Beat 1516 by Furst Media

FRE

ISSUE NO. 1516

MARCH 16, 2016

I N S I D E

VIOLENT SOHO

Mansfieldâ&#x20AC;&#x2122;s grunge masters are back with a blistering new record and a sold out tour.

KAMASI WASHINGTON

The American saxophonist is bringing his extraordinary jazz-fusion to Australia.

JIMEOIN

JURASSIC WORLD: THE EXHIBITION

The laughing legend returns.

Come face to face with the prehistoric in a world premiere.

MIA DYSON

The four-time ARIA nominated artist is delivering her signature blues, roots and alt-country sounds this weekend.

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B E AT.C O M . A U

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GRAMMY AWARD WINNING

multi grammy award winner

GRAMMY AWARD WINNING SINGER FROM CAROLINA CHOCOLATE DROPS

D’ANGELO n artist of uncompromising “ Apower and originality... consequence of sound ”

could well “ D’Angelo be the most singular, WITH SPECIAL GUESTS

visionary star to THE -MASTERSONS emerge from and then transcend R&B since Prince.

WITH SPECIAL GUEST

“...next in a long line of singers that include Odetta, Marian Anderson, Mahalia Jackson, Rosetta Tharpe, Nina Simone.” T BONE BURNETT

WITH SPECIAL GUEST

MONICA WEIGHTMAN

NEXT WEEK !

WED MAR

BLIND BOY PAXTON

”

rolling stone 2015 #4 album of the year

23 THE CORNER

FIRST TOUR IN OVER 20 YEARS “A master of the guitar” THE NEW YORKER

“No sooner does he jump on the stage than he’s wailing away, singing his heart out and ain’t afraid to be the showman to boot, jumping into the crowd, sitting among ‘em, and playing his brains out” ACOUSTIC MUSIC

WITH SPECIAL GUESTS

THE LACHY DOLEY GROUP

“Musical magic.” LA.COM “A wall of talent on stage.” DENVER WESTWORD

THIS SATURDAY !

SAT MARCH THU19thMETRO PALAIS MAR THEATRE THEATRE

“Easily one of the best nights of live music.” LAS VEGAS INFORMER

19 FORUM THEATRE

SAT MAR

WITH SPECIAL GUESTS

WILSN

SOCIAL CLUB 21 NORTHCOTE

“you feel every sweaty note, a full-tilt, damn the torpedoes showcase” STAR TELEGRAPH

SIDESHOWS NEXT WEEK !

WITH SPECIAL GUEST DJ

WITH SPECIAL GUESTS

PIERRE BARONI (PBS SOULGROOVE’66)

THIS MONDAY !

24 THE CORNER

BLUESFEST

WITH SPECIAL GUEST

MON MAR

TEXTURE LIKE SUN

NEXT WEEK ! THU MAR

NEXT WEEK !

FIRST AUSTRALIAN TOUR

THIS MONDAY !

WITH SPECIAL GUEST

SKY NEEDLE

THE CROXTON

BOSTON GLOBE

“He’s a cat that can do an Otis Redding.” KEITH RICHARDS

EXPERIMENTAL AVANT-GARDE ICONS PRESENT SHADOWLAND

WED MAR

“Lord Huron’s music is so impressionistic; it sometimes sounds like it emanates from a dream.”

MON MAR

CORNER 21 THE

NOTTINGHAM ROCK CITY

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“A joyous rude-boy revue from an act as slick and brash as their shiny silver suits”

WED MAR

GRAMMY AND

ACADEMY AWARD

WINNER

ANN VRIEND WITH SPECIAL GUEST

THIS TUESDAY ! MON MAR

IRISH MYTHEN

“a voice you don’t forget in a hurry, a big, booming thing with a Janis Joplinesque rasp”

FIRST AUSTRALIAN TOUR

WED MAR

NEWTOWN SOCIAL CLUB

WHO MAGAZINE

PALAIS THEATRE

“The crowd became a sea of smiling faces and dancing feet”

“The best effing voice I’ve ever heard.” MTV

PLAYING EARLY FLEETWOOD MAC WITH HIS GRAMMY AWARD NOMINATED BAND WITH SPECIAL GUEST

HARRY HEALY

THE BRAG

WITH SPECIAL GUESTS

WOODLOCK WITH SPECIAL GUEST

MIKE LOVE

WITH SPECIAL GUESTS

WITH SPECIAL GUEST

STRANGE TENANTS (AKA THE BLUEBEAT ALLSTARS) 30TH REUNION TOUR

30 22

WEDTUEMETRO THE MARMARTHEATRE CORNER

FRI MAR

THE CORNER

WILSN

“Takes you back to the early bluesdriven years of Fleetwood Mac” MAUI NEWS

THU MAR

THE CORNER

TUE MAR

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THE BLIND BOYS OF ALABAMA BRIAN WILSON THE DECEMBERISTS JACKSON BROWNE NAHKO & MEDICINE FOR THE PEOPLE NATHANIEL RATELIFF & THE NIGHT SWEATS SHAKEY GRAVES SONGHOY BLUES STEVE EARLE & THE DUKES TAJ MAHAL THE WAILERS B E AT.C O M . A U

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BAR WEDNESDAY 16TH MARCH

OPEN MIC

Show the Boogie Man what you’ve got! THURSDAY 17TH MARCH

DEATH OF ART AMARONIX DIVINE ASCENSION FRIDAY 18TH MARCH

CITY SHARPS LONG HOLIDAY ACE BRICKLAYING SOUTH BOUND SNAKE CHARMERS SATURDAY 19TH MARCH

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Monday Residency 7.30pm

MORELAND CITY SOUL REVUE

Get on board the soul train and check out this all-star cast of musos playing old soul and soulful funk. PLUS: Check out the dinner special: Moreland City Soul Revue fried chicken dinner. Every Monday night at the Union!

Saturday Residency 5pm

LACHLAN BRYAN & THE WILDES Led by charismatic frontman Lachlan Bryan, the Wildes have been racking up the accolades. Expect great songwriting, tight playing and sweet harmonies from this alt-country band steeped in Americana. They play Saturday arvos in March.

HOOPER CRESCENT

Sat 19 March 9pm

SILVER CANOE

Affiliates of Pony Face, Hired Guns and the Underground Lovers sit, spin and knock it all around.

SUNDAY 20/3

POH BIRTHDAY BASH!

EMPAT LIMA HEIROPHANTS LOST RAGAS THE YARED TRIO

Sun 20 March 3.30pm

PEASANT MOON Excellent, alt-country/folk duo from Sydney

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THE BAND WHO KNEW TOO MUCH A bona-fide, floor-packing band that’s raucous, upbeat and loads of fun.

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presents

Ever Thursdya in Marc y @ 6pm h

Melbourne's best crate diggers pull out gems from their dusty collections. belleville-melbourne.com - 9663 4041

KIM SALMON PG. 32

#1516 MARCH 16 16 20 22 24

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HOT TALK / FREE SHIT UPCOMING TOURS & GIG OF THE WEEK COVER STORY: THE BENNIES ART OF THE CITY: WHAT’S ON MELBOURNE INTERNATIONAL COMEDY FESTIVAL ART OF THE CITY THE COMIC STRIP JURASSIC WORLD: THE EXHIBITION JIMEOIN DANIEL SHARMAN OUT OF THE CLOSET BEAT EATS BEATS - CLUB & URBAN NEWS CLUB GUIDE MITCH POWER ELLE KING MIA DYSON RIFF RAIDERS KEITH RICHARDS: A LIFE IN PICTURES LOS CHICOS VIOLENT SOHO KIM SALMON THE JESSICA STEWART FEW THE WOOHOO REVUE KAMASI WASHINGTON NORTHLANE CORE & CRUNCH COLUMNS AUSTRALIAN KINGSWOOD FACTORY LIVE ALBUM OF THE WEEK SINGLES / CHARTS ALBUMS GIG GUIDE / ALL AGES BACKSTAGE MUSIC VICTORIA MEMBERSHIP DRIVE INDUSTRIAL STRENGTH

