” SpencerJones says. “When you look at the full novel [Kubrick’s film was based on the US version of the novel, which excluded the final chapter in which Alex decides to leave his psychotic ways], it does absolve Alex of his crimes, so that in that last chapter he shrugs off his crimes as the consequence of adolescence.” Burgess wrote A Clockwork Orange at a time when the ‘teenager’ had just become a significant sociological

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“KIDS WILL ALWAYS BE THE FOCUS OF BLAME, BUT A CLOCKWORK ORANGE TURNS THAT AROUND AND SAYS TO SOCIETY ‘YOU MADE US LIKE THIS’. WHEN YOU LOOK AT THE GOVERNMENT FIGURE IN THE BOOK, HE’S JUST AS MUCH A VILLAIN AS ALEX IS.” In an event of serious serendipity, A Clockwork Orange was being performed at the very time the London riots were going on. “There is a line in the book that refers to riots in the West End, and the people in the audience were seeing images of the riots at night, and they thought we were improvising in the play – but it was actually there in the book,” Spencer-Jones says. “I think the most interesting thing about the riots was the lack of progress that we’ve made since the ‘60s. Kids will always be the focus of blame, but A Clockwork Orange turns that around and says to society ‘you made us like this’. When you look at the government ﬁgure in the book, he’s just as much a villain as Alex is.” With the exception of the all-male cast – an aspect of the production Spencer-Jones says initially drew the suspicion of the estate of Anthony Burgess, who feared the female characters would be parodied (“they came to the see the play, and they fell in love with it,” Spencer-Jones says), and the use of music (as he rapes a woman in a laneway, Alex imagines himself in an ‘80s pop song) – Spencer-Jones says the dramatic production stays true to the book. “There’s hardly any part of it that’s dated,” she says. “He plays records, so that’s changed, but that’s the only thing that jumps out at you. And Alex’s dialogue leaves a lot up to you. And his droogs are ‘dressed in the very height of fashion’.”

A Clockwork Orange is currently playing at the Malthouse Theatre until Sunday April 21.

Presented by Ranters Theatre in association with Arts House and Monash University

Ranters Theatre

SONG Contemporary life immersed in sound, song wind and scent.

Arts House, North Melbourne Town Hall Fri 12 – Sun 21 April

Arts House is a City of Melbourne contemporary arts initiative

Book Tickets Now artshouse.com.au X 03 9322 3713

Explore Melbourne Zoo after dark in a world-ﬁrst interactive experience. Selected evenings at 6.30pm. See website for dates.

Book today www.zoo.org.au/ianimal or phone 1300 966 784 Recommended for 16 years and over Created by The Border Project ART PROCESSORS

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Beat Magazine Page 29

FOR MORE ARTS NEWS, REVIEWS AND INTERVIEWS VISIT BEAT.COM.AU TEN MONTHS IN A COLD TOWN

THE DEATH OF PETER PAN In collaboration with Fly-On-The-Wall Theatre, Chapel Off Chapel presents The Death of Peter Pan, Barry Lowe’s acclaimed play. Set in the 1920s, The Death of Peter Pan follows Michael Llewelyn Davies, the son of Peter Pan playwright J. M. Barrie, and Rupert Buxton, a dangerous man of uninhibited debauchery and desire, and their journey together. Told through the perspective of J. M. Barrie, Lowe crafts a deeply embroiling story of suppressed desire, love and conflict. Death of Peter Pan will be performed at Chapel Off Chapel from Wednesday May 15 – Sunday May 26.

SNAFU Theatre Company will be celebrating its tenth birthday with a new play at the Abbotsford Convent this month. Entitled Ten Months in a Cold Town, the play illustrates the town of an unnamed town under tyranny. Fun is prohibited, beaches are a fragment of the imagination and clapping can lead to a prison cell appointment. Two undercover agents met and become embroiled in a situation beyond their control. Think of Ten Months as the adult version of The Hunger Games mashed with J. J. Abrams’ Alias. Featuring an original score, sharp dialogue and guest artist Cazz Bainbridge, Ten Months in a Cold Town will make one reconsider their self-entitlements. Ten Months in a Cold Town will be performed at the Abbotsford Convent from Thursday April 18 – Saturday May 4.

In a backdrop of illustrious stories, Assassins, the newest production of fortyfivedownstairs, will delve into the story of infamous Americans who assassinated their presidents. Based off the book by John Weidman, Assassins will let you step into these American’s minds, including Confederate sympathiser John Wilkes Booth, Leon Czolgosz, and Charles Guiteau. JFK assassinator Lee Harvey Oswald will create a twisted, humourous recount of his tumultuous life, and what made him order that rifle in 1963, while Samuel Byck will detail his attempted assassination of Richard Nixon. Delivered with an abrasive, cold and black humour, Assassins will illustrate conflict of politics and life. Assassins will be performed at fortyfivedownstairs from Thursday April 11 – Sunday April 21.

A DEATH IN THE FAMILY Based on James Agee’s Pulitzer Prize-winning autobiography, A Death in the Family will be performed at Ward Theatre this April. Produced and performed by ward Theatre Company, A Death in the Family sees Petra Glesson, Soren Jensen and Lee McClenaghan present the story of a family stricken by grief. This tragedy brings the family closer together. Company Director Wendy Ward tenderises the topic, sensitively dealing with the inherent bound of blood and the tragedy of lives lost. A Death in The Family will be performed at the Ward Theatre, Dockland Cotton Mills from Saturday April 20 – Saturday May 25.

MR AND MRS MURDER Friday on my Mind presents Whodunit? The Mystery of Writing and Directing Mr and Mrs Murder later this month. Since debuting on Channel 10, Mr & Mrs Murder has received compliments for its comic book style and twisted humour akin to Desperate Housewives. To help unravel this success, Friday on my Mind will host a discussion with script producer Kelly Lew Fever and screenwriter/ director Sian Davies. Hosted by former MIFF director Sandra Sdraulig, Whodunit? is an event for all television aﬁcionados. Whodunit? The Mystery of Writing and Directing Mr and Mrs Murder will be hosted at ACMI on Friday April 12 at 5pm. Admission is free, though ticket bookings are recommended.

FELIX BAR COMEDY On Wednesday, it’s business as usual down at Felix Bar Comedy in St Kilda. Heaps more great comedy, but this week, they’ve got interstate and international guests too! It’s happening this Wednesday April 10 at 8.30pm for only $12, at Felix Bar, St Kilda.

THE HUMAN RIGHTS ARTS & FILM FESTIVAL

The Melbourne International Comedy Festival is halfway through and at Commedia Dell Parte this Thursday you can check out some great acts. With Luke McGregor, Arnie Pie, Alice Fraser, Sonia Di Iorio, Damien Power, Stuart Daulman and some special guests dropping in. With the last few weeks packing out you will need to get in early to grab a seat. The room runs on a ‘pay as you like’ basis, so come along and have a great laugh, then pay what you believe the show is worth on the way out. Commedia Dell Parte runs every Thursday 8.30pm, George Lane Bar, St Kilda.

THE MOULIN BEIGE The Moulin Beige has been bursting at the seams this Comedy Festival and features a mix of variety, vaudeville and stand-up. Join us on Thursdays 8.30pm or Fridays 11pm for our late and loud. Hosted by comic accordionist Liz Skitch, special guests this week include: Xavier Micheledies, Daniel Connell, cute comedy duo Libby & Kimberly, hula hooping bombshell Clara Cupcakes and more at The Burlesque Bar, Fitzroy, 7.30pm for 8pm.

During the comedy festival, Comedy At Spleen does what it does all year round: provide super sweet comics for two hours, for bugger all! They’re bound to have bonus international and interstate acts that you don’t see the rest of the year too! It’s this Monday April 15, 41 Bourke St, CBD, at 8.30pm. It may be free, but they appreciate a good gold coin donation at the door!

After smashing it at Melbourne Festival last year, Nilajaja Sun returns with No Child... a poignant, witty play about America’s education system. No Child... follows the story of a newly employed drama teacher and her confrontations with her students’ expectations — many are convinced they’re going to be drop-outs, criminals or low-income parents. These notions create an antipathy towards education that Sun illustrates vividly through her one-woman show. Sure to be insightful, No Child... will be performed at Theatreworks from Tuesday May 7 – Sunday May 19.

Exploring geometry this month, Anna Pappas Gallery presents Ernesto Rios’ Pyramidal-labyrinths and Tom Vincent’s Toroidal Fields. Inspired by geometry, Toroidal Field combines Vincent’s experiences as a graﬃti artist with Stephen Skinner’s belief of sacred geometry — geometry is the root of all nature. Through balance shapes, and spiraling colours, Vincent explores these notions with detail in his debut solo exhibition. Fine Artist Ernesto Rios returns with Pyramidallabyrinths. In this collusion of architecture and Tetris, Rios delves into the concept of introspective architecture — architecture that reﬂects the mind. Pyramidal-labyrinths and Torodial Fields will be both on display at Anna Pappas Gallery from Tuesday April 9 – Saturday May 11. Admission is free.

COMMEDIA DELL PARTE

COMEDY AT SPLEEN

NO CHILD...

ERNESTO RIOS AND TOM VINCENT

CHECKPOINT CHARLIE COMEDY Tonight they’ve got UK comic Anil Desai! You’re probably not going to want to miss this. Expect more big-name drop-ins alongside Karl Chandler, Jon Bennett, Greg Larsen and more! Plus free entry and shots for festival pass holders. $5 for non-pass holders. Plus cheap piss. Show kicks oﬀ 8.30pm tonight, upstairs at Eurotrash Bar. Get down early for a seat.

The Human Rights Arts & Film Festival has released its full program for next month. Launching the festival will be Alias Ruby Blade – a documentary about the tumultuous birth of East Timor and Australian activist Kirsty Sword’s relationship with Timorese resistant Kay Rala “Xanana” Gusmão. Following this, the HRAFF will host a collection of ﬁlms and exhibitions, including Tim Page’s Requiem – a selection of photographs taken during the Cambodian civil war, and Ombline, the story of a woman raising her child in prison. Closing the festival will be In the Shadow of the Sun, a harrowing documentary of the ritual killing of albinos in Tanzania. In the Shadow of the Sun follows albino Josephat Torner who decides stop these killings once and for all. The Human Rights Arts & Film Festival will run from Thursday May 9 – Thursday May 23, and will be hosted over ACMI, Yarra Gallery Federation Square, The Dax Centre, The Ownership Project, Bella Union, and RMIT Links Arts and Culture Space.

ASSASSINS

THE COMIC STRIP

SHANE WARNE THE MUSICAL Comedian Eddie Perfect is bringing back his creation Shane Warne The Musical for a 2013 season. Reworked into a new concert style presentation, Eddie Perfect heads up an exceptional cast including Lisa McCune as Simone Warne and Shane Jacobson as Terry Jenner to re-imagine Shane Warne The Musical as the epic, hero-worshiping, PR spinning, celebrityslaying, satirical homage he has always imagined to be. Shane Warne The Musical premiered in 2008, becoming an instant hit with critics and audiences alike, picking up Helpmann, Green Room and Premier’s Literary Awards and a glowing endorsement from Shane Warne himself. Shane Warne The Musical is happening for two nights only, Thursday June 20 and Friday June 21 at Hamer Hall.

MICF DAILY Can you believe that we are passed the halfway mark of the Melbourne International Comedy Festival? And you haven’t seen any shows yet because you’ve been so overwhelmed by choice? Start your festival with MICF Daily – Beat’s daily guide to everything ComFest. Every day, Mike Brown brings you the latest festival news, views, and giveaways, plus interviews with the fest’s funny people. Coming up this week on this show: Neil Sinclair, Commedia Dell Parte, Best of the Edinburgh Fest, Michael Hing, Hayman Kent, John Robertson, and Nicholas J Johnson. Start listening right now over at beat.com.au

Free Entry

Beat Magazine Page 30

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SUPANOVA BY JOANNE BROOKEFIELD

15-year-old Daniel Zachariou would think his adult self has the best job in the world. Zachariou’s job, as it has been for the past decade, is organising the annual fan convention Supanova. A celebration of popular culture, encompassing TV, film, geekery, gaming and gadgetry, collectibles, comics, cosplay and more, Supanova first opened in Sydney back in 2002 and had 6,000 through the door. The following year they added Brisbane, then Melbourne and Perth in 2008 and last year, Adelaide and the Gold Coast. The events, which Zachariou proudly describes as being “like the motor show but for geeks”, now pull on average 20,000 people per expo. Zachariou says Supanova is the biggest event of its kind in Australia. This year, there’s plenty to keep the autograph hunters happy. Headline guests include Doctor Who star Alex Kingston (who plays Professor River Song) and David ‘The Hoff’ Hasselhoff. Other actors include Eliza Dushka, Ray Park, Rose McGowan and Game of Throne’s Natalia Tena. I Dream of Jeannie’s Barbara Eden will also be in attendance, as will Noah Hathaway, Sam J.Jones and Ryan Robbins. Zachariou is particularly happy he has secured Adam Baldwin (from Firefly and Serenity) and Smallville’s Michael Rosenbaum as he has been chasing them both for several years now. “It makes it all the more sweeter when you get them,” he enthuses.

The multi Academy Award winning Weta NZ will present The Magic of Middle Earth. The Hobbit: An Unexpected Journey, will host actors Graham McTavish (Dwalin), Stephen Hunter (Bombur) and Dean O’Gorman (Fili) in a panel session hosted by Mark Ferguson, who is recognised as a Lord Of The Rings expert. Karl Urban, whose career was launched with his charismatic portrayal as Eomer in The Two Towers and Return Of The King is another guest. Stars from the worlds of anime and comics, plus screenwriters and authors, will also be there and there’s a trading floor where fun commodities and rare collectibles can be snapped up, plus other items, like DVDs, figurines, accessories and clothing. People are also encouraged to get into the spirit of the day and dress up, either just for fun or to compete in the Madman National Cosplay Championships. For Zachariou, it’s all about fun. “At the heart of it, there’s this 15-year-old pimply faced kid who’s really into comic books, movies, action figures and Dungeons and Dragons and they decided they’re going to put on a convention that’s basically going to represent all that and yeah, that 15-year-old boy is still very much excited about doing this and putting

on events that he would really enjoy at that age,” he says. Having said that, the Supanova event, which is this coming weekend at the Melbourne Showgrounds, is actually for the inner child in most adults - although real children as also deﬁnitely welcome as well. “As someone in their 40s it’s about that inner child in all of us, that wide eyed wonder, looking at the world and this is the beautiful thing about the fantasy world and the pop culture world that we inhabit. Whether through the written word or illustrated images or the CGI created graphics from computers or the ﬁlmmaking, it’s all about amazing stories told from a

slightly diﬀerent tangent that allows the fantastical to take us places we might not have thought or engage us in a sideways sort of stream, realising that there’s some pretty interesting questions being posed to us as we watch and address it,” he says. “So that’s the aspect that I think is important: that 15-year-old in all of us is engaged and brought forward when we’re talking about these type of events”.

am now but I think everyone remembers the story of the guy who tried to kill the president because he was in love with Jodie Foster. It was such big news,” he says on the phone from Revolt Studios in Kensington, where the cast have been rehearsing six days a week “trying to get this monster up in two weeks”. Preparing to play Hinckley was a mixture of research and interpretation, he says. “Because these people, you can’t ﬁnd too many interviews with them directly, or anything like that, so much is left to interpretation from looking at their given circumstances.” So how did he interpret him? “I looked at his family and the way his life went. At school, he did ok, he played sport, he was elected class president. When he left high school it seemed to fall apart a little bit. He moved in and out of home, he had a failed song writing career in Los Angeles. I just looked at how his father was the president of a company and after his brother graduated from quite a prestigious school was made vice president and I thought about the rejection he would feel, the inadequacy he would feel comparing himself to his father and brother and I took

that and was left with this really meek, sad person who just wanted to leave a mark but obviously didn’t know to do it and took it in quite a monstrous way”. Holly also watched Taxi Driver several times from Hinckley’s perspective, trying to better understand how the infatuation with Foster might have developed in his mind. “We need to as actors not judge these people for their acts, we have to play them as humanely as possible and therein lies the challenge, to not pass judgement on the characters we’re playing,” he says. “It makes it more disturbing for the audience to actually begin to like this character and feel for him as this helpless boy who’s in love with a movie star and then the shock comes from when you see it performed on stage that he did actually try to murder someone out of this love. This act was born out of this love but it was so hateful and despicable”.

In addition to the live music, there will be a soundscape playing during and between songs, courtesy of sound artist David Franzke, which will consist of atmospheric recordings from nature including weather, bush ambiences, the sea and various animal noises. The space will also be infused with corresponding scents. Created by George Kara, the scent of the ocean, forest or earth will add to the sensory experience. Light artist Stephen Hennessy provides the sun, in the form of a 4metre diameter disc hanging in the air. It will reﬂect the colours and ambience of the setting sun, based on recordings of the sky 60 minutes before night falls into darkness. Astroturf mats, cut into shapes, and small camping stools will be available to the audience, who can explore the space and decide where they sit

– or even lie. “They can get a beer, come back in,” says Cortese, who expects every audience member to have a diﬀerent experience, depending on where they are in the room and how they choose to interact. “This is a massive hall, so when you sit down on the ﬂoor, it’s got a sense of space and emptiness and wonder but at the same time, we’re not hitting anyone over the head. We’re just going this is a place for you to come and listen and experience subtly and quietly, because it’s not a raucous event, and sit and see what happens to you”.

Supanova runs at the Melbourne Showgrounds from Saturday April 13 to Sunday April 14.

ASSASSINS BY JOANNE BROOKEFIELD

There are many ways for a suitor to woo a potential love interest. You could send gifts, write poetry or you could attempt to assassinate a president. John Hinckley Jr developed a fascination with American actor Jodie Foster after she played a child prostitute in the film Taxi Driver. Wanting to win her affection, and finding that stalking her failed to do the trick, he hatched a plan to kill a president to impress her. He originally intended to kill President Jimmy Carter but on March 30, 1980 Hinckley fired six shots out of a revolver at US President Ronald Reagan. He missed Reagan directly, although a ricocheting bullet did seriously injure him, and he shot three others in the attack. No one died, although one victim remains paralysed as a result. Hinckley is one of many – and we’re talking double-digits as a figure – who have attempted to assassinate American presidents throughout history. Four have actually been successful, with Presidents Lincoln, Garfield, McKinley and Kennedy all meeting an untimely demise at the hands of another. What motivates them to do such a thing? Stephen Sondheim and John Weidman’s musical Assassins explores that very question. The black comedy first opened Off-Broadway in 1991, and the 2004 Broadway production won five Tony Awards. The latest production opens tonight in Melbourne, starring Nadine Garner as Sarah Jane Moore, who attempted to assassinate Gerald Ford and Nick Simpson-Deeks as Lee Harvey Oswald, who shot dead JFK. Playing Hinckley is Matt Holly, who most recently toured nationally in A Chorus Line and will be in the Australian return of Wicked. Joining him playing other historical figures – as assassins and presidents – are cast members

Mark Dickinson, Shane Nagle, Luigi Lucente, Matt Holly, Aaron Tsindos, Tod Strike, Sonya Suares, Shelli Jean Grant, Martin Lane, Nic Kyle, Jennifer Reed and Leighton Young. “The cast are a dream team who will have the audience in stitches one moment and close to tears the next,” says director Tyran Parke. “As a show, it strikes that perfect balance between challenging ideas and sheer entertainment,” he says. The show, says Holly, is a series of vignettes which are mostly sung. “There are some really, really great little scenes though. It’s a book musical so there are linking scenes,” he explains. “There’s no solid time structure because there’s people who tried to kill presidents hundreds of years ago and people who tried decades ago, so we’re in this almost limbo time frame where the conﬁnes of time and space aren’t relevant. My number that I have, the love song, is performed with Lynette Fromme, who is one of Charles Manson’s women,” he says. Fromme attempted to assassinate President Ford in 1975 and was released from prison in 2009. The score spans historically relevant genres, from folk to ragtime to big Broadway ballads, hoe downs and barber shop quartets and is overseen by Musical Director Luke Byrne. Holly says he was familiar with Hinckley’s story before signing on to play him. “I wasn’t as deeply informed as I

Assassins plays at fortyﬁvedownstairs from Thursday April 11 - Sunday April 21.

SONG

BY JOANNE BROOKEFIELD

Collaborations usually begin with mutual respect and a desire to work together. That can be the easy bit; harder is working out “what should we do?” Artistic Director of Ranters Theatre Adriano Cortese and James Tyson, a theatre and dance curator in Cardiff, already had a previous working relationship. “He’s presented our work a number of times and he just happens to also write music,” explains Cortese. “I listened to a couple of his CDs and that’s when we got the idea of working together and creating some kind of song cycle.” So, three years ago, they gathered in a room. “We didn’t know where to start,” admits Cortese. Tyson had just returned from a holiday to the island of Guernsey and had with him the book, Toilers of the Sea, by Victor Hugo, which was first published in 1866. “So we thought, just to kick start this, let’s all read the book,” says Cortese. Romanticism plus relationships to nature, solitude, travel and work – the toil the title addresses – all came up as themes they found interesting. “So the songs sprang from that discussion,” says Cortese. Tyson has written original songs, with a folk influence, especially for this installation, which is called SONG and opens Friday night. The songs don’t follow traditional structure – “ok, now he’s a chorus, here’s a hook” – but are different. “Sometimes they end in suspension and we’re playing with that, so they’re not always a pleasing song form,” says Cortese.

Tyson will be singing and playing live, accompanied by two other singers on guitar and piano, although they will all be behind a curtain. “We wanted that live sense…we wanted to retain that quality but the actual auditorium will be a giant listening room, really,” he says. Cortese says he and Tyson knew they wanted to present a song cycle but didn’t want to do a concert or a gig. “We wanted some sort of way to listen to these songs and then we just thought we’d create some sort of environment in which to listen to them and at that point, we engaged Laura Lima”. The Brazilian conceptual artist brought the concept of landscape to the project and the Arts House at North Melbourne has been “stripped back to its architecture” and the cavernous space is being transformed into a synthetic landscape, where audience members can have a multi-sensory immersive experience.

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

SONG plays at Arts House, North Melbourne Town Hall from Friday April 12 - Sunday April 21. Beat Magazine Page 31

PETER HELLIAR WHATEVS (...FOREVS) For the Melbourne International Comedy Festival last year, Peter Helliar was Snazzy. Decked out in ruﬄe fronted shirt with a baby blue suit and bow tie, perched on a chair in front of the classic debutante ball backdrop, Helliar grinned inanely from his posters, looking like a socially awkward, yet dementedly optimistic virgin, unaware that he was destined to be going home alone again. The image captured perfectly how cringeworthy – and how comic – the past can be. Helliar, who’s made his name mining nostalgia for such nuggets for almost two decades now, believes that the memorable Snazzy image helped his new stand up show, Whatevs (…Forevs), when it performed at the Adelaide Fringe earlier this year. “It went amazingly well in Adelaide, we had an incredible run,” Helliar tells Beat from Dunedin, New Zealand, where’s he’s ﬁlming a guest spot in a local TV comedy series there. “I’m not sure what happened, we doubled our ticket sales from last year,” he says. The week-long Adelaide run was performed in a bigger venue than he’d usually play, simply because it was the only one left available. “We were a bit nervous about it,” he admits, but he “pretty much sold it out”. While Helliar was trying to come

up with reasons why – he thought recent appearances on The Project may have helped – his manager had another explanation for him. “He said, ‘Snazzy was the best show you’ve ever done and people are coming back and that’s what happens’. I said, ‘You should have told me that years ago!’” Helliar says, laughing. Whatevs (..Forevs) continues with the theme, at least in terms of another poster shot – almost sepia tinged this time – which takes the piss out of the earnestness of both the ‘70s and current hipsters. The show title, explains Helliar, is a contemporary term with his little twist at the end. “The poster is like me as a ‘70s porn star, so that kind of juxtaposition is roughly a theme of the show – trying to remain young but getting older and caught in between,” he says. Obvs, espesh, ridic, awks, totes – they speak a whole new language; and Malvern Stars have been replaced by ﬁxies, the tracky-dacks for skinny jeans, but Helliar says he’s not having a massive go (“kind of a go but not a massive go”) at the youthful and hip. “I’m not sitting on a rocking chair on my porch talking about the young people and how fucked they are. I’m aware that there’s

M A RY

T O B I N

generational shifts, I embrace some things and I don’t [others] and it is a lot about me trying to relate to the youth, but there’s also just stuff about me and my own kids,” he says of the show’s content. Whatevs (…Forevs) opened last night and will run for a fortnight. “I discovered a few years ago that doing two weeks is enough,” he says. “It’s more of a, dare I say it, life balance. You bump into comedians on the third Wednesday and they’re not enjoying life, so I really enjoy looking forward to each and every show”. But there’s also the fact Helliar has a new show in post-production with the ABC, which he’s hoping will hit screens in August. The show, called It’s A Date, was created by Helliar, who then worked with a different writer on each episode. Helliar already has a RomCom – 2010’s I Love You Too – on his writing credits and he’s returned to the idea of romance. Each episode features two dates, linked by a thematic question (such as “how honest should you be on a first date?”) that explores the idea from different perspectives. Different cast appear in each episode as well. “There’s a great mix of household names and some up and coming comedians” says Helliar, who also tried his hand directing two of the episodes and acted in another. But until his screen career consumes him completely, there’s his live show. What’s that poster picture really telling us: is his true inner self some kind of ‘70s porn star? “I was born in 1975 so I’m not sure that I rocked too many porn mos in the ‘70s but I do like

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the look though,” he laughs. “I’d probably be more ‘80s. So next year I might be rocking an ‘80s poster”. BY JOANNE BROOKFIELD Venue: Victoria Hotel - Banquet Room, 215 Little Collins St, CBD Dates: April 9 – 21 (except Monday) Times: 7pm (Sundays 6pm) Tickets: Full Saturday $35, Full Wednesday - Friday & Sunday $33, Conc, Laugh Pack and Group $30 (N/A Friday & Saturday), Tightarse Tuesday and Preview $25

TOM BALLARD

P R E S E N T S

MY EGO IS BETTER THAN YOUR EGO

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Tom Ballard’s new stand-up show is called My Ego Is Better Than Your Ego, and you may not be all that surprised to learn that the inspiration came from somewhere very personal. “Last year, people got angry about something I said on the radio,” Ballard tells me. “They were furious, and they made a lot of complaints, and it made me wonder why I do this, and how I got to that point.” The show, he tells me, is about being a performer – it’s about the reasons we so desperately want people to like us, and about the lengths we will go to in order to make that happen. The incident that sparked it all was a Holocaust joke that Ballard made on the triple j breakfast show last year. He didn’t think much of it at the time, but he quickly found himself in the midst of a storm of outrage. It was as if he’d gone viral, but rather than people laughing at a video of him hitting his nuts on a trampoline, they were really, really angry at him. “It was a very weird time in my life,” he says. “It was a very intense two or three days. It made me realise the impact you can have when you’re speaking to a national audience. People were really pissed to hear something they felt was inappropriate on a national broadcaster.” Ballard apologised straight away, and embarked on a round of interviews that analysed and agonised over his like from all angles. “I’m a better person for it,” he says, “and I’ve come out of it stronger. I think, or at least I hope, that all the people who were upset have accepted my apology and moved on.” Nonetheless, the situation got him thinking about comedy in the internet age – about the boundaries you can push, and about the instant feedback that social media provides. “While I was happy to admit that I was wrong, there were aspects of the incident that felt pretty unfair, and made me angry.” “There are times where people are legitimately outraged and offended, and then there are times when people are a bit bored and looking for a hashtag on Twitter,” he says. “That’s a weird quirk of the era we live in. So the show’s about that. It’s about the idea of online feedback, the nature of offensive comedy, the importance of saying what you mean ...” he pauses. “All of those ideas feed into the show. I felt I needed an hour to talk through all those things, so that’s basically what I’ll be doing. Some people might come to the show and think I’m just as much of a dickhead as before, some might come and find it an enlightening experience.” While Ballard’s apology was thoughtful and genuine, he has not allowed the incident to blunt him as a comedian. Taking a leaf from Louie CK’s book, he maintains that offensive comedy is just fine, as long as it’s delivered in a thoughtful and considered way. “There are a lot of very dark jokes in the show,” he says. “I guess the thing is that it’s all about context. It’s a stand-up show in front of adults, in front of an audience of people who have paid to be there, and I think I can say a whole lot more to those people than I can on breakfast radio on the ABC. That’s the way it should be, to be honest. If those two worlds met, there’d be a lot of problems.” BY ALASDAIR DUNCAN Venue: Swiss Club, 89 Flinders Ln, CBD Dates: Running until April 21 (except Mondays) Times: 7pm (Sundays 6pm) Tickets: Full Saturday $28, Full Wednesday - Friday & Sunday $26, Conc., Group, Laugh Pack (N/A Friday & Saturday) $24, Tightarse Tuesday $22

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BEAT MAGAZINE PAGE 33

SCHOOL DANCE

School Dance tells the story of three somewhat nerdy teenage boys on a quest for acceptance. It’s about the highs and lows of the adolescent experience – the awkwardness, the humiliation, the occasional joy when it all works out. “Essentially, you have these three friends and the school dance is their night to step up and prove themselves,” composer and performer Luke Smiles tells me. “You know it’s going to be an absolutely torturous night for these poor guys, but what happens is that one of the three is so anxious about asking a girl to dance that he becomes invisible. The play ends up being a crazy quest for the other two as they race around trying to ﬁnd a way to bring their friend back to the real world.” The show features all of these things, plus an ‘80s soundtrack, and synchronised BMX dancing. Needless to say, it’s a raucous night out. Smiles created the show with his co-stars Matthew Whittet and Jonathon Oxlade, and they drew a lot on personal experiences for the story of the three nerds. “A year before the premiere of the show, we got together with the director Rose Myers and talked about our time

in high school,” he tells me. All had different experiences, but anxiety and the need to fit in proved to be common threads. “I think the school dance is a great way to bring all the different kinds of high school trauma together,” Smiles says with a laugh. “There’s a lot of us in the show. We’ve woven our personal stories in, and amplified them a bit. That’s what you see onstage. None of us ever became invisible, but the story still comes from a place of truth.” High school is always tough, but if you’re a boy who dances, it’s going to be even tougher. “I did ballet from the age of five, all the way through to high school,” he says, with audible cringe. “As you can probably imagine, that was not the appropriate thing for a boy at a somewhat rough suburban Australian high school.” There was no one defining awkward incident for Smiles – no pivotal point when he was stuffed in a trash can or locker – but he spent many years dodging and weaving between groups to try and survive, to avoid the bullies and get cool with the people that might have been able to help me out. “High school is very treacherous ground,” he says. “I guess any high school can be rough, depending on who you are, but

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that’s really what the play’s about.” The show’s three leads to more than just performing – Smiles wrote the music, Oxlade did the design, while Whittet wrote the script. Working together as a creative team brought the three very close, and needless to say, they are very invested in the show’s success. “We ended up with a show that was a lot greater than the sum of its parts,” he says. “Everyone brought diﬀerent inﬂuences, but they were all integrated really beautifully. We’re really moved when we have people in the foyer come up and tell us what they thought. We’ve had people come up and tell us how the characters in the show were right on the

UNTIL 21 APR

TOWN

HALL

BY ALASDAIR DUNCAN Venue: Arts Centre Melbourne – Playhouse, 100 St Kilda Rd, CBD Dates: April 10 – 20 (except Monday) Time: 6.30pm Tickets: Full $29, Group $26.50

SQUEAKY CLEAN COMEDY

MARY TOBIN PRESENTS

MELBOURNE

money, how they themselves had those experiences in high school. We love hearing that. It’s fantastic. We have a lot of regard for each-other in this creative team, it’s really awesome.”

“it’s impressive and it’s very funny“

★★★★

FA S

HERALD SUN (APRIL 2013)

PHOTO BY REBECCA TEAGUE | DESIGN BY ZOLTRON

Squeaky Clean Comedy, presented by Candlelight Productions, is back at the Melbourne International Comedy Festival in 2013 after highly successful runs in 2011 and 2012. Dave O’Neil joins favourites Michael Connell, Mike Klimczak, Beau Stegmann, ventriloquist Sarah Jones and more on the lineup this year in what is guaranteed to be an entertaining night of comedy you won’t be ashamed to take your nan to. Candlelight Productions is volunteer-run, and you’ll notice the minute you set foot in the venue that they’re an enthusiastic bunch. It’s a really nice vibe, nurtured by Candlelight’s ethos which is centred around creating therapeutic environments to grow and nurture people through the creative arts. Their work seeks to address social issues and stimulate discussion. Once more this year they are supporting World Vision through cobranding Squeaky Clean Comedy. Their approach has proved highly appealing to artists since their first foray into comedy several years ago. “We’re still getting comedians calling up now saying, ‘Can we jump in for this year’s comedy festival?’” says Eugene Wong, Director of Candlelight Productions. “It’s crazy.” The rebellion against needlessly crass, or ‘blue’ comedy has grown the last few years, and Squeaky Clean Comedy has struck a chord with audiences with the shows pulling in huge crowds to the Melbourne City Conference Centre – a 700 seat venue – the last few years. “We’re not slamming any type of comedy,” Wong explains about the show. “We’re just saying there are a whole lot of possibilities for making comedy. We’ve got a stellar lineup this year, and we’re just using it to encourage comedians to create material like this if they want to. In order to be clean and funny we think you’ve got to be creative in ways you don’t necessarily have to be if you’re not. Comedians need to be really talented.” Elsewhere clean comedy has been associated with church groups or focused on ‘family friendly’ material, but Squeaky Clean Comedy is primarily about removing the unnecessary rough edges and letting the real wit and talent of comedians shine through. Jerry Seinfeld and Ellen DeGeneres are two classic examples of world-class comics who’ve developed their career without reverting to vulgarity for easy laughs. That’s not to say that there’s no sign of more ‘adult’ issues. Michael Connell likes to tell stories about his encounters with the homeless, and Beau Stegmann’s act in this year’s show features some jokes about drug and alcohol addiction. Still potentially risky stuff for any comedian – there’s a fair degree of walking the fine line required. Originally Squeaky Clean Comedy was somewhat of a matter of convenience. “We got this big venue which was really exciting, but we were thinking about how we would go about making an impact in such a big pool as the Melbourne International Comedy Festival. Someone had the idea of going clean.” Since then it’s become somewhat of a guiding philosophy, encouraging comedians to try something new and providing a space for those who work consistently clean. “The comedians who are involved predominantly work clean all the time,” says Wong. “It’s not the thing which defines their comedy, they just happen to be clean. It tends to flow really naturally out of who they are. There are some people who swear lots, and there are others who in everyday conversation don’t swear much.” BY JOSH FERGEUS

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Venue: Melbourne City Conference Centre, 333 Swanston St, CBD Dates: April 13, 20 Time: 7.30pm Tickets: Premium Seating $35, Full $30, Conc. $25, Group $24

IAN BAGG Not everyone can say they have met Brad Pitt and of those who have, not all can say they pissed him oﬀ. But Ian Bagg has done both. The stand-up comedian was doing red carpet interviews at the Screen Actors Guild Awards when he encountered the Hollywood actor. “I started the interview with ‘what’s your name fella?’ And it went downhill from there,” recalls Bagg. Pitt actually answered the question. “He goes ‘Braaaaaaaaaaaaad. Pitt,’” says Bagg, drawing out the ﬁrst name in a mock all-American drawl and spitting out the second, imitating Pitt’s response. “He got snippy and I just laughed. The next question I asked him was ‘have you ever had a chocolate covered pretzel?’ and he’s like ‘what are you asking?’ and [I said] ‘just answer the question, Braaaaad’”. Bagg has a couple of Hollywood tales to tell, although the others are more self-deprecating. He says he is the only one known for working with famed director/ producer Judd Apatow and not becoming a multi

billionaire. Bagg was cut out of the film Funny People and says he was also cut out of the film Coyote Ugly. “I’ve got that career that we make a lot of pilots that don’t make it on air and I get cut out of a lot of movies,” he says. Bagg’s CV does list other acting credits, however, in independent films and he’s made several television appearances on The Tonight Show with Jay Leno, The Late Late Show with Craig Kilborn and The Late Late Show with Craig Ferguson. His own stand-up special, Getting To F**king Know You, aired on Showtime in the States on Saturday. “I’m over here and I’m missing the premiere,” he tells Beat last week, just after he’d come offstage from performing at a football club luncheon and was still in the venue. Our interview will be interrupted later by members of the club wanting to know where he’ll be performing later that night as part of the Melbourne International Comedy Festival. “They all want to come in so it’s nice,” he says.

REVIEWS:

Bagg, who says he is from “a small country oﬀ the coast of Japan called Canada” although now lives in California, is back in Australia for his third comedy festival here. He’s performing a short run of shows as part of the Carnivale Of Comedy at the Wonderland Spiegeltent down in Docklands, which combines acts of intrigue and wonder, acrobatics and other sideshow antics in addition to a lineup of headline comedians. Dave O’Neil, Lehmo and Mick Molloy are also on the bill throughout the festival and Bagg will be performing with Fiona O’Loughlin and the Nelson Twins this coming Thursday, Friday and Saturday nights. Bagg’s sets are largely improvised. “Yep, that’s how I do it. Have fun and talk,” he says. “I was given a huge ferris wheel that doesn’t work, a Costco that’s outside, the fact that I’m on this circus show with six other performers and one’s naked and one’s twirling from the roof and one does singing and there’s a comedian and there’s a host and then there’s me, so there’s tonnes to talk about,” Bagg says of his content of his opening show last week. “It’s almost like an old fashioned variety show, which is kind of cool”. BY JOANNE BROOKFIELD

Venue: Wonderland Spiegeltent, 120 Pearl River Rd, Harbourtown, Docklands Dates: April 11 – April 13 (as part of Wonderland Carnivale) Times: 7.30pm Tickets: Full $25, Group and Conc. $20

M A RY T O B I N P R E S E N T S

ASHER TRELEAVEN BAD DANDY

No-one asked for an iPad to be invented – but when it happened it just felt so right. Just like Rob Hunter’svLate O’clock. Take a generic American style talk show format, fill it with comedians as guests and add a host that flings a stinging backhander to every platitudinal question posed. It sounds like a winning formula, and it is. Hunter delivers his role as a socially awkward naive and bitter TV personality superbly giving his guests room to flex their own comic clout on the defensive. Dave O’Neil deflected polished insults with aplomb and while he did play the fat card quite a few times – it was really funny, so who cares. Late O’Clock’s guest list is quite impressive and O’Neil delivered the goods to back up his impressive record. As Hunter put it “I’m talking about your career and not your physique when I say, you are literally everywhere”. Clare Hooper was Dave’s second guest both in appearance on stage and in fluidity of banter. While she kicks it with the best on TV, in person she wasn’t able to deliver the laugh a minute fun that other comedians can. Jason English, the musical act and co-host, also lacked the rapid fire laughs but with his shiny teeth and polished demeanour he charmed the audience through slower moments and really delivered where it counted - getting the biggest laughs of the night. Check out his show Pop Rocketeer. The concept is a winner and provides a delightful mix of laughs in a fresh format.

★★★★

HERALD SUN (APRIL 2013)

UNTIL 21 APR ATHENAEUM THEATRE NG !

LATE O CLOCK

“ slick and accomplished…His material is impeccably crafted, his comic timing skilful…intelligent wit and down-anddirty, idiotic naughtiness”

AY I

ROB , HUNTER

THE SPOKESMAN

Asher Treleaven - Bad Dandy is playing at the Victoria Hotel - Vic’s Bar until Sunday April 21.

NO W

Asher Treleaven spent a decent amount of time framing soft porn pictures to decorate his stage, but seemingly less time refining his jokes. Bad Dandy relies more on Treleaven’s affected stage persona than on the actual material, much of which feels like it is still being worked out. Punctuating punch lines with balletic ninja kicks, Treleaven launched into his now customary meta-comedy, beginning with a sour and not-too-funny dissection of Australia’s tall poppy syndrome. The gist was this – Americans laugh loud and easy for anyone who takes to the stage where Australians work hard to hide their amusement, on the basis that we resent comedians for trying to be funny; an interesting line of thought when you’re facing an Australian audience. Treleaven then went on a rambling and not-too-clever explanation of how stand-up works, eventually declaring that he was re-branding himself an ‘edgy’ comic. To demonstrate his prowess in the style, he named a number of ‘edgy’ topics – he literally named the things edgy comics talk about, cocked an eyebrow and nodded sagely. It was kind of funny. The show closed with a very elaborate interactive bit involving the global financial crisis and several bags full of stuffed toys. Treleaven was aiming for a great crescendo, a madcap finale that would stick in the mind of his audience for its zany, hysterical bigness. The only problem was that the whole concept – the details of which I will spare you – didn’t make sense. We were left confused and battered, and missing the joke. BY SIMONE UBALDI

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BY JUSTIN WATTS Rob Hunter - Late O’clock is playing at the Melbourne Town Hall, Cloak Room until Monday April

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REVIEWS:

PAUL FOOT

KENNY LARCH IS DEAD

MATT OKINE

BROKEN DIAMOND HOUSE At the time of writing, I’ve seen 42 shows so far at MICF this year. Matt Okine has been my favourite. His delivery is sublime. When he reaches the punchline of his stories, he lets out a Dave Chappelle-like shriek that acts like a metaphysical tickle. Perhaps I laughed so much because I could relate to much of his material, but the way he can tackle such petty issues like the numbers on a toaster and mix them in with bigger lessons from his travels in Africa is simply brilliant. His set was also incredibly honest, building up tension towards the revelation of one hysterical secret. Okine’s strength is not only that he talks about what he knows, but the relaxed, colloquial language he employs makes the whole show feel like a conversation rather than a

monologue. This is one of the things I’ve learnt about what separates excellent comedians from the good comedians: jokes and stories are told as if the comedian was talking with friends, rather than lecturing at an audience. A RAW Comedy ﬁnalist about eight years ago, and winner of the Best Newcomer Award at MICF 2012, Okine has the storytelling ability of a veteran who’s been in the game for decades, and combines this with accessible material relevant to a younger audience. BY NICK TARAS Matt Okine - Broken Diamond House is playing at the Portland Hotel, Portland Room until Sunday April 21.

Paul Foot is absurd, original, eccentric and brilliant. However, after this year’s show, I wonder if perhaps I appreciate him as a comedian because of his uniqueness rather than judging him on the laughter he provides. There’s just no comedian like him. The beginning of last year’s show comprised of Foot rambling offstage – in what felt more improvisational than rehearsed (even though it almost certainly wasn’t) – for over 15 minutes. It’s actually very difficult to recommend him to friends purely because it is vital that their sense of humour is broad enough to enjoy his nonsensical stories. My parents, for example, would hate him for the same reasons that some of my friends love him. This was certainly the case in the audience, where you could see that certain people were clearly not enjoying him while others were in hysterics. His style is so refreshingly different to other comedians, and that’s great, but I just didn’t laugh as hard this year as last year. I don’t think it’s because the novelty of his comedy has worn off – Foot is too talented and experi-

enced to be considered gimmicky – but I didn’t feel it in my goolies this year. The show has some moments where you think “that’s brilliant” but it felt as if this year’s show lacked the edge, or surprise, of last year’s. This, however, doesn’t mean he wasn’t funny – the show had some hilarious moments – but on the whole I left the venue smiling rather than laughing. BY NICK TARAS Paul Foot - Kenny Larch Is Dead is playing at The Hi-Fi until Sunday April 21.

SIMON MUNNERY FYLM-MAKKER

Simon Munnery is leagues beyond any other comedian you will see this festival. I can’t use enough adverbs to describe his comedy. He is really, really, really good. He is totally excellent. He is literally rib-shatteringly funny, deeply profound, seemingly inane and overwhelmingly pink. And not above the odd cock joke. In Fylm-Makker, Munnery evokes the ghosts of his brilliant League Against Tedium show, projecting his face onto the stage with a video camera. This time, he remains off stage for the duration, using separate video channels to switch between his face and a series of hand-drawn animated pictures, which he uses to illustrate a stream of non-sequitur jokes, puns and word play. In Fylm-Makker, in no particular order, he recreates a scene from The Good, The Bad and The Ugly, introduces us to Snifflick and Woffles, dog detectives, and takes us on a journey through the Stations of Lacrosse. There is musical accompaniment from unheralded comedy fest veteran Mick Moriarty, audience interaction and at one totally unexpected point, a large pink penis. Munnery also revisits his Venn Diagram bit in Fylm-Makker – an visual joke about his work being so far out on the edges of comedy that it comes close to modern art (according to one reviewer). As Munnery points out, this would imply that his comedy is very close to not funny, or conversely that his art is a joke. This repeated segment seems necessary for Munnery, since the show is so original, ambitious and odd that it may just help audiences to process what they’re seeing. It’s unusual, this show, because it’s genuinely creative. Simon Munnery makes truly artful comedy, or comedy that is a work of art. BY SIMONE UBALDI

Simon Munnery - Fylm-Makker is playing at the Victoria Hotel - Vic’s Bar until Sunday April 21.