BEAT MAGAZINE PAGE 14

LO S C H I C O S P G. 30

MITCH POWER PG. 29

KEITH RICHARDS:A LIFE IN PICTURES PG. 30

PUBLISHER: Furst Media Pty Ltd. MUSIC EDITOR: Cara Williams ACTING ARTS EDITOR, ASSOCIATE MUSIC EDITOR & ONLINE EDITOR: James Di Fabrizio SUB EDITOR: Augustus Welby EDITORIAL ASSISTANTS: Cassie Hedger, Gloria Brancatisano, Jess Zanoni, Kate Eardley, Bel Ryan, Christine Tsimbis, Abbey Lew-Kee, Tom Parker, Rochelle Bevis. MANAGING DIRECTOR, FURST MEDIA: Patrick Carr BEAT PRODUCTION MANAGER: Michael Cusack GRAPHIC DESIGNERS: Michael Cusack, Lizzie Dynon. COVER DESIGN: Michael Cusack COVER PHOTO: Ian Laidlaw ADVERTISING: Cara Williams (Music: Bands/Tours/Record Labels) cara@beat.com.au Thom Parry (Hospitality/Bars) thom@beat.com.au Keats Mulligan (Backstage/Musical Equipment) mixdown@beat.com.au Tom Brand (Indie Artists/Beat Eats) tombrand@beat.com.au CLASSIFIEDS: classifieds@beat.com.au GIG GUIDE SUBMISSIONS: now online at www.beat.com.au or bands email gigguide@beat. com.au ACCOUNTANT: accountant@furstmedia.com.au OFFICE MANAGER: Lizzie Dynon ACCOUNTS RECEIVABLE: Luke Forester: accounts@furstmedia.com.au DISTRIBUTION: Free every Wednesday to over 2000 points around Melbourne. Wanna get BEAT? Email distribution@beat.com.au CONTRIBUTING PHOTOGRAPHERS: Mary Boukouvalas, Ben Gunzburg, Anna Kanci, Charles Newbury, Tony Proudfoot, Laura May Grogan, David Harris, Emily Day, Lucinda Goodwin, Dan Soderstrom. SPECIAL PROJECTS EDITOR: Christie Eliezer SENIOR CONTRIBUTOR: Patrick Emery SENIOR PHOTOGRAPHER: Ian Laidlaw COLUMNISTS: Emily Kelly, Peter Hodgson, Anna Whitelaw BEAT TV/WATT’S ON PRESENTER: Dan Watt CONTRIBUTORS: Kelsey Berry, Graham Blackley, Gloria Brancatisano, Chris Bright, Avrille Bylock-Collard, Alexander Crowden, Liza Dezfouli, Jules Douglas, Jack Franklin, Emma Gawd, Chris Girdler, Joe Hansen, Nick Hilton, Peter Hodgson, Lachlan Kanoniuk, Cassandra Kiely, Billy Killing, Jody Macgregor, Nick Mason, Denver Maxx, Krystal Maynard, Paul McBride, Miki Mclay, Rhys McRae, James Nicoli, Adam Norris, Jack Parsons, Leigh Salter, Sisqo Taras, Kelly Theobald, Tamara Vogl, Dan Watt, Augustus Welby, Garry Westmore, Rod Whitfield, Jen Wilson, Thomas Brand, Alex Watts, Tyson Wray, David James Young, Bronius Zumeris, Simone Ubaldi, Natalie Rogers, James Di Fabrizio, Tex Miller, Emily Day, Matthew Tomich, Matthew Woods, Matilda Edwards, Lee Spencer Michaelsen, Joe Hansen, John Kendall, Bel Ryan, Izzy Tolhurst, Isabelle Oderberg, Navarone Farrell DEADLINES: Editorial copy accepted no later than 5pm Thursday before publication for club listings, arts, gig guide etc. Advertising copy accepted no later than 12pm Monday before publication. Print ready art by 2pm Monday. Deadlines are strictly adhered to. © 2016 Furst Media Pty Ltd. No part may be reproduced without the consent of the copyright holder.

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Esperanza Spalding

Free $hit THE TEMPER TRAP ANNOUNCE HOMECOMING TOUR

THE MELBOURNE INTERNATIONAL JAZZ FESTIVAL REVEALS PROGRAM The Melbourne International Jazz Festival has announced their 2016 program, featuring some of the world’s most significant and golden-age jazz artists, jazz legends, contemporary leaders, genre-defying innovators, virtuosic instrumentalists and profound soul singers. With an overall aim of bringing jazz to the heart of the city across nine days, the program will feature unmissable headliners, intimate club gigs, late-night jams, workshops, family events and free concerts. The festival will open with Grammy-award winning singer/composer and bassist Esperanza Spalding, who’ll be making her Australian debut with her groundbreaking new project Emily’s D+ Evolution, and will close with the fearless and revolutionary artistry of Wayne Shorter Quartet. Some notable appearances include Gary Barts Quartet, modern jazz pioneers Robert Glasper Trio, multi-award winning pianist and composer Joe O’Connor and Brooklyn-based jazz-funk collective Snarky Puppy. The festival will also conduct Club Sessions at Uptown Jazz Café, Dizzy’s Jazz Club and Bennetts Lane Jazz Club. There will also be an array of Jazz Out West performances you can catch, including the 30/70 Collective and Sardinian master musician Paolo Angeli performing his uniquely modified orchestral guitar sounds. Melbourne International Jazz Festival will run from Friday June 3 until Sunday June 13. The full program is available on the festival’s website.

SECTION 8 UNVEIL 10TH BIRTHDAY GALA From humble beginnings as a temporary pop-up bar in a car park, to now being one of Melbourne’s leading bar and live music venues, Section 8 is holding a huge night of art and performances to celebrate their milestone birthday. Providing the tunes will be the likes of Tek Tek Ensemble, Foreign Brothers Core-tet, Edd Fisher, House of Beige DJ’s among others, while there will also be an art installation by John Fish and performance art from The Sacred Prism. It’s all going down on Thursday March 18 at Section 8.

TIRED LION TO HEADLINE A FREE BENDIGO SHOW Mic Up Productions and headspace Bendigo have teamed up to present a free event in Bendigo’s Rosalind Park, headlined by triple j darlings Tired Lion. The Perth band enjoyed a busy 2015 – opening for Splendour in the Grass, taking the headline slot at the triple j showcase stage at Brisbane’s BIGSOUND and releasing a stand-out EP Figurine. Tired Lion will be supported by The VANNS and the free show is entirely drug and alcohol free. It’s all going down on Thursday March 24 at 6pm.

The return of The Temper Trap to Australian stages has finally been confirmed. The ARIA award winning band are set to return home this May for a small leg of intimate shows. Rumour has it the shows will give Aussie audiences their first taste of the band’s highly anticipated third album, expected to drop in the not too distant future. It’s been three long years since The Temper Trap last undertook a headline tour of Australia, and four years since the release of their self titled Platinum sophomore album. The Temper Trap recently teased Australian audiences with the release of single Thick As Thieves from the forthcoming album. The Temper Trap will play The Forum Theatre Thursday May 5. Don’t miss out on tickets when they go on sale on Wednesday March 23 at 10am.

STONNINGTON JAZZ FESTIVAL RELEASES 2016 LINEUP Stonnington Jazz Festival returns for its 11th year to present a diverse mix of original, improvised and heritage jazz music, expanding into new spaces of Stonnington and digging a little deeper into the niche sounds of the Australian jazz scene over ten days. For the opening night spectacular, performances from some of the country’s most exciting jazz vocalists will be backed by The James Mustafa Jazz String Orchestra, which showcases a 19-piece fullstring orchestra and improvised rhythm section. On another night artists will pay homage to the daring and audacious legacy of the late Gil Scott-Heron, bringing together performances from Vince Jones, Walter Saluni, Hue Blanes, Hailey Kramer and Sampa The Great, each performing a special tribute to the revered pioneer of hip hop and self-proclaimed ‘bluesologist’. The Shaolin Afronauts are set to arrive at The Astor to draw upon a diverse array of musical influences and reinterpret the original film score of Mad Max, alongside a screening of the film. The complete Stonnington Jazz Festival program will be available in mid-March, featuring more than 25 events over 11 days in more than ten venues across the City of Stonnington. It will take place from Thursday May 12 to Sunday May 22.