TOM GLEESON HELLO BITCHES!

Tom Gleeson has no respect for authority and he secretly hates Wil Anderson’s hair. Hello Bitches! is slightly edgier in subject matter than his previous work, but still safe in terms of sticking to traditional stand-up. He bases his material around everyday life: getting his first iPhone, ageing and fatherhood. Void of any set values or morals, Gleeson has begun to question how to raise his one-year-old daughter. He treads potentially risky ground as he shares what he really thinks of religion (particularly Christians and Jews). These jabs seem to be in the name of a good joke, though it’s doubtful he cares if a few people are offended along the way. Perhaps in an attempt to prove that he’s capable of more than the usual scripted shows, Hello Bitches! opens with a good chunk of audience interaction. Gleeson maintains quick-paced banter, using little more than audience member’s name and occupation to create an impromptu bit. It’s here that we see that Gleeson is truly coming into his comedic element. Anecdotes about yelling at customer service representatives are well delivered and easily achieve desired laughs. The horror of Gleeson seeing himself facedown in a mirror begins a string of self-deprecating jokes about ageing. The show does seem to end abruptly though, and afterwards Gleeson opens to audience feedback – an interactive segment far less effective than his opening. After telling the audience repeatedly to ‘go fuck yourself’, he quickly returns to a fatherly anecdote to remind us that he is a good guy after all. It’s refreshing to see Gleeson letting loose, even at the risk of been seen as unpleasant. The slightest bit of inconsistency is worthwhile to see him branching out into more bold and hilarious avenues. BY MEGAN HANSON Tom Gleeson - Hello Bitches! is playing at the Melbourne Town Hall, Supper room until Sunday April 21.

BEAT MAGAZINE PAGE 36

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MELBOURNE INTERNATIONAL COMEDY FESTIVAL

AKMaL A-LIST ENTERTAINMENT PRESENTS

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“An explosion of laughter and entertainment” The Daily Telegraph

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HURRY CLOSES THIS WEEK

“If you’ve seen Flanagan on The Project, you’ll have an idea of what to expect ” but she’s even better and faster live.”

They are awesome. - The Age

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ATHENAEUM THEATRE NOW PLAYING UNTIL APRIL 21 BOOKINGS: 132 849 or comedyfestival.com.au

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THE HIFI NOW UNTIL 21ST APRIL7PM

As half of the Umbilical Brothers, shane dundas fell down a lot. Now with this solo show, he will need to stand-up. Can he make you believe?

“This is a fascinating show.... An absolutely captivating performer.” The Scotsman

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PRESENTED BY A-LIST ENTERTAINMENT

Bev Killick Goes‘There’ ...Again Join the star and co-writer of Busting Out! as she puts the puppies back in the kennel and steps out for an hilarious night of stand up comedy where nothing is sacred. NOMINEE Green Room Award for Most Innovative Cabaret Show

shane dundas: believe

8.45PM (7.45PM SUNDAYS)

(6PM SUNDAYS)

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THIS WEEK

“We were all laughing the whole way through” Kyle Sandilands – Australia’s Got Talent

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BEAT MAGAZINE PAGE 37

REVIEWS: A MODERN DECEPTION LIVE TO AIR

During his set at Headliners last Sunday, American comedian Pete Holmes quipped that the audiences at comedy shows want to see the comedian succeed, but the audiences at magic shows want to figure out the tricks and therefore desire the magician to fail. But what about magic comedy shows? A Modern Deception: Live To Air stars a handful of talented magicians crafting an elaborate production as part of MICF. The concept is based around a Sunrise-like morning show, and the magicians are thrust on stage to fill in as hosts. The sleight-of-hand tricks themselves were impressive. I’d seen mentalists such as Robert Haley from New Zealand perform similar tricks before, although A Modern Deception is by far a more elaborate, slick presentation. But therein also lies its flaw. This is a comedy show, not just a magic show, and the comedy is oftentimes a bit forced. The show would’ve been much better served – comically – to play the ‘hosts’ as incompetent presenters rather than adopt the fake presentation of regular morning show hosts. The chemistry and comedic mannerisms of the performers – Alex de la Rambelje, Vyom Sharma and Luke Hocking – are eerily similar to the guys from The Chaser. This style, however, worked well in front of the family friendly audience. I was left dazed and confused by most the tricks – these are some very talented, young sleight-ofhand magicians – and after having seen 76 shows so far at the comedy festival, I appreciate any show that tries to blend genres or be different from regular stand-up. The stage production was also impressive, and once the comedy aspect of the show becomes a little more refined, this has the potential to reach that next level. BY NICK TARAS

DANNY BHOY DEAR EPSON

In 2007, Danny Bhoy made an indelible impression on Australian audiences with his now legendary dissection of Australian Parliament. The Scot’s latest show, Dear Epson, is perhaps his most complete and polished yet. The show is based around several angry letters that Bhoy had written to corporations, in particular the printer company Epson. From airlines to cosmetic companies, Bhoy’s sarcastic letters added a layer of dynamism that enabled him to branch away from traditional stand-up. Most of us can relate to the shitty services and products these companies provide, and therefore Bhoy acted as a spokesman for the thoughts of many in the audience. This immediately drew the crowd to his side. His personal, friendly audience interaction completed the show. Thus, Dear Epson’s varied structure – observational stand-up, storytelling, reading and audience interaction – kept every joke fresh and interesting. And very, very funny. The focal point of the stage was a desk holding a burning candle, several letters and a candle snuffer. At first the audience is led to believe this is for decoration. However, much like the literary device known as Chekhov’s gun, a dramatic approach positing that if there’s a gun shown on stage then it must be fired otherwise it shouldn’t be included, each item was eventually discussed and cleverly used in some way. Apart from a tired Easter joke that I’d heard in several other shows after Easter Monday, there weren’t many faults with the show. If he’d spent more time here, like he used to, the show could’ve been tailored to suit Melbourne more (the place erupted when someone in the audience joked about myki) but with Bhoy’s schedule we’re lucky to have him anyway. A comedian friend told me he looks up to Danny Bhoy as an idol, but after dedicating an entire show to taking on the scams of some major corporations, it’s hard to leave Dear Epson without considering him a bit of a hero.

DOUCHEBAG

Danny Bhoy - Dear Epson is playing at the Arts Centre, Playhouse until Sunday April 21.

Josh Thomas - Douchebag runs at the Melbourne Town Hall, Lower Town Hall until Sunday April 21.

Debra Batton & Catherine Magill - She Knows Too Much has ﬁnished its season.

IDIOTS OF ANTS MODEL CITIZENS

ORGAN IS NOT A DIRTY WORD

BEAT MAGAZINE PAGE 38

JOSH THOMAS

BY NICK TARAS

BARRY MORGAN

Barry Morgan – Organ Is Not A Dirty Word is playing at Trades Hall Place until Sunday April 21.

SHE KNOWS TOO MUCH

Debra Batton and Catherine Magill return as Such N Such for She Knows Too Much, their Comedy Festival debut about life and its frustrations. However, just like life, it’s pretty disappointing too. Despite having frequented The Butterﬂy Club with their endearing tirades, the ladies are disenchanting. Either their catastrophic brand of humour elicits laughs or none whatsoever. This problem stirs from basing their performance on pure relation. “Do you know how hard it is to love a teenager who’s not your own?” exclaimed Batton, detailing the hardships of babysitting Magill’s teenager. Though this rhetoric question is comedic, their satirized frustrations are hard for a 21-year-old with no children, who currently lives at home with their parents, to empathise with. This would explain why my mother, who accompanied me, found the show more amusing than I. Magill and Batton have to be commended for creating an average debut, accompanied with the fact that many of their jokes were impromptu. Regardless, She Knows Too Much was insipid and directionless; a show more suited to a older woman with life experience. BY AVRILLE BYLOK-COLLARD

Josh Thomas is, fundamentally, a pretty likeable guy. In his latest show, Douchebag, he explores a bunch of his thoughts, actions and impulses which lead him to believe that he may be not so nice at all. He may be, well, a douchebag. Towards the end of the show Thomas emphasises that he put forward the concept for the show in haste, a decision he has seemingly regretted ever since. He’s clearly worried that this time it’s a little bit too honest and that his audiences and the world at large may judge him harshly for his onstage revelations. If the laughter reverberating around the Melbourne Town Hall this week is anything to go by then he doesn’t have anything to worry about. It’s true - Douchebag explores some of the quirky, less desirable, even dark elements of Thomas’ nature. But, then again, we all have these. The show is not only completely hilarious but also opens up opportunities for introspection and examination of our own ethical frameworks. Not to mention plenty of jokes about foreskins. The show represents a challenge to Thomas’ innocent persona, delving as it does into some less-than-innocent situations, but he comes out the better for it. His delivery is characteristically excellent, the jokes are funny and the anecdotes are vivid. Douchebag could represent Thomas’ growth into a fully adult comedian, and no doubt will win support from old and new fans alike. BY JOSH FERGEUS

A Modern Deception: Live To Air is on at Comedy On Collins until Sunday April 21.

I think I’ve figured this all out…’organ’ is a double entendre for a musical instrument and genitals, right? That seems like a simplistically crass premise straight outta the Are You Being Served? collar tugging ‘80s, but then a lot of Barry Morgan’s one man musical journey is like that. Morgan bursts onto the stage to the sounds reminiscent of a long forgotten game show, with a voiceover from John Deeks to boot. Yes, Deeksie, the voice of everything from The Price Is Right to ads for JB Hi-Fi. But Morgan cracking cheeky jokes about the organ – his weapon of choice being the 1981 Hammond Aurora Classic – being an important ‘member’ of the family is only one part of the story that takes place in his World Of Organs, residing in Adelaide’s Sunnyside Mall. Stephen Teakle, the man behind the moustache, illustrates his mastery of the Aurora through a number of camped up medleys – think of a safari-suited Girl Talk – while reminiscing over his departed mother and rallying against the incursions of a nearby electronic synthesiser store. It might all seem a bit thin if not for Morgan’s exuberance when leaping from the Black Eyed Peas to Pseudo Echo to the Doors. The Campari-swilling maestro leans on audience participation to bolster any low moments, striking that sweet spot between humour and humiliation – I bet the young sprat in the front row didn’t expect to go home with moustache drawn on with eyeliner when he woke up this morning. Those who saw his many appearances on Spicks & Specks may be expecting a man playing camped-up pop songs for an hour, throwing back his head and flashing a mouthful of teeth for an hour. There’s a fair bit of that, but kudos to Teakle for fleshing the character out, even if it is one long joke about how tacky ‘80s Australia was – tiny gherkin platters and all. BY MITCHELL ALEXANDER

DEBRA BATTON AND CATHERINE MAGILL

FANFICTION COMEDY

FanFiction Comedy is good. Really good. Performed at the Victoria Hotel, the venue provides a perfect setting for the talent-show-like production of FanFiction Comedy. Hosted by a camp man and two geeky judges, the pretense of FanFiction Comedy is to get all of your favourite characters, whether they’re Harry Potter or Legolas, and “just...fuck with them”. As in the case of Joseph Moore’s fanfiction Transformers 9: Transformers in love. Optimus Prime is infatuated with Megan Fox who rejects his advances and accompanies Megatron to a Linkin Park concert. Further along, we discover that Megatron is actually the Chester Bennington and that like in the Santa Claus movies, once you kill Megatron, as Optimus Prime does, you inherit the responsibility of being Chester Bennington. Mind-fucked? Welcome to the FanFiction world. FanFiction Comedy is basically absurd humour. If you find Adventure Time hilarious, you’ll find FanFiction Comedy the same. With different stories every night, special guests, including Justin Hamilton every Sunday, and an amicable crowd of fans — there’s a reason this was a hit last year — FanFiction Comedy is a must-see this festival. BY AVRILLE BYLOK-COLLARD

FanFiction Comedy is playing at the Melbourne Town Hall, Cloak Room and Victoria Hotel (Mondays) until Sunday April 21.

If anything could reignite Australia’s infatuation with sketch comedy, it’s UK comedy troupe Idiots Of Ants. The four funny lads have returned to Melbourne International Comedy Festival to present Model Citizens, a show bigger and better than its 2012 predecessor. The first clue as to the group’s self-styled evolution is their stage design. The Banquet Room hosts lounge room decor reminiscent of your average sitcom. It’s a far cry from what Idiots Of Ants worked with previously within the Town Hall: they milked as much as possible from of a selection of props and office chairs, bringing their skits to life within a shoebox room. Model Citizens is a different beast entirely, in the best way imaginable. From the moment you cast your eyes to the stage, before the show has even started, there’s every indication that Idiots Of Ants intend upon taking advantage of their new-found space, with an audacious new show in mind. Pleasingly, the group rise to meet every expectation. Idiots Of Ants present a veritable smorgasbord of imaginative and peculiar sketch comedy. Their sketches range from the clever, to the silly, to the downright absurd. They’re more daring than ever, coming along in leaps and bounds since their previous outing. They explore life at gunpoint, stage a Colgate-sponsored sketch, attempt an exercise in dating the audience, and face off with a foul-mouthed, fully grown baby. For a wildly varied selection of skits - a natural symptom of sketch comedy - Idiots Of Ants’ new show is wonderfully consistent in its results. It’s a hilarious show with plenty of surprises, including novel special effects, spots of audience participation and running gags (dismiss their ‘cockney ghosts’ sketch at your own peril). Above all else, it’s the sensational chemistry between the four performers that makes the show such an enjoyable experience. Moreover, watching Model Citizens, there is the very real sense that the members of Idiots Of Ants - obviously great friends - are genuinely having a blast. This contributes to a cracking hour of comedy much more than perhaps even they realise. Overall, UK comedy imports Idiots Of Ants show that quality sketch comedy is truly something special to behold. BY NICK MASON Idiots of Ants - Model Citizens is playing at the Victoria Hotel, Banquet Room until Sunday April 21.

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SAM SIMMONS

SHITTY TRIVIA

At this point in the game, those who have heard him on the nation’s youth radio station or caught his 2012 TV series are acutely aware of Sam Simmons’ shtick. Hmmm, ‘Sam Simmons’ shtick’, that’s just the type of off kilter phrase that Simmons might say repeatedly with odd inflection, maybe once whispered, once wailed while staring down the face of a doe-eyed admirer. Then comes the bashfully silly dad-type jokes, the cheesy songs and the occasion spats of crude, expletive-filled rage. Ta-dah! The Sam Simmons experience. Tonight’s show takes the shape of Simmons’ regular trivia spot on triple j – you take a seemingly simple question, provide an obtuse answer and comedy ensues – and expands it to an hour and change, with a rough plot revolving around a wrongly used bin and a meat tray that believes in reincarnation. Oh, did I mention a high-spirited but understandably terrified young member of the audience? He had the delight of standing onstage for 20 minutes behind a plastic tree, get occasionally berated by Simmons and finally share a Twix with him. Oh no, not one Twix bar each. Lady and the Tramp style. It is both basely simple as it is viscerally funny, but may not translate when described in the review form. I’ve said crude more than once, haven’t I? Well yes, Simmons may never again be viewed as an intelligent, observational comic. He may have started out with the occasional philosophical musing, but he’s guessed that his audience likes quasi-offensive jokes and a bag of loud swearing. Let’s not forget the semi-nudity and smashing of food stuffs onto Simmons body. With a previous show it was tacos, this time it’s sliced ham. Which makes it weird that he gets so upset and apologetic when the audio visual cues get mixed up. The audience doesn’t seem to mind that the show was shortened, in fact you may have just saved the life of the young girl behind me, laughing so hard the wheezes start. Sam Simmons, you’re a hero? BY MITCHELL ALEXANDER Sam Simmons – Shitty Trivia is playing at The HiFi Bar until Sunday April 21.

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BEAT MAGAZINE PAGE 39

REVIEWS: HANNAH GADSBY

HAPPINESS IS A BEDSIDE TABLE Hannah Gadsby is that girl you want to be your best friend. She’s funny, but not at other people’s expense. She’s interesting, but not in the “I go to bondage nights for kicks” kinda way. She’s vulnerable, but in a manner that has the audience rooting for her. When she tells a story it’s not hyperbolic and not overly embellished. Happiness Is A Bedside Table is enthralling, witty and dare I say it – inspirational. Self-deprecating humour is a tricky one, and if done wrong, can flop easily. While Hannah started the show on shaky legs, it fast grew into a hilarious hour detailing bad hard-to-leave relationships, shit jobs and low confidence. Her strength was focusing on a narrative of her life, so we got a sense of the beginning, middle and end. That also meant the whole show had a natural progression and wasn’t convoluted by disjointed jokes awkwardly weaved together. I like Hannah. Because, unlike other comedians she makes next to no jokes at the expense of others. And even though she jokes about herself, there is a sense of triumph which was further solidified by her grand exit. Well-constructed, and well delivered – a show not to be missed. BY TAMARA VOGL Hannah Gadsby – Happiness Is A Bedside Table is playing at the Melbourne Town Hall, Supper Room until Sunday April 21.

THE COMEDY ZONE

The Comedy Zone provides a tantalising tasting plate of comedians discovered through RAW Comedy and Class Clown competitions. Five comedians take to the stage to give you a veritable concoction of the finest up-and-comers. Amos Gill was the chosen MC. His friendly smile assured the audience that though he is young, he’s got this. We were right to trust him. His presence was commanding, his jokes were sharp, his smile was contagious. Amos was the runner up for the prestigious Raw Comedy competition in 2012. First up after Amos we had the freshly 19-year-old Neel Kolhatkar. You believe his youth to be either an elaborate lie or at least a redundant fact when you witness Neel swagger onto the stage. His confidence is entirely justified: this guy is extremely funny. Neel won the Melbourne Comedy Festival Class Clowns competition in 2009. Since then he has sauntered his way onto stages across Australia with far more confidence than one so young should be capable of. Neel’s impressions are truly brilliant, you could easily think you were watching a seasoned actor in his

DAVE BLOUSTIEN

FAULTY TOWERS

Dave Bloustien’s Grand Guignol was meant to play at last year’s comedy festival, but wasn’t ready in time. So, 12 extra months of fine-tuning and a season at the Adelaide Fringe, and it’d be fair to expect a pinpoint-polished performance, right? Not so much. But the charm of Dave Bloustien is such that a little shambolocism actually does wonders for the show. And what a lovely show it is! Based on the horror plays of the famed Parisian Théâtre du Grand-Guignol, this “comedy of terrors” is ever-so-slightly shaped on the lightly spooky conceit of mise-en-abîme, or playwithin-a-play, giving us a collection of eerie stories loosely connected by a shadow puppet narrative involving Hansel and Gretel. Threading ancient Egyptian and early 20th century French history, macabre Germanic fairytales, coffee snobs and the tragifarce of modern Australian politics (did someone mention shadow puppets?) into a satisfying cohesive whole, the sharp and punny writing shines as Bloustien performs multiple roles with genial and amusing verve, although he is – unsurprisingly – most comfortable in his own skin, so to speak. He does stumble at times, and is mildly hampered by technical accidents at others, but like any good comedian he turns potential disaster into comedic gold. Because Bloustien is a good comedian. He’s also a selfconfessed niche comedian: despite the appearance of a Pharaoh’s detachable penis, this is not lowbrow stuff. It’s also not a gag-a-minute yak fest, preferring instead to build to its punchlines, but it’s fun and silly, and always smart.

I’ve loved Fawlty Towers as long as I can remember, but I’ve always been somewhat scared to attend the Faulty Towers - The Dining Experience. I didn’t know that spending a night being abused by a John Cleese lookalike and trying to explain my order to a faux-Manuel would be that enjoyable. But I was wrong. The hugely successful Dining Experience was created in Brisbane and has been running around the world since 1997 in countries as diverse as Bahrain, Malta, Portugal and the United Arab Emirates, as well as hugely successful runs in London’s West End, the USA, Australia and New Zealand. And now I know why. It’s hard to imagine a more accurate portrayal of the everpopular hotel owner-operators Basil and Sybil Fawlty and their likeable but hopeless Spanish waiter Manuel. The cast are supremely talented, impeccably portraying these characters in voice, movement and mannerisms. Only one third of the show is scripted, with some references to classic set pieces from the original episodes woven in to the evenings proceedings as the dinner progresses. The cast seem to be everywhere at once, chatting with guests, and seamlessly working with the real waiters and venue staff to serve the three course meal. There are many laugh out loud moments, but general feelings of mirth are the flavour of the night, as diners are never far from the consistently hilarious action. The Aegean is a great venue for the show, with the open space and high visibility providing the perfect setting for the evening’s antics. The meal was standard but certainly not unpleasant, and staff (even Sybil) were helpful and reassuring to the many diners who seemed petrified that Basil was about to yell at them. Expect lots of laughs and be prepared to be drawn into some highly enjoyable audience participation.

BY MELANIE SHERIDAN

BY JOSH FERGUS

Dave Bloustien - Grand Guignol has finished its season.

Faulty Towers - The Dining Experience is playing at The Aegean Restaurant until Sunday April 21.

GRAND GUIGNOL

golden year. Just when you believe you cannot be more impressed, Neel raps and sings like an absolute champion. Next up we had the ladies representing, though ever so tentatively. Victoria’s own Hayman Kent walks apologetically onto the stage. Don’t trust her seemingly awkward demeanor, this girl knows exactly what she is doing. The audience looked engaged but unsure as Hayman softly greeted them. The instantaneous look of surprise that ensued was amusing as Hayman delivered the audience with ease to their ﬁrst loud laugh. For one so cute, it seems unfair that she is simultaneously so incredibly witty. Ivan Aristeguieta salsas onto the stage. Not in the journalist putting a sneaky racial spin on his walk kind of way, he quite literally entered the stage doing the salsa. I challenge you to not instantly warm to a guy who salsas onto the stage with the warmest smile you may have ever seen. There are times when observations from a newcomer to Australia about our national traits can be tiresome, this was not one of those times. Every single insight felt fresh, newfangled and faultlessly funny. Ivan even threw in a Schapelle Corby reference to the audiences utter delight.

THE DINING EXPERIENCE

PAJAMA MEN

JUST THE TWO OF EACH OF US

Somehow I missed the Pajama Men in 2009, when they won the Barry Award, and again in every show they’ve done in Melbourne since. But if Just the Two of Each of Us is indicative (pretty certain it is) then I ﬁnally get why all the fuss, etc. Wearing pyjamas, and with no set and only a couple of chairs as props (and the occasional keyboard tinkling of their on-stage musician), the titular Men – Shenoah Allen and Mark Chavez – act out a loose tale involving a horrible beast, an immortal king, a man in search of challenge, a magic spider and one damn sexy motorbike. They perform every role in the often multi-character, interconnected skits, which frequently necessitates blinkof-an-eye leaps between roles. They pull oﬀ these leaps in a casually relaxed way that still manages to appear seamless, and highly amusing, and it’s a joy to watch and probably remains so even if you’ve seen them before. Even more of a joy to behold is the physicality with which the duo imbues these characters with life. Combined with a script that makes dad jokes seem cutting edge, Just the Two of Each of Us will surely continue the Pajama Men’s run of successful Melbourne International Comedy Festival shows. BY MELANIE SHERIDAN Pajama Men – Just The Two Of Each Of Us is running at Arts Centre, Fairfax Studio until Sunday April 21.

Finally we had Tien Tran, the winner of RAW Comedy in Western Australia. His delivery was pan-faced, guileless, and well crafted. Tien’s audience was entreated to a mixture of insightful social commentary and jokes about AIDS and monkey rape. His material is versatile, his delivery is well-timed and his humour is just the right mix of scathing and silly. The Comedy Zone is renown for selecting those people who will do great things and this year their selection has

been impeccable. If you don’t know what show to see at the festival, it’s worth seeing these guys before their ticket prices soar.

their values, their behaviour and the society around them, and you simply use humour to break down their defences, then you’re really onto something. In terms of lowlights: I’ve received some ﬁlthy looks from concerned parents as I sit alone at childrens’ shows. On one particular day, I honestly accidentally wore a trench coat. So, so, so uncomfortable for everybody in that room. I was also brought onstage and dressed as Princess Peach to the evil, mocking laughter of 5-yearolds. Little shits. Many people ask me what the worst shows I’ve seen are, but look – these people have the balls to get up in front of strangers and talk about their insecurities and put so much work into trying to entertain an audience that it would be unfair to make fun of their work. What is terrible to me might be hysterical to someone else.

That being said, I’ve been very honest in my video reviews, and will continue to be. I try not to be nasty, but sometimes I think that the joke I’ll make about the show is funnier than the show itself so I go ahead with saying something playfully silly. I mean no harm. So as I plough through weeks two and three, and aim to not only crack the 100 but also the record (145), if you see my hairy mug around the place, please say hello and give me some fucking sushi.

BY TESS WOODWARD The Comedy Zone is on at Trades Hall, Old Council Chambers until Sunday April 21.

THE FUNNY TONNE

SOME SHITTY THOUGHTS AFTER SEEING 76 SHOWS SO FAR A month ago, I applied to be a contestant in the Funny Tonne – a comedy festival initiative where three of us race to see as many shows at MICF as we can. Whoever has the emptiest life and most spare time – wins. Just like most things in my life, I sort of jokingly applied, threw in a dick joke, and nek minnit I’ve been accepted. For every show I see, I also agreed to ﬁlm a short 10-15 second review on my phone for The Age. They’ve called me the ‘Comikaze’, even though that makes me sound more like a suicidal communist than anything else. So make sure you check out those videos guys and also check out Marx’s Communist Manifesto wow what a great read. I was a huge comedy nut heading into the Funny Tonne, and I still am, but in some ways seeing all these shows has tainted stand-up comedy for me. I’m predicting punchlines all the time, not from ingenuity, just because most comedians rely on certain factors to cause laughter. Surprise, tension, superiority, exaggeration etc. I really appreciate it when I come across someone trying to be original and diﬀerent. Even if it’s just physical comedy like Daniel Oldaker, or following Xavier Toby dressed as a penguin as part of a walking tour of the city in 2013 – When We Were Idiots. They’re not necessarily the best shows, but they’ve been refreshing for me as a funny tonner. The one thing I’ve learnt that separates the excellent

BEAT MAGAZINE PAGE 40

comedians from the good ones is the ability to deliver material in a manner that resembles a conversation rather than a monologue. This is not a rule, however, as comics like Paul Foot can generate much laughter simply by being so absurd and different. It’s just what I’ve found audiences respond best to. I don’t know what I’ve learned about myself, except for my ability to scoff down shitty sushi in seconds and also strangely that I find any personification of animals hilarious. It could be the worst comedian in history up on stage and if they say something like, ‘So then I turned around and my cat was ordering a Big Mac in the drivethru!’ I will no doubt fist pump. I’m only about 10 days in and already I’ve had some incredible highlights. I’ve been privileged enough to see so many talented comics like Dayne Rathbone, Matt Okine, Danny Bhoy, Greg Fleet and more. Speaking of Greg Fleet, it was interesting to consider what the criteria should be to rate a show. Is it how much the show makes me laugh? Is it how much it makes me think? What about stage production? Greg Fleet, much like Simon Keck, wasn’t shit-ya-g-string laugh out loud funny, but it changed my perspective a little bit, and I love that. It sounds silly to say, but comedy isn’t just about laughter. As Bill Hicks showed, it can be a powerful tool to inspire people and change the way they think. When your material makes the audience question themselves,

, BEAT S COMEDY FESTIVAL GUIDE 2013 BROUGHT TO YOU BY GRAVITY ESPRESSO

BY NICK TARAS You can follow Nick’s attempt to break the record and read his reviews on the Comedy Festival website. You can also view his video reviews on The Age website.

wednesday april 10 inside:

jozif

major lazer

school of synthesis r端f端s will sparks zayler + more

free

UPCOMING

APRIL

on tour ELLEN ALLIEN [GER], MOVE D [GER], JIMPSTER [UK], BAREM [ARG] Friday April 12, Brown Alley OPTIMO [SCO] Friday April 19, The Bottom End JOZIF [UK] Friday April 19, New Guernica IAN FRIDAY [USA] Friday April 19, Mercat Basement EPTIC [BEL] Friday April 19, Brown Alley ANDHIM [GER], NICE7 [ITA] Friday April 19, Brown Alley PHAROAHE MONCH [USA] Friday April 19, The Espy OTTO KNOWS [SWE] Saturday April 20, Alumbra PLUMP DJS [UK] Thursday April 25, RMH The Venue EATS EVERYTHING [UK], DERRICK MAY [USA], BEN KLOCK [GER] Thursday April 25, Brown Alley MOVEMENT: NAS [USA], 2 CHAINZ [USA] + MORE Saturday April 27, Sidney Myer Music Bowl SUPAFEST: 50 CENT [USA], T.I. [USA] + AKON [USA] MORE Saturday April 27, Flemington Racecourse MOSCA [UK] Saturday April 27, Revolver Upstairs EXAMPLE [USA] Friday May 3, The Palace MAX COOPER [UK] Friday May 3, RMH The Venue YACHT [USA] Friday May 3, Ding Dong Lounge NINA KRAVIZ [RUS] Friday May 3, Brown Alley YING YANG TWINS [USA] Saturday May 4, The Espy BAAUER [USA] Saturday May 4, Brown Alley RROSE [USA] Saturday May 11, The Liberty Social DELTA HEAVY [UK] Sunday May 19, RMH The Venue KARL HYDE [UK] Saturday May 25, Melbourne Recital Centre ROBERT BABICZ [GER], MARC ROMBOY [GER] Friday May 31, Brown Alley FLATBUSH ZOMBIES [USA] Saturday June 1, The Toff In Town COSMIN TRG [ROM] Friday June 7, New Guernica CHRIS LIEBING [GER], JIMMY EDGAR [USA] Sunday June 9, Brown Alley JEFF MILLS [USA] Sunday June 9, The Bottom End SEPALCURE [USA], DJ RASHAD [USA] + MORE Sunday June 9, TBA ATA [GER] Friday June 21, Mercat Basement A$AP ROCKY [USA] Saturday June 29, Festival Hall EARTHCORE: ANGY KORE [ITA], PERFECT STRANGER [ISR] + MORE Friday November 29 - Sunday December 2, TBA

karl hyde word s / m i k i m c lay

Musician, vocalist, poet, painter, writer, graphic designer, bon vivant – the man most renowned as one half of Underworld, Karl Hyde, is a man of many faces, slipping effortlessly between roles with a remarkable ease that makes his decades-long career in the creative industry a truly enviable one. His most recent jaunt is into the world of solo musicianship – one that sees him releasing his first effort Edgeland later this month before heading down to Australia for a string of performances in his own right. Hyde is in the midst of whirlwind preparations for the first run of Edgeland’s live performances when we speak, and he’s never been happier, as he tells me. “I’ve never been nervous playing live - I don’t mean that in any kind of arrogant way, it’s just that since I was little, the stage seems like the calmest place in the world to be,” he says, with a laugh that proves to be free-flowing during the interview to come. “We did a little try-out show in a club in Brighton, a week or so ago and loved it - just loved it. The new band has been great - lovely people, great players and I feel really quite humbled to be amongst them to be honest. Getting excited! I think sometimes the scariest situations can be when you’re playing to a very small audience, not many people - those can often be the most intimidating. It’s almost the other way around!” It’s been a fiendishly busy few years for Hyde since his last appearance in Australia in 2010 with Underworld partner Rick Smith for a string of festival dates across the country – highlights including his first solo painting exhibition, soundtracking Danny Boyle’s production of Frankenstein, collaborative efforts with everybody from High Contrast to Tiesto, and, of course, last year’s career-highlight gig as music directors of the 2012 Olympic Games. It’s a seriously enviable position to be in, rubbing shoulders with all manner of bright, creative minds from all walks of the creative industry – Hyde explains it as a necessity for him. “Back at art school, I loved talking with other artists in the canteen and in the bar afterwards – all these people from different disciplines,” he says. “I learned so much from conversations with other artists about their work, and when we formed Tomato and had that collective of artists and musicians, it just felt like the right place to be. It’s how I like to work! Meeting other people and hearing their point of view about what it is I do and what it is they do. Even when I’m working on a solo painting exhibition, I’ll send photos to my partner in Melbourne - I’m basically on a line to Melbourne three times a week, anyway - and he’s kind of my art mentor, so even with something that looks solo like a painting exhibition, I’m always getting feedback from other artists - what do you think? What’s your point of view? What do you see when you see this? Otherwise I work in isolation and I’m not interested.” It’s a side to his work as a musician that often goes unacknowledged: whilst notorious for their ability to set dancefloors alight and pulses racing with stadium-shaking anthems such as the definitive Born Slippy (recently nominated as Mixmag’s fourth greatest dance music song of all time), Underworld’s penchant for less dancefloor-oriented material is one that remains often undervalued – and the desire to

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explore this territory more fully proves refreshing for those who have followed the trajectory of Underworld’s careers since the beginning, as well as for Hyde himself. “Standing on the Sydney Opera House stage a few years ago with Brian Eno and Pure Scenius - I thought, this is where I want to be, performing to a sit-down audience and to be performing sit-down music in between playing to big arenas,” he says. “There’s always been an element of that in our music on our albums, but we’ve never performed it live,” he continues. “In the early days, we could, but now, Underworld is more about the those big stadiums. I felt that that was a shame, that we weren’t able to explore the other side of Underworld, so I set out to work on a project that was heavily inspired by the other Underworld and having found Leo, with Brian’s encouragement we made a record that Rick and I used to make records: in a studio improvising.” The upcoming release Edgeland will no doubt be a refreshing listen for those who have followed Hyde’s career for the 20 years

in which he’s been writing music. Renowned for his adoration for more traditional instrumentation and a flair for incorporating this work into the meticulously-crafted soundscapes of techno and house, Edgeland is his opportunity to explore his more traditional training in music. “There’s always been a kind of roughness to the things that I’ve done, and I wanted to explore that,” he explains. “The album was put together in a bedroom in East London – we’d go down there, and there’s a good cafe down the road where we’d go there for lunch and come back and clock on each day. I didn’t want it to be polished or overly worked on - in a period of eight days, we wrote about 60 songs, and this album took about six weeks to make. An Underworld record will take three years to make, traditionally, and I felt things

Karl Hyde - Edgeland takes place at the Melbourne Recital Centre on Saturday May 25. Edgeland the album is out on Friday April 19 through Universal.

- head to beat.com.au for more

pez

oﬀ the record w i t h

could happen a lot quicker with the right people and that’s one of the things I wanted to explore.” Hyde’s lengthy love-affair with the poetry of large cities is a welldocumented one, both in interview and on the voluminous back catalogue of records he has under his belt with Underworld. Edgeland, however, is a move not away from the city but outwards, and the music has evolved in kind. “The music has evolved because of the nature of the city - certainly my words have been centred on explorations of inner-cities. With this one, I didn’t want to go there, I wanted to be further out on the edge of the city - that place where the city crumbles into the countryside, where the real outsider tribes live, the people that refuse to be part of the countryside but also reject the mythology of city living. Where architecture and hand painted signs and the boarded up streets the spirit of positivity exists every day in spite of decline of the environment. What I noticed - as I was travelling in and out of the city (I live outside of the city now), there was this ring I kept returning to, this ring of decay that I found very beautiful. I’ve always found decay to be very beautiful! The poetry of the streets. This is a new kind of decay, that I felt a real affinity with. People were telling me - why don’t you go here, why don’t you go there? I was literally handing my day over to people and saying, where shall I go today? There’s a cafe here, a road which goes down the railway there, the disused docks down by the river. I’d find people to talk to and write about.” As for the upcoming shows in Australia: those of you who will have caught Underworld’s juggernaut live performances in the past, whether it be in the Boiler Room at one famed Big Day out or more recently on 2010’s Winter Sound System tour will no doubt have treasured memories of the thrillingly-freeform and wildly unpredictable nature of their live shows. Not any longer, Hyde says – but the sense of adventurousness when it comes to the live performance remains. “This is quite a different group! It’s a four-piece bands, two areas of electronics, keyboards, laptops, a bass player playing electronics, me playing guitars and vocals, members of Peter and Brian’s bands,” he says. “I can’t jump around! I’ve got guitars and pedal boards! It’s quite funny, really. It’s also really refreshing. In a few weeks time after that I’ll go and play an arena with Underworld and I’m running around all over the place because that’s the nature of the music and I’m really enjoying this, being rooted to the spot with my microphone and guitar and letting the music dance. having said that: we do the album and when we’re done, we revisit some of my favourite Underworld tunes, but with the voice of this band, and that’s an opportunity to express myself differently, too. Inspiring.”

t yson

Melbourne hip hop MC Pez has announced his first national headline tour in three years. Pez’s Back In The Game Tour is the rapper’s first opportunity to unveil tracks from his sophomore album, including current single The Game. Pez’s debut album A Mind Of My Own was release almost five years ago. Pez will be performing in Victoria at The Yarra Hotel (formerly The Bended Elbow) on Thursday May 2 and will be finishing off his tour with his hometown show in Melbourne at the Northcote Social Club on Saturday May 18.

w ray

Sweet googly moogly. Daylight savings is over, meaning that it’s time to bring your sunglasses when you go out. Don’t know what I’m saying? Leave a club at 6am this weekend and you’ll understand.

tour rumours Ryan Elliott, Jam City, Tensnake, dOP, HNQO, Vakula, Nina Kraviz, The Revenge, 6th Borough Project, Oxia, Andrew Weatherall

mario basanov

Mario Basanovia name that will start to become familiar to many. Already a hero in his home country of Lithuania after winning producer of the year in 2011 in their annual music awards, Mario has gone on to champion the world. Mario rose to fame with his producing partner Vidiswho together crafted a string of underground hits such as I’ll Be Gone, Who’s Shot The Silence and Changed, all becoming huge international phenomena after the release of their debut artist album Changed. Mario stepped out on his own for his debit artists album Journey released in November last year, and he’s finally coming to Melbourne. Catch him at Thursday April 25 at Brown Alley along Derrick May, Eats Everything and Ben Klock.

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rrose

Leaving no children behind, Rrose has come from nowhere to leave an indelible oil stain on the world of techno. His first EP, a collaboration with Bob Ostertag, was one of the last released on Sandwell District, and one of the few from outside of the established order of Regis, Function, Female and Silent Servant. An impressive start, to say the least. Since then, Rrose has gone on to refine his own version of deep, hypnotic and acidic techno to the point of being one of the most exciting techno artists to emerge in the last few years. Rrose will play at The Liberty Social on Saturday May 11.

electronic - urban - club life

ﬂatbush zombies

Flatbush Zombies are bringing their eclectic brand of hip hop to Melbourne this June. The quartet, whom cite their inspirations are marijuana, acid and breakfast cereals, have stormed through the music landscape, creating a niche dedicated to their synth-heavy, drug orientated rap. Flatbush Zombies have piqued the interest of everyone from Lana Del Rey to VICE. Mostly likely playing a backlog from their debut D.R.U.G.S., you can catch Flatbush Zombies at The Toff in Town on Saturday June 1.

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electronic - urban - club life

news snaps

- head to beat.com.au for more

behind the decks with:

nina kraviz

The last two years have been blessed for the Russian; giving her a sharp ride into the electronic high heavens other DJs and artists enjoy only after years of building a name. This success has also caused a furore in the comments of video platforms, where angry warlords have typed their disgust at the ‘dick conspiracy’. You see, no one likes the pretty girl making something of herself outside the school yard. That pokey boy with the braces who sat behind you in grade five? He can still feel those braces tighten against his gums when he punishes the keyboard with amassed sexual frustration. Nina’s preference for imperfection compliments her innocent navigation of electronic music. She is unabashed to tell you what she is learning and what she doesn’t like with a charming candidness. She likes to dance while she performs and is clearly very comfortable as she does so. Often in interviews, Nina’s humble answers distract from the natural beauty that is undoubtedly, a distraction. She also cites her father as a mentor. Nina can’t be pigeon holed. Last year saw the release of her self-titled LP by Rekids. European girls played it on repeat and earnest, young boys (promoters) waited in droves to book her in. On Friday May 3 Nina will play her debut club show in Melbourne at Brown Alley.

lucky coq

eptic

Eptic has been causing a bit of a stir in the bass scene. Since his debut signing to Never Say Die Records with the Like A Boss EP that went straight to the top 5 on the Beatport dubstep charts, he instantly proved his calibre, gaining an insight in to just how big this musical personality will get. Since, he has moved on to collaborate with artists such as Habstrakt which resulted in Ninja Challenge that was featured in this year’s Never Say Die and UKF album mixed by SKisM alongside names like Skrillex, Flux Pavilion, Foreign Beggars and more. With a remix for SKisM under his belt and signings to Ministry of Sound and Sony, his 4.5 million views on YouTube come as no surprise. The 19-year-old wunderkind has been tearing up the systems of some of the best clubs and festivals on the globe with the demand for his appearance at notable promotions rapidly up scaling. No doubt this talented Belgian is becoming a prominent figure in bass music. He’ll hit Brown Alley on Friday April 19.

will sparks Where’s the strangest place you’ve woken up? Probably waking up in a park as a teenager. 45 minutes from where I lived! Describe yourself using the title of a song. Daft Punk – Harder, Better, Faster, Stronger What was the weirdest thing you believed as a child? The tooth fairy, what a jerk I never got any money! The most awkward moment you’ve had as a DJ? When a girl came up behind from me and knocked the whole console over when I was playing, the whole system stopped and everything! Broke my headphones, silence. Craziness! What would be the worst dance track in the world to be tortured with on repeat? Any dance track that the modern day commercial rappers buy and ruin! What’s the most played record in your bag? My original Chemical Energy, definitely. What question would you like to ask an omniscient, allknowing being before you die? I’d really like to know if there is really life in the universe outside of Earth! If you hadn’t made it as a DJ, what job would you choose to work in instead? I’d probably be playing guitar in a band somewhere around Melbourne to be honest. When and where is your next gig? Poison Apple at Prince Bandroom this Saturday April 13.

behind the decks with:

facebook.com/willsparksofficial soundcloud.com/willsparks

one twenty bar

zayler Describe yourself using the title of a song. Wiz Kid

What question would you like to ask an omniscient, allknowing being before you die? Where’d my Batman Penguin figurine go when I was six? If you hadn’t made it as a DJ, what job would you choose to work in instead? I also do graphic design, so I suppose just doing that!

What was the weirdest thing you believed as a child? I could make things come true with my mind. The most awkward moment you’ve had as a DJ? Watching pathetic girls try to grease up to you.

When and where is your next gig? I’ll be supporting Eptic at Brown Alley on Friday April 19.

What would be the worst dance track in the world to be tortured with on repeat? Harlem Shake. Would go insane.

facebook.com/zayler soundcloud.com/zayler

What’s the most played record in your bag? Waterdrops - Requake

robert babicz, marc romboy

shockone

ShockOne is back in storming form, with his killer debut album Universus. Australian-born Karl Thomas released his first EP as ShockOne in 2009 which featured the smash hit ‘Polygon’ and the experimental dubstep anthem, Adachigahara’s Theme. Since then he has been behind a string of successful singles that have seen Beatport and iTunes number ones, YouTube hits by the millions, as well as support from influential industry tastemakers such as: triple j, Annie Mac, Zane Lowe, Pendulum, Knife Party, Matrix & Futurebound, Sub Focus, and Chase & Status. He’ll play at The Liberty Social on Thursday April 25.

electronic - urban - club life

Robert’s Babicz’ musical output is inspiring and staggering. A true oneman operation, he writes, records and performs solo; commanding an ever-expanding touring schedule, tailoring the music he creates to the cities he visits. But that’s only part of the puzzle, Babicz’s art is comprised of more than just his music. He films everything. Using his music to open doors and build relationships with people in only the way music can, he then records his experiences and interaction on film, both still and moving, later editing the images together as a picture track to his audio. Marc’s career has been achieving high momentum in the last few. Big and beautiful collaborations with artists like Stephan Bodzin and this year, Ken Ishii, have kept tongues wagging and cemented lasting impressions. A believer in life’s contrasts, Romboy’s dig into the threading of personal styles have highlighted another aspect of his creative genius. The two hit Brown Alley on Friday May 31.

electronic - urban - club life

snaps bimbos

school of synthesis words / simon hampson

Have you ever heard a piece of music and wanted to learn how to make something similar? That urge is as old as the hills but common access to actually do something about it is fairly new. On top of that, the tools of music production are vastly more accessible nowadays so the barrier to trying your hand at music production is much smaller. Around the middle of last year a buzz started on Facebook. There was a new music tutorial school in Melbourne: School Of Synthesis. The name didn’t feel like some marketing gimmick – it felt serious. School of Synthesis’ mission statement is plain and direct: “We offer high-end, tailored and hands-on training in sound production for classes of no more than eight students with access to the best facilities, equipment and working artists in the industry today.” It’s a local, personal approach that offers good outcomes for students and cheap course fees. The school was founded by Davide Carbone and Mike Callander. It’s a joining of two generations of Australian music production and DJing. Carbone has been at the forefront of electronic music since the late ‘80s. He was one of the first DJs to introduce house and techno in to Australia via two prime time radio shows and he also went on to form the successful electronic act Future Sound Of Melbourne. They supported the likes of Bjork, Tricky and the Prodigy and received an Aria award for Best Dance Release in 1996. Callander is one of Australia’s most dynamic DJs, resident of

Melbourne’s infamous Revolver, and founder of one of Australia’s best known record labels for electronic music – Haul Music. Mike’s status as an icon of Australian dance music was confirmed in 2011 by his inclusion on the In The Mix Honour Roll alongside the likes of Cut Copy, Richie Hawtin, Diplo and Andrew Weatherall. It has turned out to be the perfect partnership – Callander’s industry contacts and network have driven course signups at the school for the last six months and now School Of Synthesis gaining a reach of its own. So how did this whole, crazy plan start in the first place? Carbone reveals it was a combination of sound business planning but also a last minute ‘let’s do it!’ “It was a bit of both actually,” he laughs. “I have been tutoring for a while. When I was living in England I tutored at CityLit College, which is Britain’s biggest adult learning college. What was cool about that was that they were very supportive. “For example, I was doing a logic course and they would say, ‘But aren’t you a drum and bass producer? Why don’t you do a drum and bass course?’ I told them that no one would do it but they said they were getting enquiries. So I started drum and bass master classes and it became one of their most popular courses. It got booked out two years in advance.” Carbone had massive success in England and when he came back to Australia he took up teaching here. It was during his classes at RMIT that he met his “star student” – Mike Callander.

jozif wo rd s / R K

first floor

Didier Cohen

Speaking to us from his self-described “cosy little studio in East London”, jozif (yes, that’s a small j) is turning the electronic music world on its ear. With the snow trickling a fairytale outside, he reflects briefly on his life and how he came to find himself a part of the burgeoning electronic dance music scene in Europe. “I came from a musical background,” he chimes. “Most of the members of my family are in music so I felt like it was going to be something that happened kind of naturally; basically I got into electronic music via my older brother - and from there, I met a whole bunch of DJs and promoters that I started to hang around with. Later when I went to college it just expanded with the usual stuff: I started going to raves and parties, being the DJ at people’s house parties and so on.” So while he still lives in London, he does question the logic. “I do still live here, although I ask myself why pretty much every day! I’m never really here and when I am it is cold, expensive and nothing really works! The problem is, I love it for some sick twisted reason. London is close to everywhere and the scene here seems to be growing nicely pretty much everywhere. The only place I would say it’s getting out of control and quite

frightening is the United States. The underground is still amazing there but big business has cottoned on to it now and I think they need to be careful because when big business get involved things tend to go wrong – from an artistic standpoint anyway.” Studio-wise, the lad hasn’t had as much time behind the desk as perhaps he would have liked – which doesn’t mean he hasn’t been busy though. “I’ve been touring so heavily during the last four or five months that I’ve been away from my studio and not really finishing anything; I’ve done lots of sketches and had a few ideas but there haven’t been any finished records, which has been quite good actually.” But when he’s ready to go, he usually sits down in the studio and gets down to writing until something is finished. “More recently I’ve had four or five ideas on the go. I quite like the idea of changing the way you work – your workflow – it keeps things interesting and the results are often varied. Otherwise, I can’t really give you any reason why I’ve been quiet in the studio to be honest. Nor do I have some crazy master plan; I just write music and work with the people I like – it’s simple really!” No less, he’s done the odd collaboration with the odd legend –

major lazer word s / h ug h ro b e rt s o n

Aside from the ubiquitous Gangnam Style, there was no more unlikely hit single in 2012 than Major Lazer’s Get Free. Featuring the unique, occasionally difficult voice of Amber Coffman from Dirty Projectors, and built around a strange little earworm of a hook, part of its success must surely have been that it was unlike anything else released in a year where enormous electro beats dominated almost every radio station. Somehow, though, it was a huge hit both here and overseas – which must be a little embarrassing for Interscope, who dropped Major Lazer from the label because that track wasn’t heavy enough for them. “The reason the whole album was delayed was that we came out with Get Free, and our label dropped us because they wanted EDM,” says Thomas Wesley Pentz, better known as Diplo and the creative force behind Major Lazer. “But it all worked out for the best – the album came out later and we could make it a little stronger.” “[Interscope] wanted to invest all their stuff in EDM, and I was like, ‘That stuff comes and goes.’ And it actually has no fans, in reality. The music’s great, but there’s no artistry to it, there’s no connection with fans. And Major Lazer is bigger than that. But they didn’t understand that. So fuck them. They’re corny anyway.” It seems strange for one of the best DJs in the world to be so disparaging of a new sub-genre that has brought electronic music back to the centre of pop. He actually goes so far as to say that

EDM has been great for Major Lazer because it’s so limited. “[EDM] is why so many people like Major Lazer,” says Wentz. “They get in to dance music, then they find us and we’re dance music plus more. We give them dance music, but we also give them real records. So we’re lucky that it kinda happened.” It shouldn’t be so surprising that Wentz doesn’t see himself as part of the ‘big dumb fun’ crowd. He is something of a poster-boy for good-times – check out all the girls ‘expressing themselves’ to Wentz via his Twitter – but there’s a much deeper, iconoclastic, break-down-the-walls attitude to much of the work he does. He’s worked with M.I.A. and Santigold – both noted appropriators of various styles – and just in the past year has produced the “Radiohead quiet storm” of Usher’s Climax, the best song on Justin Bieber’s last album (seriously – it’s called Thought of You – go listen right now), as well as tracks for Korean rappers GD & Top. And he’s produced the entirety of Snoop Lion’s punchline of a reggae album – including the current single, Ashtrays and Heartbreaks, featuring Miley Cyrus. “What’s really cool about the Korean stuff is that there’s no sense of authenticity, which everyone seems to care about so much,” says Wentz. “But they don’t care – they just like the way things sound, and they do it. There’s no reason, or history, or culture for it, and that’s the future for me, y’know? Where you don’t have this

electronic - urban - club life

“I instantly liked him and appreciated his business acumen.” “Well you weren’t teaching production at that time were you?” says Callander to Carbone. “You were teaching a music management course about how to market yourself as a musician really,” he laughs. Carbone loved teaching at RMIT but the red tape of fitting a course into the national curriculum held him back. He wanted to create exciting content for his students. “I thought there was a gap in the market for course on things like high end synthesis and Native Instruments stuff,” he reflects, “so Mike and I started talking, first through the class and then in a more structured way.” Callander, on the other hand, had never tutored before but it turned out that his Ableton Live course was a really accessible way for students to get started. “We started thinking that it would be great to just do a six week course in say Ableton or Logic,” he says. “It started like that.” Carbone says that Callander was the missing link for him in starting School Of Synthesis. “Obviously I had been overseas for ten years. So whilst I had a good name in England I had ironically lost touch with the local market in Australia.” “I think we had a meeting one day in Brighton and I said, ‘Why don’t we do it?’” Carbone’s focus is on what the Australian market needs. “To get somewhere in the music industry nowadays you have to be multi-skilled, multi-faceted. You need to understand production, engineering and more. There are so many different things.” “My teaching style is to look at what someone is doing then offer them options to harness or diversify their skill set.” It is the perfect approach for how we are starting to learn now high speed and adaptive. School Of Synthesis has arrived at just the right time for Australians to learn music production fast and effectively.

Find out more about School Of Synthesis at schoolofsynthesis.com - n ew courses are starting all the time. The Max for Ableton Live and Production Masterclass courses are starting this week. facebook.com/schoolofsynthesis

but he still dreams about doing more. “I’d love to work with Ewan Pearson,” he says. “I love that guy and his music is sublime. Also I’d love to do something with Amirali or Luca C. They both have the ability to do totally different styles. I’d even write a rock’n’roll jam with Lucas for sure!” Question is how does that reconcile with his love of the deeper side of house? “I’m not sure to be honest,” he says. “I really like some of the harder stuff too – I started off playing acid techno and hard house but I guess I got into the deeper stuff because it feels closer to my heart. It’s gentler and more meaningful maybe? It’s also funny, because you can kind of see everything going round in circles. When I play nowadays, I still play loads of funky jams and lots of older UK garage. I love so many different types of music that sometimes it’s difficult to string it all together in a cohesive manner!” So finally then, the man behind the most recent Balance project is rather pumped about getting down to Australia to represent. “I’m very excited – both about Australia and the mix project – it was very, very exciting. I was surprised and honored to be asked. I love almost all of the Balance CDs, so it was really a special one for me. I approached it much like all of my mixes and wanted to create something that could be listened to before or after the club – or even in the car. I wanted it to be something funky enough to get you going but also gentle enough to keep you swaying!” And with a soothing track list that includes material from Steffi, Ian Pooley and jozif himself, he is getting ready to live up to a reputation that has billed him as a generational talent – one who is well placed to continue to move the scene onwards and upwards. Forward thinking music, going back to its roots. Enough said.

jozif plays New Guernica on Friday April 19. Balance presents jozif is out now through Balance Music, distributed through EMI. facebook.com/jozifmusic soundcloud.com/jozif

argument about where you’re from, or what you do, or who you represent, or what genre you are, or who your audience is. That doesn’t matter. All that matters is that the music is exciting. “And Snoop is such a great artist. I feel like nobody could even make pop and reggae like he could. He’s Snoop, like a brand, and if he wants to do reggae then we’re going to help him do it. “And I think he can take it to other people … He’s a 40 year-old man who still has so much swagger that people love to hear him do stuff still. But he’s an older guy who doesn’t want to talk about the same dumb shit – he doesn’t deal with gangs and violence anymore, he deals with his children, and life, and being married. “And this is a record you make when you do that. It’s about life. Not everybody has to be a gang-banger, and it was a great fantasy for a lot of kids growing up – I love Doggystyle, and I loved the idea of being a gangster. “And Miley Cyrus is helping us reach a bigger audience, which is something we wanted to do with this record. A lot of people second-guess it because of what it is. And there’s such a feeling of [the importance of] authenticity with fans, but for me, I’m a white guy from Florida, and I’ve been doing reggae music for five years now, and even breaking some reggae in Jamaica. “So Jamaica doesn’t care about that. People in Jamaica don’t give a fuck about me being white, or not being a reggae guy. They love UB40 down there. They love Celine Dion – she’s one of the biggest artists. All they care about is the music, and when it comes to authenticity it doesn’t matter to anyone. The music matters y’know? “And I think Snoop really doesn’t give a shit. He smokes weed, and he’s like, ‘Yo, I’m me. I’m cooler than anybody. I’m Snoop Dogg.’ And I think that confidence goes a long way, because there’s a lot of energy and negativity against his music, which is crazy to me. But I’m so proud of the music, and all that matters is that the music is great.”

Major Lazer’s Free The Universe is out on Friday April 12 through Warner. facebook.com/majorlazer soundcloud.com/majorlazer

electronic - urban - club life

club guide wednesday april 10

snaps workshop

COQ ROQ - FEAT: AGENT 86 + DJS LADY NOIR + JOYBOT + KITI + MR THOM Lucky Coq, Windsor. 7:00pm. COSMIC PIZZA - FEAT: NHJ Bimbo Deluxe, Fitzroy. 8:00pm. DUBSTEP GRIME DRUM & BASS - FEAT: DJ BADDUMS + DJ CARMEX Laundry Bar, Fitzroy. 8:00pm. HOODRAPZ - FEAT: WEDNESDAY Workshop, Melbourne. 7:00pm. LOST & FOUND - FEAT: DJ SPIDEY + DJ RUBY FROST Revolver Upstairs, Prahran. 8:00pm. NEW GUERNICA WEDNESDAYS - FEAT: VARIOUS DJS New Guernica, Melbourne Cbd. 7:00pm. SOUL ARMY - FEAT: VARIOUS DJS Bimbo Deluxe, Fitzroy. 8:00pm. THE DINNER SET - FEAT: VARIOUS DJS Revolver Upstairs, Prahran. 6:00pm.

thursday april 11

3181 THURSDAYS - FEAT: HANS DC + JAKE JUDD + NIKKI SARAFIAN + HEY SAM + JESSE YOUNG + JOHN DOE + SEAN RAULT Revolver Upstairs, Prahran. 5:00pm. BANG N MASH Word Events Warehouse & Lounge, Melbourne. 8:00pm. BILLBOARD THURSDAYS - FEAT: MATT DEAN + MATTY GRANT + PHIL ROSS Billboard, Melbourne Cbd. 10:00pm. $10. CHI BEATS - FEAT: VARIOUS DJS Chi Lounge, Melbourne Cbd. 9:00pm. DO DROP IN - FEAT: DJ KITI + DJ LADY NOIR The Carlton Hotel, Melbourne Cbd. 8:00pm. DON’T THINK I’M ALIVE THURSDAYS The Vineyard, St Kilda. 7:00pm. FREE RANGE FUNK - FEAT: AGENT 86 + LEWIS CANCUT + WHO Lucky Coq, Windsor. 6:00pm. GOOD EVENING - FEAT: DJ PEOPLE Toff In Town, Melbourne Cbd. 7:00pm. GRAD PARTY THURSDAYS - FEAT: DJ ROWIE European Bier Cafe, Melbourne Cbd. 5:00pm. LE DISCO TECH Pretty Please, St Kilda. 8:00pm. LOVE STORY - FEAT: VARIOUS DJS Toff In Town, Melbourne Cbd. 8:30pm. MEZZANINE & THE BACK ROOM - FEAT: DJ MANNEQUIN + DJ SYTO Abode, St Kilda. 9:00pm. MIDNIGHT EXPRESS - FEAT: DJS PREQUEL & EDD FISHER Toff In Town, Melbourne Cbd. 11:00pm. MOOD - FEAT: NUBODY Loop, Melbourne Cbd. 9:00pm. NEW GUERNICA THURSDAYS - FEAT: CONDUCTORS + JAMES KANE + NEGATIV MAGICK + NU BALANCE + POST PERCY New Guernica, Melbourne Cbd. 8:00pm. RADIONICA Workshop, Melbourne. 9:00pm. THE RITZ THURSDAYS - FEAT: CAUC-ASIAN DJ’S + JOSHUA GILILAND + KEN WALKER + LUCILLE CROFT + CARRICK DALTON & SAM COHEN + ED WILKS + MAX KRUSE + TIM LIGHT + ZACK ROSE Trak Lounge Bar, Toorak. 8:00pm. $20. TIGER FUNK LIVE - FEAT: DJ MOONSHINE Bimbo Deluxe, Fitzroy. 8:00pm. TROCADERO Match Bar & Grill, Melbourne Cbd. 6:01pm.

friday april 12

chaise lounge

A GENDER ‘DISGRACEMENT’ PARTY - FEAT: KT SPIT + WET LIPS Grace Darling Hotel, Collingwood. 9:00pm. $7. ANYTIME Workshop, Melbourne. 8:30pm. BADABOOM FRIDAYS - FEAT: DJ ROWIE European Bier Cafe, Melbourne Cbd. 4:00pm. CANT SAY Platform One, Melbourne Cbd. 7:30pm. $10. CHI FRIDAYS Chi Lounge, Melbourne Cbd. 8:00pm. CQ FRIDAYS Cq, Melbourne. 8:00pm. DISCOTHEQUE - FEAT: ELANA MUSTO + GREG SARA + SCOTT T Match Bar & Grill, Melbourne Cbd. 7:00pm. FRIDAY DEBRIEF - FEAT: DJ OBLIVEUS Big Mouth, St Kilda. 10:00pm. FRIDAY NIGHT HOUSE FEAT: LAUREN MAC + LOW & BEHOLD + TANIA M Veludo Bar & Restaurant, St Kilda. 8:30pm. I LOVE OLD SCHOOL - FEAT: SHAGGZ & PUPPET + DJ TEY + MERV MAC Red Bennies, South Yarra. 10:00pm. $10.

JUICY - FEAT: CHAIRMAIN MEOW + COBURG MARKET + MR. FOX + TIGERFUNK + WHO Bimbo Deluxe, Fitzroy. 8:30pm. LA DANSE MACABRE - FEAT: MACHETE BROTHERS Rainbow Hotel, Fitzroy. 9:00pm. LATIN QUARTER - FEAT: VARIOUS DJS Trak Lounge Bar, Toorak. 8:00pm. MAMA SAIDS 3RD BIRTHDAY - FEAT: GAVIN KEITEL + DANIEL TARDREW + DEAN BENSON + ISAAC FRYAR + JACOB MALMO + JACOB MALO + LIAM WALLER + LUKE BOURKE + MATT KOVIC + OLIVER JAMES Revolver Upstairs, Prahran. 1:00am. MEET YOUR MATES FRIDAYS Libation, Fitzroy. 9:00pm. MIDNIGHT MIDNIGHT New Guernica, Melbourne Cbd. 8:00pm. PANORAMA - FEAT: DJS MATT RAD + MR GEORGE + PHATO A MANO + TOM MEAGHER Lucky Coq, Windsor. 8:00pm. POPROCKS - FEAT: DR PHIL SMITH Toff In Town, Melbourne Cbd. 8:00pm. REMEMBER ME - FEAT: VARIOUS DJS The Motel, South Melbourne. 9:00pm. RETRO SEXUAL - FEAT: VARIOUS DJS One Twenty Bar, Fitzroy. 9:00pm. REVOLVER FRIDAYS - FEAT: DJ LEWIE DAY + DJ MIKE CALLANDER + DJ ALEX THOMAS + DJ KATIE DROVER + DJ WHO Revolver Upstairs, Prahran. 6:00pm. SATURDAY MORNING - FEAT: DJ SUNSHINE + DJ BUTTERS + DJ HEY SAM Revolver Upstairs, Prahran. 6:00am. SHUFFLE FRIDAY NIGHTS Bridie O’reilly’s Brunswick, Brunswick. 10:00pm. SMASH JAM - FEAT: LUKE MCD + DAVE CHESTWIG + T-REK Red Bennies, South Yarra. 10:30pm. $15. THE FOX FRIDAYS Fox Hotel, Collingwood. 7:00pm. UPTOWN GROOVE Order Of Melbourne, Melbourne Cbd. 8:00pm. WEEKENDER! Ding Dong Lounge, Melbourne Cbd. 8:00pm.

saturday april 13

BILLBOARD SATURDAYS - FEAT: FRAZER ADNAM SCOTT MCMAHON + JAMIE VLAHOS + MR MAGOO + ZIGGY Billboard, Melbourne Cbd. 9:00pm. $15. CHI SATURDAYS Chi Lounge, Melbourne Cbd. 9:00pm. COSMIC TONIC Veludo Bar & Restaurant, St Kilda. 9:30pm. FIRST FLOOR SATURDAYS - FEAT: BILLY HOYLE + DJS DUCHESZ + MZRIZK + WASABI First Floor, Fitzroy. 9:00pm. GLITCH THIS Workshop, Melbourne. 7:00pm. HOT STEP - FEAT: VARIOUS DJS Bimbo Deluxe, Fitzroy. 7:00pm. LAB 22 Palace Theatre, Melbourne Cbd. 10:00pm. MIXED DRINKS SATURDAYS Libation, Fitzroy. 9:00pm. MOTEL SATURDAYS The Motel, South Melbourne. 9:00pm. NEO SACRILEGE - FEAT: DJ NERO Abode, St Kilda. 8:00pm. NEW GUERNICA SATURDAYS New Guernica, Melbourne Cbd. 7:00pm. ONESIXFIVE - FEAT: DJ COURTNEY MILLS + DJ HOOPS + DJ OLLIE HOLMES + DJ JOSH PAOLA + DJ WILL CUMMINGS Onesixone, Prahran. 3:00am. POISON APPLE Prince Bandroom, St Kilda. 9:00pm. SATURDAY CONFIDENTIAL Galley Room, Melbourne Cbd. 9:00pm. SATURDAY IS FOR DANCING - FEAT: ANDY CAN & ROC + WASABI Big Mouth, St Kilda. 9:00pm. SATURDAYS - FEAT: ACTION SAM + DJ ROWIE European Bier Cafe, Melbourne Cbd. 7:00pm. SATURDAYS AT ONE TWENTY BAR - FEAT: VARIOUS DJS One Twenty Bar, Fitzroy. 8:00pm. SOUND EMPIRE - FEAT: DJ TATE STRAUSS + DJ JOE SOFO + DJ MATTY + DJ MISS SARAH + DJ PHIL ROSS Fusion, Southbank. 9:30pm. $25. SOUTH SIDE SHOW - FEAT: EDD FISHER + KNAVE KNIXX Red Bennies, South Yarra. 8:00pm. $15. SPIN THE GLOBE - FEAT: DJ EMMA PEEL + SERHAM ALI & MOHAIR SLIM Grace Darling Hotel, Collingwood. 9:00pm. $10. STAR SATURDAYS Star Bar, South Melbourne. 3:02pm.

Didier Cohen

rüfüs

word s / a la s d a i r d u n c a n

It has been a big year for Sydney lads RÜFÜS. The young band distinct sound based on shared influences, but playing with an act like Röyksopp allowed us to refine it even further. It’s awesome to have been to New York and played in front of their heroes, had see your favourite bands and figure out what you want to be doing great success at home with their single This Summer, and toured with the likes of Röyksopp. That like them, as well as what you want last one may have been a foregone to do differently.” conclusion, given the bands’ shared For the last several months, the “With the old tracks, we’ve revamped band have been hard at work on love of umlauts, but RÜFÜS were still terribly excited at the chance to them in diﬀerent ways – we’re not straying their debut album, due to arrive share a stage with Norway’s finest too far from the originals, but we want to around the middle of this year. “We electronic producers. According up all our gear in July of last give people something they haven’t seen packed to keyboard player Jon George, year, and went down to the South before.” the band have learned a lot from Coast,” George says. “We rented playing live. a house in Berry for a month, and “It’s awesome touring with such big came out with a bunch of tracks acts,” he says, “and it’s helped us we liked. When we went back to refine our own sound. I mean, I think we’ve always had our own Sydney, we renovated an old water tank at my parents’ place and

electronic - urban - club life

STRUT SATURDAYS - FEAT: HAVANA BROWN + ANDREAS + PELLEGRINI + SERINI Trak Lounge Bar, Toorak. 8:00pm. $22. SUNDAY NIGHTS - FEAT: DJ DAMION DE SILVA + DJ JAY J + DJ KEN WALKER + DJ LIGHTING Co., Southbank. 8:30pm. TEMPERANCE SATURDAYS - FEAT: DJ MARCUS KNIGHT + DJ XANDER JAMES Temperance Hotel, South Yarra. 8:00pm. TEXTILE - FEAT: DJS PACMAN + JEAN PAUL + MOONSHINE + TAHL Lucky Coq, Windsor. 6:00pm. THE FOX SATURDAYS Fox Hotel, Collingwood. 7:00pm. THE HOUSE DEFROST - FEAT: DJ ANDEE FROST Toff In Town, Melbourne Cbd. 11:00pm. THE LATE SHOW - FEAT: MAT CANT + RANSOM + TOO MUCH + BOOGS + CONGO TARDIS #1 + DANIELSAN + MR MOONSHINE Revolver Upstairs, Prahran. 6:00pm. WHY NOT? - FEAT: SATURDAY Pretty Please, St Kilda. 9:00pm.

sunday april 14

DANGER - FEAT: GEORGE HYSTERIC & ROHAN BELL-TOWERS The Carlton Hotel, Melbourne Cbd. 8:00pm. GOO GOO MUCK - FEAT: VARIOUS DJS Lounge, Melbourne Cbd. 8:00pm. GUILTY PLEASURES Pretty Please, St Kilda. 9:00pm. MOTEL SUNDAYS The Motel, South Melbourne. 6:00pm. NO MORE-BANG-FOR-BUCK BURLESQUE SHOW! Red Bennies, South Yarra. 8:00pm. REVOLVER SUNDAYS - FEAT: DJ BOOGS + DJ SPACEY SPACE + DJ RADIATOR + DJ SILVERSIX + DJ T-REK Revolver Upstairs, Prahran. 6:30pm. SOUTH SIDE HUSTLE - FEAT: ASKEW + BOOSHANK + DISCO HARRY + JUNJI + MISS BUTT + PAZ + PETER BAKER Lucky Coq, Windsor. 8:30pm. SUNDAE SHAKE - FEAT: AGENT 86 + PHATO-A-MANO + TIGERFUNK Bimbo Deluxe, Fitzroy. 4:00pm. SURRENDER - FEAT: DJ SERGEANT SLICK + DJ ADAM TRACE + DJ ADRIAN CHESSARI + DJ CHRIS OSTROM + DJ SEF Fusion, Southbank. 8:00pm. THE SUNDAY SET - FEAT: DJS ANDYBLACK + HAGGIS Toff In Town, Melbourne Cbd. 4:00pm.

monday april 15

GREEN HOUSE Mckillops, Melbourne Cbd. 9:00pm. IBIMBO - FEAT: LADY NOIR & KITI Bimbo Deluxe, Fitzroy. 6:00pm. KOOL AID - FEAT: DJ MU-GEN Laundry Bar, Fitzroy. 8:00pm. STIFF DRINK - FEAT: DJ MICHAEL KUCYK + DJ MICHAEL OZONE + DJ ROMAN WAFERS Toff In Town, Melbourne Cbd. 8:00pm. TWERKERS CLUB - FEAT: DJ FLETCH Workers Club, Fitzroy. 7:00pm.

tuesday april 16

BIMBO TUESDAYS - FEAT: ADAM ASKEW Bimbo Deluxe, Fitzroy. 8:00pm. COSMIC PIZZA - FEAT: VARIOUS DJS Lucky Coq, Windsor. 8:00pm. DJ JAGUAR E55, Melbourne Cbd. 8:00pm. NEVER CHEER BEFORE YOU KNOW WHO’S WINNING - FEAT: REPETER FONDA Revolver Upstairs, Prahran. 7:00pm.

turned it into a studio – we put some acoustic panelling in there, and some cabling, and we kitted out our own little studio.” Their set-up is something like a bunker, an escape from the outside world, and the guys have been spending hours in there, polishing their new tracks to perfection. “We’re in the studio pretty much every day,” George says. “It’s turned into a massive project. The studio’s great, though – we’re protected from the elements, and we feel like we’re sheltered from the outside world. We can go in there and work all night if we want to – I’m really happy with what’s come out.” The first single to come from the album, Take Me, is just the kind of track you’d want from RÜFÜS – slick, sleek and danceable, with a decidedly sinister edge. “We were tossing up the first single for quite a while,” George explains. “Take Me is the most poppy song on there, but we decided we wanted to lead with something like that. There are a lot of deep tones, a lot of round tones through the album, as well as a lot of soulful vocals. We still have all our bells and whistles, so you can expect to hear all of that and more.” RÜFÜS are all set to hit the road in support of Take Me, and promise that fans will be hearing at least four or five songs from their upcoming album. “We’re figuring out how to play them all right now,” George says. “It’s fun adding new stuff to the show. With the old tracks, we’ve revamped them in different ways – we’re not straying too far from the originals, but we want to give people something they haven’t seen before.” George is confident that the band’s next single will come out on the tour, even if it doesn’t have a name just yet. “We’re tossing up between two at the moment, so I’d better not say anything just yet,” he laughs. “You’ll find out soon enough! I’m very excited for people to hear songs they haven’t heard before, to hear another side of us, or at least a different shade.”

RÜFÜS play at Ding Dong Lounge on Thursday April 18 and Friday April 19. facebook.com/rufussounds soundcloud.com/rufussounds

.com.au new and improved! everything Melbourne - online & mobile

electronic - urban - club life

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rnb superclub

wednesday april 10 COMPRESSION SESSION - FEAT: CASSAWARRIOR + DD + RICKA E55, Melbourne Cbd. 8:00pm. SOUL ENSEMBLE Lounge, Melbourne Cbd. 9:00pm.

thursday april 11 PENNIES - FEAT: VARIOUS DJS Laundry Bar, Fitzroy. 8:30pm. $6. RHYTHM-AL-ISM - FEAT: DJ DAMION DE SILVA + DJ K-DEE + DJ SIMON SEZ Fusion, Southbank. 10:00pm. $15.

LAUNDRY SATURDAYS - FEAT: VARIOUS DJS Laundry Bar, Fitzroy. 8:30pm. PHATURDAY - FEAT: TOM SHOWTIME + DJ AYNA Blue Bar, Prahran. 10:00pm. PURPOSE Laundry Bar, Fitzroy. 8:30pm. $15. SATURDAY NIGHTS - FEAT: DJ DAMION DE SILVA + DJ JAY SIN + DJ K DEE Khokolat Bar, Melbourne. 8:30pm. THE DOJO - FEAT: VARIOUS DJS Order Of Melbourne, Melbourne Cbd. 10:00pm. THE DOJO - FEAT: VARIOUS DJS Order Of Melbourne, Melbourne Cbd. 11:00pm.

sunday april 14

friday april 12 @PEACE + AMIN PAYNE + ELOQUOR + REMI Espy, St Kilda. 6:30pm. CHAISE FRIDAYS - FEAT: SOULCLAP + DJ CLAZ + DJ DIRX + DJ PERIL + DJ SEF Chaise Lounge, Melbourne Cbd. 4:30pm. CREW LOVE - FEAT: DJ TONY SUNSHINE Sub Lounge, Melbourne Cbd. 10:00pm. $15. FAKTORY - FEAT: DJ DAMION DE SILVA + DJ DURMY + DJ K DEE + DJ YATHS Khokolat Bar, Melbourne. 8:30pm. GET LIT - FEAT: VARIOUS DJS Lounge, Melbourne Cbd. 9:00pm. LIKE FRIDAYS - FEAT: BROZ + DIR-X + DJS DINESH + NYD + SEF + SHAGGZ + SHAUN D La Di Da, Melbourne. 7:00pm. SPIT SYNDICATE + JACKIE ONASSIS + MIKEY HUNDRED Northcote Social Club, Northcote. 8:30pm. $18. SWEET NOTHING FRIDAYS - FEAT: DJ MARCUS KNIGHT + DJ XANDER JAMES Temperance Hotel, South Yarra. 8:00pm.

BE. - FEAT: DJ DAMION DE SILVA + DJ JAY J + DJ KEN WALKER Co., Southbank. 10:00pm. $15. OPEN DECKS Thornbury Local, Thornbury. 6:30pm.

monday april 15 FREEDOM PASS - FEAT: PHIL ROSS + B-BOOGIE + CHRIS MAC + DOZZA Co., Southbank. 9:30pm.

tuesday april 16 CAN I KICK Lounge, Melbourne Cbd. 9:00pm.

saturday april 13 CHAISE LOUNGE SATURDAYS - FEAT: DJ ANDY PALA + DJ KAH LUA CHAISE Lounge, Melbourne Cbd. 8:00pm.

rhythm-al-ism at fusion

be. at co.

redlove

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electronic - urban - club life

faktory

BONJAH BY KRISSI WEISS

Like Rusty Crowe, the Finn brothers and many, many more artists, New Zealand ex-pats Bonjah have become both embraced and claimed but Australia. After bringing their rockdominated reggae sound to Melbourne many moons ago, the band have evolved (no pun intended) into a powerhouse live band with that earlier sound a distant memory. After the success of 2011’s absolutely smashing release, Go Go Chaos, Bonjah are dropping the first single from an album they hope to have out this year. Crowds have grown a lot in that time and guitarist Regan Lethbridge is stoked with the band’s ever-changing sound. “We never wanted to conform to just playing reggae although that was our earliest inﬂuences,” Lethbridge says. “Now that’s completely erased from our set. There’s a hint of roots in a couple of songs – we don’t want to completely turn our backs on it – but in terms of the old school reggae it’s pretty much gone. We just want to try to carve out our own sound instead of trying to do something that the Jamaicans did really brilliantly in the ‘70s … we’re lucky that we’ve had people stick with us through our changes. They could’ve just gone, ‘Stuﬀ you guys, I liked the reggae’, maybe some of them did?” While Lethbridge does have immense respect for the fathers of reggae, and is pleased with his band’s current sound, he’s still a fan of those modern artists who do it well. “There are artists that we look up to – Trinity Roots, The Black Seeds, Salmonella Dub – they inspired us to be a band and they all really put their own spin on things,” he says. “Artists that take that mould but move it forward

are the artists we enjoy. But then also I’ve seen some amazing bands like Kingﬁsha who are just absolutely ﬂawless reggae players, you could listen to them all day, so I guess there’s really no right or wrong, from our point of view personally we just wanted to steer away from it.” Bonjah’s progression from rock-reggae artists to a band who are truly creating their own sound doesn’t seem to have cost them many fans, in fact, the crowds keep on growing. “We’ve gone from playing to two people to playing to a bit more so that’s been great,” he says. “We’ve never wanted to repeat ourselves musically so we’re always trying new things and ensuring that we’re pushing ourselves in our live show. We know people are paying good money to see us so we always want to put on a good show.” Apart from supporting their music, the Bonjah crowd help the band determine exactly what songs will earn a place in their set. “We always gauge things on the au-

dience response,” he says. “Sometimes when you play something to an audience for the first time you can tell straight away that it works but then when we played ‘Evolution’ in the band room for the first time we were all grinning. We do it for ourselves but it would be foolish for any band to say they don’t care whether or not their audience enjoys what they’re doing or that they don’t want success and to be able to go from The Corner to The Forum.” Evolution underwent its own transition with the band put in a position where they were finishing off the mastering the night before the track was headed for radio. “We recorded it and mixed it with the same person and when we heard it we made the very hard call to go back in and do it again,” he explains. “We ended up getting two good friends to help us record it and we were way happier with the result. We had different visions, I don’t want to name the old producer he has done and does do some great work but he came in and changed the drum beat and dropped the guitar hook and we thought ‘Okay we’ll

roll with it’ but then the sound just came out a bit too dark and it just didn’t feel right. We got some advice from friends and we went back in and did it in a more relaxed environment and it came out in the way we’d envisaged it in our heads. I was sent Evolution while I was over in New Zealand from songs we’d demoed and literally within the ﬁrst ten seconds I was like ‘wow’ and then when the vocal kicked in it was instantly like, ‘Yes that’s the single’. The vocal melody stuck in my head, I loved the guitar hook and I just knew, it’s hard to explain it and yet I dunno what our second single is going to be, we probably haven’t even written it. We know the album will be out around spring of this year but there’s still probably a lot of writing to do.”

After the commercial and critical success of his first album, Bilal was eager to experiment further on his next. “On the first album I was allowed to produce but I had to have kind of a ‘big brother’ watching over me,” he says. “This time I wanted to produce on my own and that started some friction.” A series of drawn-out rows with label Interscope ensued. Interscope eventually rejected the album, Love For Sale, which was subsequently bootlegged and leaked on the internet. Does Bilal have any conspiracy theories about the leak? “Hmmm, you know, I have a few. Of course, I’ve tossed that around, thinking maybe it was an inside job.” Bilal admits that for a brief time he wondered whether he would ever release his own material again, which made the completion of his 2010 LP Airtight’s Revenge all the more satisfying, particularly when it earned him a Grammy nomination. “It really just fuelled me to do what I wanted to do because there was no filter for the music

on that album,” he says. Now Bilal is back to somewhere near where he feels he should be at this point in a diﬃcult career, with a third album that he is pleased with and that he hopes will open him up to more fans. “I wanted to make an album that was more accessible. On Airtight I got a lot out. So, on this record I was in a warmer place and in a diﬀerent kind of vibe. On this record I’m still speaking about passion and I’ve just focused a lot of it on love stories,” he says. Looking back on a decade and a half as recording artist, Bilal makes no secret of the fact that has spent much of it frustrated at the industry’s gearing towards making money. But he’s philosophical about his experience. “It’s the story of an artist,” he concludes matter-of-factly.

thinking – soldiers get trained, then they go into battle. But when they come back, they’re not trained to be a civilian again, so it’s obviously diﬃcult for them. I had that in mind with this album, hoping it might touch on the minds of ex-soldiers everywhere. I just wanted to have a feeling where they would be quite calmed by the music.” “My dad’s seen the video [for Many People I Know] that we just made and he really loved it, which is amazing,” he says. “He gave me a call the other day, and I know for a fact that it’s the ﬁrst time any of my music has connected with him. He’s very straight down the line with music, and he knows what he likes – real

old genuine country music guys like Merle Haggard or bush balladeers. Even Johnny Cash is too commercial for him. It’s been something I’ve been working towards forever, to make music that my Dad enjoys, so yeah, it was fantastic.”

BONJAH’s Evolution tour stops by The Corner Hotel on Saturday April 13 with special guests Ghost Orkid and Old Medicine. Evolution will be out on the same day through iTunes.

BILAL BY DAVID WILD

At the turn of the millennium U.S. soul music was in a state of rude health. The Miseducation Of Lauryn Hill had switched everyone on to ‘neo-soul’ and D’Angelo was at the peak of his powers. Then in 2001, along came an artist whose debut album, 1st Born Second, expanded the boundaries of this recently-labelled genre and threatened to blow the too-small box into which he was being forced to smithereens. Bilal Oliver did cut his chops singing in the church, but was also a classically-trained performer capable of singing opera in seven languages who loved freeform jazz. In the 12 years since, Bilal has failed to really capitalise on that early promise and not much has been heard of him. But Australian fans will soon get to hear his exceptional voice as he visits the country for the first time showcasing material from new album A Love Surreal. Speaking from his home in Brooklyn, the laid-back Bilal remembers how his love for music was formed when his father used to sneak him inside the jazz clubs of his childhood home, Philadelphia. “I used to have to sit in the back where the cigarette machine was. They had a curtain they could put over me just in case the police came. I remember sitting back there watching all of these different bands who really intrigued me a lot. I liked the way the cats dressed, the way they talked. I got to see Terence Blanchard, Kenny Kirkland, Jeff ‘Tain’ Watts. I was 13-years-old – I made up my mind then that I wanted to be in music in some kind of way,” he says. Stints with various bands at high school followed before

Bilal met many of the musicians that were carrying the torch for soul in the 21st century and eventually became part of their loose collective, The Soulquarians. “I met Ahmir (‘Questlove’ Thompson, of The Roots) through jam sessions in New York City. Ahmir used to come to that jam session, Erykah Badu. Everybody. Common, Mos Def. And from there I would go to the jam sessions in Philadelphia and meet more people. I would go up and sing. I just kept showing up to all of them,” he laughs. One of Bilal’s earliest mentors was fellow Soulquarian, the late hip hop super-producer J Dilla. “Oh man, I just learnt his fearlessness, his charisma,” says Bilal. “He had this kind of way where he made everything look easy and he didn’t really have any boundaries when he was creating. I’ve seen Dilla play bass, guitar, drums and he taught himself how to play them all. He was really inspiring.” Bilal talks about his departed friend with a deep sense of gratitude. “He opened my mind to just exclude rules. Coming out of school you think there’s a rule for everything. After working with him I threw all of the rules out. Do whatever your heart says, y’know?”

BILAL brings his debut Australian tour to The Hi-Fi on Friday May 3.

TIM GUY BY SIMON TOPPER

Melbourne singer-songwriter Tim Guy has just released his fourth album, but unless you’ve been living in New Zealand, his name will probably be new to you. Guy started his musical career by taking his first home-recorded demo to a Bic Runga soundcheck during an Australian tour. By luck, the demo found its way into Runga’s hand, she signed Guy to her label, and he moved to New Zealand to record his first album. That was more than a decade ago. Guy’s now back living in Melbourne, and finding himself in the unusual position of releasing Dreaming Of A Night Mango as his first album in his home country. Finding success in New Zealand, Guy says he was overseas for long enough to feel lonely upon return to the city he had always called home. “That’s what Many People I Know was trying to get at,” he says, referring to his current single. “A lot of my friends and some of my family had moved away since I was last here, so I’m getting to know the town again as a stranger. It’s bittersweet, but I’m finding parts of the city that I love, that I never knew about when I had a bigger network.” Dreaming Of A Night Mango is a dusty, minimalist album; you often need to listen closely to hear more than one man’s voice and his acoustic strumming. Guy says his albums haven’t always been so wilfully sparse. “My previous record was recorded with high fidelity sound and big choruses, and probably 12 or 13 different

people. This record was the complete opposite,” he says. “I wanted to do as many things as possible myself. There’s a core group of guys that play [who are] sprinkled over the record, but the majority of it was just myself in the bedroom.” The album’s obscure title was also inspired by members of Guy’s family moving away from Melbourne, though a generation earlier. “My family was part of the ‘gold rush’ of the early ‘80s, when there felt like there was a big push to get people to move up from Melbourne to the Gold Coast, to build it up,” he says. “The album title just stems from touching on my family line, because it’s tropical up there and in summer there are mangoes everywhere.” The theme of family runs deep through the entire record. “I had people like my father and grandfather in mind. They both served in the military in wartime,” he says. “They weren’t career soldiers, they just put their hand up when they were needed. It got me

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Dreaming Of A Night Mango out now through Lost & Lonesome Records. TIM GUY launches it at the Grace Darling on Wednesday April 24. Beat Magazine Page 51

INDUSTRIAL STRENGTH MUSIC INDUSTRY NEWS & GOSSIP

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

Musicoz’s Australian Independent Music Awards has opened for entries. It covers 18 music genres, see musicoz.org or australianindependentmusicawards. com. They are held on Thursday November 7 at The Star in Sydney. This year sees HTC, which has over two million customers and active social media channels, come in as major sponsor. Musicoz Foundation CEO Tim Dixon said, “It is fabulous to have HTC come on board and recognise the value of the independent music community in Australia.” The awards’ launch at Star saw appearances by last year’s artist of the year Kid Mac (who shot a video clip during his set), The Leisure Bandits and DJ Sandi Hotrod. Among guests were Toni Childs, New Empire, Silver Cities, Sophia Hope and Noiseworks’ Steve Balbi.

BIRDS OF TOKYO MOST PLAYED AUSSIE ACT

Birds Of Tokyo were the most played Australian act on radio in the ﬁrst three months of the year, according to Air Check. Their Lantern got 7,065 spins, while Samantha Jade’s What You’ve Done To Me was a runner-up with 4,739 spins. But the biggest playing track was The Lumineers’ Ho Hey with 7,963 spins, directly before Bruno Mars’ When I Was Your Man with 7,687. According to Air Check, Universal Music had the lion’s share of airplay with 32%, followed by Sony at 26%, Warner at 22%, EMI at 14% and the indies at 5%.

SPRINGSTEEN TOUR GROSSES $25 MILLION

Bruce Sprngsteen’s Australian tour grossed $25 million, according to Billboard. He played to 47,796 fans over three shows at Sydney’s Allphones Arena and to 46,740 over three nights at Rod Laver Arena (not including the 17,000 who attended the Hanging Rock show). It was one of the biggest international tours since Pink’s 2009 Funhouse tour which grossed $80 million. A far cry from Bruce’s 2011 tour after the September 11 attacks: warnings by the Australian Government for people not to amass in open air events saw fans stay away from shows by the dude who sang Born In The USA. That tour lost $2 million.

the site’s number … a photo ran in UK magazines of Mick Jagger and Ron Wood caught looking out of a tent while camping to get in shape for their Glastonbury appearance … two Florida DJs were suspended after they ran a news items warning that “dihydrogen monoxide” (another word for water) was coming out of taps and to beware. • The Temper Trap are among the acts opening for The Rolling Stones whey play London’s Hyde Park on Friday July 5. The show sold out in three minutes, with scalpers asking up to £10,000 for premium seats. Meantime closer to home, the Trap sold out their Sydney and Brisbane shows. • Channel [V]’s flagship The Riff celebrated its 100th show on the weekend, while [V]’s Facebook page has hit 800,000 likes. • A French gold AC/DC record for High Voltage presented to former AC/DC bassist Mark Evans raised $4,200 on eBay to help send the Sydney Secondary College (Balmain campus) girls soccer team to compete in Hawaii. • Macklemore & Ryan Lewis’ album has gone platinum in Australia. • At Bluesfest, Paul Simon dedicated Slip Slidin’ Away to his late producer Phil Ramone. Speaking of the festival, official attendance figures are put at over 80,000. Two new acts to make waves were Grace Potter and Melbourne’s Saskwatch. The latter got a further boost when Bluesfest used their music on a video sent to mass media showing snippets of this year’s festival. • 360 and San Cisco play USA’s Lollapalooza in early August alongside The Cure, Mumford & Sons, Nine Inch Nails and Phoenix. • Daniel Johns is finishing up the new Silverchair album, but it won’t feature the other two. He told The Music Network it stems from the aborted collaboration with Luke Steele which was to be four EPs each representing a season. Chris Joannou and Ben Gillies excused themselves from the project. • Has George Michael spent the last three months in rehab in Byron Bay, the Sydney Daily Telegraph wondered. • British India scored their third consecutive debut Top 10 ARIA album with Controller, their first since signing to Liberation Music last year.