MCCRACKEN’S LAUNCH PARTY DOUBLE PASS

McCracken’s Amber Ale is launching at The Union Club Hotel next week and you’re invited to join the party featuring Lincoln LeFevre, Lucy Wilson and DJ Mohair Slim. McCracken’s is one of the oldest breweries in Melbourne, and McCracken’s Amber Ale has been brewed to celebrate yesteryear, for the legends of Melbourne to enjoy. Beat has some double passes to give away for the inviteonly event. So if you’re over 18 and enjoy a cold brew, click your way over to beat.com.au/freeshit

BLUESFEST SIDESHOWS

If you can’t make it to Byron Bay’s Bluesfest 2016 you’re seriously missing out, but there’s no need to get too bummed about it. That’s because a bunch of worldclass sideshows are happening right here in our humble city of Melbourne. Beat has got some free tickets up for grabs to see the likes of Lucky Peterson and Lord Huron. To snag yourself one, head to beat.com.au/freeshit

THE RAAH PROJECT DOUBLE PASS

As part of the Brunswick Music Festival, The Raah Project are playing at Estonian House on Thursday March 17. Comprising of violinist Tamil Rogeon and singer/rapper Ryan Ritchie, the pair recently sold out the launch of their newest album Take Me Elsewhere. Beat has got a few double passes on offer for their upcoming gig, so chuck a suss of beat.com.au/freeshit for your chance to win.Huron. To snag yourself one, head to beat.com.au/ freeshit

The Sigit

URTHBOY REVEALS 2016 MELBOURNE SHOW After releasing his fifth solo album, Urthboy is hitting the road to tour his biggest release yet. Urthboy’s The Past Beats Inside Me Like A Second Heartbeat, may be his most successful offering to date, already garnering critical acclaim and five star reviews across the board. The album preview shows sold out in advance, so the latest tour offers a new chance to catch the man in action. Capping it off, he’ll be joined by a new band alongside special guests including Okenyo, L-Fresh The Lion and more. Urthboy will play Howler on Friday May 27. Tickets are available through his website. BEAT MAGAZINE PAGE 16

OLYMPIA CELEBRATES DEBUT ALBUM WITH 2016 MELBOURNE SHOW Melbourne songstress Olympia has locked in a hometown show this June as part of a national tour to launch her debut LP Self Talk. The release is already making waves, with heart-stopping melodies and rich soundscapes. Self Talk was recorded with Burke Reid (Courtney Barnett, Jack Ladder, The Drones, DZ Deathrays, Sarah Blasko), helmed by the soft-focus psychedelic single Smoke Signals. Catch her at Northcote Social Club on Saturday June 18. HOT TALK

CHERRYROCK016 UNVEIL FULL LINEUP Cherry Bar have a wicked party set in store for their tenth birthday edition of Australia’s only dedicated rock‘n’roll street festival. This year’s incarnation of the event is hyped to be the best one yet, with a massive final lineup locked in for ravenous rock’n’roll loving punters. Indonesia’s The Sigit will be gracing the bill for the very first time, and the always awesome High Tension have joined the bill to replace Clowns, who’ll now be on track to Belgium. They join the heavy-hitting lineup of doom monoliths Kadavar, the legend that is Richie Ramone, rockin’ superstars Supersuckers, Gay Paris, Polish Club, Dead City Ruins, Power, Dallas Frasca, Mammoth Mammoth, Mesa Cosa and Devil Electric. CherryRock 2016 takes place on Sunday May 1. Tickets are limited and are on sale at the venue’s website. Get in fast, CherryRock always sells out.

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THE BIGGEST IN INTERNATIONAL & NATIONAL NEWS

[ Formerly The Hi-Fi Bar ]

World’s End

WED 16 MAR - SOLD OUT

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FRI 18 MAR - SOLD OUT

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HENRY ROLLINS RETURNS WITH 2016 MELBOURNE SHOW

Henry Rollins is returning to Australia for the first time since 2012 off the back of his all-talking national tour. Rollins is an acclaimed spoken word performer, actor, voice over artist, author, photographer, columnist, TV host, radio DJ and activist. In 2014, he won the Ray Bradbury Creativity Award, and was also the frontman for the Grammy-nominated Rollins Band and the seminal Black Flag. He’ll appear at the Arts Centre’s State Theatre on Monday September 19 and Tuesday September 20.

SAFIA TO PLAY A SECRET SHOW IN MELBOURNE Back with their latest offering, Make Them Wheels Roll, the SAFIA crew have returned with a string of secret shows. The M.T.W.R. Tour will see SAFIA performing at nontraditional venues, offering fans a unique and intimate experience. Selling out every one of their headline shows on the back end of 2015, they have supported Lorde and Disclosure, and played coveted slots at The Great Escape, Primavera Festival, SXSW, Falls Festival and Splendour in the Grass. SAFIA will play at a mystery location in Melbourne on Friday June 3. Tickets are available through their website.

SAT 21 MAY

ELUVEITIE SUI FRI 27 MAY

THE MATCHES USA SAT 28 MAY

MELBOURNE SKA ORCHESTRA THU 02 JUN

BEING AS AN OCEAN USA SAT 11 JUN - SELLING FAST

RADIO BIRDMAN SUN 26 JUN

BLACK STONE CHERRY USA

GYMPIE MUSIC MUSTER 2016 UNVEILS FIRST LINEUP The Gympie Music Muster has put together an all-star lineup of Australian country music to celebrate their 35th anniversary. The lineup will see the likes of Kasey Chambers, John Williamson, Beccy Cole, The McClymonts and Shane Nicholson top the bill alongside Adam Harvey, Corey Harris, Bowtell & Urquhart, Christie Lamb, Harry Hookey, The Pigs, Kaylee Bell, Marshell Okell, Fanny Lumsden, Feral Swing Katz, Grizzlee Train, Dale Duncan, Cass Eager, Ben Ransom, Lloyd Spiegel and more. Gympie Music Muster will run in the Amamoor Creek State Forest from Thursday August 25 to Sunday August 28. Head to their website for the full lineup details and bookings.

PAPA G AND THE STARCATS SET FOR MELBOURNE 7” LAUNCH Ten-piece funk outfit Papa G and The Starcats are taking to the stage to launch their upcoming 7” vinyl. After a huge 2015 in which they released their debut EP, debut music video and a live album, the group went back into the studio, enlisting help from Jake Mason from Cookin’ On 3 Burners to lay down some new grooves. Their newly released singles Figure You Out and Manipulation culminate all their hard work from last year. It all goes down at the Shadow Electric on Saturday April 2.

Wax’o Paradiso have ventured into the sub-aquatic for their last bash of the season. Turning their courtyard into a Rainbow Fish Paradise, the event will see Edd Fisher, Simon TK plus a special guest to headline the night, with support from Milly and Pjenneh. Cibdesa Electronics and Funktion 1 will be running the sounds, with Sprinkles and Milly Davison capping it off with immersive visuals. Wax’o Paradiso’s Rainbow Fish will kick off Saturday April 2 at the Shadow Electric Bandroom. Dive on in.

PEARLS, THE OCEAN PARTY, AUSMUTEANTS AND MORE REVEALED FOR ABABCD With previous performances from Sui Zhen, Terrible Truths, Mangelwurzel and The Harpoons, ABABCd has announced the lineup for the latest instalment of their live music series. Taking to the stage for the filmed series comes Pearls - following on from their well received debut Pretend You’re Mine - The Ocean Party, Ausmuteants and a critically acclaimed secret act. Be a part of the action at The Gasometer Friday April 15. Tickets via Oztix.

THE VANNS ANNOUNCE 2016 MELBOURNE SHOWS The VANNS have announced they will be hitting the road for another national tour, in support of their fresh new single I’m Not The One. The track follows their 2015 single Sunday To Sunday and has once again seen the band head into the studio with rising producer Nathan Sheeby. Since 2014, The VANNS have released a steady stream of releases which has seen them receive national airplay and support the likes of British India, Tired Lion and Sticky Fingers. The VANNS will be taking over The Evelyn on Saturday May 14 as well as an all-ages show on Sunday May 15.

GOONS OF DOOM HITTING THE ROAD FOR A NATIONAL TOUR Surf rock legends Goons of Doom are playing a huge set of shows as part of their 2016 Sewer Tour. After bringing in the New Year at Falls Festival in Byron Bay, the Goons are heading off on their first national Australian tour in over six years. To top it all off, their good pals Bleach Girls and WASH! are joining them for the east coast leg of the ride. The Goons will be tearing up Ding Dong Lounge on Sunday March 27. Tickets are on sale now via the venue.