HIP HOP’S WEALTHIEST

Little Collins live music venue Pony, which closed late last year with a marathon weekend of farewell sets, is returning this month as Boney. Owners Camillo and Dan Ippoliti did extensive renovations, with the ﬁrst major show being on Thursday April 25 as part of the Hoodoo Gurus’ invitational Dig It Up!.

US business magazine Forbes did the calculations and declared that Sean “Diddy” Combs’ remains hip hop’s wealthiest mogul for the third year running. Diddly-Dee’s US$580 million fortune came from his non-music ventures, including the highly successful Diageo’s Ciroc vodka brand which gives him an eightfigure annual paycheck and a nine-figure windfall if the brand is ever sold. Diddy just launched a line of bottled water, AQUAhydrate, with Mark Wahlberg. Number two was Shawn “Jay-Z” Carter with a net worth of $475 million. His past deals as selling Rocawear for $204 million in 2007 and a $150 million deal with Live Nation in 2008 still rolls in the cash, as well as endorsement deals with Duracell, Budweiser and Bacardi’s D’ussé Cognac. He also invested in Roc Nation (he just launched a sports division), Carol’s Daughter hair care for frizzy air, the Brooklyn Nets basketball team and the Barclays Center in Brooklyn, New York. Andre “Dr. Dre” Young was number three with $350 million mostly due to the top selling Beats by Dr. Dre headphones. Bryan “Birdman” Williams made $150 million through Cash Money which signed Drake, Nicki Minaj and Lil Wayne as well as his YMCMB clothing line and GT Vodka. Curtis “50 Cent” Jackson rounded off the top five with $100 million from an assortment of music, merchandise, video games and books, his SMS Audio headphones brand, SK Energy and his payout from selling his stake in VitaminWater parent Glacéau to Coca-Cola in 2007.

THINGS WE HEAR

VALE CHRIS BAILEY

“SMOKESCREEN” FESTIVAL AN ANTI-SMOKING CAMPAIGN

The much rumoured Smokescreen Festival (“the most dangerous music festival on earth”) has turned out to be a very clever anti-smoking campaign by Mushroom Marketing. A teaser campaign, including street posters and a 17 second video created a buzz across the industry. After announcing that the two headliners were hip hop act M4-CEMA and glam rockers The Coughin’ Nails, Mushroom revealed it was a smart-cookie campaign aimed at young folks to deglamorise and reveal that near 15,000 Australians die each year from smoking-related illnesses. The campaign used two songs Get You Out of My System by M4-CEMA and Very Good Year by The Coughin’ Nails. Both were written speciﬁcally for the project, says Mushroom Marketing managing director Carl Gardiner. “They are not jingles or slogans – they are real songs and both make a very powerful statement about smoking in their own way.”

PONY RETURNS AS BONEY

• Among hoaxes on April Fool’s Day: YouTube announced it was closing shop as it had found the world’s best video after eight years …Twitter said it was introducing a two-tier system, the cheaper one not to include vowels … Sony launched headphones for cats … Justin Bieber got his revenge on gossip site TMZ: he invited fans to call him and gave them

Chris Bailey, bassist with The Angels and GANGgajang lost his nine-month battle with throat cancer last week. He was 62. Although he stepped back from performing in January, he joined The Angels in the studio for eight tracks for their next album. Bailey joined The Angels in 1976, left in 1982, and returned in 2002. Drummer Buzz Bidstrup, who

Q&A THE HELLO MORNING

visited him in hospital with singer Doc Neeson three days before, recalled him as “an intuitive player, a joy to play with.” One of his ﬁrst bands in Adelaide was Mount Lofty Rangers with Bon Scott.

GOOD WORK #1: NEIL YOUNG GETS SLAMMED

Neil Young & Crazy Horse signed a black $4,000 Les Paul Guitar to be auctioned for SLAM’s (Save Live Music Australia) fundraising eﬀorts. Money raised will help SLAM continue its work to galvanise the music community in removing barriers to live music on a national level.

GOOD WORK #2: HEART OF ST KILDA CONCERT

Lisa Miller, Graveyard Train, Kate Ceberano, Wishful, ventriloquist Darren Carr and comedians Russell Gilbert and Rachel Berger with Even as house band are the ﬁrst acts announced for The Heart Of St Kilda festival. It is held on Tuesday May 14 at the Palais Theatre, St Kilda. MC’d by Brian Nankervis, the night hopes to fund more than 30,000 of the breakfast and lunches, served by Sacred Heart Mission to those experiencing homelessness or poverty.

GRAPES GO CROWD-FUNDING

The Grapes, featuring Ashley Naylor & Sherry Rich, have launched a Pledge Music campaign for second album Western Sun. The Grapes began as a one-oﬀ in 1997, recording a Gene Clark song at Seed Studios in South Melbourne for a Rubber Records sampler. A debut album followed two years later.

GOODBYEMOTEL RETURN HOME

After six months based in New York, goodbyemotel have returned to hometown Melbourne to promote their latest album. The record was produced by Kevin Killen (U2, Peter Gabriel, Kate Bush) and music director Gerry Leonard (David Bowie) with guest slots from Bruce Springsteen back-up singer Everitt Bradley, George Michael’s keyboardist Henry Hey and Peter Gabriel’s bass player Tony Levin. The band’s songs have been used on American TV shows as Gossip Girl, Covert Affairs and Suits and a US ad campaign for MTV, Watching You was featured in the film Summer Coda and Set It Off for a luxury car brand Chrysler for its 300 TV ad. The band returns to the US later this year.

OBESE OPENS IN FRANKSTON

Obese Records opened a second retail store, in Frankston, at 6 Wells St. The ﬁrst, in Prahran, was set up in 1995 when Tirren Staaf (Pegz) bought OB’s.

WROKDOWN GOES ONLINE

Anita Monk, producer of Wrokdown community TV and radio, has created an online version to promote and sell Australian music. Each half hour show will stream seven Aussie songs. which can be bought for 99c with 80c going to the artist. Monk says, “There are so many talented musicians out there that are not picked up by record companies or mainstream radio, and this will give them an outlet for their music. This includes some of the baby boomer artists who have released the most brilliant albums, but because of their age, do not ﬁt the play list of commercial radio.” See wrokdownplus.com/store/.

NEW SIGNING #1: PATRICK JAMES JOIN CREATE/CONTROL

Sydney based singer songwriter Patrick James has been signed to Create/Control. An EP, All About To Change is out Friday April 26 in Australia and NZ. James has been selling out shows in Sydney, Melbourne and Canberra after touring with The Paper Kites and Tim Hart (Boy & Bear).

NEW SIGNING #2: GEORGI KAY WITH PARLOPHONE

New Ivy League Records signing, Perth singer songwriter Georgi Kay, has joined the Parlophone label for UK release. It is the home of The Beatles, as well as Bat For Lashes, Kylie Minogue Lily Allen, Gorillaz, Babyshambles and Sigur Rós. A limited

Ill: McFly drummer Harry Judd diagnosed with an “ectopic heart beat” brought on by his hard training to run the London Marathon. Ill: DJ and celebrity Ruby Rose is taking time off to cope with severe depression. Ill: The problems that caused Swedish house DJ Avicii to blow out some Aussie dates last month are not solved: he just axed two dates in India. Ill: Lil’ Wayne, who was rushed to the hospital after having multiple seizures on a music video set, reveals he suffers from epilepsy. In Court: A 25-year-old man from Bristol, UK, Aaron Cogley, lost his licence for 12 months for dangerous driving. Cops spotted him driving through red lights and almost ran over a pedestrian when he turned a corner sharply. But he was not drunk or stoned. His lawyer claimed he was under the influence of drum and bass. “Intoxicating for some. Very irritating for others,” said the judge. In Court: a US judge threw out a defamation lawsuit by Boston’s Tom Scholz against the Boston Herald and two of its gossip columnists. He claimed they implied he had something to do with Boston singer Brad Delp’s 2007 suicide. Suing: a Kiss fan takes action against a Maryland amphitheatre claiming he was injured by flying debris from a cannon fired during a show last August. Died: Jeremy Junk, 41, pioneering Perth dance promoter in the late ‘90s, in a mining accident in central western NSW. He was a consultant to the mine and was underground when his head collided with a platform. Died: Paul Williams, US “godfather of rock criticism,” author and founder of Crawdaddy magazine, 64, from complications related to a bike accident in 1995. Died: Gordon Stoker, of Elvis Presley’s backing vocal group The Jordanaires, 88. Died: Robert Zildjian, founder of Canada’s Sabian Cymbals, 89 from cancer. He named the company after his three children, Sally, Andy and Bill. Died: Neil Smith, former bassist of AC/DC (1974) and Rose Tattoo (late ‘70s), after a battle with cancer. edition 7” Ipswich is released to coincide with Record Store Day on Saturday April 20 with an EP to follow Australia and the UK.

NEW SIGNING #3: DIVING IN THE DEEP END

The Deep End signed a worldwide publishing/ distribution deal with Marshall Cullen’s Foghorn/ MGM and Fogsongs Music in Sydney. The band’s debut release Cop This has gone into the Top 10 of European mail order service aorheaven.com while the physical version is on thedeependrock.bigcartel. com. The video for single Bigger. Better. Badder. has had 100,000 views.

CHELSEA JANE WINS HILLTOP INITIATIVE

Emerging hip hop artist Chelsea Jane won the Hilltop Hoods Initiative for 2013. She gets $10,000 in cash to release and promote of her ﬁrst solo album, legal advice from David Vodika and Media Arts lawyers and a Shure microphone pack. MC Suﬀa of the Hilltops thanked APRA for its support, and added, “I hope the Initiative creates some amazing opportunities for her.”

WANT TO WORK AT BEAT?

Want to work in an industry you love? A fantastic opportunity exists for a sales professional to join the team at Beat and Furst Media. Sales experience in outbound, phone and cold sales with a demonstrated track record of success is essential. The ideal applicant is self-motivated, has great communication skills, is computer literate, will be able to establish and build relationships with new and existing clients in order to gain repeated business and referrals, has a real passion and is extremely knowledgeable about the arts, education sectors and Melbourne culture, has excellent attention-to-detail and holds a current drivers license and owns their transport. Phone, petrol allowance and car park provided. Base salary plus commission. If you believe you have the skills and experience required for this role, we’d love to hear from you. Please email your CV and a cover letter jobs@furstmedia.com.au.

Deﬁne your genre in ﬁve words or less: Alternative country kind-of rock music.

play and sing on it and produced it ourselves which was one hell of a learning curve, to say the least.

Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? We like bands like Wilco, Drive By Truckers, and so on. We have six people in our band, lots of guitars, hammond organ and harmonies.

Which band would you most like to have a battle/ showdown with? The Flaming Lips. They would obviously kick our arse, but we’d get to use their stage props, shoot confetti cannons and run around in the crazy clear sphere.

What do you love about making music? Playing with good guys and meeting interesting people along the way. We spent a lot of last year touring around Australia and went to some great places, and some really weird places too.

Describe the best gig you have ever played. We did a support tour a while back and played to a sold out Tivoli in Brisbane. That place is amazing. The crowd were some of the nicest people we’ve come across. The venue, the sound, the whole thing was spot on. It’s very similar to our Forum, the only venue that comes close in my opinion.

What do you hate about the music industry? It’s a bit of a mine ﬁeld, and I’m not the best foot soldier. Sometimes it feels like there’s a lot of negativity and bullshit to get through just to make the music you want, but I think there’s still a lot of great people in the industry that genuinely give a shit and that’s reassuring. What’ve you got to sell CD-wise? Our album that we put out last year. We spent a long time working on it, had all of our friends come and

Beat Magazine Page 52

LIFELINES

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

Do you have a pre-gig ritual? If so, what is it? We have a bit of a sing, have a drink and hammer scissor paper for who drives the van home. Very competitive… Often a great deal of cheating involved in that game. THE HELLO MORNING play The Elsternwick Hotel on Friday April 12.

THE FLAMING LIPS BY NATHAN JOLLY

“We knew that, at the end of 2010, our contract with Warner Bros. was going to be over, and we were going to give ourselves a little bit of time to explore what perhaps our new contract would be all about. It would allow us the freedom to explore the way The Flaming Lips would want to do things in the future,” explains Wayne Coyne. “It was all very helpful and allowed us to really accelerate ourselves, and do not just a lot of music, but a lot of conceptual art, which is really what being a band is about. We’ve always done that, it’s just that previous to this time we always were limited to how many things we could put out, by contracts and publishing deals and all these things. So I think that freedom made us, just… fucking freak out.” “Freak out” seems about right. How else could one describe the mad rush of releases that The Flaming Lips have pumped out over the past two years? There was the six-hour single, collaborations with everyone from Yoko Ono through to Ke$ha (the vinyl versions of which were pressed with human blood, naturally), a 24-hour track limited to 13 copies encased in actual human skulls, a studio re-recording of the entire Dark Side Of the Moon album, a series of USB drive releases embedded in gummy fetuses and brains, Guinness World Record attempts and numerous other off-the-wall experiments which all made it seem as if The Flaming Lips would never again sit still for long enough to record a traditional album. Not that they needed to. Across 12 studio albums, the band had traversed every conceivable sonic terrain, with moments of heartbreaking beauty rubbing up against acid-inspired noise-jams, folk songs and twisted pop gems. 1999’s transcendent sonic left-turn The Soft Bulletin and 2001’s death-obsessed Yoshimi Battles The Pink Robots are routinely placed in the higher reaches of Best Album Ever lists, and 1993’s She Don’t Use Jelly briefly saw the band enter the world of singles charts and MTV rotation – as well as a cameo on 90210, which they accepted gleefully. “We were like, ‘Fuck yeah, we’ll do it.’ Because it’s rediculous, and it can be fun, and we didn’t think that would damage us artistically,” Coyne recalls. 1997’s Zaireeka – four CDs designed to be played simultaneously – quickly stymied such scenarios. So, with such a definitive string of albums and the post-label madness that followed, it came as some surprise to learn that the band had completed their 13th full-length record: a dense, intense collection titled The Terror. “We started to make music this way, which is a bit dissonant, even amongst itself,” Coyne explains. “The music within the song doesn’t always lineup and it’s not always in tune and it’s kind of purposefully got this untamed-ness about it. We started doing some of that on the last record [2009’s sprawling, scattershot Embryonic], and there’s been moments of it all along, but we didn’t choose to do it as relentlessly as we are choosing to do it now.” For those more familiar with the joyous strains of Do You Realize?? or the celestial ceremony of Race For The Prize, the unsettling rush of The Terror may come as a shock. Coyne insists it’s all part of pushing forward, and none of this experimentation constitutes the band ignoring their past.

PPALACE THEATRE

“THE MUSIC WITHIN THE SONG DOESN’T ALWAYS LINEUP AND IT’S NOT ALWAYS IN TUNE AND IT’S KIND OF PURPOSEFULLY GOT THIS UNTAMEDNESS ABOUT IT” “We’re just exploring other dimensions of our character I think. When we hear music like Do You Realize?? and Yoshimi…, we don’t go, ‘Oh my God, that’s not us’ – we are all that. That probably goes against what an artist is supposed to be: totally self-absorbed, in the moment, if we love this music, we hate that music. We can easily write the saddest, bleakest, darkest music, then next to it play something very happy and majorchord-sounding. “We know that we’ve made records like Do You Realize?? and we don’t feel like we need to make them anymore. Do You Realize?? is still part of our character: I’m glad it is, I want it to be. [The Terror] is also part of our character, but we’re still discovering it. We’re still becoming it.” Part of this exploration included a number of warped pre-Terror collaborations with Erykah Badu, Biz Markie, Yoko Ono (“Absolutely the real deal. I can see why someone like John Lennon would want to be around her”), Bon Iver and Ke$ha. Of course, working with such a motley crew made for wildly differing experiences, but none as divergent as the two Australian artists the band worked with: Kevin Parker of Tame Impala, and Nick Cave. “Kevin is so gentle and so easy and so fun. He’s so laidback, he probably didn’t care what we did. He knew we were gonna make it good. Nick Cave was a little bit different than that,” Coyne laughs. “You have to do it a little bit on his own time, and he’s not so ‘anything goes’. When I asked if he’d do some music he said, ‘Well, we can only do it if we hurry, ‘cause I’ve got things to do’, so I’d send him a few things: ‘Oh, I don’t like that. Send me something else.’ So, radically different people, but both very cool, very intense. I love working with intense people. That’s why we do it. We want to be right there with them.”

2 WE E KS A W AY !

FFeel eel PPresents resents

TTHE ATTIC (PALACE)

SSPLEEN BAR

D O OR S OPEENN MiD iDDAY

ANZAC DAY!

THU. 25TH APRiL PALACE THEATRE THE ATTIC (PALACE UPSTAiRS) SPLEEN BAR

The Terror out now through Warner Music Australia. DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Beat Magazine Page 53

SUPER WILD HORSES

BY LACHLAN KANONIUK

Breaking through with a stripped back, scrappy garage acumen befitting of their two-piece nature on the debut album Fifteen, Super Wild Horses have elevated to a higher aural ground with their second LP Crosswords. Retaining their tonal roots, Amy Franz and Hayley McKee explore a broader gamut of rock‘n’roll history, showcasing a reverence for Spector pop to swirling psychedelia. Speaking on the eve of Crosswords’ release, Amy recounts the more measured recording process. “We did have a bit of a break, mainly from playing. After the first record came out we did a tour in the States, and we were quite busy at the start of the year as well,” Amy recalls. “We probably started thinking about getting onto something at the start of 2012. We actually recorded the album in July last year, so it’s taken a while for this one to come out. We didn’t want to rush the process. So rather than give ourselves a break, we gave ourselves time to develop the songs.” With Crosswords, Super Wild Horses manage to strike a balance between sonic expansion and retaining their signature sound. “That’s exactly what we were wanting – still wanting to sound like Super Wild Horses, not like a new band or anything. It’s just a natural progression because we had given the songs a bit more time this around, we wanted them to express where we’re at,” Amy muses. “We’re not quite as hyperactive and manic as we were on the first record. In terms of recording, we still kept it predominantly live with vocals over the top. We put a few extra percussive things in, but we did make the conscious effort to allow the songs to breathe a bit more, to push up the vocals a bit

more. Let the songs be songs, I guess. “I think we’re both more comfortable with what the songs are and who we are as a band. That’s something that comes with playing in the band for a few years now. We were happier to let the songs be shown sonically a bit more than the first time. I remember saying to Mikey [Young, producer] when he was mixing Fifteen to push the vocals back into the mix, that we couldn’t stand hearing ourselves. This time we didn’t have that kind of worry, that concern. I think because we both really do love the songs on the record, we wanted people to hear what we were singing about. It’s nice to be at that stage. In the early days I think we were more concerned about being loud with overdriven guitar, boomy drums, and vocals that weren’t that audible. This time we didn’t want the opposite, because we still love that big reverb and sonic experience, but just that bit more clarity.” Working with Mikey Young on Fifteen and Jack Farley on Crosswords, Super Wild Horses have benefitted from the assistance of Melbourne garage’s two foremost producers. “I guess they did have different approaches, somewhat,”

Amy compares. “In hindsight, what Mikey was doing was really trying to step back so we could do what we were doing without him obstructing that in any way. Though Mikey was very hands on, the impression that he would give you was that he was hands-off. He was very good at tricking us, making us feel comfortable while he was working away in the background. Jack was the same in the sense that he was really easy going to get along with, really patient. He really didn’t take on too much of a producer role, not really telling us what to do. Jack would be pretty upfront about saying thinks like ‘you could do a better take of that’, or ‘it would sound better if we try it like this’. I feel that Mikey is really incredible at capturing a band’s sound the way it is. Jack, because we’ve known him for quite a few years, he had a really good understanding of what we wanted sonically and really helped us achieve that sound.” During their nascent burst, the two members of Super Wild Horses displayed a seemingly even split between instrumental roles in the band – with Amy and Hayley often bouncing between drums and guitar during a live set. It’s a dynamic that still defines the band. “It’s pretty democratic, we split everything pretty evenly on the record, plus a few that we wrote together. That seems to be how it works, in the periods when we’re not playing we’re both writing and coming up with ideas, then when we meet up we develop the songs. It’s all very natural and split down the middle. We’d both like to be the drummer if we were able to, neither of us want to only be the guitar player. So that’s split in half as well. In terms of other stuff in the band, Hayley’s the social media person because I’m a real idiot with technology. I take care of transferring money into other people’s bank accounts and things like that. It’s all split down the middle, but poor Hayley is stuck with the Facebooking because I can’t get my head around it,” Amy laughs.

Crosswords is out now on Dot Dash/Remote Control. SUPER WILD HORSES play Dig It Up! Festival taking place at The Palace and surrounding venues on Thursday April 25. The album launch tour then hits The Tote on Friday May 31 with support from The Living Eyes and The Clits.

SONGS

BY PATRICK EMERY

When Max Doyle decided to call his band Songs, he hoped it would divert attention from a witty or pretentious name toward the songs that his band was creating. Unfortunately, that name has had its frustrating implications. “I’d like to be bullish about it and say that I don’t regret the name, but it is really a big pain in the butt,” Doyle says. “It dawned on me when I tried to find our first album on iTunes, and it took ages to find it. Maybe I should have taken the opportunity to change the name back then, but we’ve come so far that it’s a big thing to change the name. And it’s not that I’m so fond of it!” he laughs. New Zealand-born Doyle formed Songs in his adopted home of Sydney just over five years ago, and released their debut album in 2009 to considerable critical acclaim. After touring to promote the record, Songs took a hiatus from playing, coinciding with the departure of guitarist Jeff Burch and drummer Steve Uren. “Jeff, our original guitarist, moved to New York,” Doyle explains. “Originally we tried to work a long-distance thing, but it wasn’t going to work out. And Steve was pretty close to Jeff – he played with him in New Zealand – and Steve was a bit stuck on whether to stay. So I suppose we made the move for him,” Doyle laughs. “But it was a pretty big thing at the time. It was Ela’s (Stiles) first band. It could have been the end for the band.” To fill the band, Doyle turned to Youth Group guitarist Cameron Emerson-Elliott and Talons drummer Ben James. Not surprisingly, Doyle says the change in personnel had a noticeable effect on the band. “The

old Songs felt like it was our first band out of school,” he muses. “Every experience was new, every gig was strange. But now it’s like we’re seasoned pros,” Doyle laughs. “I think now it’s more about the business and what we’re doing, it’s more about the music and about optimising our time together.” Songs released its second album, Malabar, last month, with minor exception to similar acclaim as greeted the band’s debut album. With a new lineup to break in, Doyle says the writing and recording was a collaborative effort. “Most of the three minute songs I wrote myself at home, and the stuff Ela and I wrote together we did when we were sitting down together. But because we were learning to play with Cam and Ben, we did a lot more jamming,” Doyle says. “So quite a few songs came from that, so that was really collaborative.” One particular jam led to the ethereal psychedelic folk track Looking Without Seeing. “Ela had that simple bass

riﬀ, and that kept cropping up in jams,” Doyle says. “And things would just keep getting layered on it. Mike, our producer, could hear layers and know how to build them, without it becoming a sonic soup. We’re really glad people are connecting with that song – we jam pretty well.” Doyle was recently quoted in another interview as suggesting Fleetwood Mac’s Rumours, and Talking Heads’ More Songs About Buildings And Food provided an insight into Malabar. Doyle laughs at the reference. “I was probably being a real dick at the time because Ela and I had been arguing, and that record [Rumours] was done at a pretty fractious time – though I have also been listening a lot to that record recently,” he says. “And with Talking Heads, I’d love to refer to the rhythms, the incredible hooks and great arrangements – we could only wish to attain those heights. But then someone would listen to our record and be disappointed,” Doyle laughs. In addition to his musical exploits, Doyle works as a professional photographer. While he’s recently done some video clips for Songs’ new material, he says his music isn’t generally created with visual imagery in mind. “They take up two separate parts of my creative brain,”

he says. “The space they take up is so removed that I almost have to be two completely diﬀerent people to do them. So when I’m in the band, that’s all that matters. And there’s only one or two people in my working world who come and see the band, so there’s not much crossover there.” Doyle has been speaking from the front seat of his car in inner-urban Sydney, watching a trickle of rain outside gradually develop into a torrent that will soon impede him from leaving the car and returning to his oﬃce. By the time the interview concludes, Doyle is all but marooned. “It’s like a river outside,” observes Doyle. “I’m not sure when I’m going to be able to get out.” I suggest that maybe he’ll have to revisit his youth and sleep in the back seat. “Yeah,” Doyle laughs. I think that’s just about all that I can do now.”

As mentioned earlier Cosmic Hood is, sonically, where the band wants to be but this more brutal sonic aesthetic has been around since 2011 when Clavians released Skins. Despite the song being two-years-old, Plinte explains why it had to be on this EP. “It’s still part of the sets and still a strong song. I guess we launched Skins then Tim went travelling so it has stayed in the sets and it made sense to put it on this EP.” Another very strong song from the EP is track one, The Grind. This song feels like a B-side from influential protopunk band At The Drive-In’s album from 1998 In Casino Out. The song is driven by Plinte’s pleading vocals and also a guitar line that seems to switch from dark to light like the morning’s flickering light. Plinte, a certified music instrument boffin, talks about the simple yet effective technology behind Clavians’ sound. “I have two peddles, one’s a line splitter because I actually go through a guitar amp and bass amp at the same time to thicken that bass sound out, and when I play both guitar and bass licks simultaneously while the drums are playing to fill it out. So I will do a bassline with

my thumb and then a lead or rhythm with my ﬁngers,” explains the informed Plinte. Finally, Plinte talks about this Friday’s Cosmic Hood launch at The Old Bar. “Playing with us is a darker pop punk duo called The Sinking Teeth then an amazing instrumental band called On Sierra, also a guy by the name of Solaires who plays with all these hardware synths and drum-machines and also DJ Nth Wheel who is an artist in his own right and is going to spin a bunch of garage and local tunes.” An excited Plinte adds, “We really wanted to make an eclectic lineup rather then just the regular scenario of similar rock bands and punk bands.”

Malabar is out now on Popfrenzy Reords. SONGS launch the album at Workers Club on Saturday April 13 with support from Terrible Truths and School Of Radiant Living.

CLAVIANS

BY DAN WATT

Melbourne two-piece Clavians pack a punch. The duo, made up by singer and guitarist Aleksei Plinte and drummer Tim Ali, have been playing shows since 2010 and in the same year they released their debut self-titled EP. However, on the eve of their second release, the Cosmic Hood EP, Plinte reveals to Beat that Clavians have, finally, found their sound. “For this EP we have gotten quite aggressive. On the first EP, there were six tracks and it was an amalgamation of songs that were based around our favourite artists – a lot of them Australian. You’ve got Bird Blobs, My Disco and Nick Cave & The Bad Seeds and anything just really punk or aggressive. But on Cosmic Hood we have taken it a step further,” says Plinte. The title track from Cosmic Hood is a fine example of this step towards aggressive and sheering music. Plinte’s reference to Melbourne band Bird Blobs (circa 2000-2004) is fitting for the song Cosmic Hood as this track shares the same unrelenting brutal drums and guitar angles that led to the Bird Blobs supporting Nine Inch Nails and being selected for the inaugural All Tomorrow’s Parties. Plinte explains that this song is both a phenomenon and a road map to Ali and Plinte. “If you look at the artwork it is a bunch of hands together like a hive or a hood of bees and the song has both Tim and I, simultaneously screaming down the barrel of a mic [and] if you look at lyrics I guess it is about breaking out of unity or conformity.” So, if you will, the Cosmic Hood that ensconces the Clavians’ collective heads is actually freeing their minds Beat Magazine Page 54

by allowing Plinte and Ali to truly explore the spaces within. Unsurprisingly, this analogy is not easily accessible to an outsider, with a friend of the band inferring that the EP’s title and the other song titles were actually a preoccupation with male genitalia. “I had a friend of mine who looked at all the song titles the other day and the titles are The Grind, Skins, Cosmic Hood and Body Grip and she said, ‘It is a very sexually frustrated EP’,” laughs the softly-spoken Plinte. Having formed back late in late 2009, Clavians initially sounded somewhat softer than they do now with many a layman observer comparing them to the world’s most famous two-piece, The Black Keys. For anyone who has heard Cosmic Hood, this interpretation of Clavians’ sound is hard to believe but Plinte, very honestly, explores where this misguided parallel came from in the band’s early days. “When we came together there was a kind of natural shift to that bluesy rock sound but then, yeah, I suppose it just transgressed and got more aggressive,” states Plinte before directly addressing those Black Keys’ comparisons. “I suppose when people see a two-piece rock band [and are seeking to describe it] they can get a bit lazy.”

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

CLAVIANS launch their EP Cosmic Hood with On Sierra, Solaires and The Sinking Teeth at The Old Bar on Friday April 12. Cosmic Hood will be released through new Melbourne record label upstarts Dream Vessels. The launch is a part of the Road Smarts campaign.

OWL EYES BY ZOË RADAS

The young lady behind the luscious indie-pop stylings of Owl Eyes is about to release her first full-length record, and it’s a pretty incredible offering. Brooke Addamo has used synths fat and thin, percussion that sounds like it’s been squeezed through a bunch of rubber tubes or is being bashed by a gorilla-man, and all manner of little electronic details to provide the backdrop for her sweet and simple melodies. “I think sometimes you just get carried away – you’re just like layering, and layering,” Addamo laughs. “I love layering! Just different pads and synths over the top of each other. Sometimes it can get too crowded and then you have to listen to the final and go ‘Hmm, let’s just take a few things out!’” The tracks that comprise Nightswim are definitely each their own rich little lasagne, but it’s not like everything is electronic; there’s too much intelligence and self-awareness in there for it to ever be really artificial, and Addamo explains that the recording process was central to this idea as well. “Sometimes I find, for me – I don’t know if it’s the same for every singer – but the first take that I do, it’s so fresh and so emotive, I mean you just wrote those words! And you go and sing it, and usually you’re like ‘Oh I can re-record that later.’ But on this album we ended up just keeping [those takes], because they sounded great the first time ‘round.” The album’s titular track itself demonstrates how Addamo has meshed electronic and acoustic elements together successfully; it’s a pretty beautiful love song, and the strings in particular are heavenly. Are they real strings? “Yeah, sometimes it’s hard to tell now that you can emulate everything,” the singer says, “but actually yes, all the string elements on Love Run Dry, Hurricane ... were live.” Hurricane is a mightily compelling track, with thumping drums, plenty of synth and a chorus of Addamo’s airy harmonies singing ‘Hit me with your hurricane/Hit me with your hurricane’ in a way that sounds like she’s all swept up in the air. It seems to have so many parts which are great ‘gems’ (as my impro teacher used to say) in themselves. “That one came from just a beat and a few synth sounds, like a little demo, and then it kind of flourished into this massive percussion piece,” Addamo explains. “We recorded some live drums and also some sample drums, and then I got some strings, and it kind of turned into this massive song. It’s funny how some songs work,” she muses. “Some songs you write the demo and they end up being pretty much the same, but that song was very different by the end of it.” Another stand-out is Diamonds In Her Eyes which contains the line ‘Let me cause a whirlwind in your world’ – the wind is an apt theme for the whole of this record, because the instruments Addamo uses, such as strings and synths, produce long sustained sounds which mimic a sweeping movement through space. “I kind of had the idea that [Diamonds In Her Eyes] was going to be very layered, and very lush,” says Addamo. “And it’s very hard sometimes to play [those kinds of songs] live; it always sounds a bit different.”

“IT KIND OF HAS TO HAVE A BUILD; I’M MORE AWARE OF THE DYNAMICS THAT LIVE SHOWS HAVE TO HAVE.” The live versus recording conundrum is one the 22-year-old feels strongly about. In interviews previous to her last small tour, Addamo said she wanted to play her unfinished material to fans and make decisions on its recording later on. “I think what you learn on tour you put into the live practice, but before I went and recorded this album I didn’t really think about the live aspect because I think it will limit you with the sounds that you’re using,” she says. “If you’re in the studio thinking ‘Oh, I can’t do that live’, then it’s going to limit you. And I think now there’s so many ... things you can buy, new technologies coming out every month, you can always find a way to put [ideas] on in a live way.” Now that the time has come to tour Nightswim, Addamo is investigating how to put that belief into practise. “Around now, when I’m kind of practising the songs and trying to put them to a live stage, I’ve thought about things like what reactions I got from some of the songs that I’ve played, and where to put them in the set. I think I’m a lot smarter now writing setlists, whereas before I was just like, ‘Oh, I’ll chuck any song here, it doesn’t really matter.’ But it kind of has to have a build; I’m more aware of the dynamics that live shows have to have.” To help her recreate the sweet sounds of Nightswim, Addamo will be joined on this tour by a percussionist who will play both acoustic and electronic drums, a bass player, a synth player and “a few other things.” She’d also really dig some backup singers. “I think it’s a cool vibe. A lot of people haven’t been doing it, I think just because it is so expensive [to take them on tour], but I really hope I can find some. I think it would just be the cherry on top.”

Nightswim will be reased next Friday April 19, and OWL EYES will play The Corner on Saturday June 1. DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Beat Magazine Page 55

THE BLACK SEEDS BY ZOË RADAS

The Black Seeds have spent the last 15 years gallivanting around Europe, North America, Australia and their native New Zealand, and last year’s Dust & Dirt was their seventh release. Singer, songwriter and guitarist Barnaby Weir says the emphasis is always on experimenting and pushing boundaries, which is exactly what their upcoming tour will embody. “We’re a retro band, so we’ve got all our old instruments mixed with a bit of new technology; a new desk that we’d bought for the new album,” Weir explains, describing the boys’ studio which they pieced together in Mount Cook, to record in. “It’s very small. It’s not a proper studio as such. But it was good enough, with the good mics and a few nice preamps to track some good rhythms, and the good bones and meat of the main composition. Then later we’d do vocals and overdubs.” The studio was called Proville, and from the clips you can see on the net it’s clear that the space wasn’t previously a studio at all. It has egg cartons and foam stalagmites stuck to its walls, and flowery curtains in what I imagine was the sunroom. “It was definitely on the budget end of it,” Weir laughs. “In that building there were heaps of little offices and studios for artistic people, then back in the ‘90s it was more of a TV production house, writers and filming and photography, and then later more independent artists of all kinds. So that’s why it had a good feeling about it, and we had a space that had some light, and it was just ours. We did the best with what we had, and I’m actually pretty pleased with the sounds of the album considering it wasn’t a sound studio.” Mike Fabulous, the Seeds’ other guitarist, claims production credits on the album. “Yeah, Mike recorded everything,” says Weir. “We spent some money on some equipment and pooled a whole lot of resources, different mics and a few things we needed to buy, and just created our little studio so that it was always ready to go.” While it would be admittedly awesome to have everything at your fingertips, it can make things difficult because time restraints are less of an issue. “Making Dust & Dirt we did give ourselves a fair amount of time and even extended it by a year or something,” Weir says. “We had done some work, but we didn’t want to rush it because, you know, the German label wanted it or because anyone wanted it, necessarily. Because it’s silly to rush your album for something like that. So we just gave it some good time. But at some point you have to put a line in the sand and go, ‘We’re going to release in these countries here on this date, so get it ready boys’.” The band’s reputation is one that demands you do experience them live. Some of the most happy, mobile audiences you’ll see belong to Seeds’ shows, as the guys’ special style of groove is infectious. “There’s generally some good energy being created, and you do want that,” Weir agrees, but tells me it’s not distracting at all. “That’s the kind of band that we are, we’re not a ‘be quiet and listen to my art’ so much band. We want people to party and that does mean shouting and getting on it and flailing around. We’re not exactly a mosh band so it’s not going to be harmful movement, it’s joyous,” he says. “It’s all part of it. It’s inspiring, actually.”

“WE REALLY WANT TO BRING THE GOOD VIBE AND GET AMONGST THE CROWD, AND PARTY WITH EVERYONE AT THIS HI-FI GIG.” The nine-piece are sincerely excited about the way they’ve chosen to open their shows on this tour, beginning with their plans in Melbourne and hopefully extending to most venues across the country. “We really want to host our own gigs, so for these gigs coming up, the band are DJing before the show,” Weir says excitedly. “A casual, friendly, get amongst it kind of a way. We really want to bring the good vibe and get amongst the crowd, and party with everyone at this Hi-Fi gig.” Make a note of it, fans. “It’s not that there aren’t good bands around to support, but actually we just want to play some good music that we like before the show,” Weir continues. “It’s probably the best way to warm up and probably the best way for the crowd to be on the same vibe as the band.” It’s not going to be a few token spins, either. “I reckon for a few hours!” Weir says. “We’re going to aim for getting it started from doors. We all like something diﬀerent so grooves, maybe some jazz and hip hop, I like my old school hip hop. Afrobeats as well as funk, and soul classics. Not everyone likes the same kind of music so there might be a few surprises as well.” There’s a tonne of new music up on the band’s site (theblackseeds.com) which is well worth checking out, as there’s some fantastic remixes of Dust & Dirt tracks and a few wholly unreleased tracks too. And they can’t wait to play ‘em for us live. “We just can’t wait to get back to Melbourne and play a darn good show,” Weir says. “We’ve got heaps of material.”

THE BLACK SEEDS play The Hi-Fi on Saturday April 27. Dust & Dirt is out now. Beat Magazine Page 56

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

TOOL BY LACHLAN KANONIUK

Unwavering in their often industry-counterintuitive resolve for over two decades, Tool have risen to the ranks of one of the most worshipped rock acts on the planet with their ornate brand of progressive metal. In the week ahead of the outfit announcing their welcome return to Australia, I spoke with drummer Danny Carey in the AM before being connected with vocalist James Maynard Keenan in the PM. The one proviso of conducting the interviews was to avoid the question of when the next Tool album will arrive. But as Danny and Maynard reveal, the band is currently putting together the pieces for the long-awaited follow-up to 2006’s 10,000 Days. Maynard, of course, is speaking from ‘the bunker’ (his studio located at his Caduceus Cellars) in Arizona. Foremost to his triptych of musical outfits, Maynard’s passion is winemaking. He has just completed the pre-filtering process and is about to commence the bottling process at the time of our interview. Such is the commitment to his vineyard, Maynard tours and records only when a break in wine season allows it. “It’s more about being a slave to the sun and the rain. There’s a specific schedule that you’re on when it comes to harvest and processing, and making music can be scheduled around that because making music isn’t necessarily seasonal. It does flow with moods, that’s for sure. You can’t really force art. But with the wine, you’re definitely on a clock,” he muses. “It’s great. It’s nice to be in the midst of that chaos and navigate it wide awake.” The music world has changed dramatically since the release of 10,000 Days, with the focus shifted from the commodity of the album to the commodity of the live show. Despite the current climate, we can still expect Tool to deliver in terms of the holistic album experience. “It’s funny, I grew up with vinyl and that was the medium, and of course there was the embarrassing thing called the 8-track too. But vinyl was the main medium,” Maynard reminisces. “But even back then, I remember looking at the 8-track and thinking, ‘This is kind of awful’, because you don’t get all the fun images with it. With the album you could have the double gatefold with all this extra information and images that leant themselves to what was going on with these particular songs, you could find out who wrote what, who performed what, who mixed what. It was always a nice complete package, literally and figuratively, with vinyl. I feel that, these days, that is missing with the iTunes experience,” he rues. “Yeah it’s kind of tricky. The market definitely has shifted,” Danny assesses. “When we first got signed, we did live shows to sell the records. Now we do records to sell the live shows because there really isn’t that much money in record sales anymore. We still have the old school approach of making albums. From the beginning, we never did singles, only albums. We’ve always been kind of archaic in our approach to the system, and I think people are hungry for that. People can still sit down and listen to a whole record, and that’s how I picture our fans.” “[The album and the tour] are still hand-in-hand depending on the project,” Maynard adds. “There are some people who make a living performing live, but there are definitely a lot of people that rely on their digital presence to pay the bills. I kind of find a happy balance of that with Puscifer. I think both points could be easily argued. My touring schedule is wrapped around my winery activities, or I just don’t tour at all. I put out things digitally, and I still do vinyl with all the projects because I just like that medium.” Also included in Maynard’s current extra-curricular activities is the upcoming release of his biography. “If you read the Mötley Crüe biography, it’s what you would expect – craziness, hostility, drugs, breaking things, fun times. They’re not the biographies I end up getting into,” Maynard states. “I lean toward more story-oriented biographies. Not like a diary of sorts, those can be kind of boring. But I do find that the process is interesting in terms of legacy. You don’t want it to be airing dirty laundry, because that is boring. You want it to find the positive aspects and influences, then highlight those. I’m working with a writer friend of mine – I’ve known her for decades. She’s the older sister of one of my best friends from high school. We’re going through it and putting in all the information then sifting through it, working around it like you would a song.” Tool’s fanbase is quite like no other, and as such, the intense fan-led discourse on Tool’s body of work is like no other. “I guess some of the best chefs in the world have many layers to what they’re presenting in front of you,” Maynard says in relation to the dissection of his work. “There are definitely nuances to what you enjoy in that dish, many layers and experiences depending on your palate. That’s what I gravitate towards – that execution of art in general – whether it be a chef, a winemaker, a painter, a filmmaker. I guess it would come naturally that I would want some of that represented in whatever I do.” The upcoming Tool tour will see Maynard follow up Soundwave-oriented Australian appearances from A Perfect Circle and Puscifer. As for the rhyme and reason of his touring schedule, Maynard is typically wry. “I base it on my back. Whatever the back can take. Whatever set we’re constructing, whether it’s A Perfect Circle, Puscifer, or whatever it is I’m doing, you have to consider the age. Again the internet, people don’t realise what’s happening, and we’re quickly closing in on 50. We’ve been doing this for a while. That’s the danger with some of these projects, you see people out there, some ageing rock star trying to do the powerslide. It’s embarrassing, just don’t do the fucking powerslide. Do something else. Present your strengths, not your weaknesses. We’ve already heard about your weaknesses.” It’s at this stage the phone operator interjects to state there is time for one more question. I ask Maynard if he thinks he is a funny guy. “I wish I was. I wish I was funnier. And the act of wishing that makes you not funny. I think there are people that have a natural timing and natural ability to be funny. I tend to think of myself to be more like the idiot radio announcer in Good Morning Vietnam who thinks he knows funny.” TOOL play Rod Laver Arena on Saturday April 27 and Sunday April 28. DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

Beat Magazine Page 57

BLUE ÖYSTER CULT BY JACK FRANKLIN Lead singer of Blue Öyster Cult, Eric Bloom has not seen the behind the scenes of ‘70s touring rock band Almost Famous, but then why would he? He has lived it. “We were in a hotel room, on the fourth or fifth floor and we were playing with KISS, they might have been opening for us I don’t remember,” Eric reminisces of one tour. “We took everything in the hotel room and threw it out the window, the room was bare to the walls, all the stuff was in a river. So as the police were coming up the hotel manager called us and we all ran to different rooms and repopulated the room with furniture, so it all looked fine.” After a chuckle, Eric reconsiders the 40-year-old brouhaha. “Maybe you should use that story. If I wanted any stories to get out there I would have told them already, the ones that haven’t gotten out never will. We’ve got hundreds and hundreds of stories to tell, from limo rides, inside jokes, airplane incidents. We had a crew guy travelling with us who insulted a flight attendant and she quit on the spot and the whole plane had to wait for her replacement before we took off. There are a million stories. We had some band members get into a fist fight with some cowboys in Oklahoma, they were really stoned and drunk and insulted these cowboys’ wives so the cowboys threw the band through a window and we had to buy the window the next day. Anything that can happen over 40 years, it happened to us.” While they may be best know for the hit Don’t Fear The Reaper, which is also known for a Saturday Night Live skit in which Will Ferrell plays the cowbell (“We are going to play

the song if anyone cares about the cowbell, we will see.”), Blue Öyster Cult have been playing since 1967, making them true torch bearers of the rock’n’roll riff. They carry with them a whole lot of music history. “As a kid I used to listen to AM radio in the late ‘50s. I discovered music just after Elvis, so the late Do-Wop era and the beginning of pre-Beatles,” says Eric. “I used to listen to them on the radio and sneak the radio back on after my mother told me to go to sleep. That is what got me into music. I remember I was in my second year of college in 1964 and a roommate had brought Meet The Beatles back with him from the UK, so we already had it and no one in the States had even heard of the Beatles at that stage. We listened to it and we weren’t sure if it was going to click or not, so I guess we weren’t very smart.” Smart enough to fall in with the right group of guys though. “We lived in one house, the whole band in one house, and the basement was a makeshift rehearsal area with fibreglass padding in every corner to hold the sound down. So we would rehearse two, three, four hours a day and then go out and play a gig whenever we could find one. Music was the number one thing, we didn’t have any money but we had music. We were all trying to take whatever experiences we had and put them into a melting pot.” The sound, so distinct to the band, was crafted in these

formative years. “There is never an invention of music there is always an evolution, you take your formative years and what you liked. The key to the arrangements is that it all came from five places, it was a very democratic band, plus our manager would be there quite often for rehearsals and he had an idea of what the aesthetic should be. And we needed guidance.” Like all bands, they had their differences, but the Cult came up with one of the most original revenges I have ever heard. They have a song She’s As Beautiful As A Foot, which is an odd turn of phrase, so I asked Eric about it. “Richard Meltzer wrote that lyric and the way it was explained to me was he did not care for our original singer, the guy before me, they butted heads personality wise,” he confesses. “So he wrote that song and called it He Is As Beautiful As A Foot. That was the original lyric because he thought it would be funny to have that guy singing about himself without knowing it was about him.” Most normal bands would just get into fights.