LOOSE TOOTH GEAR UP FOR EP LAUNCH Melbourne guitar-pop trio Loose Tooth have just dropped their brand new single Sherry. It is the latest track to be lifted off their debut EP Saturn Returns, coming to you on Friday April 1 via Milk! Records. Saturn Returns was recorded and mixed by Paul Maybury (Rocket Science, Pink Tiles) and mastered by Mikey Young and will be released on limited edition 12-inch vinyl which you can pre-order now. Celebrate with Loose Tooth Friday April 22 at The Gasometer.

TWIN FIRES LOCK IN 2016 MELBOURNE SHOW

Sydney newcomers Twin Fires have locked in their debut run of headline shows. Having received support from the likes of Rolling Stone and triple j since the release of their debut single Two Hands, recorded by Tony Buchen (The Preatures, Andy Bull) the trio of multi-instrumentalists will be hitting the east coast with their 2016 tour. Their EP, This Time I’m Fine, is due later this year. Twin Fires will hit Penny Black on Friday March 25.

THU 14 JUL - SOLD OUT

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BEAT MAGAZINE PAGE 18

WORLD’S END PRESS GOODBYE SHOW After bursting on the scene in 2013 with their self-titled debut, World’s End Press have announced they’re calling it a day - but not without ending it all with a final show. They followed up the album with their acclaimed EP, Tall Stories, and the band have since spent the last few years supporting the likes of Bloc Party, Cut Copy and Phoenix as well as touring in their own right, amassing a strong following and a swag of accolades along the way. World’s End Press will play their final show on Friday April 1 at Howler, with friends CC Disco and Broadway Sounds there to support. Tickets available through Moshtix.

THE PRETTY LITTLES LAUNCH NEW SINGLE The Pretty Littles have just dropped their cracking new single Pride from their upcoming EP. The track provides a cheeky snapshot of what’s to come and is a follow up from their acclaimed mini-album of 2015, Gospels. Having toured nationally with best buds CERES, sweated out tons of their own sold-out hometown shows and warmed up crowds for The Vasco Era, The Smith Street Band and Bad//Dreems, anticipation for their EP is high. To celebrate the release of Pride they will be partying at the John Curtin Hotel on Friday March 18 with support from The Harlots, Chillers and General Men. HOT TALK

COSMIC PSYCHOS LOCK IN 2016 MELBOURNE SHOWS Aussie punk legends Cosmic Psychos have locked in a long weekend headline show. Still flying off the back of their latest effort, Cum The Raw Prawn, the trio will take to the stage for an ANZAC day bender. They’ll be joined by Deafwish, Whipper, Cereal Killer, Killerbirds and Cable Ties at The Tote, alongside Clowns, Flour and Shit Sex at The Rev. It all goes down at The Reverence on Sunday April 24 and The Tote on Monday April 25.

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K B E AT.C O M

R T H E L AT

L O C A L

UPCOMING

I N T E R N AT I O N A L

BRUNSWICK MUSIC FESTIVAL Various Venues March 15 – 20 SEX ON TOAST The Gasometer March 16, 23, 30 BIG DADDY WILSON Flying Saucer Club March 16 HIGHLY SUSPECT The Evelyn March 16 LUKA BLOOM The National Theatre March 16 DON MCLEAN Hamer Hall March 16 SUNN O))) Max Watt’s March 16 SONGHOY BLUES Melbourne Recital Centre March 16 THE RAAH PROJECT Estonian House March 17 THE FUMES The Gasometer March 17 MARY BLACK The Forum March 17 THE VIOLENT FEMMES The Corner March 17 MILES & SIMONE The Toff in Town March 17 THE PRETTY LITTLES John Curtin Hotel March 18 KIT WARHURST The Workers Club March 18 JORDIE LANE The Gasometer March 18 THAT GOLD STREET SOUND Northcote Social Club March 18 THE JENSENS Shebeen March 18 DIED PRETTY Max Watt’s March 18 SEVENDUST 170 Russell March 18 BRYAN ADAMS Rod Laver Arena March 18 STEVE EARLE & THE DUKES Melbourne Recital Centre March 18, 19 LOS CHICOS The Tote March 19, The Reverence March 20, Sooki Lounge March 23 HIGH TENSION The Croxton Bandroom March 19 TUXEDO KITTEN Wesley Anne Hotel March 19 THE STIFFYS The Old Bar March 19 STRUNG OUT The Corner Hotel March 19 D’ANGELO Palais Theatre March 19 TEDESCHI TRUCKS BAND Forum Theatre March 19 THE WOOHOO REVUE Estonian House March 19 KIM SALMON The Northcote Social Club March 19 PIKNIC ELECTRONIK MELBOURNE Federation Square March 20 - April 3 BEN ABRAHAM Howler March 20 MITCH POWER The Evelyn March 20 GLENMAGGIE’S BLUES & ROOTS FESTIVAL Glenmaggie Mechanics’ Institute Hall March 20 THE PENINSULA PICNIC Mornington March 20 LORD HURON The Corner March 21 LUCKY PETERSON Northcote Social Club March 21 THE JESSICA STUART FEW The Retreat Hotel March 21. KENDRICK LAMAR Rod Laver Arena March 21 TWEEDY Melbourne Recital Centre March 21 ELLE KING Corner Hotel March 22 KAMASI WASHINGTON Prince Bandroom March 22 STURGILL SIMPSON 170 Russell March 23 MODEST MOUSE Margaret Court Arena March 23 RHIANNON GIDDENS The Corner March 23 THE RESIDENTS The Croxton March 23 OLIVIER GIACOMOTTO Brown Alley March 24 TIRED LION Rosalind Park Bendigo March 24 GRIZ Prince Bandroom March 24 EAGLES OF DEATH METAL The Croxton Bandroom March 24, 25, 31 YEO Howler March 24 ENDLESS BOOGIE The John Curtain Hotel March 24 HOUNDMOUTH Northcote Social Club March 24 ST. PAUL & THE BROKEN BONES The Corner March 24 CARMADA Star Bar, Bendigo March 24 BLUESFEST Byron Bay March 24 – 28 TWIN FIRES Penny Black March 25 INNER VARNIKA FESTIVAL March 25 - 27 HEIN COOPER Shebeen March 25 Z-STAR DELTA The Wesley Anne March 25, The Grace Darling Hotel April 1. GYPSY & THE CAT Howler March 25 WALKEN AND MUDDY CHANTER The Tote March 25 WAFIA Northcote Social Club March 25 COLD WAR KIDS 170 Russell March 25 BOOGIE FESTIVAL Bruzzy’s Farm March 25 – 27 THE HILLS ARE ALIVE Krowera March 25 – 27 TOM JONES Hamer Hall March 25 THE SELECTER Corner Hotel March 25 EILEN JEWELL Caravan Club March 26, Thornbury Theatre March 30 A GAZILLION ANGRY MEXICANS Cherry Bar March 26 THE HILLS ARE ALIVE South Gippsland March 25 – 27 NICHOLAS ALLBROOK Northcote Social Club March 26 LEGION MUSIC FEST Melbourne Showgrounds March 26 GOONS OF DOOM Ding Dong Lounge March 27 ROCKWELL, TECHNIMATIC & JOE FORD Prince Bandroom March 27 LEFTÖVER CRACK Bendigo Hotel March 27, 28 (AA) TOKE D KEDA Jason Coleman’s Ministry of Dance March 27

BEAT MAGAZINE PAGE 20

A R T I S T S

H E A D I N G

NAHKO AND MEDICINE FOR THE PEOPLE The Corner March 27 THE WORD The Corner March 28 THE MICK FLEETWOOD BLUES BAND 170 Russell March 29 NOEL GALLAGHER’S HIGH FLYING BIRDS Margaret Court Arena March 29 JASON ISBELL Melbourne Recital Centre March 29 THE DECEMBERISTS Hamer Hall March 29 TAJ MAHAL Melbourne Recital Centre March 30 NATHANIEL RATELIFF & THE NIGHT SWEATS 170 Russell March 30 LUKAS NELSON & PROMISE OF THE REAL Howler March 30 MELISSA ETHERIDGE Palais Theatre March 30 VINTAGE TROUBLE The Corner March 30 STIFF LITTLE FINGERS 170 Russell March 31 ALLEN STONE The Corner March 31 WORLD’S END PRESS Howler April 1 MIKE ELRINGTON The Flying Saucer Club April 1 SHADY COTTAGE East Trentham April 1 THE BENNIES The Corner April 1 THE BLIND BOYS OF ALABAMA Melbourne Recital Centre April 1 JACKSON BROWNE Palais Theatre April 1 BY THE MEADOW FESTIVAL Bambra April 1, 2 PAPA G AND THE STARCATS Shadow Electric April 2 NORTHEAST PARTY HOUSE Corner Hotel April 2 AS A RIVAL Cherry Bar April 2 TIGERTOWN Northcote Social Club April 2 THE TIMBERS Yarra Hotel April 2 ED KUEPPER Melbourne Recital Centre April 2 CITY AND COLOUR Sidney Myer Music Bowl April 2 THE VASCO ERA + LITTLE RED The Corner April 3 BRIAN WILSON Palais Theatre April 3 LOW Melbourne Recital Centre April 4 ST ALI’S FREE MUSIC SERIES St Ali April 6 GORDIE TENTREES Billyroys Blues Bar, Bendigo April 7 HAILMARY Yah Yah’s April 8 MAYFAIR KITES The Worker Club April 8 MOONEE TUNES FESTIVAL Moonee Valley Racecourse April 8 MONTAIGNE Howler April 8 SKYSCRAPER STAN AND THE COMMISSION FLATS Cherry Bar April 8 SASKWATCH The Corner Hotel April 8 OH PEP! Northcote Social Club on April 8 CALIGULA’S HORSE Ding Dong Lounge April 8 THE MURLOCS The Tote April 8 THE GOON SAX The Tote April 9 CITY CALM DOWN The Corner April 9 THE LULU RAES + POLISH CLUB Shebeen April 9 WITH CONFIDENCE Arrow On Swanston April 9 MODERN BASEBALL The Reverence April 9, 10 DAUGHTER 170 Russel April 10 CHRIS ISAAK Margaret Court Arena April 13 TRIVIUM 170 Russel April 13 WEDNESDAY 13 Corner Hotel April 14 METHYL ETHEL Northcote Social Club April 14 ABABCD The Gasometer April 15 UV BOI Northcote Social Club April 15 SPENCER P. JONES BENEFIT The Prince of Wales April 15 MONIQUE DIMATTINA Melbourne Recital Centre April 15 OPIUO 170 Russell April 15 HAWTHORNE HEIGHTS Bang April 16 SEAN MCMAHON Bella Union April 16 WALLAPOLOOZA The Corner Hotel April 16 SONS OF ZION The Croxton April 16 NADIA REID Northcote Social Club April 19 BLACK SABBATH Rod Laver Arena April 19 GANG OF YOUTHS 170 Russell April 20, 21, 22 FIVE FINGER DEATH PUNCH Festival Hall April 20 THIRSTY MERC Melbourne Public April 20 LOOSE TOOTH The Gasometer April 22 NO ZU Maxx Watt’s April 23 HILTOP HOODS + MSO Rod Laver Arena April 23 VANCE JOY Margaret Court Arena April 23 SARAH BLASKO The Forum April 23 THE GO SET The Tote April 24 PURE FESTIVAL Shed 14 April 24 COSMIC PSYCHOS The Tote April 25 JOSH GROBAN Palais Theatre April 25 DANNY BROWN Forum April 26 TWENTY ONE PILOTS The Forum April 27 RYAN BINGHAM Northcote Social Club April 27 VIC MENSA Prince Bandroom on April 28 MUTEMATH Corner Hotel April 28 RATATAT 170 Russell April 28, 29 ODESZA Forum April 29 MS MR Prince Bandroom April 29 WIDE OPEN SPACE FESTIVAL Ross River Resort April 29 – May 1 VINCENT GIARRUSO The Toff In Town April 30 HEDGE FUND The Workers Club April 30 KADAVAR Corner Hotel April 30

T O

M E L B O U R N E

Gig Of The Week

D’ANGELO Palais Theatre

Saturday March 19

The master of neo-soul D’Angelo will be heating things up at the Palais Theatre on Saturday March 19 as a precursor to his slot at Bluesfest 2016. D’Angelo has not graced Australian soil since the release of his 2014 comeback album Black Messiah, and anticipation has been high for his return. Tickets can be purchased via Ticketek and the night kicks off at 7pm. GROOVIN THE MOO Prince of Wales Showground, Bendigo April 30 SUPERSUCKERS Cherry Bar April 30 CHERRYROCK016 Cherry and AC/DC Lane May 1 MATT CORBY Palais Theatre May 1, May 2 MILLENCOLIN 170 Russell May 3 RICHIE RAMONE Cherry Bar May 3 OF MONSTERS AND MEN Palais Theatre May 4, 5 THE TEMPER TRAP The Forum Theatre May 5 HINDS Northcote Social Club May 6 TINPAN ORANGE The Toff In Town May 7 COHEED AND CAMBRIA Max Watt’s May 7, 10 IRON MAIDEN Rod Laver Arena May 9 M83 The Forum Theatre May 10 RUDIMENTAL Margaret Court Arena May 10 STONNINGTON JAZZ FESTIVAL City of Stonnington May 12 - 22. THE WONDER YEARS Corner Hotel May 12 LITTLE MAY Max Watts May 13 MELODICROCKFEST Elephant & Wheelbarrow May 13, 14 PURE GOLD LIVE Palais Theatre May 13 THE VANNS The Evelyn May 14, 15 VIOLENT SOHO Forum Theatre May 14 L7 170 Russell May 17 ERIC BURDON AND THE ANIMALS The Palais May 18 SCREECHING WEASEL AND MXPX Prince Bandroom May 20 THIS IS HIP HOP Festival Hall May 21 CAT POWER The Melbourne Recital Centre May 22, 23 TINASHE The Forum May 25 THE BEARDS The Loft May 25, The Golden Vine May 26, Karova Lounge June 23, Barwon Club June 24, The Corner June 25 HOT DUB TIME MACHINE 170 Russell May 27 A WILHELM SCREAM The Reverence Hotel May 26 URTHBOY Howler May 27 MELBOURNE SKA ORCHESTRA Max Watt’s May 28 THE LOVE JUNKIES The Workers Club May 28 ANGELUS APATRIDA Bendigo Hotel May 28 THE DRONES 170 Russell May 20, The Tote May 28 THE CAT EMPIRE The Forum Theatre May 27, 28 CHERIE CURRIE The Corner May 28 SAFIA Mystery location June 3 ROBERT GLASPER TRIO Melbourne Recital Centre June 4 FEAR FACTORY Prince of Wales June 4 MELBOURNE INTERNATIONAL JAZZ FESTIVAL Various Venues June 3 – June 12 PRIMAL FEAR The Northcote Social Club June 11 DMA’S The Corner June 11 THE RUBENS Margaret Court Arena June 25 BIG COUNTRY The Corner June 15 TOTALLY 80’S Palais Theatre July 15

S O . M A N Y. G I G S .

COG 170 Russell July 15 OLYMPIA Northcote Social Club June 18 STEEL PANTHER Festival Hall June 18 MACKLEMORE & RYAN LEWIS Rod Laver Arena August 5 GYMPIE MUSIC MUSTER Amamoor Creek State Forest August 25- 28 BEN FOLDS WITH YMUSIC Palais Theatre August 26 BRING ME THE HORIZON Margaret Court Arena September 2 HENRY ROLLINS Arts Centre’s State Theatre September 19, 20 ELLIE GOULDING Rod Laver Arena October 8 MSO - INDIANA JONES AND THE RAIDERS OF THE LOST ARC Arts Centre November 4, 5 EARTHCORE Pyalong November 24 - 28