This will be Blue Öyster Cult’s first Australian tour and they are coming out to headline Dig It Up! The Hoodoo Gurus Invitational, a festival featuring the Gurus (obviously) Flamin’ Groovies, the Buzzcocks, The Stems, The Lime Spiders, The Moodists, Peter Case Band, Ron S. Peno & The Superstitions, The Straight Arrows, Super Wild Horses, Chris Russell’s Chicken Walk, Bored Nothing, The New Christs, Kim Salmon & Leanne Cowie, The Crusaders and a bunch of others. Really, if you listed to alt-rock in the ‘80s you will love this. “We will play the obvious songs and some deep tracks from the albums,” Eric promises. “Every show I hope to make a little bit different, I know we have some Australian fans who have already bought tickets to every show, so I have to keep it different for them.”

spellbinding set. Cold Harbour tore new orifices that night, and it was consensual. We’ve been back a few times since then. On one memorable occasion last year we spotted a prosthetic leg waving in the air during Cold Harbour’s set (“that was a mate of Col’s,” Teluk says). A few minutes later there was another artificial limb being bandied about; for a moment, we were in a weird punk rock Wonderland, with Lewis Carroll sniffing glue and taking liberties with our imagination. Bitter Sweet Kicks did things to the rock’n’roll orifice that can’t be repeated in front of impressionable minds. It was a timely reminder of St Kilda’s historical cultural significance, and the punk rock passion that breathes just beneath the surface clutter of alfresco cafes and gentrified preoccupations. St Kilda is definitely still all right, when you’re at A Day By The Green. This week A Day By The Green is back for its tenth appearance. “When we did the first one, we didn’t know how long it’d keep going,” Teluk says. Cold Harbour is on the

bill again (“sometimes people complain that we’re always on the bill but, hey, we organise it,” Teluk laughs). Fittingly, the event will conclude with performances by a couple of legendary St Kilda bands: La Femme, the late ‘70s outﬁt that featured a young Rob Furst (publisher of Beat), and The Ears, the notorious punk band whose lead singer, Sam Sejvaka, provided the inspiration for Michael Hutchence’s character in Dogs In Space. Jack Howard, former Hunters and Collectors member, and sometime adjunct to the infamous X, will play with his new band, Jack Howard and the Long Lost Brothers. And then there’s the upcoming bands who’ll soon be gracing bigger stages. “We’ve got Chris Russell’s Chicken Walk, and I reckon it’ll be the last time we could get him,” Teluk says. “Close your eyes and it’s the Mississippi blues. This guy is going to be huge.”

sound that reach its apex with the Dave Edmunds-produced Shake Some Action album in 1976. “I was more of a Beatles and Byrds man, and Roy was more of a Stones guy,” Jordan says. “When Chris joined, because of the harmonies we could do together, we could do Beatlesstyle harmonies, which wouldn’t have worked with me and Roy, because Roy’s voice is a diﬀerent type of voice. So it was natural to try and explore that inﬂuence of the more melodic pop side.” By the late ‘70s the Flamin’ Groovies were a leading light in the international rock’n’roll scene. In 1978 Radio Birdman was booked to support the Groovies on its European tour, only for the Groovies to pull out after Jordan cut his hand, rendering him unable to play guitar. In the early ‘80s Jordan and Wilson fell out, and Wilson departed, leaving Jordan to assume lead vocal duties in his place (the Jordan-led lineup of the Flamin’ Groovies that visited Australia in 1986). By the early ‘90s, the Flamin’ Groovies were no more, with Jordan, Wilson, Alexander and Loney all pursuing other musical interests. The turn of the century saw a few choice reunions, with Loney and Jordan reuniting for a brief tour, followed by Wilson’s appearance on Alexander’s solo album. In late 2011 the stars began to fall into line for a reformation of the Jordan-Alexander-Wilson lineup.

“At the end of 2011 I went over to London. Chris had been living over there, so that was why I hadn’t been seen him,” Jordan says. “I invited him to the show and said maybe he could jump on stage. He was extremely nervous because we’d had a bad falling out, which is why we hadn’t talked for 30 years. But the minute I walked into the dressing room and saw Chris it was all hugs and tears. And after that when word got out that me and him had made up and we were hanging out together oﬀers started coming in.” The forthcoming Dig It Up! festival marks the ﬁrst time Jordan, Wilson and Alexander will have played together live for over 30 years. Jordan hopes it’ll be the catalyst for more shows, and possibly even a new album. “When we get back from the Australian tour we’re going into the recording studio in Sausalito and cut some demos of some new material, and try and kick start this band into touring and maybe do another album,” Jordan says.

BLUE ÖYSTER CULT play the Prince Bandroom on Wednesday April 24 followed by the ANZAC Day Dig It Up! festival the next day, Thursday April 25.

A DAY BY THE GREEN BY PATRICK EMERY Someone once wrote me a curt email chastising me for my negative observations on St Kilda and its surrounds. It was in the context of a reference to ‘the People’s Republic of Darebin’ – a term coined originally by a friend who’s spent most of his Melbourne life fraternising punk rock venues south of the Yarra, and who professes an ongoing diffidence toward anything north of Johnson St – and a generally critical assessment of the contemporary rock’n’roll attributes of St Kilda. Rebutting such unflattering commentary, I was told that “south of the river is where it’s at” – presumably “it” was a cheap lexicological synonym for the modern rock Zeitgeist – and told to get with some ill-defined program. A couple of years later we went to the second, and our inaugural, A Day By The Green at the St Kilda Bowling Club. A Day By The Green is the brainchild of Cold Harbour, the four-piece spaghetti-western-blues-psychedelic-jam outfit who’d blown a hole in the Beasts Of Bourbon’s brazen facade a few years ago after Spencer P Jones had scored the a band a support spot on a Beasts tour. Cold Harbour is a great band, a group that can take a lick and bend it around corners and stretch it across wide-open plains. And the members of Cold Harbour all hail from St Kilda. “The lack of decent music pisses off us as much as everyone else,” laughs guitarist Rusty Teluk. A Day By The Green’s raison d’etre has been to provide a quality St Kilda rock’n’roll experience, from the young and brash (Vice Grip Pussies, Mercy Kills, Burn in Hell, Late Arvo Sons) to the mature and ruggedly graceful (Patron Saints, Fuck Fucks). The Bowling Club – owned by a punter intimately acquainted

with the ‘80s Sydney rock’n’roll scene – is across the road from the Seaview Hotel on Fitzroy St, the once notorious focus of St Kilda’s punk scene. Once a cesspit of narcotic consumption and artistic nihilism, the street is awash with backpackers lured to the area by glowing tales of punk rock days of yore, and urban professionals hiding behind the area’s fading cultural pretensions. It’s not what it was, and might never be again; but there are occasional reminders of what’s still there to mine. We’d conquered the tyranny of distance with a combination of train and bike travel, and celebrated our logistical transport triumph with a couple of beers in a local park. The front bar was host to the rump of the Saturday afternoon bowls crowd, a collage of ruddy pink faces, ill-ﬁtting trousers and comfortable sporting shoes. In the notional band room, it was crusty old St Kilda, writ large. Weather-beaten faces, each facial crevice the memory of an inebriated punk rock gig from times past. “Some of those punters have seen some pretty amazing shit,” Teluk says. At our fateful ﬁrst encounter with A Day By The Green the bands were behind schedule, and we witnessed a

A DAY BY THE GREEN is on at St Kilda Bowls Club on Saturday April 13.

FLAMIN’ GROOVIES BY PATRICK EMERY Flamin’ Groovies guitarist Cyril Jordan has got a stack of rock’n’roll stories, from the deranged to the salacious, from the ridiculous to the downright absurd. But I’m mainly interested in the rumoured narcotic encounter between Jordan and Ted Kennedy, the brilliant but flawed younger brother of John F Kennedy and Robert Kennedy. “In 1968 when Bobbie was running for President, the Flamin’ Groovies were the rock band for the Democratic Party in California,” Jordan recalls. “I remember seeing Ted about five feet in front of me at this show we were playing. I went outside during one of the breaks to smoke a joint, and Herb Caen the San Francisco columnist asked me for the joint, so I gave it him, and Ted came out and started talking to Herb, who introduced me. And Herb gave the joint to Ted, and Ted being a big guy sucked that thing down about an inch!” Jordan laughs. A few years beforehand, Jordan had been at high school in San Francisco when he met future Groovies bass player George Alexander. Alexander – whose initial claim to local fame was his ownership of a Honda 50, which Jordan remembers being the source of great excitement – was already friends with Roy Loney and Tim Lynch, both of whom would appear in the original lineup of the Flamin’ Groovies. In its original guise – then known as The Chosen Few – the band took its musical and stylistic influences directly from The Rolling Stones. “We opened with the Stones’ version of Round And Round, and we closed with I’m Alright,” Jordan says. “It was a perfect union – I was a young guy who’d been learning Chuck Berry solos and intros to songs. I didn’t know much about chord structures. I could play Gloria on chords, but I was more of Beat Magazine Page 58

a lead guy. But by the time I met Tim and Roy and George they were accomplish guitarists – they could all ﬁnger-pick like Joan Baez! And they could do harmonies; they were all good singers.” Having moved on to writing their own material, The Flamin’ Groovies released three albums with Loney on lead vocals, including the now classic Teenage Head in 1971. The album’s provocative title was inspired by legendary LA scenester Kim Fowley. “I was on acid with Kim Fowley at the Big Sur Folk Festival for about eight hours backstage,” Jordan explains. “We were thrown out of one backstage area after another because we were so over the top. Fowley is one of the funniest human beings you could ever meet. He’s doing stand-up constantly! I was in hysterics that night – as a matter of fact, I laughed so much that night that the next day my mouth was wide open. I couldn’t close it because I’d been laughing for eight hours on acid. And all Kim was doing was saying he wanted to get some teenage head!” While Teenage Head was a critical and notionally popular record – at least among garage rock fans – a less than favourable record deal with Kama Sutra records was the catalyst for lead singer Roy Loney’s departure. Loney was replaced by Chris Wilson, and the Flamin’ Groovies moved away from rhythm and blues and toward the power pop

DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

FLAMIN’ GROOVIES play The Palace on Thursday April 25 as part of Dig It Up! as well a sideshow at Caravan Music Club with special guests Even on Saturday April 27.

BRITISH INDIA BY REI BARKER

“Making money has never been our goal, that’s why we signed to Liberation.” British India have returned from the mists with a new label and a new album, Controller. Across the table at Liberation head-quarters sits vocalist and guitarist Declan Melia and drummer Matt O’Gorman. Melia mentions it’s been “a weird couple of years” for the Melbourne band. “Ever since Guillotine, we’d been on the treadmill just doing stuff. We started at 17[-years-old] and just got spat out and all of a sudden we were 25[-years-old]. Everything fell by the wayside – education, careers, girlfriends. It was pretty much a drunken blur for that whole time.” The time after the Avalanche tour, when their label went into receivership was a tough time. “[The label] went down and we had nowhere to rehearse. We were going to call this album Another Christmas In The Trenches, but then we realised that we actually are living the dream. We leased a space in Preston, built our own studio and went with it,” Melia says. British India signed to Liberation almost a year ago, claiming the switch from independent to label as mostly for the better. “We were so staunchly, vehemently independent so it was hard to get used to doing this with a label. We hated major labels, everything about them, the way they do business. But then we wanted change, we wanted to try something new,” he says. “They had to be persistent. We were so hard to sign. They must have really, really wanted to sign us to put up with our bullshit for a few years. I’m surprised they stuck with it, to be honest,” he laughs. Melia is upbeat about the signing though, citing change and having a “fresh perspective to give feedback” as one of the positive aspects of being on the label. “[Mushroom] have really grown, incorporating these cool independents like I OH YOU. We’ve had a bit of an identity shift, but it’s always been the five of us, so having extra people around giving their opinion is new.” Melia described Controller as a “cathartic process,” explaining that it took a long time to make. “It’s hard to tell if people will like it. It’s not the album we meant it to be. It’s the biggest sin in music, but signing to the label really shaped the record. If we’d been on our own it’d be a different album altogether.” However, they seem optimistic that it’s for the better, explaining that the label made them do things they wouldn’t have necessarily though of. “I Can Make You Love Me just wouldn’t have happened. We thought we couldn’t pull that kind of song off. It’s interesting, because it‘s probably our least commercial single since I Said I’m Sorry.” They find the antithesis of the usual ‘sign to a label and make commercial records’ paradigm to be a welcome shift and were always optimistic about the album’s reception. “Every record we’ve made, when we make it, we think, ‘Fuck yeah, this is the best record ever, we’re going to be bigger than The Smiths,’ then the cocaine wears off,” he laughs. “Then the record comes out, and we’re not [big]. We’ve had our hearts broken so many times. This one (Controller) deserves to be big, though. No Australian band has made a record like this since we were growing up,” Melia says.

WITH SPECIAL GUESTS

“WE LOVE TRIPLE J. FOR ALL THEY GET CRITICISED, THEY’RE AN ISLAND OF CREDIBILITY IN THE AUSTRALIAN SCENE” There is a sense of anticipation among the band members concerning how the album will be received. “Last time, we ended up being a Nova band towards the Avalanche tour. Nova listeners just don’t go to shows though,” Melia says. Melia is adamant that triple j are responsible for a lot of their success. “We owe them everything. When I say we’re a triple j band, that’s what I mean. We love triple j. For all they get criticised, they’re an island of credibility in the Australian scene. The Nova people go to maybe a Foo Fighters show or a festival, they don’t see us. The triple j kids buy tickets and made us what we are.” The album itself is a much more mature, grownup British India. I Can Make You Love Me is an interesting choice for ﬁrst single, but overall, British India are back, and they sound like they know what they’re doing. By their own admission, “we’re old farts now.” After it all and on the eve of their tour, British India are grateful, humble and honest about their achievements. Matt O’Gorman asserts, “the best thing about being in this band – we’re all just friends, faﬃng around, hanging out, living the dream. We’ve been really lucky and we know it.”

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ON SALE TUESDAY 16 APRIL Controller is out now through Liberation. BRITISH INDIA play a bunch of Victorian gigs as part of the Road Smarts campaign – The Corner Hotel on Friday April 19 (with The Love Junkies), Karova Lounge in Ballarat on Friday Mary 17, The Wool Exchange in Geelong on Saturday May 18, The Black Swan in Bendigo on Thursday May 23, Pelly Bar in Frankston on Friday May 24 and Ferntree Gully Hotel on Saturday May 25.

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New album Picture Show out now Featuring the hit single ‘Everybody Talks’

Beat Magazine Page 59

HUNGRY KIDS OF HUNGARY

BY ANDREW ‘HAZARD’ HICKEY

It’s the calm before the storm for Hungry Kids Of Hungary, fresh from the release of their second studio album, You’re A Shadow. What lies ahead are countless live shows, critical and fan acclaim and all the other welcomed trappings that come with being a successful indie band. While the dreaded sophomore jinx would be an issue for a band in a similar position, frontman Dean McGrath revealed that now feels like an official kick-off point for the Hungry Kids. “That first album (2011’s Escapades) was about three years worth of songs from when we first started writing together,” he says.”It was a bit of a compilation of different ideas from different points, whereas this time we sat down within a year and set ourselves the task of writing these songs and recording them, it’s a lot more of a complete body of work this time around.” The cohesive and refined pop sensibilities Hungry Kids Of Hungary displayed on Escapades clearly made an impression on listeners. However, to the band it jumped all over the place, thematically and stylistically. With a renewed focus, they set their sights on making an album more representative of the band. “We approached it on those terms, so all these songs were going to exist together on a record and had to work with each other in some way,” he says. As the project developed, McGrath and his fellow chief songwriter Kane Mazlin found themselves on the same wavelength, despite writing and recording separately in different locations. “It’s really funny how it turned out, because when Kane wrote his first song, Sharpshooter, I got it and thought that he was writing really similar stuff to what I was working on at

the time,” he says. “It was a weird anomaly that we started gravitating closer to the same sort of ideas.” While their individual writing process remained the same for the majority of You’re A Shadow, McGrath and Mazlin finally sat down to write their first song together – upcoming single When Yesterday’s Gone. As far as the album’s tone and creative direction, the songwriting duo and their bandmates Ben Dalton (bass) and Ryan Strathie (drums) remained on the same page, with little thought given to outside forces. “It was more about what we reacted to and we’re pretty good at self-editing when we’re working on songs,” he says. Going through a musical growth spurt, the foursome ended up cutting 30 songs down to the current 11. “There wasn’t much arguing to be done about that, we were very much in agreement with what we liked and what we felt was working and what we knew wasn’t worth pursuing,” he says. One listen to You’re A Shadow, particularly in comparison to earlier work such as their 2009 self-titled EP, and it’s clear that this is the band’s biggest, boldest work to date. Admittedly taking a more “considered” approach to the album’s production sound, they had the chance to work with production god Wayne Connolly, who has helmed albums for everyone from The Veronicas to Powderfinger. After

playing their tunes for several producers they soon realised Connolly was the logical choice for where they were going. “He became sort of our guru when we were recording and he understood the kind of record we wanted to make. We couldn’t have done it without his know-how,” he says. Despite a string of recent small performances, their upcoming 17-date national tour will be the first time all of the material from You’re A Shadow will be performed for a live audience, after a year of solid recording. “We’ve been dying to bring these songs to the stage and cull a few of the old ones as well, it feels good to be playing new stuff again,” he says with a triumphant chuckle. “We’ve had a bit of a wait between the record being done and being able to release it, but it still feels new and fresh to us, because we’ve held off on playing so many of the new songs.” The waiting game between recording the album and being able to perform it live has had a motivational benefit for a band used to playing a similar set list for the past couple of years. “With the first album, we played every song on that record at least once before we took it to the studio, whereas most of these songs have only existed on a demo or in a rehearsal space but have never been played on stage before,” he says.

Ready to get the new material out there, the challenge of feeling out the tunes in a live setting has made the Hungry Kids even hungrier. “When you finally get to that point where you’ve got to translate them from record to the live show, it is like piecing together this puzzle, saying, ‘What can we do here? How can we recreate this? How can we make it this big during this part’?” he says. “You don’t have the benefit of being in a studio and being able to finely tune the dynamics. You’ve gotta do that organically,” he says. Slowly but surely becoming veterans of the live music circuit, McGrath and co. are excited to play with the dynamics of their sonically large new album. “With our songs there’s always been a bit of a shift that happens between on record and live, we rock them up a bit live and play them a bit faster and louder,” he says. “It’ll be interesting to see how some of the down-tempo songs go.”

yourself. You can always go back to your original idea, but sometimes you realise it wasn’t the best.” Kurstin’s key trait, according to Sara, is inquisitiveness. “He’ll ask, ‘Is there something better?’ or ‘Can we move this part here to give it more impact?’” she says. “I’d never worked like that before, and all of those things have led me to the realisation that, as a songwriter, it’s important to accept change and constructive criticism. Tegan and I were never able to take criticism. Not positive criticism, not ever or at all, at any point in our lives. To get to a point where we’re able to take criticism and thrive, and say, ‘Let’s try something better’ or ‘You’re wrong but it’s up to me to prove you wrong’ – that’s incredible. We’ve never experienced that kind of motivation before, and it’s taking us to a better place as songwriters.” Heartthrob’s poppier new songs have made for a more energetic live show. “We’ve been touring the new album for about a month and a half, integrating the new songs into the set,” Sara says. As an established band, playing new songs for people is tricky – you’re always aware that it’s not exactly what they want to hear, but you still want to blow their minds, and make them want to go listen to the new record. At this point in their careers, Tegan and Sara are

well aware of how to approach this challenge. “It’s ten new songs and about 15 old ones. It depends on what the audience wants – it’s a tug-of-war between playing the songs we know they want to hear, and spoon-feeding them the things we want them to hear and to like.” The Quin sisters have been making music together for more than half their lives, and I ask Sara if she sees this collaboration continuing well into the future. She laughs at the thought. “It changes all the time for me,” she says. “My creative relationship with Tegan will stand as long as we’re both alive, and I look forward to that. I also think that there’s a natural timeline and life cycle for bands, and I don’t want to be around too long. I’m happy as long as we’re saying something new, adding something diﬀerent to the Tegan and Sara catalogue. As long as I feel excited and creatively challenged, I’m going to keep doing this.”

That album, Pedestrian Verse, is their fourth, and marks a significant moment in the evolution of the band. It’s their first for a major label after signing with Atlantic in 2010; it’s the first time the band have written and honed new songs while on tour, rather than writing songs immediately prior to recording them; and it’s the first time that Scott Hutchison has opened up the songwriting process to the rest of the band, rather than doing it all himself. “I think he was starting to notice patterns, or habits, that he was relying on, or falling back on in his songwriting, and he’d become so familiar with the way that he wrote his songs,” says Grant. “He basically felt like he had figured out how it worked, and that wasn’t something that we wanted to do, or something that he wanted to do on this record. He felt you should always be trying to better yourself from record to record, and he felt the way to do that this time was to open it up, and to allow new voices to have an impact on the way the record sounded. “And that was part of the reason that it’s taken us so long to get to the end product, is that we all had to find our feet a little bit, to figure out what our actual role was within the songwriting process, because we hadn’t

done that before. So yeah, it took a while. But once we got started and we hit our stride it didn’t take long for the songs to come out. It was a weird experience for everyone, but I think the record beneﬁtted from it immensely.” Lucky for us, by the time Frightened Rabbit reach Australia the new album will have been out for nearly three months, giving local fans plenty of time to become familiar with the new material. But there’s obviously a lot of love for the band based on past trips Down Under, as they’ve already sold out shows in Melbourne and Sydney. “It’s nice to know that even after disappearing for three years, people there are still interested,” says Grant. “It’s not always the case – these days bands are forgotten as quickly as people start listening to them. So we really appreciate our Australian fans making the eﬀort.”

HUNGRY KIDS OF HUNGARY play the Corner Hotel on Friday April 26 with guests The Preatures and Them Swoops. They also play Groovin’ The Moo in Bendigo on Saturday May 4. You’re A Shadow is out now through Stop Start/EMI.

TEGAN & SARA

BY ALASDAIR DUNCAN

Much has been made in the press of Tegan and Sara’s decision to “turn pop” on their newest album, Heartthrob. The record places a new emphasis on bouncy synth lines and catchy chorus hooks. The truth is that, if you’ve been paying any sort of attention to the duo’s music over the last few years, the sonic shift doesn’t come as that much of a surprise. The incredible harmonies, the canny melodies and the lyrical heartbreak are all still there – they just come in a slightly shinier package than before. “Our previous records had lots of keyboard elements,” Sara Quin says. “The only diﬀerence is that on those albums, they were present in the small details, whereas this time, we really wanted to focus more openly on the idea of pop music.” The songs on Heartthrob tap into a particularly teenage pop sensibility – it’s not that hard to imagine the pair singing a song like Goodbye, Goodbye into hairbrushes in front of a big bedroom mirror. Classic Madonna and Cyndi Lauper are obvious touchstones, but the Quin sisters are just as inspired by the pop music of today. “When I was in my 20s, bands like Arcade Fire and Wolf Parade and Peaches inspired me,” Sara says. “Now I’m in my 30s, I’m ﬁnding that pop music inspires and provokes me. I hear things like Katy Perry, Alicia Keys, Britney Spears, Beyoncé, even Justin Bieber, and I think, ‘I’m going to go write something like that’. I mean, I’m not saying I want to write a Justin Bieber song, but I want to capture that kind of pop experience through my own lens.” One of the biggest challenges of making Heartthrob was opening up to the possibility of collaboration. Producer

Greg Kurstin, who has worked with everyone from Pink and Kelly Clarkson to indie pop star Sia helped shape the sound and direction of the album, and the pair were greatly inspired by his studio skills. “Greg can make records for anybody and with anybody,” says Sara. “He’s amazing. When you’re working with someone like that, you feel like you need to step things up, to be accomplished at a certain level. Writing hooks and melodies with someone like Greg is not unlike training with an Olympic coach. It puts you on a diﬀerent level.” The biggest lesson that the twins took away from those sessions was that sometimes, it’s okay to open up and share – in life and in music. “I’m an incredibly snobby and stubborn person,” Sara laughs. “My past songwriting experiences have mostly involved telling people ‘No’. I will say that, over the past couple of years, starting to collaborate with other producers and artists, I’ve learned how to say, ‘Yes, I will consider that’, or ‘Yes, I will write two or three more choruses because you don’t think my amazing ﬁrst chorus was the best one.’ You start to realise that you can do better, and you can always push

TEGAN & SARA play the Palais Theatre on Thursday May 2 and Groovin’ The Moo in Bendigo on Saturday May 4. Heartthrob is out now on Warner.

FRIGHTENED RABBIT

BY HUGH ROBERTSON

There’s a certain freewheelin’ romanticism to the idea of a band on tour, spending weeks driving from gig to gig in a shitty old van, singing along to Tiny Dancer and hurling good-natured abuse back and forth. But eventually you realise that you’re essentially conﬁning a handful of people to the same room – all day, every day, for weeks, sometimes months at a time – at which point the idea begins to lose its appeal. Frightened Rabbit were three weeks in to a six-week US tour when I spoke to drummer Grant Hutchison, just about at the moment where the relentless mundanity of touring has really started to crush your spirit, and a few days before the inevitable upswing as you head towards the end-point. Because instead of a van, they’re in a bus – it’s 12 guys, not just a handful – and they just had to cancel their ﬁrst-ever show in Louisville, Kentucky because singer Scott Hutchison has lost his voice from exhaustion. It’s been a hard slog. The band played at SXSW right at the start of their American leg, jammed in with nearly every other band in the universe scrapping for every press mention they could get. And despite playing a show with The Flaming Lips, Alt-J and The Joy Formidable which was damn-near the hottest ticket in town that night, Frightened Rabbit still couldn’t get much of a look-in with the media. “The Guardian just mentioned us in passing in an article,” says Hutchson. “They just mentioned that we were playing, and that was enough for me to go, ‘Oh yeah, that’s quite good’. They didn’t say whether it was good or bad. That’s about as much as you can really Beat Magazine Page 60

hope for during the week. Unless you’re Prince, or Justin Timberlake.” You can’t even get a sense of whether the festival has been a good one for your band anymore. “I think maybe that’s something that used to happen, years ago when there were less bands, less people, less brands hustling for space and attention,” he says. “That might have been the case that you can see a band growing, or becoming more noticed over the course of the week. “But now there’s just so much going on that you can’t quite take stock of what’s going on. And even then it can be quite diﬃcult to gauge it, just because there’s so much that comes out of it. And you’re dealing with a lot of people.” That being said, Hutchison does feel as though this US tour is building on the success of their previous ones, rather than merely trying to maintain a base level of support. “A lot of the venues we’re playing this time we have played before”, he says. “But when we played them before they didn’t sell out, and now they are … You can see the reaction the [new] songs are getting … and yeah, now they are going down really well over here because people have had six weeks with the record.”

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FRIGHTENED RABBIT play Groovin’ The Moo in Bendigo on Saturday May 4 and the Corner Hotel on Wednesday May 8 (sold-out) and Tuesday May 7. Pedestrian Verse is out on Atlantic UK/Warner.

EVERMORE BY AUGUSTUS WELBY

The music video for Evermoreâ&#x20AC;&#x2122;s latest single Hey My Love includes a novel incorporation of Instagram photographs provided by their fans. The video was directed by bassplayer Peter Hume and he explains their endeavor to update the video as more photos continue to be submitted. â&#x20AC;&#x153;The idea is if you hash-tag Hey My Love on Instagram your photo will get you in the video. Once we started we were like, â&#x20AC;&#x2DC;Instead of making one video, letâ&#x20AC;&#x2122;s keep this going.â&#x20AC;&#x2122; Weâ&#x20AC;&#x2122;ve done the ďŹ rst version of it and thereâ&#x20AC;&#x2122;s probably going to be three more to come.â&#x20AC;? Hume believes the impact generated by the videoâ&#x20AC;&#x2122;s handson aspect surpasses ďŹ&#x201A;ashy big-budget production. â&#x20AC;&#x153;When you look at a lot of video clips they can tend towards being a bit of an ego rub for the band; to make them look cool and make it look expensive. So we had this idea to try to do something more genuine and invite everybody to share their favourite photos of people and things they love and collate that into a story. Thereâ&#x20AC;&#x2122;s something really powerful about everybodyâ&#x20AC;&#x2122;s experiences; thereâ&#x20AC;&#x2122;s an emotional pull to it,â&#x20AC;? he says. The resounding success of the video suggests Evermore will continue to adopt an inclusive approach for future video projects, rather than reach for grandiose images. â&#x20AC;&#x153;I love beautiful cinematography but thereâ&#x20AC;&#x2122;s something really powerful about realness. It attacks people more than impressiveness. Something that feels genuine connects with people a lot more than something that feels expensive,â&#x20AC;? Hume muses. Hey My Love isnâ&#x20AC;&#x2122;t the ďŹ rst video to feature Peterâ&#x20AC;&#x2122;s direction; he was actually behind Evermoreâ&#x20AC;&#x2122;s ďŹ rst three videos back in

2001. He explains that there was an imperative in the early days for the band â&#x20AC;&#x201C; completed by his brothers Jon (guitar/ vocals) and Dann (drums) â&#x20AC;&#x201C; to develop a multi-faceted capacity. â&#x20AC;&#x153;We lived in a small town in New Zealand and we didnâ&#x20AC;&#x2122;t know any ďŹ lmmakers, the same way we didnâ&#x20AC;&#x2122;t know any record producers. We just learned it ourselves. Both of our parents are artists, painters, and they were incredibly encouraging. They always believed we could do anything,â&#x20AC;? says Hume. Evermore have maintained the DIY adaptability learned in their youth and in addition to video direction they continue to produce their own albums and design the artwork. Theyâ&#x20AC;&#x2122;ve also set-up a recording studio in the Macedon Ranges, just north of their adopted home city of Melbourne. Peter explains that itâ&#x20AC;&#x2122;s youngest brother Dann Hume who has embraced the producerâ&#x20AC;&#x2122;s role with particular agog. â&#x20AC;&#x153;Dann has produced Lisa Mitchellâ&#x20AC;&#x2122;s two albums there and weâ&#x20AC;&#x2122;ve done Amy Meredith and Alpineâ&#x20AC;&#x2122;s record and Snakadaktalâ&#x20AC;&#x2122;s record. Heâ&#x20AC;&#x2122;s one of the busiest producers in Australia. Heâ&#x20AC;&#x2122;s enjoying doing that; thatâ&#x20AC;&#x2122;s what heâ&#x20AC;&#x2122;s got the joy for,â&#x20AC;? he says. In fact such is the extent of Dannâ&#x20AC;&#x2122;s production commitments that he wonâ&#x20AC;&#x2122;t be taking part in the upcoming Hero tour.

Q&A THE STRINE SINGERS Define your genre in five words or less: Mega-harmony alt-country and jazz-jacked pop. Whenâ&#x20AC;&#x2122;s the gig and with who? Weâ&#x20AC;&#x2122;re playing two sets of our own songs at the Post OďŹ&#x192;ce Hotel in Coburg on Thursday April 11. How long have you been gigging and writing? As Strine Singers, a year, but weâ&#x20AC;&#x2122;ve worked together in other bands before. Our band is two sets of siblings, so weâ&#x20AC;&#x2122;ve all been singing and making music together forever. Mick and Lou started singing harmony together since they were kids, and Ryan

â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ve got a drummer called Chewy, whoâ&#x20AC;&#x2122;s awesome. A friend of ours whoâ&#x20AC;&#x2122;s been playing for the last six months.â&#x20AC;? Evermore recently supported both Maroon 5 and Matchbox Twenty on their respective Australian tours and after ten years of touring theyâ&#x20AC;&#x2122;re now well experienced with larger scale shows. However, Peter says that the pure excitement to perform hasnâ&#x20AC;&#x2122;t by any means worn oďŹ&#x20AC;. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve done music since I was 15 (heâ&#x20AC;&#x2122;s now 27-years-old) and itâ&#x20AC;&#x2122;s still the biggest buzz playing. It doesnâ&#x20AC;&#x2122;t matter how many people there are. Thereâ&#x20AC;&#x2122;s this energy feedback loop that happens, particularly in Australia and New Zealand where people know the songs and are singing along. It builds up this awesome environment and you feel like the centre of the storm on stage.â&#x20AC;? The Hero tour takes them to a number of comparatively cosy venues, many of which are in less-frequented locations. Hue is enthusiastic about extensively exploring the countryâ&#x20AC;&#x2122;s regional terrain. â&#x20AC;&#x153;When you get out of the main cities people are really excited to see you and thereâ&#x20AC;&#x2122;s something really cool about playing those towns. Thereâ&#x20AC;&#x2122;s something really great about doing a big tour. Playing 30 shows in a row, itâ&#x20AC;&#x2122;s a bit like training. By the end of thirty and Larissa started out making radio shows on cassettes when they were ďŹ ve and six-years-old and they used to improvise all the music. What inspires or has influenced your music the most? Larissa writes all the songs and says she is always trying to paint pictures or set scenes with lyrics. She is getting some international recognition these days as a lyricist. Weâ&#x20AC;&#x2122;ll draw on anything for inspiration really, and often weâ&#x20AC;&#x2122;ll improvise harmonies when we play live, which means really dialling into each other for inspiration. Being siblings also inďŹ&#x201A;uences the way we work. We can argue without it being the end of the world, mostly about creative decisions and football. We push

shows weâ&#x20AC;&#x2122;ll have a very very tight show.â&#x20AC;? Similar to including the public in the construction of the Hey My Love video, traveling far and wide across the country to correspond with as many fans as possible is evidence of Evermoreâ&#x20AC;&#x2122;s willingness to personally engage with their audience. Hume agrees itâ&#x20AC;&#x2122;s important for fans to feel like they are a part of something, which exceeds just liking the music they hear. â&#x20AC;&#x153;A little while ago we actually invited a bunch of our friends and fans to come to our studio and we put on a concert in our backyard. There really is a family feel to it. You meet people who met at a concert and now theyâ&#x20AC;&#x2122;re married. Itâ&#x20AC;&#x2122;s cool to be some small part of peopleâ&#x20AC;&#x2122;s lives and connect them.â&#x20AC;? EVERMORE bring their Hero tour to Star Bar in Bendigo on Wednesday April 17, Macâ&#x20AC;&#x2122;s Hotel in Melton on Friday April 19, Ferntree Gully Hotel on Saturday April 20, The Thornbury Theatre on Sunday April 21, Karova Lounge in Ballarat on Wednesday April 24 and Yarra Hotel in Geelong on Thursday April 25. each other. Itâ&#x20AC;&#x2122;s a good quality control measure. Tell us about the last song you wrote. We just started working on a new song set in San Francisco and the mountains of British Columbia. Its got this climbing vocal melody in the verses and some really dark bluesy guitars, creating this kind of psychedelic West Coast vibe. The imagery in the song is pretty epic, and the harmonies are intense! Weâ&#x20AC;&#x2122;re going to try it out at the Posty gig. Do you have any record releases to date? What are they? Where can I get them? We just ďŹ nished an EP called Counter Canter which you can download via our website, or you can buy a copy from Thornbury Records or Polyester.

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OBSCENE EXTREME FESTIVAL

Rotten Sound

BY JOSH FERGEUS Starting from humble beginnings in the Czech Republic in 1999 the Obscene Extreme Festival has featured over 500 bands from around the world playing in every corner of the globe. Not that globes have corners. It’s just that brutal. The Australian version of the Festival looks to be a nirvana for fans of heavy music, featuring many, many international and Australian grindcore, hardcore, death and thrash metal bands. Grindcore veterans Rotten Sound and Birdflesh will be making the trip from various metal havens in Scandinavia, and local heroes Blood Duster will be flying the flag for the Australians. “Its’ been happening in Europe for years,” says Blood Duster bassist Jason Fuller. “This year it’s happening in Jakarta and Mexico for the first time. In Europe it brings about 5,000 people from all over the continent who just get together and watch grindcore for three days, it’s just insane. There’s been a few Australian bands who’ve gone over and played the festival in the past and it’s just a big excuse for a party really.” Obscene Extreme is driven by one Curby, an international man of mystery from the Czech Republic. “Curby is overseeing it, choosing all the bands, doing all that kind of stuff,” says Jason. “He’s got a bunch of people in Australia who are doing all the hard work. He comes in and just enjoys himself. The festival started as his birthday party. It’s all about who he wants to see.” These tongue-in-cheek (though seemingly accurate) proclamations belie respect and affection for the

guy who’s created an enduring global event on the metal calendar. “We went over there in 2005 and 2007 with Blood Duster. It was awesome. It’s one of those things where as an Australian band you can feel a little disconnected, but you go over and all the bands you’ve been buying the records of are all there right next to you having a drink. When we played with Napalm Death it was just us, Captain Cleanoﬀ and them in the hotel. We put on a keg and they arrived a day early, left a day late, everyone was there to have a good time. It’s a real party vibe.” A few of the international acts featured in the Australian Festival will be playing both nights, so that punters can be sure to catch a glimpse of their set. “For an underground festival to bring out two international bands like Rotten Sound and Birdﬂesh is a pretty big undertaking. These are the only shows they’re doing in Melbourne. There’s also a Japanese band, one from New Caledonia, there’s like 40 bands – too many for me to remember,” he says. It surprises Jason that more advantage isn’t taken of the proximity of two quality venues in The Tote and the Bendigo Hotel. The idea of working across both venues to stage Obscene Extreme “makes perfect sense” he says. “The Tote and the Bendigo are working together really well. There doesn’t seem to

be a downside yet. We’re going to have some people on the street to make sure everyone knows what’s going on. “There’ll be a line of people in grindcore t-shirts around the block. If you’re into grindcore you’re going to go – tickets are selling really well, and heaps of people are coming from interstate. With band members alone we’re going to have around 100 people so it’s already getting there once you factor in all their guests and everything else. We’ll probably ﬁll one venue with that alone,” he says. For those in the know, the grindcore scene has a reputation of being pretty friendly. “The scene is

generally pretty small,” says Jason. “It’s always been a community vibe, despite the lyrical content of the songs. Obscene Extreme has a really friendly vibe. Hopefully it happens here as well.”

maintained a punishing schedule of one album every two years since their inception. Simons says that simply comes down to this being what all of the band members do for a living. “The band is basically our profession, so we don’t have other jobs besides Epica. We dedicate our full time to the music. Epica has been writing albums non-stop, touring non-stop, we’ve never really taken a break. If we were not touring, we were writing records or we were recording them. So in indeed, [we are] a very productive band,” she says. Simons feels that it may be diﬃcult to maintain that pace for another ten years, and feels that they may ease oﬀ the accelerator a little at some point soon. But at the same time, she is very happy with the steady rise that the band has experienced across the course of its journey. “I think it will almost be impossible,” she says. “We

are always on the road for six months in a year, and we need the other six months to write and record the record. “We would love to keep growing as a band. So far we have been growing from day one. Epica played to maybe 20 people in the beginning, and now next week we have a sold out show for 4,500 people. We can’t really grasp that, it blows our minds a little.”

The OBSCENE EXTREME FESTIVAL is on at The Tote and The Bendigo Hotel on Friday April 12 and Saturday April 13. The lineup features over 35 bands including Blood Duster, Birdflesh, Rotten Sound, King Parrot and heaps more. Tickets are available from Oztix.

EPICA

BY ROD WHITFIELD

In more than ten years of existence, Dutch orchestral metal act Epica have never been to Australia. Which is quite surprising, considering the huge following that the female-fronted, gothic-symphonic style of metal has in this country, as evidenced by the rapturous reception that Nightwish receive every time they tour here, with venue size seeming to upgrade each time. Mid-to-late-April finally sees that situation change finally, Epica making their first visit to our shores. Stunning flame-haired mezzo soprano vocalist Simone Simons, speaking from her home in Germany, is relieved and overjoyed that her band is about to break their Australian duck. “We haven’t been to Australia yet, and we’ve wanted to go there since day one,” she says. “We’ve travelled a whole lot already in ten years, but never there. Australia has always been on our wish list, and it’s finally happening, and that’s great.” Despite never having visited Australia, even as a tourist, Simons has some pretty high expectations of out nation from her exposure not only to the media but to other bands who have toured here. “I’ve only seen the country from TV,” she says. “I know you have a very beautiful country and from my colleagues in the metal scene I’ve heard good stuff about Australia. I talked to Mikeal from Opeth, he’s in Australia right now, and he said that I was going to love it. He always loves to be in Australia. Nobody loves the long flight though. But I’ve heard that when you’re actually there, it’s totally cool.” The band are bringing a lengthy set Down Under, covering material from their entire five album back

catalogue. Given the bombastic, over the top nature of their music, a truly ‘epic’ evening of classically tinged brutality is assured. “We are going to play for one hour and 45 minutes,” she says. “We have a nice mixture out of all the records. We don’t play more songs off the most recent record, we have five records to pick songs from. We start off the set with the intro from the new record and the first song. But after that it’s going to be a nice mixture of all our classics.” The Australian jaunt will not be the only first for the band on this tour. They’ll be covering much previously uncharted territory on their coming journey. “This tour is going to be a first for us, with all the countries we go to. China, Tawian, Indonesia and Australia. We always keep a list on new countries we go to, and on this tour we hit quite a few more, so that’s great,” she says. Not only have Epica been around for more than ten years now, they have been extremely productive in that time. Despite their heavy touring commitments and the highly involved nature of their music, which involves full orchestras, choirs and heavily complex arrangements on top of the guitars, bass, drums, keyboards and vocals, the band have consistently

EPICA play Billboard The Venue on Sunday April 21, with Melbourne power metal stalwarts Eyefear lending support.

Q&A SELF IS A SEED Define your genre in five words or less: Aggressive, prog-ish rock’n’roll. What do you love about making music? The entire process is constantly rewarding in such a variety of ways. From alone in your room writing a riﬀ to the collaboration in the jam space with your band, to playing it live and then laying it down in the studio. It’s a journey and always a real kick! What’ve you got to sell CD-wise? Speaking of the journey, we have just released our debut album Siren through MGM and are feeling quite chuﬀed. We have played these songs on the road before but not since the albums release. Really amped to play these now that people have had a chance to spend time with the album and get to know the songs. Exciting times! If you could assassinate one person or band from popular music, who would it be and why? I can think of a few but assassination will only lead to more trouble than it’s worth. What we need is a box of Led Zep and Hendrix albums, some postage stamps and send these lost souls some music.

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DISCUSS WHAT? BEAT.COM.AU/DISCUSSION

What can a punter expect from your live show? Tight & punchy rock’n’roll played with aggression and heart. What makes you happiest about what you’re doing? I’m in the foxhole with my best mates. If someone made a movie about your life, who would play you? I’d push for Russell Crowe but end up with Mick Molloy. When’s the gig and with who? We’re playing at the Corner Hotel on Friday April 12 and keeping some seriously good company with Dead Letter Circus and Breaking Orbit.