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or Anty Horgan, Craig Selak, David Beaumont and Jules Rozenbergs – collectively known as The Bennies – Tuesday January 26, 2016 was just another day. They weren’t up for any public holiday celebrations, nor were they gathered around the wireless listening to the national youth broadcaster. “Anty was asleep, Jules was playing video games and I was out playing golf with my dad,” says Selak, the band’s bassist and co-vocalist. It was early afternoon when the news broke: Party Machine, the lead single from The Bennies’ third studio album Wisdom Machine, had entered the triple j Hottest 100 at number 88. “I think we were about to tee off on the second hole when suddenly my phone started ringing off the hook,” laughs Selak. “I don’t think we even thought we’d get into the Hottest 200. It was such a thrill, even just to know that the hard work that we had put in meant that people outside of our friends and families had been listening to us and were getting behind the band.” The Bennies formed in 2009 under the name Madonna. The original lineup comprised Selak, vocalist/keyboardist Horgan and drummer Beaumont, who soon changed their name to The Bennies. They released their debut album, Party! Party! Party!, in 2011 and Rozenbergs, a former axe-wielder in The Gun Runners, joined on guitar and vocals a year later. The lineup has stayed solid, releasing two EPs (2013’s Better Off Dread and 2014’s Heavy Disco) and an album, Rainbows in Space. Now, the band – who skid between reggae, ska, punk, rock, pop and hair metal – are on the cusp on their most ambitious LP to date. “We’ve never worked as hard on anything as we have this record,” says Selak. “We wanted to try something really conceptual, which was a big deciding factor in what songs made it BEAT MAGAZINE PAGE 22

onto the record. We ended up writing 22 songs for this album, as far back as after we finished Heavy Disco. So once we had the idea behind Wisdom Machine it was much clearer as to what songs we were going to include. I think that we wanted this to be a record of freedom – it’s an album where we took the liberty of doing everything that we’ve ever wanted to do on one of our albums. Nothing’s forced on this album. Everything you hear is just us going about exploring what we’re able to do as a band. We were focused, primarily, on doing whatever came naturally to us.” Fans have already heard three singles from the record: the aforementioned Party Machine, a nod to Sublime, Legalise (But Don’t Tax), and the punslinging skate punk tune Detroit Rock Ciggies. There’s plenty more where that came from too, as Wisdom Machine sees The Bennies coming good on their liberated agenda. Corruption, for instance, is one of the slowest and heaviest tracks the band have ever committed to wax, stemming from two vastly different musical influences. “Even back when we were Madonna, we’d always had this idea of doing a song like Rage Against the Machine,” says Selak. “They have the same set-up as B E AT.C O M . A U

us – vocals, one guitar, bass, drums. Their songs are angry and punchy, but they’ve got so much groove to them. Though, it’s a different groove. You can say the same thing about Black Sabbath, who I’ve always loved. That’s kind of where the idea behind that song came from – doing something really heavy, but then switching it up with kind of a reggae feel.” Wisdom Machine also features both the shortest and the longest Bennies songs yet. West Memphis Three Paper is all over in 21 seconds, while closer O Brother, Where Art Thou? clocks in around the ten-minute mark. Selak is particularly emphatic about people hearing the latter, which he says is the song that means the most to the band. “I honestly think it’s the best song we have ever recorded. It’s a really personal one – especially for Anty, who wrote all of the lyrics himself about his brother. We were both working on our separate things – we were formulating what would become the song itself, and Anty was working away on the story that he wanted to tell. The one thing we knew we couldn’t do was hold back – when it came together finally, it was such a huge moment for all of us.” The excitement for the first new batch of Bennies bangers in nearly two years has been considerably high – pardon the pun – to the point where pre-sales on the first run of vinyl are nearly sold out. “It’s honestly so humbling,” says Selak. “It’s been difficult just sitting on this album for so long. Usually, once we’re done recording, it’s all out within a month. “One of the benefits, though, has definitely been getting the word out there about the record and having time to do something really interesting for the pre-sale packages. We’ve got flags and picture-discs and other really cool shit in there. Taking our time with it means there’s a bit more of a payoff for everyone.” The record’s exquisite artwork is a collaboration between Geoffrey Horgan, Anty’s dad, and Smith Street Band drummer Chris Cowburn. Horgan painted the psychedelic cover image, while Cowburn implemented the design and typography. “Our jaws just dropped when we saw that for the first time,” says Selak. “They just both completely went above and beyond for this album. Anty’s dad just paints as a hobby, and

we loved the style that he paints in. It’s got that real Renaissance-period feel to it, but it doesn’t carry any real religious connotations. When we were putting together the concept behind Wisdom Machine, we realised that he would be the best guy for the job. He was with us every step of the way, and he really made the idea his own.” Fans will have another chance to see The Bennies live when they head out on a national tour later this month. The tour includes some of their biggest headlining shows yet, and it’ll be the first time many tracks from Wisdom Machine have been played live. Joining them will be Adelaide punks Hightime – whose last album, Mother Crab, features Horgan on one of its tracks – as well as Minnesota’s premier punk exports Off with Their Heads. For the latter, it’s a long-awaited return to Australia and Selak explains how the two bands crossed paths. “We were touring through America – it might have been the very first time that we did, actually. We were playing in Long Beach about two years ago, and there was this guy... he was literally the only one in the entire venue that was paying any attention to us. If we’d have known we’d just be playing to one person, we’d have pulled out in an instant – we were so hungover and dusty. Still, we didn’t think too much of it – I mean, what can you do, really – and just treated it like a bit of a jam session or rehearsal. We were just laughing and having fun, like we always do. After we were done, this guy came up to us and had four beers waiting for us. He was like, ‘That was the best show I’ve seen in years. You guys are my new favourite band.’ We were all like, ‘Who the fuck are you, dude?’ It turned out to be Ryan Young, the lead singer of Off with Their Heads. “We ended up having a bunch of beers with him and made sure to stay in contact. A few years down the track, they wanted to come back to Australia – and here we are.” The moral of the story? “Rock every show that you play,” laughs Selak. “You never know who might be watching.” THE BENNIES new album Wisdom Machine is out on Friday March 25 via Poison City Records. They’re playing at the Corner Hotel on Saturday March 26 and Friday April 1.

For more arts news, reviews and interviews visit beat.com.au

DIRTY SECRETS COMEDY

Coming Up

THE COMIC STRIP

Jurassic World: The Exhibition

KIRSTY MAC

Saturday March 19 - Sunday October 9 Melbourne Museum

Melbourne International Comedy Festival Wednesday March 23 - Sunday April 17 Various Venues

Degas: A New Vision

Friday June 24 - Sunday September 18 National Gallery of Victoria

Cirque Adrenaline

Friday April 1 - Thursday April 7 State Theatre

Following sold out shows as the cigar smoking Feminazi, Kirsty Mac returns with her latest show - Manflu. She’s received glowing reviews in the past, and her upcoming performances as part of this year’s Comedy Festival promises to be no exception. Catch her over 12 shows from Sunday March 31 – Sunday April 17 at Speakeasy HQ, 522 Flinders St.

Supanova Pop Culture Expo Friday April 15 – Sunday April 17 Melbourne Showgrounds

Raiders of the Lost Ark Live in Concert

DIRTY SECRETS COMEDY There’s a super sweet line up at Caz Reitops featuring the amazing Ben Russle, Tamara Issa, Ben Knight, Sam Taunton, Murphy McLachlan plus heaps more for absolutely nothing. Get in early for some great whiskey and beer. This show is going to go off. See you every Wednesday at 8.30pm.

COMEDY AT THE WILDE Tuesdays at The Wilde some of Melbourne’s best young comedians join with sign up on the night open mic acts for one of the loosest nights in town. This week is going to be amazing, with the comedy festival just around the corner there will be a tonne of interstate and international drop-ins including Suren Jayemanne, Emily Tressider, Angus Gordon and more. Don’t miss it. It’s this Tuesday March 22 at 153 Gertrude St, Fitzroy at 8pm. And, it’s totally free.

CRAB LAB On Wednesday March 16 for absolutely nothing you can catch a slew of the country’s finest – right in the heart of the city. Taking to the stage will be Dilruk Jayasinha, Daniel Connell, Demi Lardner, Jay Morrissey, Michael Shafar, James Masters, Greg Larsen and a special guest with $7 pints and free popcorn. It’s an 8.30 start at the House of Maximon, 16 Corrs Ln, CBD.

Supanova Reveals More Guests For 2016 Program

The Supanova Pop Culture Expo has added more celebrity guests to their already teeming lineup. Leading the cavalcade is Marvel’s Agents of S.H.I.E.L.D. and Friday Night Lights star, Adrianne Palicki. She’ll be joined by British actor Burn Gorman, best known for playing Owen Harper in cult television series Torchwood, alongside Bonnie Wright - famous for her iconic portrayal of Ginny Weasley from the Harry Potter films. Also coming along for the ride is Amy Acker (Angel, Alias, Dollhouse, Agents of S.H.I.E.L.D, Person of Interest), Richard Harmon and Sachin Sahel from The 100 and international comic creators Jason Latour and Bruno Redondo. Between them, they’ve worked on major projects for DC and Marvel including Batman: Arkham Unhinged and Star Wars: Darth Maul - Death Sentence. They’ll join the likes of Game of Thrones star Jack Gleeson, Christopher Judge of Stargate SG-1, Allison Mack, Dawn Wells and more. Supanova 2016 will run from Friday April 15 - Sunday April 17 at the Melbourne Showgrounds.