CORE

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

I was having a friendly chat with a rather popular international act of whom I am quite fond of mere days ago when suddenly there was a unexpected lull in conversion, so I enquired about the setlist for their headlining set later that evening (what a zinger of a question. Perhaps I should have asked where they got their band name, or what their inspirations were. Fuck). They dutifully informed me that they absolutely would NOT be playing their biggest hit. Their universal chart topper. Their most memorable, most popular, most epic, show stopping song of their career. The frontman insisted that the song had become so overexposed that it felt as though it was no longer theirs. Instead, they had handed it over to the realm of MC Hammer and My Sharona and bestowed it upon the cringe universe, never to be revelled in again. I enquired what would become of their fans who stood expectantly at front of stage demanding it be played, he replied “they can go home and listen to it on their stereo”. So who should be getting their way in this scenario? The punters who dish out to see a show sans their favourite song or the band that needs to retain some dignity in their artistry? I can’t help thinking the punter has been slightly short changed here. Especially considering the band created the doosie in the first instance and technically probably had some control in how rampantly it was exploited thereafter. They might’ve also enjoyed the Audi and apartment their overexposure afforded them. Frankly, the only way this scenario could be moderately tolerable is if the band’s set was so glorious and spectacular that fans completely forgot about their omission. Otherwise, dudes need to MAN THE FUCK UP and make with the hits. After smashing their local support slot on the recent Mad Caddies sideshow at Northcote Social Club, The Bennies have announced a big ol’ tour on the back of their Better Off Dread EP. They’ll kick the launch tour off on Saturday April 20 at the B.East on Lygon St.

First Northlane crept up the ARIA charts when their second album Singularity snatched up number three position on the ARIA charts, NOW Britain’s Bring Me The Horizon have scored their second number one album with the release of Sempiternal. Killswitch Engage also nabbed number six for their new Disarm The Descent album. UP DA PUNX.

CRUNCH! GET YER SPASM ON

Introducing The Spasms! A brand new garage/ punk/psych three-piece from the pits of Melbourne and the minds of Kit Atkinson (The Kits), Pete Hansford and John Davis. Inspired by The Gories, The Cramps and Thee Headcoats, you can see The Spasms in the ﬂesh as they headline Black Night Crash at Rochester Castle, Fitzroy this Saturday April 13. Support comes from sludge’n’roll locals Sexy/Heavy. Entry $5. Doors 9pm.

COMEDY FESTIVAL TREMBLES AT THE MIGHT OF SATAN’S FINEST

Satan’s Finest is a stand-up comedy show playing through the MICF that focuses on heavy metal. Featuring Mitch Alexander and Jackson Voorhaar, it runs April 10-11 and 14-18 at Horse Bazaar, 397 Little Lonsdale St, at 9.30pm.

AEROSMITH ADDS SECOND MELBOURNE SHOW

Aerosmith has joined the Stone Music Festival lineup in Sydney on April 28, cancelling their Sydney gig in favour of co-headlining the festival with Van Halen and also adding a second Melbourne solo show. They’re at the Sidney Myer Music Bowl on April 28 now as well as the originally scheduled date on April 27.

HELP TWELVE FOOT NINJA EAT TROLLS

Twelve Foot Ninja respond to an internet troll with dismemberment and cannibalism. It’s probably their private lives too, but it’s most deﬁnitely their next video, which they promise to create with the help of fans via the crowd funding campaign they’ve just launched at pozible.com/tfn. The band’s pitch video on Pozible.com includes Mortal Kombat styled bone busting, head explosions, ninja teleportation, as well as sneak previews of scenes ﬁlmed with US prog metal wizards Periphery. Zip over to pozible.com/tfn to kick in a few shekels for the lads, will ya?

SAINT VITUS TO TOUR! Ladies and gentlemen, prepare thyselves for the ﬁrst ever Australian tour by North America’s godfathers of doom, Saint Vitus! Before Sunn O)), Kyuss, Fu Manchu, Earth, everyone basically, there was Saint Vitus! Starting way back in 1978 on the streets of LA, Saint Vitus have inﬂuenced every single doom band known to man, and woman. Along with Black Sabbath and Pentagram, they were among the founding fathers of what was later called Doom Metal. They’ll be at The Hi-Fi on Saturday July 20 with special guests Clagg. Tickets from Oztix.

Twelve Foot Ninja have launched a big ol’ Pozible campaign to try and raise over $45,000 towards their ambitious new video clip. They’ve recruited members of Periphery to guest star in the video as well. Donate at pozible.com/tfn. Jericco are headed out on the road on the back of the Beautiful In Danger tour. They’ll be joined by Sydney’s Dead In A Second. Catch them at the Fitzroy Hotel on May 18 or The Espy on May 25. ..And You Will Know Us By The Trail Of Dead TOUR! YES! These dudes will return to our shores to perform Source Tags & Codes in its entirety. Fear not, they’ll also be playing some highlights of their extensive back catalogue. The Corner Hotel on May 22. Tickets available now. La Dispute have gone and added another show at the Corner Hotel to cater for the demand for tickets. They’ll play with Baltimore’s Pianos Become Teeth on Sunday July 14. Tickets are available now. Don’t sleep on it. Ghost are in a bit of shit after the manufacturer of the deluxe version of their new album refused to print some sacrilege images in the artwork. The pic is said to be of what appears to be “a forest nymph orgy” which features religious iconography. Pretty great PR, no?

Of Mice and Men vocalist Austin Carlile was arrested for ‘felonious assault’ last weekend, following an altercation which left some poor sod unconscious. Carlile has been released on bail.

CORE GIG GUIDE THURSDAY APRIL 11: Public Image Limited, Harmony at The Palace Black Breath, I Exist, Chaingun at The Reverence Storyhorse, Samuel Tate, Fuck Folk at The Reverence FRIDAY APRIL 12: Dead Letter Circus, Breaking Orbit, Self Is A Seed at Corner Hotel Anchors, Strickland at Phoenix Youth Center The Ramshackle Army, The Tearaways, Maricopa Wells, The Shadow League at The Reverence Silence Dead Silence, Dead River, Tender Bones, See Saw at The Gasometer SATURDAY APRIL 13: DZ Deathrays, Damn Terran, Super Best Friends at Ding Dong Crackwhore, Muscle Mary, Dixon Cider, The General at The Reverence White Walls, Deep Heat, Gold Tango, Shit Weather, Gentlemen, Cuntz at The Gasometer Outright, Starvation, Manhunt, Risk and Reason at The Gasometer

METAL, HEAVY ROCK, CLASSIC ROCK

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

ENSLAVED TOUR POSTPONED First the bad news: Enslaved’s tour has been postponed due to a little immigration department red tape. Now the good news: it turns out ‘postponed’ doesn’t mean ‘cancelled,’ and new dates have already been scheduled. They’ll now be in Melbourne on Friday November 1. Alreadypurchased tickets will be honoured at the new date.

CELEBRATE THREE DECADES OF BRUTALITY

R.I.P ANDY JOHNS The rock world is currently in mourning for veteran producer/engineer Andy Johns, who was famous for his engineering work with Led Zeppelin as well as producing albums like Van Halen’s For Unlawful Carnal Knowledge and Joe Satriani’s The Extremist. No details were available at press time but tributes are all over social media from folks who worked with him and fans who loved his work. It’s pretty safe to say that rock music as we know it probably wouldn’t sound the same (especially in the drum department) if not for Andy Johns.

G’N’R GO NIGHT-NIGHT

Twinkle Twinkle Little Rock Star, the company which creates “beautiful lullaby versions of your favorite artists,” will release Lullaby Versions Of Guns N’ Roses on April 30 via Roma Music Group. It includes Sweet Child O’ Mine, Don’t Cry, Welcome To The Jungle, November Rain, Patience, Paradise City, Mr. Brownstone, Nightrain and more. Just the thing to send the kiddies oﬀ to sleep. Check out the samples online – it pretty much sounds exactly like you might think it would.

Dreadnaught, 20-year veterans of the Aussie metal scene, are bringing their tried and tested brand of metal and Australian Rock to the stage on Saturday April 27 at The Gasometer in Collingwood. Joining them are State of Integrity (QLD) celebrating 10 years of melodic death/ thrash with their Decade of Integrity Australia wide tour. Join the Amish will slay us all with their fresh thrash stylings, and Diprosus will kick off the night with their chunky groove-and-thrash style riffs! For more information, please visit the official website, 3decadesofbrutality.com

OBITUARY SUPPORTS ANNOUNCED Are you going to Obituary’s tour in May? Well then, my friend, get ready to have your guts torn out and feasted upon by Denouncement Pyre and King Parrot, who have both been named supports of the gig. Tickets on sale now!

MAGNUS KARLSSON GOES SOLO He’s played on pretty much everybody else’s albums (Allen/Lande, Kiske/Somerville, Starbreaker) and ﬁnally Magnus Karlsson is striking out on his own with Free Fall, his debut album out in June via Frontiers Records. Expect guest appearances by Russell Allen (Symphony X, Adrenaline Mob), Ralf Scheepers (Primal Fear, Gamma Ray), Tony Harnell (TNT, Starbreaker), Mark Boals (Yngwie Malmsteen, The Codex), Rick Altzi (Masterplan, At Vance), Mike Andersson (Star One, Full Force), Rickard Bengtsson (Last Tribe), Herman Saming (A.C.T) and David Readman (Pink Cream 69, Vodoo Circle). “I’ve had the honour to collaborate with some of the greatest singers and musicians in the world”, says Magnus. “Artists who have made my life richer with their magical music. On this album I got the chance to write tailor made songs for some of my absolute favourite singers. I was thinking, what would I really like to hear from this or that guy and then I wrote the songs. It’s like if I’m missing a song with my favourite singer in my record collection, then I just make that song for him! I listen like a fan and I write like a fan well…I am a fan!”

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Beat Magazine Page 63

MUSIC NEWS

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ANNA’S GO-GO ACADEMY

THE BEEGLES

Anna’s go-go classes are great fun, an excellent cardio workout, and have been described as ‘inspiring”, “a retro hit parade…everything from Elvis’s Jailhouse Rock to AC/DC’s Jailbreak, and a “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.

The Beegles are a seven-piece local pop band made up of members from Whipped Cream Chargers, Euphoriacs, Warmth Crashes In, and Alkan Zeybek & The Lessermen. This April brings the long awaited release of their debut EP, and to celebrate they’re playing at The Evelyn every Monday in April at 8pm. Support will be provided from The Infants, Rogue Wavs and Preston Skate Massive, so don’t miss this weekly party.

ROCK AND POP CULTURE TRIVIA Melbourne’s best trivia night has found a new home at The B.East. Triple R’s Jess McGuire and Shock Record’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 ﬁlm, TV and music delivered in a relaxed three round format with loads of alcohol prizes to give away.

WE ALL WANT TO The new release No Signs from We All Want To is out now, taken from their forthcoming sophomore album Come Up Invisible. To celebrate, We All Want To will be touring their ‘90s-tinged set shining with audacious ambition and genuine conviction to a stage near you. See it all come to life in Melbourne on Saturday May 11 at The Public Bar in North Melbourne.

BONJAH Bonjah are releasing their ﬁrst new material in two years, single Evolution. With their third album coming out in spring this year, the boys are taking their new song on the road with a launch at The Corner Hotel on Saturday April 13 with Ghost Orkid and Old Medicine. Tickets are $20+bf from the venue website and box oﬃce.

CHARLES JENKINS In celebration of his April residency at The Retreat Hotel, Charles Jenkins will be performing songs both new and old in the front bar. You can catch him every Tuesday night in April alongside up-andcoming songwriters from his mentoring program, run in conjunction with The Push, APRA, Arts Victoria and the Australia Council.

MARIE WILSON

CHARLES J TAN

The combination of a great attitude and undeniable talent helped launch twice ARIA nominated Aussie rock chick Marie Wilson’s ﬁrst single Next Time to great success. Since the release of Real Life in 1998, Studio Sessions in 2001 and Heartbreak in 2005 Wilson took a well-earned break from music. Whilst the break proved to be refreshing, it also lead to moments of self-doubt where she questioned whether she would write again. Her song Extraordinary changed all that. She will launch her new single at The Empress on Saturday April 13.

Following the release of his ﬁrst single On Your Side earlier this year, Charles J Tan hit the road with a string of shows in Singapore and a performance at the prestigious Mosaic Festival. Now, coinciding with the release of his stunning debut album Maybe Somewhere North, the Melbourne folk troubadour is set to launch the record with a show at The Workers Club on Wednesday April 10.

BEN KELLY Accompanying the release of his brand new EP Times Not Waiting, Ben Kelly is proud to announce a slew of shows around Melbourne with further dates yet to be announced. Kelly has a reputation for his soulful heartfelt performances and unique improvisations oozing his passion for his art. Ben Kelly has already kicked oﬀ his tour of Melbourne, which runs through until Sunday May 26 at Burrinja Cafe/Gallery in Upway. For the full list of tour dates, including shows in Brunswick, St Kilda and Northcote, head to facebook.com/benkellyaustralia.

THE ALAN LADDS The Alan Ladds bring together the classic sounds of ﬁddle, mandolin, pedal steel, double bass, ﬂat top guitar and drums. Executed with grit and panash, they inject themselves into classics, modern classics and personal statements in song with a swinging Honkytonk sensibility and wreckless precision. The Alan Ladd’s will be performing with special guests every Wednesday in April at The Spotted Mallard, free entry, 8:30pm.

SIDE STACKS

TOBY Toby – whose voice seems to know no bounds fronts the one part orchestra and one part bonﬁre jam, one part circus with ease. Toby is so much more than just “energetic, raw, and feisty.” She is power deﬁned via her energy, her spirit and her soul. Toby and her four-piece band are performing six upcoming shows in Victoria – Tuesday April 16 at The Royal Standard Hotel, Wednesday Aril 17 at Open Studio, Thursday April 18 at the Great Britain Hotel, Friday April 19 at The Wesley Anne, Saturday April 20 at Baha Tacos and Sunday April 21 at The Heritage Tavern in Balnarring.

Side Stacks is a stripped down version of the Stax On Soul Revue featuring, Grant Cummerford, Tim Burhnam, Matt Green and Brendan McMahon. With a focus on instrumentals from artists such as Booker T and the MG’s and The Meters each week also will see a diﬀerent guest vocalist come into the fold to sing some of that sweet southern soul. And what a place to bring it to, that is The Spotted Mallard every Sunday in April from 5pm.

ROCKET TO MEMPHIS Touting a distinctive, off-kilter take on rockabilly, swamp and garage rock’n’roll, Rocket To Memphis have been leaving audiences in a state of dishevelment since 2006, with knee-trembling live performances that have had hips shaking in cities as far-flung as London and Tokyo. Their fourth album Do The Crawl is out on Monday April 22 through Off The Hip and they’re launching it at The LuWow on Friday April 26 and at The Spotted Mallard on Saturday April 27.

CRAIG WOODWARD AND FRIENDS Featuring live old time, stringband and Cajun Music from Craig Woodward and friends every Sunday at The Gasometer. 3pm ‘til 5pm, free entry. It’s happening every Sunday with the band lineups changing from week to week. A great regular Sunday of old time Cajun music and related styles. 3pm, free entry.

OBSCENE EXTREME Since its birth in 1999, over 500 bands have played Obscene Extreme Festival from almost every corner of the world, bringing with them a horde of diehard extreme music fans from across Europe and beyond to its home base in the Czech Republic. What brings fans to Obscene Extreme is more than the cross selection of new and old underground grindcore, crust, punk, death metal, thrash metal, hardcore and everything in between. It’s also the incredible atmosphere, the real DIY ethic and the true spirit of community. It’s taking place over two days this weekend – The Tote on Friday April 12 and The Bendigo on Saturday April 13 with bands like Rotten Sound, Nuclear Death Terror, Intense Hammer Rage, Blood Duster, Filth and heaps more. Tickets are through Oztix and the venues.

SPIT SYNDICATE Sydney’s inner west and charming hip hop duo Spit Syndicate are back with the third addition to their critically acclaimed back catalogue. They’ll be launching their new album Sunday Gentlemen in style at the Northcote Social Club on Friday April 12 with support from fellow hip hoppers Jackie Onassis and Mikey Hundred. The album has been heralded to exceed expectations, and it’s no doubt their explosive live show will follow suit. Doors at 8.30pm.

MAMA KIN

MBAS blues jam feature artist.

- Tuesday 16th -

- Wednesday 17th Open Studio

- Thursday 18th Great Britain Hotel

Royal Standard Hotel

204 High St, Northcote

447 Church St Richmond. From 8pm

333 William St, West Melbourne. Set 8-9pm

- Friday 19th The Wesley Anne

- Saturday 20th Baha Tacos

- Sunday 21st The Heritage Tavern

w/ Rosie Burgess 250 High st Northcote.

2201-2209 Point Nepean Rd, Rye.

3059 Frankston-Flinders Rd, Balnarring. From 3-6pm

Beat Magazine Page 64

In addition to her stunning new album The Magician’s Daughter, Mama Kin’s signature soulful intrigue inﬁltrates her sound with emotion in an expansive and captivating live show. The songstress will be gracing the Northcote Social Club stage this Thursday April 11.

DZ DEATHRAYS

CLAVIANS Head on down to The Old Bar and help this crazy “jungle duo” celebrate the launch of their EP Cosmic Hood, which features electrifying track Skins. Joining the party will be On Sierra, The Sinking Teeth and Solaires. There’s sure to be some surprises in store with this band, so be there or be square. The party starts from 8.30pm at The Old Bar on Friday April 12 with $10 entry and rad late night tunes from DJ Nth Wheel.

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

The last 18 months have been nothing less than an absolute whirlwind for the Brisbane duo. It’s seen them release their debut LP Bloodstreams, share stages with acts like The Killers, Foo Fighters, Crystal Castles and play festivals such as Reading & Leeds, The Great Escape, Splendour in the Grass and Laneway Festival. However, instead of taking any downtime, the ‘rays will be hitting the highways of Australia for the ﬁnal headline tour of the Bloodstreams album cycle this month, a tour named Teenage Kickstarts after the title of the ﬁnal single to be taken from the band’s debut album. They hit Ding Dong Lounge on Saturday April 13, tickets through Oztix.

HOLY MOSES HEARTACHE

OH PACIFIC

Holy Moses Heartache bring their varying degrees of facial hair, intelligence and musical ability – not to mention their intoxicating brand of what could only be called folk music – to The Tote each Wednesday in April. With songs about sex, death and a man’s genuine love of his horse, there’s bound to be something that strikes a chord in even the shallowest of hipster hearts. There are also awesome support acts including Beloved Elk, Colourwheel, The Promises, Jules Sheldon, Noriko and Monkeys Pirate just to name a few. So take the following morning oﬀ, get down to The Tote early, get settled and make a night of it.

In the short history of Roots of Music promotions company, they’ve have never had such a positive response as they have for up-and-coming grunge rockers Oh Pacific after their recent support performance for Whitaker. Oh Pacific are back with their own headline Melbourne show. 2013 is looking to be the year the Oh Pacific boys step out of their familiar surroundings of Bendigo and really give the rock scene a good shake up. They have a new single which they are planning to release in the next few months, adding to last year’s EP release of Built From Design. They play at Revolver Bandroom on Saturday April 13 alongside bands Ikarii, Outlines and Cardinal. Tickets are available via Moshtix or at the door on the night.

JOE FORRESTER Sunday evenings in April boast Joe Forrester’s residency at the Great Britain Hotel in Richmond. Forrester’s blend of emotional, hard-driven original acoustic indie-folk has the ability to crush souls and lift sunken spirits. A big fan of the GB, Forrester’s been lucky enough to hand-pick four of his absolute favourite local acts to support him, one per show. This Sunday April 14 sees the support slot ﬁlled by Bernie Carson. Making these shows even more special is that they will be Forrester’s last before settling down to record his debut studio album from May. Catch some of it live before it’s even recorded (plus a few golden oldies, of course). All free with music from 7.30pm.

TWIN AGES Tonight sees the thumping sounds of rock’n’roll shaking the dust off the Bar Open rafters with Twin Ages, The Braves and The Scalps. Twin Ages are a bluesy grunge band from the south-east, the left hand of rock’n’roll. They recently released their EP Quit Yo Howlin and are from the second generation of dirty blues bands who have remolded their sound to thick riffs and heavy undertones. Newcomers The Scalps will join them and they are expected to bring the house down. Also onboard are The Braves, with their filthy, dirty rock. Enough said.

DIRT FARMER With a new EP set for release in mid-2013, Melbourne ﬁve-piece Dirt Farmer launch their new single Delilah Lightning at Ding Dong Lounge on Friday April 12. Infused with a languid, lazy charm, Delilah Lightning is a slacker-pop anthem that descends into a glorious fuzz of guitar noise.

FIREBALLS Melbourne’s Fireballs have been invited to the inaugural Club Sin 13 party in Tampare, Finland for the Mavericks Rock’n’Roll Association, and out of pure excitement they’re throwing another one of their infamously wild parties. They’ve announced their own weekender of shows at The Bendigo Hotel on Friday May 3 and Saturday May 4, ﬁghting through the jetlag to play more loud and sweaty gigs on their home soil. On the Friday they perform with Murder Rats and Royal Cut Throat Co, and on the Saturday they’re joined by The Yard Apes and La Bastard. Tickets are $20+bf and can be purchased through Oztix.

THE APE The Ape is coming. Comprised of Raul Sanchez, Pat Bourke, Gus Agars and the mighty Tex Perkins, The Ape is simple, primitive, ﬁlthily fun rock ‘n’ roll. The Ape debuts at Cherry Bar this Saturday April 13.

SHAUN KIRK Capturing the energy of a killer live show and laying it down in the studio is no easy feat, however in the case of blues and soul multiinstrumentalist Shaun Kirk, the transference was surprisingly seamless. His latest album and accompanying DVD The Wick Sessions is out now and Kirk is touring to promote it, stopping in at Ruby’s Lounge in Belgrave on Saturday April 13, The Westernport Hotel in San Remo on Sunday April 14 and the Northcote Social Club on Thursday April 18.

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LA BASTARD Fresh from a sold out, over-capacity album launch at The Spotted Mallard and national tour in support of their new release Tales From The Beyond, Melbourne’s surf-rockabilly ‘60s extravaganza La Bastard are back. Hosting a much anticipated Beer Soaked Sundays in April at the Old Bar, they are being joined by a musical pick and mix of local and interstate guests each week. This Sunday April 7 has support from Wrong Turn, Some Jerks and DJ Kezbot. Doors at 8pm and it’s $6 entry. This is one surf-’60s-go go-extravaganza well worth catching a severe case of Monday morning blues for.

THE DINGALINGS The Dingalings, other than a silly way of referring to the male genitalia, are also a newly polished R&B band that play vintage tunes from the ‘50s. They playfully revive the ‘style-of-music’ that had one of the biggest inﬂuences on rock’n’roll music, indulging in tunes by Chuck Berry, Bo Diddley, and Fats Domino amongst others. They also tear into classic instrumentals from the ‘50s, and dabble in some country and rockabilly. There will be no genital jokes. The Dingalings will be performing their debut show at the always-welcoming Bar Open on Friday April 12. Doors 10pm. Free entry.

SNAG STAND Snag Stands is a new sausage grill that is obsessed with making the best damn ‘haute’ dogs the world has ever seen. Their first store opened in 2011 on the corner of Swanston and Latrobe Sts in the CBD. They guys are now ‘on a roll’ (geddit?) with their second location opening in Westfield Doncaster. There’s over 15 signature Haute Dogs on offer along with chips, onion rings, dipping sauces, fresh salads, tap beer and cider. The sausages are sourced from some of the most respected and award-winning artisan butchers, and are then matched with freshly baked rolls and assorted house-made and premium toppings. For more info head to snagstand.com.au.

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CHERRYWOOD Cherrywood will be playing at (one of) their local watering holes again – the Great Britain Hotel, this Saturday April 13. This talented gaggle of reprobates are playing two sets of their take on country, punk and good old fashioned bluegrass. Come along and cry with them about lightning strikes, broken hearts, bar stools and prisons. It’s all foot stomping fun from a double bass, mandolin, acoustic guitar, a snare drum and a bunch of raucous vocals. It’s a perfect sing-along Saturday. Two sets of malarkey from 9pm ‘til late, and it’s a freebie.

LIONESS EYE New cosmic psych rockers Lioness Eye will be making their headline debut on Thursday April 11 at Yah Yah’s. Kicking oﬀ the night will be Mornington Peninsulas, shoegaze story tellers, Coast Emotive, followed by the reverb drenched post punk of Halt Ever (tape release) and ﬁnally the moody rock’n’roll of the Attics. Doors will be at 8.30pm, $5 entry, smoke machine is primed and ready and Halt Ever’s strobe is ready to roll.

WOLFPACK Did someone say free entry non-stop rockinggarage-punk carnage at Yah Yah’s on Saturday April 13? Yes please. Don’t miss this absolutely smoking lineup gang. The Jacks kick things oﬀ at 9pm sharp with their greaser rock gems, Rise Of The Rat always deliver gritty working class rocking aces, Clowns are a bombastic attack of raw garage radness you will love and Wolfpack ﬁnish the night with their blistering punk. Hang out for a drink (or seven) with everyone after too, as sweet DJs will be playing vinyl (not iPods) ‘til the early hours. Doors at 5pm and bands start at 9pm.

Beat Magazine Page 65

MUSIC NEWS

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SOME JERKS Some Jerks make the trek down from Brisbane for the weekend, bringing their ‘60s garage-surf and launching their new album Buddy Rich Made Me Cry. They’ll be joined by new friends Rayon Moon, and Messed Up, and promise high-energy, reverb-soaked sweet melodies and trashy good times at The Public Bar this Saturday April 13. $8 entry from 8.30pm.

THE RAMSHACKLE ARMY In mid 2010, The Ramshackle Army played their first show and since then have made a ruckus up and down this fair country, as well as across some decent sized oceans. After two-and-a-half years of one lineup, multi-instrumentalist Loc Kibell (banjo/mandolin/bouzouki) is moving on. Don’t miss your last chance to catch him onstage with the RSA with a massive party as they grace The Reverence for the first time. Joined by their brothers and band favourites The Tearaways, alongside Maricopa Wells and The Shadow League, this is a super strong lineup. It all kicks off at 8pm and it costs $10.

BROOKE RUSSELL & THE MEAN REDS With their country twang and blues edge, Brooke Russell and The Mean Reds will grace the stage of The Retreat tonight from 8.30pm in the front bar. The band draw inﬂuences from Gillian Welch, Tom Waits and Neko Case. Best of all, it’s a free gig, so get immersed in the sounds of heart fuelled decision which ooze class with every strum of the guitar.

CHILDREN OVERBOARD The Retreat just love their soul nights and the swinging bluesy fun continues as Children Overboard take the stage on Friday April 12. After starting out in Wollongong some years ago, the group are back from a three month hiatus to help you ﬁnd your groove before the weekend begins. Upcoming band and fellow blues enthusiasts Stevie & The Sleepers will be joining them when the show kicks oﬀ at 9pm. It’s a free gig and DJ Sean Simmons on the decks ‘til the early hours of the morning, so pack your blue suede shoes and get ready for some booty shaking.

LUCIE THORNE A unique artist, Lucie Thorne will be joined by the awesome Raised By Eagles at The Retreat on Sunday April 14 to awake your senses “with the poetic lyricism and tender-to-gutsy electric guitar playing” that has music lovers and critics alike praising her contemporary sound. It all starts at 7.30pm and it’s free entry, so there’s really no excuse to miss the songstress who’s compared to Cat Power and has Liz Stringer swooning.

SASKWATCH AND HENRY WAGONS Music Victoria want to say thank you to new and old members who are helping secure the future of our state’s ﬂourishing music scene. Their ‘Jump On The Bandwagon’ annual wrap party will be held at Ding Dong Lounge on Thursday April 11. The members-only thank you event will include special guest performances from none other than burgeoning soul band Saskwatch and the evertalented Henry Wagons. With snacks and maybe a free beer or two courtesy of Mountain Goat, this is an industry event not to be missed. Due to limited capacity, RSVP is essential (and open to ﬁrst in best dressed!) Members can head to musicvictoria.com.au or RSVP at trybooking.com/ CRFA to secure their spot.

SPIN THE GLOBE Always wanted to travel the world but can’t aﬀord the ticket? Never fear! On Saturday April 13 DJs Serhan Ali (Mondo Loco) and PBS’s Emma Peel and Mohair Slim will take you on a vinyl excursion around the globe. Flight commences boarding at 9pm in The Grace Darling Hotel Basement and destinations include: Turkey, Colombia, USA, Jamaica, Lebanon, Brazil and Egypt. DJs will be spinning original vinyl from the ‘60s and ‘70s, navigating their way through cosmic disco, calypso, salsa, samba, ska, Turkish funk and much more. Passengers are advised to secure their overhead lockers to ensure maximum dancing. Only $10.

Beat Magazine Page 66

THE WILD COMFORTS Harking back to vinyl cool, The Wild Comforts are launching a 7” and you should help them celebrate. They’ll be playing at The Evelyn on Sunday April 14 with Eaten By Dogs and The Matty Green Band. They’ve been described as “a dirty country band ready to make you wish your wife left you, your ute was broken and your dog was dead so you could write country songs too.” Doors open at 8pm and by the sounds of things they aren’t to be missed!

SiB The French-born Australian singer/songwriter Adrien Siboulet will be joined by The Scouts and Big Small at The Old Bar tonight. His weekly residency throughout April promises wanderlust of the musical variety. Doors at 8.30pm for this $6 steal of breathtaking blues.

PINK DOVE III: THE BIRD FIRE REVIEW The night has been likened to Paul Robinson in late ‘80s Neighbours when he accidentally makes out with both of the Alessi twins. Now we have your attention, be sure to go to The Evelyn on Saturday April 13 to see Brisbane’s Bird Fire Artists family reveal all in a showcased promised to revel in soul and exceed your party expectations. The eclectic mix includes Laneous & The Family Yah, Georgia Potter, MKO, Superfeather, The Well Alrights and The Melotonins. Doors open at 7.30pm and you can get your tickets to this unique event via Moshtix.

LURCH & CHIEF Hot oﬀ a massive 2012, Melbourne six-piece Lurch & Chief are on the road in support of their new single On Your Own. The single is the ﬁrst taste of their sophomore EP, due in June 2013. On Your Own showcases the unique blend of catchy yet emotive male/female vocals the band are becoming known for. They play The Prince Public Bar this Friday April 12 from 8pm. Free entry.

AUSTRALIAN STEELBAND FESTIVAL Between Friday April 12 and Sunday April 14 the ﬁrst ever Australian Steelband Festival will be held in Marysville, Victoria. Steelbands from around Australia, New Zealand and Oman will play in the Panorama Playoﬀs on Saturday and the Super Steelband Concert on Sunday, while the Trinidadian Connection, made up of Trinidadian performers living and playing in Australia, will perform individually and take part in the Calypso Night on Saturday. There’s also a Panorama style competition happening between all of the participating bands in Australia and from overseas. Judges include Nicky Bomba, Ray Holman and steelband pioneer Courtney Leiba. There’re a goat race, masqueraders, a festival market and other unique attractions. For all information head to ozpans.com.

SWAMP MOTH Behold! Swamp Moth rises from the murky mists and revives hard rock’s long forgotten masters of the unholy riff. Five of Melbourne’s finest purveyors of swagger and groove dig deep to find the best of the rest of late ‘60s and early ‘70s psych and hard rock and proto-metal. Swamp Moth perform at The Vic Hotel on Friday April 12 with support from Dog Hair Jacket, 9pm. Free Entry.

NEW JACK RUBYS Likened to Mudhoney, Radio Birdman and The Stooges, New Jack Rubys will melt your face with their sheer rock’n’roll power, while their intelligent lyricism, exploring topics such as the correct way to make Caesar salad and how much their guitarist hates Surfers Paradise, will leave you pondering the meaning of life long into the night. New Jack Rubys perform at The Vic Hotel on Saturday April 13 along with Drifter. It’s free and starts at 9pm.

THE SEVEN UPS Are you ready to get funky? Inspired by Sly Stone, James Brown, The Funkees and of course Fela Kuti, you would be hard-pressed to ﬁnd a band more devout to funk than The Seven Ups. The all-instrumental and original eight-piece have a residency at The Evelyn every Tuesday in April, and each week hosts two new, and yes ‘funky’, supporting artists. This week join the troop with The Moon Project and Purple Tusks.

SIMON WRIGHT BAND Simon Wright Band is a four-piece blues inspired urban-soul originating from Byron Bay, currently residing in Fitzroy Melbourne. The band features members of Engine Three Seven, The Eclective and The Red Eyes. They play a free gig at the Prince Public Bandroom on Sunday April 14 from 7pm. Free entry.

The Great Britain Hotel is set to shoot off into another place on the Thursday April 11 in a night that will relieve your slightly-more-than-mid-week blues, featuring the drunkest banjo picking, fiddle screeching, chain bashing, squeezebox popping, wire wrangling, wood chopping, bootlegging bandits that Melbourne has to offer. It’s a freebie, so get on down at 8pm for Benjamin Jones who will be strumming and plucking his way into a grave before Cabbages & Kings take the stage at 9pm.

The second annual Rock N Load Festival returns to The Espy on Saturday June 1 with a massive 30 acts over three stages. The Espy will feature some of the best live rock acts from Melbourne and interstate, including Dallas Frasca, The Fumes, The Nerve (featuring Ezekiel Ox and Lucius Borich), King Of The North, Ten Thousand, My Secret Circus, Massive, Gay Paris, Don Fernando, Dead City Ruins, Vida Cain, Riot In Toytown, Sudden State, The Dead Love, Sheriﬀ, Virtue and heaps more. Tickets are sure to sell fast, so get ‘em now via Oztix and from The Espy. Check out rocknloadfestival.com for the line-up and ticketing details.

BADCROP Melbourne-based hip hoppers Badcrop join with one of New Zealands premier crews Third3ye, for a night of spiritual herb-laced boombap. With this being Third3ye’s ﬁrst Australian show, it is set to be a night they probably won’t remember. The night kicks oﬀ at 9pm with DJ Toru spinning some funk this Saturday April 13 at The B.East. If you’re too blazed and get lost, don’t worry – the boys will also be doing a hangover session from 4pm on Sunday. Beats and burgers. Cured.

SUMMER FLAKE Summer Flake is the downbeat slacker project of Adelaidean Steph Crase (ex Birth Glow, Hit The Jackpot, Batrider) and she’s touring Australia for her new Where Do I Go? EP. Playing at The Gasometer Hotel on Friday April 12, Steph will be gathering some friends for the Summer Flake band, and supported by Adelaide pals Divine Rip (previously known as Xixi, who are also launching an EP), with Circular Keys and Evelyn Ida Morris. Doors are at 8pm and entry fee is $8.

THE FINKS Just because Google doesn’t know who they are doesn’t mean you shouldn’t. They’re a catchy upcoming band with a lot of promise. Catch them while you still have to ‘be in the know’ so you can spread the good word about The Finks. They will be launching their new CD and book of poetry during a month-long residency every Wednesday in April at The Gasometer Hotel. This week the politely growing group will play with fellow Melbournian and wordsmith J. A. Core. It’s starts at 8pm and it’s free.

BLACK BREATH Black Breath emerged from dark basements and dive bars in the belly of Bellingham, Washington in 2005. Their 2012 release Sentenced To Life projects an even more vile, metallic sonic attack than it’s predecessor. The record features equal regiments of Swedish death metal, American heavy metal and sheer blasphemy. This April the band will make their maiden trip to Australian shores with Canberra’s I Exist coming along for the ride. They’re set to play The Reverence Hotel band room on Thursday April 11 from 8pm for $25.

Tom Lyngcoln, from The Nation Blue and Harmony will perform a solo set alongside Hoodlum Shouts, Lucy Wilson, Grace Lawry and Mara Threat at The Reverence Hotel on Sunday April 14 from 3pm. It will be an awesome way to spend the afternoon. Better yet, it’s a free show.

ROCK N LOAD RETURNS

In the beginning it was a banjo, mandolin and acoustic guitar. Before long drums and bass were added, and some time after that even an electric guitar. What began as a few gentlemen playing hokey-stringed instruments in a bungalow has now become a six-piece country-folk-rock outﬁt replete with dancing bass riﬀs, double drum kits, three way vocal harmonies, and blazing lead lines. This is the Merri Creek Pickers. They play The B.East this Friday April 12.

After starting out in late 2011, Sky Pillar, the fourpiece who hail from the Mornington Peninsula area, have been working hard rehearsing and writing to develop a style they can call their own. The rock and classic metal band will be playing at The Bendigo tonight and will be supported by The Rift and Super Saloon. Doors are at 8pm and entry is $5.

TOM LYNGCOLN

CABBAGES & KINGS

MERRI CREEK PICKERS

SKY PILLAR

MICK DALEY AND GEOFF ACHISON This Sunday April 14, The Drunken Poet has an ominous one-two for you. Mick Daley (The Remains) will mesmerise with his country rock songs delivered with great intent and the R&B grit of Geoﬀ Achison will follow with a mix of gutsy originals and dynamic classic arrangements. Be there from 4pm to get involved in the artistry of these musicians.

DEADLY ARE THE NAKED It’s sadly Deadly Are The Naked’s ﬁnal show, and to say thank you and farewell they’ll be releasing an EP and playing at The Brunswick Hotel on Saturday April 13. They will be joined with support from 12 Inch Clocks, Lucy’s Crown, Uncle Rudey and Silent Duck. The party starts at 6.30pm and it’s free.

IN YOUR HANDS Following a huge year in 2012 that saw Matt, Jam and Benj from In Your Hands play many shows in and around Melbourne, they gear up to launch their debut EP titled Bitter Ways, which was recorded in the spring of 2012. Expect a loud, frenetic set featuring catchy choruses, a hard hitting drummer, and fat guitars and driving bass licks. Joining In Your Hands, and also launching their EP, is Portraits of August. They will be partying with Have You Seen This Boy and Cooper Street from 8.30pm this Friday April 12 at The Evelyn.

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ZEVON HILTZ Blues artist Zevon Hiltz and his all-star band the Werewolves of Melbourne have been ﬁring up Prahran’s Lucky Coq every Sunday since the start of 2013. April is the band’s last month of their residency. Free entry and BBQ from 4.30pm.

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60 SECONDS WITH NEBRASKATAK

ANIMAL HANDS Melbourne-based Animal Hands are a three-piece independent rock band that have enjoyed receiving a resplendent response to their debut single Bed Of Dolls. This was the ﬁrst glimpse of their self-titled EP that was produced by Lindsay Gravina at Birdland Studios. The band will release the EP with a cracking show at Cherry Bar on Friday April 19.

THE ELLIOTTS The Elliotts left their Tasmanian roots, relocating to central Melbourne to advance their music career. Over several years they have honed their craft, collaborating with music producer Pete Dacy and artists such as Brian Canham. They play the Prince Of Wales Public Bar on Saturday April 13.

Define your genre in five words or less: Melodically stable, emotionally unstable indie-pop. Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? Like songs derived from everything you ever wanted to say to the one that got away, neatly catalogued into a 50 minute set. What can a punter expect from your live show? Electrifying, frightening, blissfully guitar-driven, sparkling, soaring, A+ quality bangers. Think Florence Welch meets an aggravated bulldog. What advice would you give to bands that are new on the Melbourne music scene? Do everything you can to avoid the soul-crushing ‘danceﬂoor gap’ between audience and band, present in most trendy Melbourne venues. You need to lure your audience forward with irresistible grooves to eliminate the gap and revive all dancing and frivolities.

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Do you have a pre-gig ritual? If so, what is it? We bathe ourselves in glitter and Rexona’s Dark Temptation and hope for the best. Anything else to add? We just released our debut self-titled EP, which is the worthy result of many hours of agonising over melodies and harmonies and lyrics and guitar strings and amps and cowbells, and of hours spent politely explaining to the rest of the band why a single chord should be diminished and not augmented. When are you doing your thing next? We have a Wednesday night residency at The Evelyn Hotel in April, where we’ll be cutting the rug time and time again. You can also buy our EP and ﬂower crowns at our neatly presented merch table, manned by my mum, or online at nebraskatak. bandcamp.com.

Beat Magazine Page 67

ALBUM OF THE WEEK THE KNIFE

3RRR SOUNDSCAPE

Shaking The Habitual (Inertia)

WEDNESDAY 10 APRIL RESIDENCY

NEBRASKATAK OH PEP! SALAD DAYS

THURSDAY 11 APRIL

ALICE D

THE BRAVES GEE SEAS SINCE WE KISSED

$2.50 POTS, $5 VODKAS!

FRIDAY 12 APRIL DOUBLE EP LAUNCH

IN YOUR HANDS PORTRAITS OF AUGUST HAVE YOU SEEN THIS BOY COOPER STREET

SATURDAY 13 APRIL ROOFTOP – MATINEE SHOW

WONDERCORE ISLAND MIXTAPE LAUNCH

Is it possible to admire and respect an album without really enjoying it all that much, to appreciate it as an artistic and intellectual endeavour, even if the music itself leaves you cold? If so, then that’s more or less how I feel about Shaking The Habitual. The Dreijer siblings have long been two of music’s biggest teases – they’re entirely capable of creating moving and majestic pop tunes, as evidenced on 2003’s Heartbeats, but most of the time, they prefer not to. Their music has grown darker and stranger with each new album. Deep Cuts was an approachable synth pop album with an air of manic weirdness, while Silent Shout burrowed into a deep, dark rabbit hole of treated vocals, blips and pulses. Shaking The Habitual takes the duo’s music to a starker and more brutal place still. The first thing you notice about the opening two tracks is the emphasis on percussion – the rhythm tracks dominate in A Tooth For An Eye and Full Of Fire, the latter grabbing you by the scruff of the neck and hauling you through a haunted forest of creepy disembodied moans and squeals. Terrifying and bracing as those songs are, A Cherry On Top is the first track that truly hints at the weirdness to come. Five of the song’s eight minutes are devoted to wheezing ambience, before Karin’s twisted, spectral vocal drops in, amid clattering and clanging industrial noises. The Knife’s lyrics have long delved into the creepier side of domesticity and conformity – think Forest Families, from Silent Shout – but now, the songs sound like actual nightmares. When this new, more percussive approach works, it really works – Without You My Life Would Be Boring is one of the most thrilling and weird tracks The Knife have ever recorded, pairing galloping tribal percussion with flute accompaniment and the kind of manic, guttural vocal performance that only Dreijer can give. Wrap Your Arms Around Me seems specifically designed to induce feelings of seasickness, while Networking approaches the

KIRKIS CLEVER AUSTIN DEMIAN SILENTJAY MFP SLAMETZ

Next week, I bring my ‘A’ material.

PINK DOVE III: THE BIRD FIRE REVIEW

BEC PLATH

LANEOUS & THE FAMILY YAH

GEORGIA POTTER (SINGLE LAUNCH) MKO (EP LAUNCH) SUPERFEATHER (EP LAUNCH) THE WELL ALRIGHTS THE MELOTONINS SUNDAY 14 APRIL MATINEE SHOW

MICHAELA JAYDE

ANNA PADDICK & THE SPEKULATORS WILLOW 7” LAUNCH

THE WILD COMFORTS

EATEN BY DOGS THE MATTY GREEN BAND MONDAY 15 APRIL RESIDENCY

THE BEEGLES

EUPHORIACS WHIPPED CREAM CHARGERS ROXY LAVISH & THE SUICIDE CULT TUESDAY 9 APRIL RESIDENCY

THE SEVEN UPS THE MOON PROJECT PURPLE TUSKS

COMING UP

TIX AVAILABLE THRU MOSHTIX:

THE BEEGLES (MONDAYS IN APRIL) THE SEVEN UPS (TUESDAYS IN APRIL) NEBRASKATAK (WEDNESDAYS IN APRIL) SHORTFALL – EP LAUNCH (APR 19) DYING FETUS + PUTRID PILE – USA (APR 20) SLEEP DECADE – MATINEE (APR 25) HOWARD (APR 25) TRUE LIVE – SINGLE LAUNCH (APR 26) SUNDAY CHAIRS – EP LAUNCH (APR 27) SEATTLE – SINGLE LAUNCH (MAY 10) LORD – ALBUM LAUNCH (MAY 11)

1. Wakin On A Pretty Daze KURT VILE 2. Heavy Flow ABSOLUTE BOYS 3. The Stevens THE STEVENS 4. Kieran Ryan KIERAN RYAN 5. Lace Curtain LACE CURTAIN 6. The Ash & Clay THE MILK CARTON KIDS 7. Surrender To Victory THE TONGUE 8. Nomad BOMBINO 9. Mind Maps GREAT EARTHQUAKE 10. Caveman CAVEMAN

RECORD PARADISE TOP 10 LPS starkness and minimalism of vintage German techno. The most divisive track is surely Old Dreams Waiting To Be Realized – it’s 19-minutes of near-silent ambient sound shoved directly into the middle of the album, daring you to skip it or switch it oﬀ. It’s a weird prank to pull, but it’s quintessential Knife. Karin and Olof don’t care for boring, bourgeois constructs like lyrics and melodies – they’ll do whatever they damn well please. Shaking The Habitual is a tremendous achievement for The Knife, and is clearly the next logical step in their weird and uncompromising musical trajectory. Am I in a hurry to listen to it again? I dunno, pass me the Fever Ray album and I’ll think about it. ALASDAIR DUNCAN Best Track: Without You My Life Would Be Boring If You Like These, You’ll Like This: Tomorrow In A Year THE KNIFE In A Word: Bracing

SINGLES BY SIMONE Polka Dots (Independent) In a perfect world, Polka Dots would be a death metal tune, not this predictably jaunty middle-class white girl piano pop. We can now add ‘inﬂuencing people’ to Missy Higgins’ list of crimes against music and humanity.

DECO CHILD

Skinless (Ninja Tunes) South London’s Alex Lloyd, best known for remixing These New Puritans, has a new EP out now through Ninja Tunes. The title track is of that obvious but undeﬁned style that is fast becoming a trend in alternative music, that of genre-defying, experimental composition knitted together with a strong element of song. Floating on glitch and dubby bass beats, Lloyd’s unearthly falsetto leads this strange and lovely tune, which is kind of electro and really kind of not.

SPENDER

Bed & Chair (Independent) Tommy Spender wrote his debut EP in a hotel in Kings Cross, including this lead single. A polished pop tune engulfed in thick synth beats, Bed & Chair is reminiscent of a Young Modern-era Daniel Johns. It’s not quite rock, but not really electro, too smooth and crooning to be cool, but very well crafted.

MONKS OF MELLONWAH

Sky & The Dark Night (Independent) Monks Of Mellonwah are a Sydney-based act dubbed the ‘International Rock Band of the Year’ at the 2012 LA Music Awards. Sky & The Dark Night is a three-part song cycle beginning with a Lord Of The Rings-worthy instrumental piece and ending with subterranean pulse of acid house beats. Sandwiched in between is a disappointing alt-rock ballad combining Silverchair’s sad dirge stylings with a freewheeling prog guitar solo, ending with a Metallica-inﬂuenced metal crescendo. A big concept, beautifully executed.

OH MERCY

Fever (EMI) Oh Mercy continues to deliver the funk. Fever has a grotty sax line, some warped guitar notes and a bluesy swagger that follows conﬁdently behind The Black Keys.

TYLER, THE CREATOR

Jamba (Sony) The second track from Tyler’s third album features fuzzed out 8-bit beats and a monster stoner ﬂow, full of grim, gross, probably pretty oﬀensive lyrics. I didn’t catch most of it, something about kids buying drugs and everybody being a dipshit and a waitress getting a dick for a tip, or maybe that was the tip of a dick, I don’t know. Sounds amazing, anyway – deeply hostile and amazing.

I AM THE RIOT

Never Alone (Independent) Melbourne’s I Am the Riot need the services of a decent producer, but the song is there. Never Alone is a ripping DIY pop-punk anthem of the Paramore variety and the Soundwave audience is within their grasp. Singer Brendan Ryder has big, conﬁdent voice that catches on the notes in an interesting way.

JEN CLOHER

Toothless Tiger (Milk!/Vitamin) Jen Cloher musters her best Lou Reed impression for Toothless Tiger, an impressive ﬁrst single from In Blood Memory. Guitarist Courtney Barnett makes some beautifully casual noise, her lazy chords building to a storm of grungy garage cool.

Closure (Illusive/Mushroom) Owl Eyes dives into the sticky end of Pretty In Pink fantasy with the glassy synth pop tune. Lifted from her forthcoming album, Nightswim, it is a hyper lush, hyper girly, romantic and yearning piece so thick with ‘80s nostalgia it is basically indistinguishable from the original sound. But good, you know. Deeply evocative. Machineries Of Joy (Rough Trade/ Remote Control) The title track from their latest album, Machineries Of Joy is a soft tunnel of indie rock; a very British cocoon of noise with a hearty vocal melody and sliding string parts. It’s decent, but unlikely to reignite their careers.

1. Ooga Boogas OOGA BOOGAS 2. The Next Day DAVID BOWIE 3. Indigo Meadow BLACK ANGELS 4. Wakin On A Pretty Daze KURT VILE 5. Stories Of Ghosts DEBORAH CONWAY/WILLY ZYGIER 6. Shaking The Habitual THE KNIFE 7. Lace Curtain 12" EP LACE CURTAIN 8. High Horse ASH NAYLOR 9. Chelsea Light Moving CHELSEA LIGHT MOVING 10. Push The Sky Away NICK CAVE AND THE BAD SEEDS

COLLECTORS CORNER MISSING LINK 1. Split (LP) EXTORTION / COLD WORLD 2. Housewives (7") HOUSEWIVES 3. Abandon All Life (LP) NAILS 4. Racism (LP) UV RACE 5. Lost Broadcasts (DVD) CAPTAIN BEEFHEART & HIS MAGIC BAND 6. The Grand Negative (LP) MANPIG 7. Living Eyes (LP) LIVING EYES 8. MBV (LP/CD) MY BLOODY VALENTINE 9. Living Proof (LP) MARCHING ORDERS 10. Darker Days Ahead (LP) TRAGEDY

SYN SWEET 16 1. Heavy Flow ABSOLUTE BOYS 2. Victim Of Love CHARLES BRADLEY 3. Everyone Seems To Be In On Something WINTERCOATS 4. Theives Ft. Rainbow Chan BIG DUMB KID 5. America THE DELTA RIGGS 6. Mind Maps GREAT EARTHQUAKE 7. Brennisteinn SIGUR ROS 8. Air Bud KURT VILLE 9. Menomania DEERHUNTER 10. Skinny Little Girl HANNI EL KHATIB

CITY & COLOUR

Thirst (Dine Alone) An improvement on Of Space And Time, although not a great one. Dallas Green delivers a slick, soulful vocal and a few very suspect lyrics in Thirst, including the nonsensical rhyming refrain, “Gracefully cursed, I thirst”.

SINGLE OF THE WEEK BIG SCARY

OWL EYES

BRITISH SEA POWER

Beat Magazine Page 68

TOP TENS

Luck Now (Pieater/Inertia) Tom Iansek thinks “hip hop is where the most exciting production in music is happening today.” Bless him. The second single from the new Big Scary album uses a skittering, syncopated drum loop that I suppose in a very broad way bears the marks of hip hop production, but has more in common with the experimental electro coming out of the UK. Fans of Bon Iver might also hear something familiar. Anyway regardless, this is a staggering work of loveliness, more linear than some of their other work but also more mature and maybe a little more commercial. It’s only a matter of time before Big Scary break super big and this could be the song to do it. Amazing.

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

BEAT’S TOP TEN SONGS ABOUT MORE 1. No More Mr Nice Guy ALICE COOPER 2. Miranda That Ghost Just Isn’t Holy Anymore THE MARS VOLTA 3. One More Chance NOTORIOUS B.I.G. 4. …Baby One More Time BRITNEY SPEARS 5. Gimme More BRITNEY SPEARS 6. That Joke Isn’t Funny Anymore THE SMITHS 7. Honey Just Allow Me One More Chance BOB DYLAN 8. A Little Bit More DR. HOOK 9. Promise Less Or Do More THE WHITEST BOY ALIVE 10. Battle of Evermore LED ZEPPELIN

ALBUMS

CHARLES BRADLEY

Victim Of Love (Dunham/Daptone Records) FOR MORE REVIEWS GO TO

BEAT.COM.AU/REVIEWS

THE BESNARD LAKES

Until In Excess, Imperceptible UFO (Inertia) The new album from this Montreal four-piece opens with one held key and a similarly gentle note plays over the drone-y last three minutes of the album. This brief inhale and long exhale are fitting considering the heady, dense block of tracks that average at six minutes a piece. While previous album The Besnard Lakes Are The Roaring Night played with the dynamics between spacious ambience and storming rockers, Until In Excess, Imperceptible UFO confines itself to a grinding, hypnotic mid-tempo pace for most of the album’s length. What keeps it from feeling stifled by the murky music is the distinctive dual vocals, with husband-and-wife duo Jace Lasek and Olga Goreas splitting the bill as lead vocalists. Goreas again seems to nab the best songs (People Of The Sticks, Catalina) while Lasek’s gorgeous falsetto elevates The Spectre, though the real magic happens when they sing together. There are a slew of collaborators this time around, ranging from Moonface’s Spencer Krug to The Barr Brothers’ Sarah Page, but they are virtually undetectable within the mix. It’s clear that this band have cemented their own intoxicating sound, creating atmospheric songs that are epic without ever being overblown, as well as translating awesomely in a live setting. Lovers of their last two recordings will find Until In Excess, Imperceptible UFO well on track with their Best Track: People Of The Sticks past work, but this one definitely claims the prize for If You Like These, You’ll Like This: The New Ancients their most ridiculous album title. PEOPLE FOR AUDIO, Pygmalion SLOWDIVE In A Word: Spaced-out CHRIS GIRDLER

LOW

The Invisible Way (Sub Pop) The Invisible Way is the tenth full-length record from Sub Pop’s favourite child, Low. Produced by Wilco’s Jeff Tweedy, The Invisible Way is bound to send the listener on a vacation into the wilderness of their perfect relaxation destination. There is a particular mood that cannot be avoided when these songs are sounded and visions of secluded beaches and zesty lemon trees are at the forefront of mind. Mimi Parker and Alan Sparhawk share a co-ed vocal regime providing exciting anonymity at the beginning of each song. Record starter, Plastic Cup does well to capture attention with an archaeological tale of a cup once containing piss, not to be mistaken for tears of a king. A little bit melancholic, a little bit cheerful, Just Make It Stop is the first single from The Invisible Way. Parker takes us on a simple, melodic ride where her soothing vocals take the drivers seat boasting elegant harmonies over a toe-taping tempo of percussion. Low celebrate an anniversary of double decades in 2013 and as they blend genres of folk and slowcore, distortion is finally introduced towards the end of the record with On My Own. Upbeat chord progressions atop bubbly piano see this song break down with a droney driven rendition of Happy Birthday in half time. The Invisible Way is a rustic, yet refreshing set of songs from this Minnesotan trio where Best Track: On My Own themes of love and war ring clear. If you listen hard If You Like These, You’ll Like This: RED HOUSE enough, you might just be swallowed by the contagious PAINTERS, BEDHEAD, SMOG optimism this record holds. In A Word: Gleeful-gloom MATT MARASCO

SPAZZYS

Dumb Is Forever (Freeform Patterns) The Spazzys debut album, Aloha! Go Bananas released in 2004 was jam-packed with concise pop-punk treats that showcased the trio’s inspired and highly melodic Ramones-influence. Displaying a capacity to both destroy your speakers and make you feel kind of sweet and warm inside at the same time. A legal quagmire appears to have delayed the release of the much-anticipated follow-up Dumb Is Forever causing many of us to fear that that the band (at least as a recording entity) had dropped off the edge of the earth. The good news is that this 12-track collection has been worth the lengthy wait as The Spazzys have clearly maintained their tight and sprightly musicianship. There are plenty of ‘60s tinged bubble-gum melodies and ferocious wall-shaking firepower and they still manage to diversify their sound. Songs such as Understand, Dissolution (is the only solution), and the moving Best Waves Ever fully embrace the ‘60s pop vibe that the band always hinted at, while being so gloriously rockin’ and catchy, that it is physically impossible to resist singing along. The short and snappy guitar solo on the grungy and sinister Creep absolutely sizzles while expertly complementing the thick and corrosive riffs that propel the song. Makin’ Trash is one of the best pop punk songs I have heard in years as it explodes with sassy attitude, features a killer keyboard line and punchy vocal interplay. The feisty and empowered delivery of I Want A Divorce will inspire you to cheer for the protagonist as she snarls, ‘Get your hands off I want a divorce/I wanna live like no-one else you know/Don’t get the punch-line you’re just a lost cause/I’m taking everything you own.’ Best Track: Makin’ Trash If You Like These, You’ll like This: Real-Tuff ROTTEN Welcome back Spazzys. Your return is triumphant. APPLES In A Word: Triumphant

GRAHAM BLACKLEY

THIS WEEK WED 10TH

ADAM KNOX “CATACLYSMOS” (MICF SHOW) 7PM THU 11TH

ADAM KNOX “CATACLYSMOS” (MICF SHOW) 7PM THE GRAND RAPID W GUESTS 8:45PM FRI 12TH

ZUZU ANGEL W LOOSE TOOTH + STARS AND GREEN

JUST ANNOUNCED!

SAT 13TH - 3:00PM

DIE!DIE!DIE

W DUCK DUCK CHOP + GUESTS - ONLY MELBOURNE SHOW SAT 13TH - 8:30PM

With his second album, Victim Of Love, Charles Bradley becomes a bona fide modern day soul hero. Bradley was discovered working as a James Brown impersonator only a handful of years ago and released his debut album, No Time For Dreaming, in 2010 at the ripe old age of 62. Signed to Daptone Records, he immediately embodied its revivalist spirit and joined a swath of artists, such as Sharon Jones, that have been integral in reintroducing soul to the mainstream. The Brooklyn-raised and subsequent late-bloomer has been proclaimed the “screaming eagle of soul”, cemented by this year’s follow-up LP. It’s a near faultless tribute to the power of modern R&B with funk to make your hip bone dip low and that kind of soul that’ll make your heart soar and drown all at once. He is again backed by the impeccable Menahan Street Band. It kicks off in silky style with Strictly Reserved For You. That iconic Daptone groove and fat brass section really shines under the credence of his deliciously worn vocal, crooning ‘I’m tired of the city life’. Bradley could have possibly challenged the great Otis Redding for the title of king of the Stax Record stable if he had only been born a decade earlier. Tracks such as Let Love Stand A Chance or Crying In The Chapel with all their heat and hollerin’ have the same sensual desperation as Redding’s Pain In My Heart. The track Confusion echoes the lustful viciousness from parts of Gil Scott Heron’s defining album, I’m New Here, offering up a heady cocktail of funked-up persistence and blisteringly psychedelic refrain. But it ain’t all sorrowful; You Put A Flame On It lightens the mood with a distinctly Motown feel adding a bright and bubbly ode to the one that “makes him whole”. At 64-years-old, Bradley’s talent has possibly blossomed at just the right time. The lyrical content has an added weight with titles such as Hurricane and Through The Storm suggesting a weathered existence. Let us hope the well doesn’t dry Best Track: Victim Of Love up anytime soon. If You Like These, You’ll Like This: OTIS REDDING In A Word: Soul-deep ADELAIDE FRENCH

SELF IS A SEED Siren (Independent)

The sheer quality that the Australian alternative and progressive rock scene has pumping out over the last eight to ten years is quite simply a phenomenon. Sydney act Self Is A Seed are only adding even more weight to the situation with this, their debut album. These guys have hit upon an absolute winning combination on Siren, with a balance just about as close to perfect as you can get. The album rocks, and rocks hard, but not in a cheesy glam-rock way. It’s alternative, with subtle touches of progressiveness, but they aren’t an inaccessible prog-rock band that is beyond the understanding of your average rock fan. The songs are anthemic and catchy, but never poppy and sappy (see opener Thought You Would). The grooves are fat and relatively simple in that ﬁst-pumping, crowd-pleasing type of way. With Doctor, they have provided a subtle, beautiful touch of acoustic dynamics, with singer David Bleus’ voice really shining in the spotlight. Memory Pit is dark, snaky and epic all at once. The skilled players show oﬀ their individual chops while serving the song to a tee, and the production values on display here are mighty impressive too. Obviously much care has been taken in the recording, mixing and mastering of this record. Add the name Self Is A Seed to the list of world-class Best Track: Pirate If You Like These, You’ll Like This: TWELVE FOOT Australian alternative/progressive bands, a list that is now considerably longer than your arm. NINJA, SLEEP PARADE, ENGINE THREE SEVEN In A Word: Balanced ROD WHITFIELD

THEE OH SEES

Floating Coffin (Castle Face Records/Fuse) You can’t stop Thee Oh Sees’ John Dwyer – the man’s a fucking machine. And this is none of your crappy Ikea cast-off machines that cost $20, work a few times and then die in the arse with ne’er an electronic whimper nor a warranty in sight – this is serious shit, the type of machine that sits in the corner of the room churning some serious shit out like there’s no tomorrow, makes a bunch of freakish noises and generally reminds us all that the industrial revolution gave the world a lot more than Marx and Engels would have had us believe. But be that as it may. Floating Coffin is yet more Thee Oh Sees goodness. Take, as a case in point, the opening track, I Come From A Mountain. The car pulls up and you’re shoved in, and the journey starts. It hurtles down the highway at a 100kph, with Dwyer the manic driver. Things could go anywhere, but you know it’s going to be good. And it is: there’s surf, there’s sun, there’s freaky melodies, there’s danger, there’s unbridled excitement. Toe Cutter – Thumb Buster is ethereal, almost ghostly – what’s going on here? The Floating Coffin is mid-way between the two preceding tracks, a sort of gothic take on the ‘60s psychedelic garage experience. No Spell is spellbinding, an acid-inspired wander in the country fields in a state of cognitive enlightenment where rock’n’roll is the way, the truth and the light. On Strawberries 1 + 2 – what the fuck is that? – Thee Oh Sees get down and serious dirty, and your head could just explode, and what a delicious end that would be. Maze Fancier is funky, in a drug-freaked, George Clinton meets Arthur Lee sort of a way; Night Crawler does your head in like that time you watched Evil Dead with a head full of MDMA, or was it horse tranquiliser? You can put Sweets Helicopter on at any party and people would just need to start dancing; offer up Tunnel Time, and even the local accountancy group will be locked in the groove. And then see what happens with the post-Ricky Nelson meets Pixies Best Track: I Come From A Mountain pop of Minotaur – maybe it’ll be the revolution we all If You Like These, You’ll Like This: 13th FLOOR want to happen. There’s nothing wrong with this record. ELEVATORS, BLACK LIPS, CHOCOLATE WATCH Absolutely nothing. BAND In A Word: Dirtypsychedelicgarage PATRICK EMERY

NEXT WEEK MON 15TH

ADAM KNOX “CATACLYSMOS” (MICF SHOW) 7PM TUES 16TH

ADAM KNOX “CATACLYSMOS” (MICF SHOW) 7PM

FRONT BAR

ADAM KNOX “CATACLYSMOS” (MICF SHOW) 7PM TANE EMIA-MOORE

DO YOU KNOW WHAT I MEAN?

THU 18TH

W HUDSON + LAUREN MOORE + LEIGH BACCHETTI 8:45PM

SUN 14TH

BRENTON FOSTER BAND RECORD LAUNCH

CISCO CAESAR

ANZAC DAY EVE: IMMIGRANT UNION 26/4 LOWTIDE 17/4 THE WINTER PEOPLE EP LAUNCH 11/5 CAPTAIN MOONLITE PARTY

W ADELAIDE CROWS + GRANDSTAND 8:45PM

WED 17TH

ADAM KNOX “CATACLYSMOS” (MICF SHOW) 7PM JOSEPH PAUL (GROUND COMPONENTS)

SUNSET RIOT ‘FAREWELL SHOW’

W TEN THOUSAND, CHINATOWN ANGELS + KILL SHOT

COMING SOON

FREE EVERY MONDAY

SUN 21ST

POP CULTURE TRIVIA

W ANDY MCGARVIE TRIO + CHRIS O’NEILL

TUESDAYS FREE IN THE FRONT BAR - 8PM

W DAMON SMITH & THE QUALITY LIGHTWEIGHTS + JED PICKETT

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

16/4 STAFFAN GUIANANE (FRANCOLIN) 23/4 LEON THOMAS SLOW COOKED CHILLI CON CARNE WITH SOUR CREAM & GUACAMOLE - $8.50

Beat Magazine Page 69

GIG GUIDE WEDNESDAY APR 10 INDIE, ROCK, POP, METAL, PUNK & COVERS BROOKE RUSSELL & THE MEAN REDS Retreat Hotel, Brunswick. 8:30pm. COLLAGE - FEAT: THE PEEKS + SCARAMOUCHE + SINCE WE KISSED + STEPHEN WARD BAND Espy, St Kilda. 9:00pm. DEAD CITY RUINS Cherry Bar, Melbourne Cbd. 7:00pm. HOLY MOSES HEARTACHE + JULES SHELDON + THE PROMISES Tote Hotel, Collingwood. 8:00pm. HOTEL WRECKING CITY TRADERS + DROOLING MYSTICS + SHACK OF BELLS The Public Bar, Melbourne. 8:30pm. PRUDENCE REES-LEE + ANGEL EYES + HYPERBOREA Toﬀ In Town, Melbourne Cbd. 8:00pm. $8. SEVEN YEAR ITCH + CIGGIE WITCH + HARRIS Grace Darling Hotel, Collingwood. 8:30pm. SIB + BIG SMALL + THE SCOUTS Old Bar, Fitzroy. 8:30pm. $6. SKY PILLAR + SUPER SALOON + THE RIFT Bendigo Hotel, Collingwood. 8:00pm. $5. THE FINKS + JA CORE Gasometer Hotel, Collingwood. 8:00pm. TWIN AGES + THE BRAVES + THE SCALPS Bar Open, Fitzroy. 8:00pm. WAKEFIELD Dogs Bar, St Kilda. 9:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC ANJA & ZLATNA Open Studio, Northcote. 8:00pm. DIZZY’S BIG BAND Dizzy’s Jazz Club, Richmond. 7:00pm. $14. JULIEN WILSON QUARTET 303, Northcote. 8:00pm. $5. MELBOURNE JAZZ CLUB Claypots Tavern & Fair, St Kilda. 8:30pm. OMELETTE Bennetts Lane Jazz Club, Melbourne. 8:30pm. PRINCE ALBERT Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $15. VIVE LA DIFFERENCE Claypots Evening Star, Melbourne. 8:00pm.

ACOUSTIC, COUNTRY, BLUES & FOLK AN INTIMATE EVENING WITH JON ANDERSON + HARRY HEALY Corner Hotel, Richmond. 7:30pm. $66. CHARLES J TAN + DRU CHEN + EMMY BRYCE Workers Club, Fitzroy. 8:00pm. $15.

COMMUNITY SHOWCASE - FEAT: FOOTY + FRANCO COZZO + YOU YANGS Empress Hotel, North Fitzroy. 7:00pm. $5. NELLE & OAKLEY Some Velvet Morning, Clifton Hill. 8:00pm. OPEN MIC Grind N Groove, Healesville. 6:30pm. OPEN MIC Ontop In Ormond, Ormond. 7:30pm. SIMPLY ACOUSTIC Wesley Anne, Northcote. 7:00pm. THE ALAN LADDS Spotted Mallard, Brunswick. 8:00pm. WINE WHISKEY WOMEN - FEAT: MARISA QUIGLEY + SAM LOHS Drunken Poet, West Melbourne. 8:00pm.

THURSDAY APR 11 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC ALWAN Claypots Tavern & Fair, St Kilda. 8:30pm. COOKIN’ ON 3 BURNERS 303, Northcote. 8:00pm. $10. ENGINEERED SOUND 17 PIECE BIG BAND Dizzy’s Jazz Club, Richmond. 8:00pm. $10. JAMES MACAULAY QUINTET Uptown Jazz Cafe, Fitzroy. 8:00pm. JOE CHINDAMO TRIO Bennetts Lane Jazz Club, Melbourne. 6:30pm. THE BELINDA PARSONS BEETET Paris Cat Jazz Club, Melbourne Cbd. 9:00pm. $15. THE OVEREASYS Claypots Evening Star, Melbourne. 6:30pm.

INDIE, ROCK, POP, METAL, PUNK & COVERS ALICE D + GEE SEAS + SINCE WE KISSED + THE BRAVES Evelyn Hotel, Fitzroy. 8:00pm. AN INTIMATE EVENING WITH JON ANDERSON + HARRY HEALY Corner Hotel, Richmond. 7:30pm. $66. BLACK BREATH + CHAINGUN + I-EXIST Reverence Hotel, Footscray. 8:00pm. $25. BONE + BEIAMIN + CELERY Gasometer Hotel, Collingwood. 8:00pm. CLOWNS + ADMIRAL ACKBAR’S DISHONOURABLE DISCHARGE + DIXON CIDER + THE MURDERBALLS Laundry Bar, Fitzroy. 8:00pm. CRYING SIRENS + CRAVEN SOULS + HONEYMOON GHOST Bendigo Hotel, Collingwood. 8:00pm. $8. DAMN THAT RIVER + CURSING TOMORROW + POISON FISH + SORDID ORDEAL Brunswick Hotel, Brunswick. 8:00pm. DIAMONDS OF NEPTUNE + LOCAL GROUP + THE DARK ALES Gasometer Hotel, Collingwood. 8:00pm. FULL TOTE ODDS + CITYWIDE KREW + ELOIJI

60 SECONDS WITH...

DIE! DIE! DIE! Kiwi darlings Die! Die! Die! will perform a special Melbourne sojourn this weekend. Performing a matinee show, Die! Die! Die! will showcase their firebrand tracks from last year’s stellar Harmony as well as their shit-hot back catalogue of hits. Support comes from Duck Duck Chop. Die! Die! Die! perform at The Curtin on Saturday April 13. Doors open at 3pm. Workers Club, Fitzroy. 8:00pm. $15. GIO + MCMJD + NAMED SOCIETY Idgaﬀ Bar & Venue, Abbotsford. 8:00pm. GOLDSMITH & TULLY ON TULLY + DEFREMERY Grace Darling Hotel, Collingwood. 8:30pm. JAMES KENYON + AL PARKINSON + DAMON SMITH Old Bar, Fitzroy. 8:30pm. $8. JOSH OWEN Prince Public Bar, St Kilda. 8:00pm. KIM SALMON + AXEGIRL + BURN IN HELL + LOOSE LIPS + YOKOHOMOS Espy, St Kilda. 8:00pm. LIONESSE EYE + COAST EMOTIVE + HALT EVER + THE ATTICKS Yah Yah’s, Fitzroy. 8:30pm. $5. MILES & SIMONE + BRIGHTER LATER Toﬀ In Town, Melbourne Cbd. 8:00pm. $12. MILK TEDDY + DD DUMBO + JEALOUS HUSBAND Tote Hotel, Collingwood. 9:00pm. PUBLIC IMAGE Palace Theatre, Melbourne Cbd. 8:00pm. ROSCOE JAMES IRWIN + ELLA THOMPSON + MA PETITE Empress Hotel, North Fitzroy. 7:30pm. SANDCASTLE + DOCUMENT SWELL + THE CITRADELS + THE MENSTRUAL CYCLE Bar Open, Fitzroy. 8:00pm. SHIMMY SHIMMY - FEAT: BAREBACK TITTY SQUAD + DJ GET BUSY + DJ SAMMY THE BULLET + JULY DAYS + PALACE OF THE KING + THE FIGHTING Revolver Upstairs, Prahran. 8:00pm. SPENCER P JONES Tago Mago, Thornbury. 9:00pm. STORYHORSE + FUCK FOLK + SAMUEL TATE Reverence Hotel, Footscray. 8:00pm. $5. STRAY HENS Lomond Hotel, Brunswick East. 9:00pm. STREET FANGS + A-BOMB WHORES + MASTER

BETA The Public Bar, Melbourne. 8:30pm. $8. THE REBELLES + DJS VINCE PEACH + PIERRE BARONI Cherry Bar, Melbourne Cbd. 8:00pm. $10.

ACOUSTIC, COUNTRY, BLUES & FOLK ALEX ARONSTON SOLO SHOW Thornbury Local, Thornbury. 8:00pm. DARRYL ROBERTS + JORDAN Drunken Poet, West Melbourne. 8:00pm. ELI WOLFE Wesley Anne, Northcote. 8:00pm. $7. FAREWELL SPRINGSTEEN - FEAT: RICH DAVIES Some Velvet Morning, Clifton Hill. 8:00pm. JEN KNIGHT & THE CAVALIERS + JESS PALMER + PURPLE TUSKS Penny Black, Brunswick. 8:00pm. LOOUNGE THURSDAYS Lounge, Melbourne Cbd. 9:00pm. MAMA KIN (ALBUM LAUNCH) + SPENDER Northcote Social Club, Northcote. 7:30pm. $20. MATT KATSIS + RAZORS OF OCKHAM + THE MIGRATIONS Elsternwick Hotel, Elwood. 8:00pm. NEWTON FAULKNER + MORGAN JOANEL Prince Bandroom, St Kilda. 7:30pm. OPEN MIC Acoustic Cafe, Collingwood. 6:30pm. OPEN MIC Balaclava Hotel, Balaclava. 6:00pm. PETER EWING Labour In Vain, Fitzroy. 8:30pm. PUGSLEY BUZZARD + GUY KABLE Spotted Mallard, Brunswick. 8:00pm. REMZALK Open Studio, Northcote. 8:30pm. STRINE SINGERS Post Oﬃce Hotel, Coburg. 8:30pm. THE STARRY FIELD The B.east, Brunswick East. 9:00pm.

OH PACIFIC

Describe your genre in five words or less: Alternative grunge rock. Describe the best gig you have ever played: This would definitely have to be when we were lucky enough to gain a spot on the Bendigo GTM festival. Being on a lineup with some of the biggest Australian and international bands was actually hard to believe. The festival was in QLD the next day, this meant endless beers for us. Needless to say, we had a pretty good day.

THE AOEDE PROJECT Anastasia and Jo, two sharp shooting Melbourne sisters, are coming together as The Aoede Project. Inspired by space, Aoede is a natural satellite of Jupiter and in ancient times Aoede was the daughter of Zeus and the muse of song. These natural satellites will blow away both your lyrical and musical senses. Together, their intellectual and artistic abilities along with their pure passion have created each and every sound that bless your ears and take you on their mystic journey. They play at The Espy this Saturday April 13.

Beat Magazine Page 70

What do you love about making music? The feeling you get when it all starts to come together, and all the frustration of trying to write disappears and you’re left with a song. Why should everyone come and see your band? Because Tim will buy you a beer, maybe. Probably not, but you can always try. Which band would you most like to have a battle/ showdown with? Definitely our boys Outlines. It would be morally wrong, dirty battle. Someone may come out on top but no one

really wins. Now I think about this I hope for my dignity that it doesn’t actually happen. When can we expect your next release? We’ve been heavily writing for the last few months and hope to hit the studio in the coming two months. Hopefully within the next three months we have a single out there for everyone to hear. We’ve been playing these new tracks live

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

and have been getting a good response. When’s the gig and with who/When are you playing live? It’s at Revolver Upstairs on Saturday April 13. Also playing alongside us are Melbourne’s Ikarii and Cardinal, and our Bendigo boys Outlines.

FRIDAY APR 12 INDIE, ROCK, POP, METAL, PUNK & COVERS BEC PLATH + KRISTIAN RISTI + PEDESTRIAN DAZE Yah Yah’s, Fitzroy. 9:00pm. BORED NOTHING + AUTOPOTRAITS + GRAND PRISMATIC + PRETTY CITY Grace Darling Hotel, Collingwood. 9:00pm. $10. CHILDREN OVERBOARD + DJ SEAN SIMMONS + STEVIE & THE SLEEPERS Retreat Hotel, Brunswick. 9:00pm. CLAVIANS + DJ NTH WHEEL + ON SIERRA + SOLAIRES + THE SINKING TEETH Old Bar, Fitzroy. 8:30pm. $10. CREO + BONEZ + COTANGENT + PALACE OF THE KING Espy, St Kilda. 9:00pm. DAZOOK + DJ LUCY + MOROCCAN KINGS + SUDDEN STATE + TWELVE INCH CLOCKS Cherry Bar, Melbourne Cbd. 5:00pm. $13. DEAD LETTER CIRCUS + BREAKING ORBIT + SELF IS A SEED Corner Hotel, Richmond. 8:30pm. $25. DIPLOID + CHOLESTEROLLERS + MANGEL WURZEL + ROTARY HOES + SWIMSUIT DYNAMITE 303, Northcote. 7:00pm. $10. HEY! SANTIAGO + CHILD + MADE IN CHINA + SILENT DUCK Brunswick Hotel, Brunswick. 9:00pm. I CONFESS + DISTRICTS + JUST US LEAGUE + OEDEPIS REX Revolver Upstairs, Prahran. 8:00pm. $15. IN YOUR HANDS + COOPER STREET + HAVE YOU SEEN THIS BOY + PORTRAITS OF AUGUST Evelyn Hotel, Fitzroy. 8:00pm. JOHNNY GIBSON AND THE HANGOVERS + THE OL Tago Mago, Thornbury. 9:00pm. LAKES + DJ EL BASTARDO + NUN + TOTAL CONTROL + WHITE HEX The Public Bar, Melbourne. 7:30pm. $8. LURCH & CHIEF Prince Public Bar, St Kilda. 8:00pm. OBSCENE EXTREME FESTICAL - FEAT: NUCLEAR DEATH TERROR + FILTH + INTENSE HAMMER RAGE + THE DAY EVERYTHING BECAME NOTHING Tote Hotel, Collingwood. 4:00pm. ODIUSEMBOWEL + ABHORRENT + BIRDFLESH + FLATTUS + JOIN THE AMISH + THE KILL + WOLFE Bendigo Hotel, Collingwood. 7:30pm. $32. PENSIVE PENGUIN + RUNNING AWAY WITH THE CIRCUS + WILEY RED FOX Cornish Arms, Brunswick. 8:00pm. SERVANT OF SORROW - FEAT: BELLIGERENT INTENT + BLACKWATER + HEADLESS + HYBRID NIGHTMARES + MYRIDIAN Espy, St Kilda. 7:00pm. $15. SILENCE DEAD SILENCE + DEAD RIVER + SEESAW + TENDER BONES Gasometer Hotel, Collingwood. 8:00pm. SUMMER FLAKE + CIRCULAR KEYS + DIVINE RIP + EVELYN IDA MORRIS Gasometer Hotel, Collingwood. 8:00pm. THE DINGALINGS Bar Open, Fitzroy. 10:00pm. THE HELLO MORNING Elsternwick Hotel, Elwood. 8:00pm. THE PEEP TEMPEL + DAMN TERRAN + THEM BRUINS Workers Club, Fitzroy. 9:00pm. $10. THE RAMSHACKLE ARMY + MARICOPA WELLS + THE SHADOW LEAGUE + THE TEARAWAYS Reverence Hotel, Footscray. 8:00pm. $10. ZUCCHERO Palais Theatre, St Kilda. 7:30pm. ZUZU ANGEL John Curtin Hotel, Carlton. 8:00pm.

KATIE WIGHTON VS TULLY ON TULLY Katie asks Nat (Tully On Tully)... 1. Have you got any pre-show rituals? I don’t drink alcohol. Outrageous, I know. But it makes me feel far more comfortable on stage – both vocally and mentally.

Katie Wighton

2. What is the last song you wrote about? I let my imagination run wild with the last song we wrote. It’s about a priest who seduces innocent ladies then murders them for their sins by drowning them in holy water. 3. What’s the weirdest dream you’ve had? I once dreamt that I jumped out of a plane without a parachute and while in the air, decided to do some somersaults. I woke up rolling toward the foot of my bed and landed on the floor then woke up undisturbed in my usual sleeping position. Some dream-within-a-dream inception stuff.

Tully On Tully

4. If you could be another human for the day, who would it be and why? Beyoncé. I don’t think that one needs an explanation. 5. If you had the resources and money to make your ultimate album, how would you go about it? Do I get all the time as well? We’d probably take a few months off and go to a fancy studio in the middle of nowhere with no distractions and spend time writing and recording until it was ready to be mastered and when we returned to civilisation, the boys would all have fully grown beards. Nat (Tully On Tully) asks Katie.. 1. What was the first gig you ever went to? I was about 13 when I went to see Bob Dylan supported by The Waifs. I remember my mum used to sing Forever Young all the time when I was growing up so it was pretty special to hear him sing it live. 2. Who are your top three female vocalists? Ella Fitzgerald, Björk and Susanne Sundfor. Ella is timeless; Björk really gets into my heart and Susanne Sundfor’s voice is incredible. 3. If you were stuck on an island with only one album to listen to, what would it be and why? If it happened today, Björk’s Biophilia. If it happened last week though, Ryan Adams’ Heartbreaker. I cheated and picked two!

4. Have you ever been so moved by a song that you cried? Definitely. My incredibly talented friend Elana Stone wrote a song called The Rescue Ships and I remember flying from Brisbane to Sydney and listening to it on my iPod. I think had it on repeat and wept openly for the whole flight! The guy next to me probably thought I was a complete psychopath. 5. What’s the biggest distraction you’ve had whilst being on stage? My own brain! Last Thursday (on this current tour) we drove from Sydney to Armidale (eight hours in the car) did a gig, drove back eight hours to Sydney the next day and played the Sydney EP launch. I was so tired it was like all the little dudes in my head who normally make sure I don’t say and do anything too stupid had been in a tidal wave. It was chaos in there and it was all I could do to stay focussed. I don’t know if I managed it, either! KATIE WIGHTON and TULLY ON TULLY play the Grace Darling Hotel on Wednesday April 17 with Yeo in the support slot. Doors are 8pm and entry is $10. Katie is launching her EP You Are Here.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC CHRISTINE ANU Bennetts Lane Jazz Club, Melbourne. 8:00pm. JAZZ GOT SOUL Uptown Jazz Cafe, Fitzroy. 8:00pm. MELISSA MAIN Open Studio, Northcote. 5:00pm. STEVE SEDERGREEN QUARTET Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. $20.

PUBLIC IMAGE LTD After a monumental 2012 that saw the band release their first album in two decades to broad critical acclaim, English post-rock band Public Image Ltd are coming to Melbourne. Flanked by their fearless leader, Sex Pistols vocalist John Lydon, PiL are making a triumphant return to Australia for the first time in 20 years to showcase tracks from their critically acclaimed new album This Is PiL as well as favourites from their vast back catalogue. PiL will perform at The Palace this Thursday April 11. SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 71

BONJAH Bonjah are back with a new single titled Evolution. The band’s new single was inspired by a fan that approached the band after a show, telling them of dark times and how Bonjah’s music literally saved her life; “What the song means to me is that throughout our lives we wind and turn, sometimes we’re up and sometimes we’re down. No matter where you are or what you’ve done you are going in the right direction,” explained front man Glenn Mossop. Bonjah will be debuting the new single in Melbourne with a show at the Corner Hotel this Saturday April 13, supported by Ghost Orkid and Old Medicine. TATU REI Dizzy’s Jazz Club, Richmond. 9:00pm. $20. THE PACIFIC BELLES Paris Cat Jazz Club, Melbourne Cbd. 7:30pm. $15. TRIO BEM BRASIL Claypots Evening Star, Melbourne. 7:30pm.

ACOUSTIC, COUNTRY, BLUES & FOLK CHARLES BABY Wesley Anne, Northcote. 8:00pm. COUSIN ALICE Lomond Hotel, Brunswick East. 9:30pm. DIRT FARMER + DE FREMERLY + GRIZZLY JIM LAWERIE + TOWERS Ding Dong Lounge, Melbourne Cbd. 8:00pm. GO JANE GO Caravan Music Club, Oakleigh. 8:00pm. GOOD MORNING BLUES BAND Penny Black, Brunswick. 9:30pm. HARRY HOOKEY AND BAND Thornbury Local, Thornbury. 12:16pm. LATE NIGHT MYSTERY SPOT Open Studio, Northcote. 11:00pm. LEAH SENIOR Some Velvet Morning, Clifton Hill. 8:00pm. MAMA KIN Basement Discs, Melbourne Cbd. 12:45pm. MARGIE LOU DYER + ALYCE PLATT Claypots Tavern & Fair, St Kilda. 8:30pm. MATT DANIEL + ANTHONY YOUNG + SHARP SHARP PRETTY + YOU & YOUR FRIENDS Idgaﬀ Bar & Venue, Abbotsford. 8:00pm. MERRI CREEK PICKERS The B.east, Brunswick East. 9:00pm. PROJECT 321 EXPLOSION + ALTA + SHE SAID YOU Empress Hotel, North Fitzroy. 8:00pm.

PUGSLEY BUZZARD Open Studio, Northcote. 8:30pm. SANDRA HUMPHRIES BAND + IAN BOYD Pascoe Vale Rsl, Pascoe Vale. 8:00pm. $8. STEPHEN CUMMINGS Post Oﬃce Hotel, Coburg. 9:30pm. SWAMP MOTH + DOG HAIR JACKET Victoria Hotel, Brunswick. 9:03pm. THE DAMES + EMILY MAE & THE ALURUM BELLES + WAM & DAZ Spotted Mallard, Brunswick. 8:00pm.

SATURDAY APR 13 INDIE, ROCK, POP, METAL, PUNK & COVERS A DAY BY THE GREEN - FEAT: LA FEMME + BURN IN HELL + CHRIS RUSSELL’S CHICKEN WALK + COLD HARBOUR + DEAD RIVER + DIRTY HARRIET & THE HANGMEN + JACK HOWARD & THE LONG LOST BROTHERS + THE EARS + THE TWOKS + VINCENT J KRAMER St Kilda Bowling Club, St Kilda. 3:00pm. ACTORSLASHMODEL + BANG! BANG! ROCK N ROLL + DJ MATT STABS + HORROR MY FRIEND + PIONEERS OF GOOD SCIENCE Old Bar, Fitzroy. 8:30pm. $10. BAD CROP + THIRD3YE The B.east, Brunswick East. 9:00pm. BANG - FEAT: BARBARION + DRIVEN TO THE VERGE + PANTALLICA + SWEET DEATH MACHINE Royal Melbourne Hotel, Melbourne Cbd. 9:00pm. BONJAH (SINGLE LAUNCH) + GHOST ORKID + OLD

MEDICINE Corner Hotel, Richmond. 8:30pm. $20. CLUB FICTION - FEAT: ROAD RATZ Red Bennies, South Yarra. 2:00am. CRACKWHORE + DIXON CIDER + MUSCLE MARY + THE GENERAL Reverence Hotel, Footscray. 8:00pm. $6. DEAD RIVER RUNS DRY + ADAMUS EXUL + HORDES OF THE BLACK CROSS + INTERNAL HARVEST Reverence Hotel, Footscray. 8:00pm. $12. DEADLY ARE THE NAKED + 12 INCH CLOCKS + FRACESCO CITERA + LUCY’S CROWN + SILENT DUCK + UNCLE RUDY Brunswick Hotel, Brunswick. 7:00pm. DIE DIE DIE + DUCK DUCK CHOP John Curtin Hotel, Carlton. 2:00pm. $12. DIRT RIVER RADIO Retreat Hotel, Brunswick. 7:30pm. DZ DEATHRAYS + DAMN TERRAN + SUPER BEST FRIENDS Ding Dong Lounge, Melbourne Cbd. 8:00pm. $15. EXTORTION + CAPT CLEANOFF + DARK HORSE + DEATHCAGE + DEBACLE + FESTERING DRIPPAGE + ROTTEN SOUND + SPLIT TEETH + THE MUNG + THE REV JESSE CUSTER Bendigo Hotel, Collingwood. 4:00pm. $36. GASOMETER LIVE SESSIONS - FEAT: WHITE WALLS + CONCRETE LIFE + DEEP HEAT + GENTLEMEN + GOLD TANGO + SHIT WEATHER Gasometer Hotel, Collingwood. 8:00pm. $15. KIRIN J CALLINAN + THE SHAGS EXPERIENCE Grace Darling Hotel, Collingwood. 9:00pm. $15. LAUREN BRUCE Wesley Anne, Northcote. 8:00pm. NAKED BODIES Tote Hotel, Collingwood. 5:00pm. NEIGHBOURHOOD YOUTH + DEAR PLASTIC + MERCIANS + YOUNG MEN DEAD Toﬀ In Town, Melbourne Cbd. 7:00pm. $10. NEW JACK RUBYS + DRIFTER Victoria Hotel, Brunswick. 9:00pm. OBSCENE EXTREME FESTIVAL - FEAT: BLOOD DUSTER + FUCK I’M DEAD + KROMOSOM + ROTTEN SOUND Tote Hotel, Collingwood. 5:00pm. OH PACIFIC + CARDINAL + IKARII + OUTLINES Revolver Upstairs, Prahran. 7:30pm. $10. PINK DOVE III - FEAT: LANEOUS & THE FAMILY + GEORGIA POTTER + MKO + SUPERFEATHER Evelyn Hotel, Fitzroy. 8:00pm. SELF IS A SEED Barwon Club Hotel, Geelong. 8:00pm. SOME JERKS + MESSED UP + RAYON MOON The Public Bar, Melbourne. 8:30pm. $8. SONGS + SCHOOL OF RADIANT LIVING + TERRIBLE TRUTHS Workers Club, Fitzroy. 9:00pm. $12. SPENCER P JONES & THE ESCAPE COMMITTEE + TEENAGE LIBIDO + THE LOST SUNNIES Cornish Arms, Brunswick. 8:00pm. STARVATION + MANHUNT + OUTRIGHT + RISK & REASON Gasometer Hotel, Collingwood. 8:00pm.