Friday November 4 – Saturday November 5 Hamer Hall

Henry Rollins Returns For Melbourne Show Henry Rollins is returning to Australia for the first time since 2012 off the back of his all-talking national tour. As well being the front man for the Grammynominated Rollins Band and the seminal Black Flag, he is also a spoken word performer, actor, voice over artist, author, photographer, columnist, TV host, radio DJ and activist. In 2014, it culminated in Rollins winning the Ray Bradbury Creativity Award. He’ll appear at the Arts Centre’s State Theatre on Monday September 19 and Tuesday September 20.

Melbourne Theatre Company To Present Miss Julie Melbourne Theatre Company are set to stage August Strindberg’s 1888 play of love and class warfare. The rendition will be directed by acclaimed Sydney Theatre Company director Kip Williams in his MTC debut. Joined by a cast of Robin McLeavy, Mark Leonard Winter and Zahra Newman, Miss Julie is a play centred around power and desire, following a young mistress over a night of passion and secrecy. Melbourne Theatre Company will stage Miss Julie at The Sumner Theatre from Saturday April 16 - Saturday May 21. Tickets available now through MTC.

ACO And Synergy Percussion

OUT NOW

Collaborate For Cinemusica

Louis Theroux Locks In Melbourne Show Acclaimed journalist and documentary maker Louis Theroux has announced his first ever Australian appearance, heading to Melbourne on a speaking tour of the country. The show will see Theroux reflect on his years of film making in conversation with Julia Zemiro. The intimate dialogue will draw on footage from his watershed Weird Weekends series, as well as his experiences dealing with everyone from white supremacy groups to encounters with celebrities and the criminally insane. Inspired by previous Q&A sessions held in Britain, Theroux will discuss his working methods and how he navigates danger, as well as following up on the lives of those he has documented throughout his career. Featuring previously unseen footage, the two-hour event will unpack his vast discography of popular documentaries. He’ll appear at Hamer Hall on Sunday September 25.

Two of Australia’s longest standing musical entities are bringing their collaborative work to Melbourne, featuring iconic compositions from silver-screen favourites alongside premieres of new works. Bringing some of the 20th and 21st century’s most iconic moments from film scores to the stage, it will feature the compositions of Bernard Herrmann (heard in Alfred Hitchcock’s Psycho), Thomas Newman’s work from American Beauty and Bartók’s epic Music for Strings, Percussion and Celesta – used to chilling effect in The Shining. The performance will be the first time the two musical ensemble giants have performed together in 30 years, helmed by a collaboration between Richard Tognetti and Timothy Constable. It takes place at Hamer Hall on Sunday April 10 and Monday April 11.

Ira Glass To Present New Show In Melbourne American radio host and broadcaster Ira Glass is bringing his new multi-medium show to Melbourne. Entitled Three Acts, Two Dancers, One Radio Host, the latest project for the This American Life creator features a combination of live radio and contemporary dance across three acts. The performance will see radio interviews reborn as dance pieces, intertwined with stories from Glass and his fellow performers. The first act is about the job of being a performer, while act two is about falling – and staying – in love. Finally, act three explores how nothing lasts forever. You can catch Three Acts, Two Dancers, One Radio Host across two performances on Thursday July 14 and Friday July 15 at the Arts Centre. G E T S O M E C U LT U R E U P YA

‘Hugo writes with a unique voice and the insights of one in the middle of the maelstrom.’

— Mick Harvey Available from all good bookstores or post free from www.transitlounge.com.au

BEAT MAGAZINE PAGE 25

For more arts news, reviews and interviews visit beat.com.au

Jurassic World: The Exhibition BY ALEXANDER DARLING

We love dinosaurs. It’s a home truth that has seen the film Jurassic World gross a total of $1.67 billion across the world, and which will now see Jurassic World: The Exhibition offer people the chance to get up close and personal with the prehistoric stars of the show. Organisers describe it as “interactive” and “immersive”, which is an impressive way of saying that the dinosaurs in this exhibition move and appear to interact with their surroundings – including the people watching them.

“The experience for the audience is that they come along and get the sense that they are travelling to Jurassic World from the film series, and they get to encounter the dinosaurs as visitors to Jurassic World would,” says Philip Millar, Associate Creative Director of Creature Technology, the Melbourne-based animatronics company that has made the dinosaurs for this exhibition. “So you see the life size animatronic dinosaurs, as if they’re real creatures moving about, and hopefully feel like you’re in the dinosaur’s world, rather than the other way round.” The exhibits that form Jurassic World are inspired by scenes from the film, and all the dinosaurs you expect to see – the skyscraper-sized Brachiosaurus, the T-Rex and the villainous, Frankenstein-esque creation 'Indominus Rex' – will be there. In addition, Philip says Creature Technology has incorporated the most up to date information on dinosaur anatomy and fossil discoveries into creating their animatronic beasts. He says their focus has been on making dinosaurs’ appearances and movements as close to the real thing as they can be. While allowing viewers to experience once again the wonder and excitement of Jurassic World is paramount, Philip says a key aim for the exhibition’s creators is ensuring people learn something about dinosaur science. “I think that’s critical," he reflects. "Particularly because it’s being held in a museum, I think it’s important the real world of paleontology is reflected. And people can go around the rest of Melbourne Museum and see actual bones and real specimens. I’d like to think people leave realizing there’s quite a lot of dino-research going on and interesting, exciting discoveries being made that go beyond having large monsters roaring at you.” The exhibition’s final room houses the most recent developments in dinosaur science, while the work of Jack Horner, the famed paleontologist who served as scientific consultant on the set of all the Jurassic films, is also reflected throughout the exhibition. Philip says organisers would be “delighted beyond belief ” should the exhibition receive the same enormous success of the film that spawned it. “The huge difference of course is when you go and see a film, everything is neatly contained on a screen for you and you’re entirely safe sitting down and being quite passive. Whereas at this exhibition you’re strolling along beside these creatures, and they appear to be actual animals in front of you moving about. “So it’s a whole other experience, and whether people embrace it to the same extent they have the film remains to be seen. I certainly hope they do, because I think it’s a very exciting change from what you’d usually see at a cinema or indeed in a museum.” It’s not surprising Melbourne has been chosen to

Jimeoin BY NICK MASON

Acclaimed Irish comedian Jimeoin will be celebrating the Melbourne International Comedy Festival’s 30th year in style, presenting a new show, For One Night Only. Those who have already perused the festival’s online guide or flicked through the program may have noticed that, in actuality, For One Night Only runs for three dates. Nicely done. Of course, this one cheeky Easter egg grossly undersells Jimeoin’s talents. It is just the beginning. The living, breathing epitome of observational comedy, Jimeoin works wonders with the minutiae of everyday life. It’s not difficult to imagine a shopping list somehow doubling as a setlist, such as Jimeoin’s gift for mining the comedy gold from the greatly mundane. A self-proclaimed specialist in “daft nonsense”, he darts from idea to idea quite deliberately. “Jumping from one subject to another; that’s the way a conversation goes. If somebody stays with any subject matter for too long, it’s almost like they’ve got an axe to grind,” Jimeoin explains. “You don’t want to go and see somebody and they’re talking about fucking whatever for the whole night... I mean, come on. You can’t stay on topic too long.” Jimeoin prefers to be unpredictable – which, as he points out, is not at all the same as being an exponent of so-called shock comedy. “If people know that you’re going to be shocking, then you’re not going to be shocking, because you’ve already told them. But it’s good to go for the jugular once in awhile. Going for the jugular is good, but you need to know when to go for it.” It comes as no surprise that, as a renowned veteran of stand-up comedy, Jimeoin has a wealth of wisdom to impart. Even now, he continues to grow as a performer, with plenty of unexpected lessons cropping up over his lengthy career. “I’ve learned to trust my lack of faith in stuff now,” Jimeoin confirms. “If I think it’s going to be guaranteed, then the joke will bomb. If I’m not too sure, it seems to work better. I can’t pick them. I just can’t pick them. The first laugh that they get, I’m equally as surprised as the BEAT MAGAZINE PAGE 26