60 SECONDS WITH...

STEPHEN BRANDON Retreat Hotel, Brunswick. 4:00pm. SUNSET RIOT + CHINATOWN ANGELS + KILL SHOT + TEN THOUSAND John Curtin Hotel, Carlton. 8:00pm. THE APE + DJ MERMAID Cherry Bar, Melbourne Cbd. 8:00pm. $25. THE ELLIOTTS Prince Public Bar, St Kilda. 8:00pm. THE EXOTICS + DJ SHAKY MEMORIAL + DOGS DAY Retreat Hotel, Brunswick. 9:30pm. THE FIGHTING + BLACKNAIL + SIMON & LAUCHIE + THE ROSENCRANTS Espy, St Kilda. 9:00pm. THE GO SET + MCALPINES FUSILIERS + PHIL PARA + THE RAVINES + THE STIFFYS Espy, St Kilda. 6:30pm. THE HELLO MORNING Ferntree Gully Hotel, Ferntree Gully. 9:00pm. THE SPASMS + SEXY/HEAVY Rochester Castle Hotel, Fitzroy. 9:00pm. $5. THE TIGER & ME (SINGLE LAUNCH) + TEXTURE LIKE SUN + THE TWOKS Northcote Social Club, Northcote. 8:30pm. $15. THE UNPRETTIER + HOPES ABANDONED + THE DAGGER Idgaﬀ Bar & Venue, Abbotsford. 8:00pm. TINSLEY WATERHOUSE BAND Brunswick Hotel, Brunswick. 5:00pm. WOLFPACK + CLOWNS + THE JACKS + THE RISE OF THE RAT Yah Yah’s, Fitzroy. 9:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC CHRISTINE ANU Bennetts Lane Jazz Club, Melbourne. 3:00pm. $37. CHRISTINE ANU (REWIND) Bennetts Lane Jazz Club, Melbourne. 8:30pm. COUSIN ALICE Paris Cat Jazz Club, Melbourne Cbd. 7:30pm. $20. JOE CHINDAMO Dizzy’s Jazz Club, Richmond. 9:00pm. JOE GEIA & THE PEARLY SHELLS + KERRI SIMPSON + NICHAUD FITZGIBBON Thornbury Theatre, Thornbury. 8:00pm. LETTER B Wesley Anne, Northcote. 6:00pm. SHANTY TOWN + REVOMATIX Bar Open, Fitzroy. 10:00pm. SOL NATION The Luwow, Fitzroy. 9:00pm. $10. SPOONFUL Post Oﬃce Hotel, Coburg. 9:30pm. TAMARA KULDIN’S DIRTY MARTINI Paris Cat Jazz Club, Melbourne Cbd. 9:30pm. $25. TRIO RIO 57 Claypots Evening Star, Melbourne. 8:00pm. WONDERCORE ISLAND MIXTAPE LAUNCH - FEAT: KIRKIS + CLEVER AUSTIN + DEMIAN + MFP + SILENT JAY + SLAMETZ Evelyn Hotel, Fitzroy. 2:00pm.

TOBY

WITH SUPPORT FROM

IKARII - OUTLINES - CARDINAL Define your genre in five words or less: Roots, blues, reggae, gyspy. What do you love about making music? I love the touring/travel part. I love touring Europe, Canada and the USA, but also our own amazing country. I love people. Their stories, their faces. their reactions. And I love my band. They are for sure my besties. What can a punter expect from your live show? Energy. A lot of fun. A lot of raw emotion. 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? True story. My father was at the men’s urinals at a show of mine. The man next to him (not knowing of course that it was my dad) turned to him and said “God, I would love to slip her on like a wellington boot.”. So, maybe something along the lines of this? Why should everyone come and see your band? Simply because it’s more fun to play to a bigger crowd. And we need to get our music out in Melbourne. It’s about time! What makes you happiest about what you’re doing? I am writing, singing, playing, travelling, recording, meeting awesome people – doing what I love. I’m lucky.

Beat Magazine Page 72

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

And what makes you unhappiest about what you’re doing? Being away from home. That simple. Missing out on a ‘normal’ social life. Describe the best gig you have ever played. Summerfest, Milwaukee, July 2008. Opening for Gomez. One of the biggest festivals in the world, so they say. An incredible festival with the best lineup around. And somehow we scored a gig there. Very, very awesome. Tell us about the last song you wrote. It’s actually about a Melbourne guy. A hippy-surfer guy (no names mentioned) who went to Texas and couldn’t get laid. So he learned to two-step/line dance and he reckons it worked a treat with the ladies (so he says!) The song is called Stole Them Away. If you could go on tour with any musician or band, who would it be? At this stage in my life, Glen Hansard from The Swell Season. I would just sit back stage crying non-stop to his music. He is awesome. He blows me away. Toby and her four-piece band are performing six upcoming shows in Victoria – Tuesday April 16 at The Royal Standard Hotel, Wednesday Aril 17 at Open Studio, Thursday April 18 at the Great Britain Hotel, Friday April 19 at The Wesley Anne, Saturday April 20 at Baha Tacos and Sunday April 21 at The Heritage Tavern in Balnarring.

ACOUSTIC, COUNTRY, BLUES & FOLK BABA YAGA ORKESTAR Open Studio, Northcote. 9:00pm. BYRON & THE GYPSY CATS + UNIVERSAL LOVE THEORY 303, Northcote. 8:00pm. $5. CHERRYWOOD Great Britain Hotel, Richmond. 9:00pm. GEOFF ACHISON & THE SOUL DIGGERS Rainbow Hotel, Fitzroy. 9:00pm. GOYIM KLEZMER KAOS Claypots Tavern & Fair, St Kilda. 8:00pm. JAMES MCCANN & PETE EWING Drunken Poet, West Melbourne. 9:00pm. JEMMA NICOLE Thornbury Local, Thornbury. 8:00pm. JUDGE PINO & THE RULING MOTIONS + MIGHTY DUKE & THE LORDS Spotted Mallard, Brunswick. 8:00pm. JUKEBOX RACKET Penny Black, Brunswick. 9:30pm. KYLIE AULDIST Caravan Music Club, Oakleigh. 8:00pm. LISA MILLER TRIO + SHANE O’MARA & ASH DAVIES Labour In Vain, Fitzroy. 7:00pm. LOOSE LIPS + 12FU + AXE GIRL + CLOWNS + LOOSE TOOTH + THE FUCK FUCKS + THE INTERCEPTORS + THE YOKOHOMOS Lyrebird Lounge, Ripponlea. 8:00pm. MARIE WILSON + JOSH THOMPSON Empress Hotel, North Fitzroy. 8:00pm. PHIL PARA Elsternwick Hotel, Elwood. 9:00pm. RAVENSWOOD + DJ FRASER A GORMAN Some Velvet Morning, Clifton Hill. 8:00pm. SHITBOX RALLY FUNDRAISER - FEAT: CISCO CEASAR + ADRIAN WHITEHEAD + JED PICKETT + KATE WALKER Wesley Anne, Northcote. 3:00pm. $10. SONS OF MAY Grind N Groove, Healesville. 8:00pm. T-BONES Lomond Hotel, Brunswick East. 9:30pm. TESS MCKENNA & THE SHAPIROS Union Hotel, Brunswick. 9:00pm. THE F100S + THE DETONATORS Lucky 13 Garage, Moorabbin. 8:30pm. $10. THE STETSON FAMILY Union Hotel, Brunswick. 5:00pm.

SUNDAY APR 14 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC - FEAT: ANTHEA SIDIROPOULOS & BAND Daveys Bar & Restaurant, Frankston. 3:00pm. BLACK JESUS EXPERIENCE The Horn African Music Lounge, Collingwood. 6:00pm. ENTROPY QUARTET Open Studio, Northcote. 5:00pm. GREEN’S DIARY ANGEL ENSEMBLE Open Studio, Northcote. 9:00pm. HEADSPACE + BAD BOYS BATUCADA + MS BUTT + THE DALE RYDER BAND Espy, St Kilda. 5:30pm. JUSTIN WOOD QUARTET Bennetts Lane Jazz Club, Melbourne. 8:30pm. MARGIE LOU DYER TRIO Claypots Tavern & Fair, St Kilda. 8:30pm. THE CAMBODIAN SPACE PROJECT (MATINEE) Northcote Social Club, Northcote. 1:30pm. $21.

60 SECONDS WITH...

BATTLESHIPS

Name: Jordan Sturdee. Define your genre in five words or less: Feelings, beards, cheap flights, vibes. Bearing the terrible clichéd nature of this question, what do you reckon people will say you sound like? Argh I have no idea – hopefully like something want to hear, but not too close to what they’ve already heard. We channel Keane, Radiohead, Blur, The Boxer Rebellion. What do you love about making music? It’s a compulsion I guess. A good outlet though. It’s satisfying. What do you hate about the music industry? I don’t know, I’m not in the music industry. What can a punter expect from your live show? Ummm, we’ll be there, and our instruments (usually). Sometimes Nato dresses like a peacock? We really try to bring the elements of our songs to life… DAMON & NAOMI + GUY BLACKMAN + WINTERCOATS Toﬀ In Town, Melbourne Cbd. 8:00pm. $35. DEAD CANARY + ANNA MARIA LOUISA THERESA + JACK DARIOL Brunswick Hotel, Brunswick. 8:00pm. FUNK BUDDIES + TIM SMITH The B.east, Brunswick East. 9:00pm. GUNN MUSIC ESPY SHOWDOWN FINAL - FEAT: VALLEY + ABLAZE + ANTHONY YOUNG + AVIAR + EMMA BROADY + HARBOUR THE HOSTAGE + HUSHFIRE + KAT ARDITTO + LAMB BOULEVARD & THE UMBRELLA + MERCIES END + MOOGY + MR WOO + NIKHAIL + OMNIVIUM + SELLING TIME + THE LEGEND OF BARCELOS + THE TESLA THEORY

What’ve you got to sell CD-wise? Our November 2012 released mini-album To You. We ended wanting all seven tracks to be on it, so we ended up with this and didn’t know what to call it (EP, album etc) so there it is. When’s the gig and with who? We are co-headlining a tour with Nantes, playing the Northcote Social Club on Friday April 19. Why should everyone come and see your band? We would be very appreciative and heaven knows we do need the numbers. Describe the best gig you have ever played. Bigsound, Brisbane, strip club, cages for the strippers (empty), me trying to get in one of those cages during the band before. But seriously, it was a good gig. What advice would you give to bands that are new on the Melbourne music scene? Eat breakfast at Green’s Cafe.

Espy, St Kilda. 12:00pm. $20. KIRIN J CALLINAN + THE SHAGS EXPERIENCE Grace Darling Hotel, Collingwood. 7:00pm. $15. LAND OF THE BLIND + DOORS + SOOKYLALA + THE SOLICITORS Cherry Bar, Melbourne Cbd. 2:00pm. MADDY SERONG Carringbush Hotel, Abbotsford. 4:00pm. MY LEFT BOOT + AXEGIRL + CITIZEN + LOOSE LIPS + YOKOHOMOS The Public Bar, Melbourne. 2:00pm. $5. RORT + BLOOD RULE + MANHUNT + PREGNANCY + STARVATION Gasometer Hotel, Collingwood. 5:00pm.

WED 10 APR APRIL RESIDENCY

HOLY MOSES HEARTACHE THE PROMISES JULES SHELDON

+ GUESTS

THU 11 APR FREE ENTRY! VICE PRESENTS

MILK TEDDY

DD DUMBO JEALOUS HUSBAND TUNES BY FLETCH

FRI 12 APR ON SALE NOW

OBSCENE EXTREME FESTIVAL

NUCLEAR DEATH TERROR

THE DAY EVERYTHING BECAME NOTHING INTENSE HAMMER RAGE FILTH BIRDFLESH INTERNAL ROT HEADLESS DEATH SAT 13 APR UPSTAIRS / 5 - 7.00PM:

NAKED BODIES (RESIDENCY) + GUESTS

CHARLIE

BANDROOM - 9.00PM - ON SALE NOW

INDIE, ROCK, POP, METAL, PUNK & COVERS

OBSCENE EXTREME FESTIVAL

BLOOD DUSTER

ANDREW HIGGS Victoria Hotel, Brunswick. 5:00pm. BEERSOAKED SUNDAYS - FEAT: LA BASTARD + DJ KEZBOT + SOME JERKS + WRONG TURN Old Bar, Fitzroy. 8:30pm. $6. BONSACK MACHINE + PLYMOUTH REVERENDS + ROLLING PERPETUAL GROOVE SHOW Tago Mago, Thornbury. 4:00pm. CHEWING + TOM REILLY Bar Open, Fitzroy. 7:30pm.

ROTTEN SOUND KROMOSOM FUCK...I’M DEAD SETE STAR SEPT KING PARROT SUPER FUN HAPPY SLIDE MICHAEL CRAFTER ANALKHOLILC COMING SOON: 19.4 DICK DIVER ALBUM LAUNCH - SOLD OUT! 20.4 THE RUINER 24.4 QUARRY MOUNTAIN DEAD RATS 26.4 CAMPERDOWN & OUT (SYD) ALBUM LAUNCH 4.5 GREAT EARTHQUAKE 10.5 BURIED FEATHER ALBUM LAUNCH 31.5 SUPER WILD HORSES ALBUM LAUNCH

CLAVIANS Electrifying jungle punk duo Clavians are set to launch their blistering new four track EP Cosmic Hood. Playing their favourite Melbourne hang out The Old Bar on Friday April 12, the night will also play host to the instrumental brutality of On Sierra, the rocking synchronicity of The Sinking Teeth and the sci-fi, electro beats of synth maestro Solaires. DJ Nth Wheel will be spinning the best garage and local tunes to make for one howling showcase you won’t want to miss. Doors open at 8.30pm.

TIX ON SALE NOW FROM OZTIX.COM.AU: SUPER WILD HORSES ALBUM LAUNCH FRI 31.5 71 JOHNSTON ST. COLLINGWOOD . 03 9419 5320 TOTE OPEN: WED - SUN / 4.00pm ‘TIL LATE BAND BOOKINGS: NICCI@BAROPEN.COM.AU

WWW.THETOTEHOTEL.COM SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 73

NAH ESPIE + THE STILLSONS Thornbury Theatre, Thornbury. 8:00pm.

THE COUNT WITH…

SHAUN KIRK

MONDAY APR 14 INDIE, ROCK, POP, METAL, PUNK & COVERS

SONGS Congrats to this band, the least Google-able band on the planet. Songs make songs. They released an album. It wasn’t called Album. It was called Malabar, and it’s pretty great. Songs are going to sing songs from their album Malabar at The Workers Club on Saturday April 13. Go if you like songs.

Ten bands everyone should know about: Tony Joe White, Muddy Waters, Howlin’ Wolf, Tedeski Trucks Band, Blind Boys of Alabama, Gary Clarke Jr, Buddy Guy, Jurassic 5, Kim Churchill, Rodriguez. Nine food items that you need to make a kickarse dinner party: Babybel cheese, gozleme, bananas, dim sims, butter chicken, jalapeños, spinach, avocado, American mustard Eight possessions that define you: Guitar, fedora hat, Converse All-Stars, my van (Helga), GPS (Mildred), record player and collection, harmonica, golf clubs. Seven favourite movies/TV shows that go on your mixtape: Family Guy, Into The Wild, Cadillac Records, Californication, The Butterfly Effect, Underbelly, no seventh. Six bad habits you can’t escape: Not cleaning up after myself in the kitchen, biting my nails, running late, my OCDs (we would need a whole section for these), procrastinating, putting my socks in the washing basket folded. Five people who inspire you: My mother, Tony Joe White, Bob Dylan, Bruce Springsteen, Rodriguez. Four things that turn you on: Hot women, hot women dancing, hot women dancing to my songs and a Derek Trucks guitar solo (listening to one right now). Three goals for your music: Never work a 9-to-5, travel lots, meet and inspire people. Two live gigs you’ll never forget and why: Supporting Joe Bonamassa at The Palais Theatre 2012: What an amazing room to be playing. Definitely the largest audience I have played to to date. I only had 20 minutes to win over the crowd and the reception was amazing. Bluesfest 2013: Played two sets that were both awesome. I had a full tent of punters singing along to my songs at the top of their voices. Mingling among the likes of Chris Isaak, Robert Plant, Xavier Rudd, Blind Boys of Alabama, Derek Trucks and meeting my all time hero Tony Joe White will make this one I will never forget. One day left before the apocalypse and you: Give Santa a call and ask him to take me over the world in 24 hours. When’s the gig/release? Thursday April 18 at the Northcote Social Club. I’m launching my new album and DVD The Wick Sessions. More info at shaunkirk.com.

CLASSIFIEDS

33c PER WORD PER WEEK (INC GST) • 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.

1MUSICIANS 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. 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

Beat Magazine Page 74

SLEEP DECADE + AMANITA + MALLEE SONGS Workers Club, Fitzroy. 1:30pm. $10. SUNDAY SESSIONS - FEAT: KINGSTON CROWN + RELIK + SCOOBY DREW + SPUNK MACHINE Veludo Bar & Restaurant, St Kilda. 4:30pm. SWAMP LEGS + ANDREW O CONNOR + BRICKS + NICK WILSON + RIDERS OF SIN Bendigo Hotel, Collingwood. 4:00pm. $5. THE HELLO MORNING Labour In Vain, Fitzroy. 5:00pm. THE SPOILS Post Oﬃce Hotel, Coburg. 4:30pm. THE UNPRETTIER + HOPES ABANDONED + PUBLIC LIABILITY + WE ARE THE ENEMY 303, Northcote. 8:00pm. THE WILD COMFORTS + EATEN BY DOGS + THE MATTY GREEN BAND Evelyn Hotel, Fitzroy. 8:00pm. TOM LYNGCOLN + GRACE LAWRY + HOODLUM SHOUTS + LUCY WILSON + MARA THREAT Reverence Hotel, Footscray. 3:00pm. TRAVIS ADDISON + A SUBURBAN CRUSADE + I AM MINE + SINCLAIR Idgaﬀ Bar & Venue, Abbotsford. 8:00pm.

ACOUSTIC, COUNTRY, BLUES & FOLK ALEX LASHLIE’S GROWL + ADRIAN SLATTERY + DJ LUC DAWSON Some Velvet Morning, Clifton Hill. 6:00pm. ALICIA ADKINS Wesley Anne, Northcote. 8:00pm. CHERRY ARVO BLUES - FEAT: CATFISH VOODOO + DJ MAX CRAWDADDY Cherry Bar, Melbourne Cbd. 2:00pm. CHRIS WILSON Rainbow Hotel, Fitzroy. 4:00pm. COLLARD GREENS & GRAVY Union Hotel, Brunswick. 5:00pm. DAREBIN SONGWRITERS GUILD 303, Northcote. 3:30pm. JARROD CASPERSZ Wesley Anne, Northcote. 3:00pm. $15. JIMI HOCKING Ontop In Ormond, Ormond. 5:00pm. MICHAELA JAYDE + ANNA PADDICK & THE SPEKULATORS + WILLOW Evelyn Hotel, Fitzroy. 1:30pm. MICK DALEY + GEOFF ACHISON Drunken Poet, West Melbourne. 4:00pm. MICK DALEY & TIM CROSSEY Retreat Hotel, Brunswick. 4:00pm. MOONEE VALLEY DRIFTERS + MARTY KELLY & AUBURY MAHER Lomond Hotel, Brunswick East. 5:30pm. MOUNTAIN & SWAMP Gasometer Hotel, Collingwood. 3:00pm. NEWTON FAULKNER Caravan Music Club, Oakleigh. 8:00pm. OPEN MIC Rose Hotel (williamstown), Williamstown. 3:00pm. RAISED BY EAGLES + LUCIE THORNE Retreat Hotel, Brunswick. 7:30pm. SIMON WRIGHT BAND Prince Public Bar, St Kilda. 7:00pm. SUNDAY FUNDAY - FEAT: ROWIE + NACKERS Big Mouth, St Kilda. 6:00pm. THE DRUNKEN POACHERS Penny Black, Brunswick. 5:00pm. THESE MACHINES CUT RAZOR WIRE - FEAT: CHRIS WILSON + CHARLES JENKINS + FRAZER A GORMAN + JEFF LANG + LES THOMAS + SUZANweek (less the 26th Dec & the 2nd Jan). First prize: recording time in a studio. Call Jesse 0411 803 579 GUITARIST WANTED with Sabbath, D Purple, Zeppelin, Uriah Heap, Floyd, Hawkwind, Who, Lobby, Steppenwolf inﬂuences. 0420 523 205. MALE, FEMALE, ALIEN BASS PLAYER WANTED! We`re a Melbourne based pro unit about to release our debut album. We love Q.O.T.S.A,Radiohead,The Kinks,Red Kross,The Beatles,Hendrix.The Pixies,etc. We need a pro player with great gear/attitude/ and transport. Vocal ability would be great. We aim to take this thing as far as we possibly can. To rock with us Contact Stav: 0405 204 293 atomicblissband@ gmail.com www.atomicbliss.com.au ROCK DRUMMER WANTED for a Brunswick based band. We are looking for a committed drummer in their 20’s to join our band, we have been constantly gigging and will be recording and playing interstate later this year. Check out our music at www.busykingdom.com and give us a call if you are interested in a jam. Cheers, Brendan: 0413 478 105 *

SERVICES FREE VENUE HIRE - Fully stocked bar - Huge capacity,

MONDAY NIGHT MASS - FEAT: PIKELET + KRAKATOA + TERRIBLE TRUTHS Northcote Social Club, Northcote. 8:00pm. SONGWRITER SESSIONS Old Bar, Fitzroy. 8:00pm. $5. THE BEEGLES + EUPHORIACS + ROXY LAVISH & THE SUICIDE CULT + WHIPPED CREAM CHARGERS Evelyn Hotel, Fitzroy. 8:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC GUSTO THE BODYSNATCHER + BAT COUNTRY 303, Northcote. 9:00pm. $8. THE ALLAN BROWNE TRIO Bennetts Lane Jazz Club, Melbourne. 8:00pm. THE JANE CLIFTON TRIO Claypots Tavern & Fair, St Kilda. 8:30pm.

ACOUSTIC, COUNTRY, BLUES & FOLK ACOUSTIC SESSION Lounge, Melbourne Cbd. 9:00pm. BIRDS & THE BEES SHOWCASE Empress Hotel, North Fitzroy. 7:30pm. CHERRY JAM Cherry Bar, Melbourne Cbd. 6:30pm. HEEL TOE EXPRESS + MURDENA The Public Bar, Melbourne. 7:00pm. PORT PHILLIP GILGAMESH READINGS Claypots Evening Star, Melbourne. 7:30pm.

TUESDAY APR 15 INDIE, ROCK, POP, METAL, PUNK & COVERS AXOLOTL + DJ EDD FISHER + SILENT JAY + THE EVERGREENS Workers Club, Fitzroy. 8:00pm. $10. COLLAGE - FEAT: DELSINKI + KELLY BRUER + MARRY WEBB + MICHAELA BURGER Espy, St Kilda. 9:00pm. MANDEK PENHA + MAIKO RUM + NOSE BLOOD CATHARSIS Toﬀ In Town, Melbourne Cbd. 8:00pm. MELBOURNE FRESH INDUSTRY SHOWCASE Revolver Upstairs, Prahran. 6:00pm. $15. THE PINK TILES + ANDY BURNOUT + CHIMPER KIMBLAY The Public Bar, Melbourne. 7:00pm.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC BOSSA NOVA JAM Claypots Evening Star, Melbourne. 8:00pm. FREQUENCY Dizzy’s Jazz Club, Richmond. 8:00pm. $14. MARCUS HAYDEN Open Studio, Northcote. 8:30pm. MELBOURNE IMPORVISORS COLLECTIVE PRESENTS FEAT: RAIN DOGS + BEN HARRISON VS BEN HARRISON + ROBA Gertrudes Brown Couch, Fitzroy. 8:00pm. $10. PANORAMA DO BRASIL Bennetts Lane Jazz Club, Melbourne. 8:30pm. THE SEVEN UPS + PURPLE TUSKS + THE MOON PROJECT Evelyn Hotel, Fitzroy. 8:00pm. TONY GOULD & MONASH Bennetts Lane Jazz Club, Melbourne. 7:30pm. WAZ E JAMES BAND Claypots Tavern & Fair, St Kilda. 8:30pm.

ACOUSTIC, COUNTRY, BLUES & FOLK CHARLES JENKINS Retreat Hotel, Brunswick. 8:30pm. OPEN MIC Wesley Anne, Northcote. 6:00pm. THE ALAN LADS Cherry Bar, Melbourne Cbd. 7:00pm. THE BRUNSWICK HOTEL DISCOVERY NIGHT Brunswick Hotel, Brunswick. 8:00pm.

whole venue or partial. Call Jesse 0411 803 579 MUSIC MANUFACTURING & DISTRIBUTION www. drumsrecords.net, P.O. Box 1187 St. Albans VIC 3021 Australia RESOURCES FOR EVENT MANAGERS, promoters & venue managers. www.globerockerz.com

EMPLOYMENT FLAUNT IT. Internationally acclaimed producer of profeminist 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

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

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

ACCESS ALL AGES Wednesday April 10, 2013 With Ruth Mihelcic

Second week of the school holidays, and it just so happens that it’s still National Youth Week (until Sunday) and that means there’s plenty of events happening around your area! Get down to your local youth centre and check out what’s happening, there’s also events details up on www. freeeza.vic.gov.au. However this week we’ve got a few great free opportunities for young people that you might be interested in… Do you love singing or playing the Blues / learning and performing the Blues / want to meet other young Blues musos, or maybe just get some Blues music industry advice!? Then check out the ‘Youth In Blues’ program which kicks off again this April. Over four sessions music industry professionals will mentor participants in the history of the Blues, beats and rhythms, song writing, technical and performance skills. In addition participants have the opportunity to win valuable prizes based on merit and improvement over the course of the program. Sessions will be held on Saturday afternoons on April 27, May 25, June 22 and July 27 in West Melbourne. For more info go to www. mbas.org.au/youth-in-blues or call John Jermanon on 0425 776 613. Attention Victorian songwriters! Push Songs’ innovative and inspiring song writing mentoring program continues throughout May and June and again it’s FREE! Successful applicants will take part in 3, one on one, 90 minute workshops to develop their song writing skills. This round’s mentors are: Jeff Lang, Liz Stringer, Emily Lubitz (Tin Pan Orange), Kevin Mitchell and Charles Jenkins. Applications close Friday April 19 and you can get all the details on our site, or by emailing pushsongs@ thepush.com.au. If you’ve ever been interested in media, check out SYN’s Festival of SYN, a week-long event offering a wide range of exciting, free radio, TV and online media making workshops for young people and those who work with young people, such as educators and youth workers. The hands-on workshops would normally be priced between $600 and $2000, but this time you can participate for FREE. The Festival also includes special tailored sessions for under 18s and women, so there’s literally something for everyone here. It kicks off on Monday, go to www.syn.org.au to download the festival guide and to register your interest. Today’s also the last day you can apply to be the Gig Guide assistant at our Push offices in Brunswick. It’s just one day a week and you get to write THE VERY WORDS YOU ARE READING NOW. More info is at our website thepush.com.au or email us at push@thepush.com.au.

ALL AGES TIMETABLE Wednesday April 10 National Youth Week – Music and Pizza Night w/ Aaron McGowan, and DJ, Kerang, 6:30pm – 10:30pm, Free, Cindy Taylor on 5451 0200, AA Ampliﬁed Explosion (Dance Party) w/ Resident DJ, Moba Lounge, 282 High Street, Melton, 5pm – 10pm, $8 with pass or $10 without pass, Rochelle le Pere on 9747 5426 or 0412 165 960 or www.melton. vic.gov.au, U18 Friday April 12 Golden Youth Awards Ceremony, Bannockburn Cultural Centre, 27 High Street, Bannockburn, 7pm – 9pm, Free, Sarah Dalton on 5220 7177 or www.goldenplains.civ.gov.au/youth, AA Sunday April 14 National Youth Week – Skateboarding Workshops and Solo Artists w/ Aaron McGowan, skateboarding workshops, and rockclimbing, Kerang Skateboarding Park, Kerang, 10am – 3pm, Free, Cindy Taylor on 5451 0200, AA Redfest w/ The Dellusion, Lars and the Prussians, and The Hounds Homebound, Willow Park, Pearce St, Wodonga, 12pm – 5pm, Free, Danielle Borovic at www.facebook.com/wodongayouthservices, AA

THURSDAY APR 11TH

PETER EWING ACOUSTIC SETS FROM 8.30 PM

FRIDAY APR 13TH

LISA MILLER TRIO WITH

SHANE O’MARA & ASH DAVIES

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SUNDAY APR 14

THE HELLO MORNING

ROCKIN’ FROM 5.00 TIL 7 PM

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6PM: Traditional Irish Music Session with Dan Bourke & Friends

JOE FORRESTER +

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FROM 8PM

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BERNIE CARSON MonDAYS

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TueSDAYS

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8PM: Weekly Trivia

OPEN MIC NIGHT 9PM 447 CHURCH ST RICHMOND 9429 5066 www.greatbritainhotel.com.au

The Drunken Poet, 65 Peel Street (directly opposite Queen Vic Market), Phone: 03 9348 9797. www.thedrunkenpoet.com.au

SUBMIT YOUR GIGS TO GIGGUIDE@BEAT.COM.AU

Beat Magazine Page 75

BACKSTAGE THE PLACE FOR MUSICIANS

for more information or ad bookings call Aleksei on 9428 3600

MUSIC SERVICES PROFILE

OBSESSIVE MUSIC

STORE PROFILE

MUSIC SWOP SHOP

Established: 2010

Established: 1982

Location: Moonee Ponds.

Location: 145-147 Elgin St. Carlton. Melbourne.

What music services do you specialise in? Management and marketing. In a past life, I was a pianist. I studied piano for eleven years. I then got into composition, scoring ﬁlms and studying composition at Monash Uni. From there I started producing artists - helping them to develop their songwriting skills and record their songs. After several great-sounding albums, I started to see that my favourite artists - the local indie musicians - didn’t know what to do next. We’d put blood, sweat and tears into an amazing recording that ended up going no-where. And it was because the artists themselves didn’t have the management and marketing skills to use the album to build their fanbase and develop their career. So in 2010 I started Obsessive Music. Because it’s a tough industry and success takes more than showing up every day. It’s not a day job. It’s an obsession.

Hours Of Operation: Mon – Fri: 11:07 am – 6:00 pm Sat – Sun: 11:07 am – 3:00 pm

What can you provide my band or business about to launch itself into the scene? Management and marketing can be pretty mysterious. I believe in explaining it in a way that’s logical and easy to understand - so that you are in charge. I can work with you to put together a realistic and appropriate plan for the next 3, 6, 12, 18 months. There’s no onesize-ﬁts-all approach here - every artist is diﬀerent. I also help artists with marketing - ranging from online strategies, publicity campaigns, creative collaborations, advice about your stage show, video production, etc.

What other businesses if any do you aﬃliate with? I can connect artists with a variety of producers, studios, photographers, support bands, publicists, etc. Need something? I’ll hook you up. Who have you worked with or currently working with? I’ve got current larger-scale projects with Gosti, Sunsaria, Brittle Sun and a few others coming up. I also help a lot of artists with one-oﬀ advice and planning sessions, which they then go and follow through with on their own. In the past, I’ve worked with the likes of Elephant Eyes, Priestessa, Jarek, She Hunter, Megalove, Erin Shay, Randall Stephens, Tom Francis, Andrea Marr and more. Phone: 0409 534 485 Website: www.obsessive-music.com

What is Music Swop Shop? We are a second hand musical instrument store that handles a wide variety of used items, from entry level to rare and collectable goods. The ‘Swop’ part of our name often lends itself to some confusion as we don’t actually swap instruments. It’s just too hard to change our name after 30 years of operation. Although many customers sell their instrument through us and then put the money towards another item in store, in that sense they’re swapped. How does it work exactly? We sell everything on behalf of others on consignment for a 20% commission. There are no time limits or hidden charges and customers can take their items back at any stage without incurring charges. How did you come up with the idea of a second hand consignment music retail store? We ﬁnd consignment is the best way to get a fair price for any item. We don’t have any vested interest in anything so aren’t trying to buy for extremely low and sell for an inﬂated price. We keep an eye on current worldwide markets and keep our prices to what we think is reasonable and attractive. We walk the line keeping both buyer and seller happy.

How has your website played a role in the business? A major help in the success of our store is our upto-date website which is synchronized with our database. So anyone can keep on top of everything we have in store, subscribe to categories, latch on to an RSS feed or get automatic notifications when something they are after comes in. Your point of difference? Most new retail stores only sell new gear, so what we get in here simply cannot be found anywhere else so easily. Our product range spans over the last one hundred years. Plus one can physically see, feel and hear what’s in store. We welcome trial runs here and frequently encourage our customers to create as much noise (variations on the term ‘music’) needed and from every orifice necessary to make sure they’re happy with their purchase. Come on down and check us out, everyone else does! Phone: (03) 9348 1194 Website: www.musicswopshop.com.au

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For more information on Mixdown Magazine contact Aleksei on (03) 9428 3600 or email Mixdown@beat.com.au

Beat Magazine Page 76

BACKSTAGE: BEAT’S ONE STOP SHOP FOR MUSICIANS

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Expert Guitar & Amp Repairs Mods & Restoration Fast Turnaround Affordable Rates Technicians on site 1131 Burke Rd KEW 3101 Phone: 03 9817 7000 www.eastgatemusic.com.au

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LIVE

pic by Ben Clement

CLIENT LIASON Sunday March 31, The Toff In Town Don’t judge me, but I had a little snooze during Client Liaison’s Golden Plains set (I had just watched 12 hours of music, okay). As I stretched out on the hill enjoying some precious Zs I could faintly hear the thump of their dirty disco beats, sending the amphitheatre into a delicious dance spasm. I have since regretted missing them. To my delight, the cosmopolitan Melbournian duo played The Toff on Easter Sunday; finally my sin would be redeemed. They were supported by Romy (formerly of Macromantics), her performance was a little bit like the video clip to Madonna’s Holiday minus the backing dancers; a lot of side-to-side dance steps. It’s a new direction for the ex-rapper turned queer electro queen, with breathy echoed vocals, a drum pad, keyboard and a DJ. DJ Dan Watt kept everyone company in between sets while sought after Melbourne DJ and other Golden Plains act Post Percy brought the night home. Client Liaison is Monte Morgan and Harvey Miller and they are damn fine specimens. Dressed like the cast of Frontline, they mix ‘80s and ‘90s office chic with an injection of camp Australiana. Lead singer Monte sported a permed mullet (“I love being here and I love doing my hair,” he announced) and a white blazer with shoulder pads, while sexy synth master Harvey wore a tan turtleneck and kept an air of mystery about himself. The pair appeared instantly at home on stage with a sound that borrows heavily from sleazy ‘80s disco, pulsating techno and fun pop balladry, not wholly similar, but in parts akin, to Scissor Sisters or Mika. Monte is quite obviously a born showman; his voice was faultless and those

sensational dance moves, often coordinated with Harvey, geared up an already super charged crowd. The dance floor was one big humidity crib with punters leaving their respectable selves at the door. The Australiana shtick was capitalised with the screening of a very old Ansett promotional video along with images of horse racing. They also lapsed into Yothu Yindi’s Treaty at one stage. Tunes such as The End Of The Earth portrayed that corporate tribalism which became even more pronounced when Monte changed outfits half way through the set. He transformed from boardroom chic to disco shaman, donning some white slacks and a gold and blue bib necklace that glittered against his sweaty bare chest. The whole act was very polished but never contrived. Having formed in 2009, they are fast becoming a word-of-mouth kind of band. Quite a few tunes were met with a “holy shit they’re playing that song” type of applause, while a couple of new numbers, such as Pretty Love, were adopted instantly with a big sweaty dance-hug. The new loves of my life played three encores, sealing the evening with some “deep techno”. Their disco-pop gems were preferable to the hard finish but left everyone with that fantastic mix of elation and exhaustion.

Rodriguez

Robert Plant

ADELAIDE FRENCH LOVED: Mullets, water coolers, turtlenecks. Need I say more? HATED: Sweat, baby, sweat, baby. DRANK: A huge glass of water to replace lost ﬂuids.

THE XX Thursday April 4, Festival Hall Selling out two Festival Hall gigs, the crowd poured into venue like moths to a flame. The standing area was soon filled to capacity. Eventually, The xx filed onstage. Jamie XX manned about eight different pieces of equipment/instruments including his turntables, keyboards, drum machine and what seemed to be an glockenspiel. Opening with Try, both Oliver and Romy were able to exercise their vocals amid the eerie, oscillating synths. Moving through Heart Skipped A Beat and Crystalised they picked up the tempo. It was during Chained that I realised Oliver possesses the same dark energy pubescent girls seem to attribute to Twilight vampires. Though, if he were to be likened to any vampire, it would be Spike from Buffy. Only Oliver is a real person. With real talent. After Reunion Jamie XX performed solo with Far Nearer. The audience enjoyed the bass heavy, dance tunes but they really went wild at the first notes of Sunset. The chilled vibe of the vocals and stage presence of the group was enhanced

by the bass heavy tracks and busy lighting. There wasn’t too much dancing as the audience focused on the lyrics and subtle melodies. In no time at all The xx thanked the audience and left. For a good five minutes Festival Hall shook with stamps and shouts demanding them back, which they eventually obliged to. Their encore featured my fave Islands. Oliver spoke to the crowd and thanked Melbourne, which is consequently the city they had their first big show at during Laneway Festival a couple of years ago. Infinity and Angels were next and then they bid their adieu. TAMARA VOGL LOVED: The chilled atmosphere. HATED: That the air-con got a little chilly (surprising for Festival Hall). DRANK: Water.

pic by Richard Sharman

BYRON BAY BLUESFEST Friday March 29 - Sunday March 31, Tyagarah Tea Tree Farm pics by Andy Burke There are a number of things that immediately stand out to a Bluesfest virgin. There are wide thoroughfares that encourage easy transition between stages, the bars are evenly and conveniently spaced and the mix at each stage is near perfect. After nearly two days of sheeting rain the site is still highly functional; a benefit that is all the more noticeable after years of standing (and subsequently sinking) in the mud at Byron’s other big festival. The 24th year of the annual institution has been described as a high-watermark due to the glut of top notch established acts. Not that the apparent star power of the golden oldies seemed to bother Irishman Glen Hansard on the Mojo Stage. After burning through powerful tracks from his bands The Swell Season and The Frames – accompanied by the boisterous presence of the latter – he finished things with a new take on Van Morrison’s Astral Weeks. Reggae stalwart Jimmy Cliff had hands clappin’ on the same stage. Spirited stuff, but those wanting something a little less affected were gathering at the smaller Apra Stage for Michael Kiwanuka. The Brit has an obvious affection for Byron, having visited twice in the last year, and noted after Home Again that the rain drumming down outside couldn’t possibly compare to cold back in his homeland. Steve Miller Band ripped into The Joker and Jet Airliner with a whole lotta bombast, while next door softly spoken survivor Rodriguez was helped on stage by two people to rapturous applause. Backing band The Break knew their place, with Rob Hirst’s drumming obviously restrained throughout a set that was heavy on classics amidst a thick fog of nostalgia. Day three of the festival was kicked off by triple j favourite Thelma Plum in the (completely indoors and sheltered from the rain!) Lotus Palace. She’s got some pretty rad tunes of her own, but the highlights were covers of Chris Isaak’s Wicked Game and R&B artist Jeremih’s Birthday Sex. Later in the afternoon Wilco played a set that ended far too soon. An aching version of spiteful anthem I Am Trying To Break Your Heart led into Beat Magazine Page 78

Mermaid Avenue’s Californian Stars. Robert Plant was able to belt out some surprisingly high and sustained anthems, but the dramatics of his Sensational Space Shifters wasn’t enough to attract many away from the lure of the creepy skinfather at the Crossroads Stage next door. Iggy & The Stooges’ primal screams threatened to scatter the chairs of the scowling pensioners at the rear of the tent. Michigan’s son wasn’t interested in sating any sense of decency: the shirt was off almost immediately, and as Funhouse ripped into life Iggy started hauling fans up on stage for some dirty dancing. The festival’s second last day bore the scars of sustained meteorological and cultural drenching. Easter Sunday’s traditional signalling of new life was skewed slightly as proceedings evolved slowly on the stages. Luka Bloom’s set was inordinately dull – bar his cover of fellow Bluesfester Mark Seymour’s Throw Your Arms Around Me. He probably wasn’t helped by the ruckus on offer from Melbourne native (and Seth Sentry crewman) Grey Ghost next door on the Mojo Stage. Former Yes frontman John Anderson shambled on to precede a passably hummable turn – including, of course, Dreamer - from Supertramp’s Roger Hodgson. Rufus Wainwright offered dollops of drama and lush balladry, ahead of Denver’s The Lumineers. The American five-piece’s hype seemed justified as they led one of the loudest, and somehow tiredest, audience singalongs of the weekend during breakout hit Ho Hey. BENJAMIN COOPER LOVED: Watching the sun rise over Cape Byron with The Stooges’ Funhouse still pounding in my ears. HATED: Old people getting cagey about people walking past their camp chairs. In a massive tent filled with thousands of people. At a fucking festival. DRANK: Vale Ale with a bunch of surfers at Brunswick Heads, and plenty of Hahn Super Dry at the festival.

ENDLESS BOOGIE Friday April 5, The Tote Where do you start with a night like tonight? At the beginning, I suppose. The Patron Saints weren’t even on the advertised bill, but Kim Volkman had managed to score himself an opening spot at the last minute. With Billy Pommer overseas, Phil Grinder was allegedly spotted in a supermarket carpark, and drafted to take over drumming duties. James McCann had been in the front bar for three minutes when he agreed to Volkman’s request to play bass, and a recalibrated Patron Saints was born. It was a beautifully shambolic set, as rough and ready around the edges as you want dirtyarsed rock’n’roll to be. Iowa was a strange choice for the penultimate spot on the bill. The Patron Saints had spent 40 minutes lying in a dishevelled state in the rock’n’roll gutter; Iowa had a clean set of strides and pressed shirt on in comparison. But the songs were good, albeit with a pop sensibility that would be subsequently drowned out by the brutal riffs of Endless Boogie. It was 11.30pm by the time Endless Boogie got on stage. Paul Major, the notional leader of the band, is tall and rake-thin, and his waist-length hair disguising a weathered face that’s seen more heavy duty rock’n’roll than your scrawny body has had hot dinners. The first song starts and just keeps going. Endless Boogie find a Stones riff, and hold it in their vice-like grip for what seems like ages. The grip loosens and the riff morphs into the darkness of Stooges holed up in the Funhouse; ten minutes later, and it’s mutated into AC/DC, and even ZZ Top before that band traded southern boogie for cheesy film clips and plastic pop gimmicks. Half an hour later, and the song – if you can call a half hour jam a song – finishes, and there’s a collective drawing of breath from the attentive crowd. And it doesn’t stop there. The next jam starts somewhere, in a bar in Texas, catches a lift along

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Route 66 to a whiskey-filled room in Chicago, and heads across the Pacific to a farm in Sunbury where Lobby Loyde’s holding court, half-smoked cigarette dangling elegantly from his mouth. This is the stuff of rock’n’roll fairy tale, and Endless Boogie is the Pied Piper taking us to a world only the fortunate few have ever witnessed. An hour, and a few songs later, and Major says the band is going to take a break, but they’ll be back. None of this pretentious encore shit here. We grab a beer, some fresh air and wait for it to start again. There’s two more 15 minute jams, each a lesson in the dexterity of rock’n’roll riffage. It’s a religious moment for anyone willing to bare their soul; later on, a punter will bare more than her soul, just before jumping off the stage into the waiting arms of the crowd. Three quarters of the band leave the stage, possibly for good. But guitarist Jesper Eklow stays, fiddling with his guitar tuning, and giving no indication he’s finished for the evening. “If one guy stays, you have to assume the rest will come back, too,” remarks a friend. And they do. The third coming is just as spiritually invigorating as its preceding events. It’s dirty, viscous and profoundly alluring. We know it has to finish sometime, but until that time we’re transfixed. When every last drop of rock’n’roll goodness has been wrenched from the evening, it’s over. The atmosphere is thick with love and goodwill and there’s much rejoicing. Can rock’n’roll ever get better than this? I doubt it. PATRICK EMERY LOVED: Every fucking minute of it. HATED: None of it. DRANK: From the plentiful cup of rock’n’roll.

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