audience. Then you start saying it in a cocky, confident way because you know it works. But originally, you have no idea.” If you think that sounds exhilarating, you’d be right. “There’s nothing better than a new bit that works, because you can go on your arse very easily,” Jimeoin explains. “It’s like doing a skateboard trick you’ve never done before and really hurting yourself. You know, you’ll be up there telling jokes and looking fantastic, then try something new and just go on your arse. It’s laced with danger, new material. That’s probably why it’s the best feeling when you pull it off.” Quite obviously, the ability to recognise when a bit is working or when it desperately needs to be cut is invaluable to any comedian. However, when it comes to picking and choosing, Jimeoin boasts a particularly unique approach. “I used to do this thing; I have a book... if [a joke] gets a laugh, I give it a tick. If it doesn’t, I scribble it out. I really, really scribble it out. I don’t want people seeing what I thought, on the chance that someone might get a glance,” Jimeoin laughs. “My sister used to do it to me: if I ever told her a joke that she didn’t think was funny, she’d go, ‘did you make it up? You made that up, didn’t you.’ That was the ultimate insult, if you made it up.” These days, Jimeoin can rest assured of his comedy credentials. Still at the top of his game, having notched up over 25 years as a professional funnyman, he truly has seen it all. “I’ve been here for a long time,” he reflects. “When I was touring stand-up here, there weren’t a lot of other people doing it. Kevin Bloody Wilson, Rodney Rude... Billy Connolly would do the

EVERYTHING MELBOURNE

host the world premiere of the exhibition. Creature Technologies, which has also made the beasts that have featured in the arena shows of Walking with Dinosaurs, King Kong and How to Train Your Dragon, was founded here in 2006, and Philip says the company has a long and rich history with Melbourne Museum. “Melbourne Museum has a fabulous paleontology section, and there’s a lot of interesting dinosaur research that goes on there. We made two animatronic dinosaurs for them about five years ago to tie in with discoveries at Dinosaur Cove (near Cape Otway on Victoria’s Great Ocean Road). Also, our general manger was formerly exhibitions manager at Melbourne Museum.

“So you see the life size animatronic dinosaurs, as if they’re real creatures moving about, and hopefully feel like you’re in the dinosaur’s world, rather than the other way round.” “We do animatronics that go around the world, but being able to create something we can launch locally is good in terms of practicality, obviously. Also because it’s our local space, and we can see what people think of our work first-hand.” So what explains our seemingly insatiable love of dinosaurs? They’re big, yes, and some of them have mighty roars and impressively sharp teeth and claws, but what is it about these long gone titans of our world that keeps us coming back fascinated again and again? For Phil, who is working in his dream job having grown up making model dinosaurs out of plaster, bandages and wire, the answer is quite simple. “There is something amazing in realizing these creatures actually existed once like we do today. When massive bones are found, you can’t help but wonder 'how did that even stand up?' And so it’s quite exciting trying to imagine that animal moving about, and knowing that it did, and did so successfully for 160 million years. I think that’s just intriguing.”

Jurrasic World: The Exhibition will make its world premiere at the Melbourne Museum from Saturday March 19 – Sunday October 9.

“I’ve been here for a long time. When I was touring stand-up here, there weren’t a lot of other people doing it. Kevin Bloody Wilson, Rodney Rude... Billy Connolly would do the odd regional tour, but you couldn’t see anybody else. It was easy to book theatres because there were no other stand-ups doing it.” odd regional tour, but you couldn’t see anybody else. It was easy to book theatres because there were no other stand-ups doing it.” Of course, the landscape has changed significantly. “Certainly there are a lot more people doing it. That always creates diversity, just because [the comedy scene] is larger. It’s certainly a bigger thing in so many ways,” Jimeoin explains. “People see it as an option, too. Everybody I knew who did stand-up got into it in such a bizarre way. And nobody really thought about being a stand-up. But now, you know how kids think, ‘I could be in a band’? Now people think, ‘I could do stand-up’. It’s a lot more open to people giving it a whirl.” And Jimeoin himself arguably played a huge part in paving the way for today’s comics. He meets the suggestion with great modesty, though. “That’s always the way, really, with people who were there before you. People see you and go, ‘I could do that’. I was the same when I saw other people doing it. I certainly didn’t mean it as a career, more as a bit of a laugh, really.” And in that moment, it dawns on Jimeoin just how incredible the journey has been. “It’s the festival’s 30th year... I’m not far away. Jesus.”

Jimeoin will perform at The Palms at Crown Casino on Friday April 15, Saturday April 16 and Sunday April 17.

For more arts news, reviews and interviews visit beat.com.au

Daniel Sharman BY LIZA DEZFOULI

Daniel Sharman has recently crossed a goal off his performance bucket list. He’ll be appearing on the silver screen alongside one of his longtime idols, fellow actor John Cleese in Albion: The Enchanted Stallion. “He’s a bit of a hero of mine,” Sharman says. “It was an absolute pleasure. He’s a genius”

Sharman likes to joke around with his co-stars to diffuse the tension. “When I’m filming, I always try to get the entire set to do a race, for the sake of my own ego. I’m by far the fastest man,” he laughs. If he sounds a bit pleased with himself, relax – Sharman doesn’t appear to take himself seriously. He’s delightful to talk to. Since 2011, when he acted in his first feature film, The Last Days of Edgar Harding, Sharman has been working constantly, appearing in Immortals alongside Henry Cavill and Mickey Rourke. Fame might look like it has come to him suddenly, but the young UK actor says he’s been working hard for years to reach this point. “I’ve done my time,” he says. “It seems fast, but it’s not. Not in any way, shape or form. And even if I keep doing this forever, I don’t know if I’ll ever get it right. With everything I do, I’m try to get it right – I’m continually learning. To me it feels slow, but I don’t know if I want it to go any faster. Your training is in playing small parts, maybe four lines here or there, until you’re ready to play big parts. It wouldn’t have been good for me as an actor for it to go any faster. If you’re after meteoric success as an actor, you’re doing yourself a disservice – you won’t be learning in the way that you should. You plod along until the next stage.” Much of Sharman’s dramatic training involved spending several years with the UK’s Royal Shakespeare Company. “Theatre is a great place to learn how to act,” he reflects. “Weirdly enough, I was really young when I started with the RSC. Shakespeare to me feels like a second language, one you learn when you’re really young. I have such an affinity for it. I understand it;

it’s like your mother-tongue or something. I have nostalgia for it, but I can’t be half-arsed about doing Shakespeare. I’d have to dedicate myself to it for long periods of time, and I can’t do that right now.” Sharman, who is currently living in Los Angeles, says he’s never been as excited about going anywhere as he is about coming to Australia for the upcoming Supanova Pop Culture Expo. It offers the chance for fans to connect with Sharman, and talk to him about the many projects he has been involved with. Ultimately, it’s a flattering experience that still feels strange to him. “It’s weird. They know me from different things. Or they say they’ve watched everything I’ve done.” Besides appearing in the reboot of Teen Wolf, Sharman’s illustrious TV profile includes the hit series, The Nine Lives of Chloe King and The Originals. He’s been on stage as well, appearing in Off the Main Road. While he has performed in numerous guises, Sharman now takes a more refined approach to picking his roles. “Michael Caine said ‘say yes to everything’ – and seriously, he’s doing all right,” he laughs. “The only things I do now are those that challenge me – move me along – where I feel like I’ve got something to say in this arena. Those are the criteria by which I pick what I do. Life’s too short not to do the things that move you.”

Daniel Sharman will appear at Supanova Pop Culture Expo 2016 alongside Jack Gleeson, Christopher Judge, Allison Mack, Dawn Wells and more from Friday April 15 – Sunday April 17 at the Melbourne Showgrounds.

W I T H T O M B R A N D - T O M B R A N D @B E AT.C O M .AU

EVERYTHING MELBOURNE

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Mitch Power

N atura l l y Y ours

B y J osep h E arp

Nothing beats a good old dash of reinvention. Just ask country crooner Mitch Power, a troubadour whose career began in a very different music scene. “I was in a Kiss tribute band in high school,” Power laughs. “It was full on. We did the makeup and everything.” Though such beginnings might sound about as inauspicious as they come, Power’s foray into glam metal provided the young man with a clear trajectory. The fact that his debut EP No One’s Waiting Anymore is miles away from I Was Made For Loving You is beside the point. Donning that iconic face paint and getting up in front of a crowd taught Power a very important skill: self-confidence. “I’ve been playing so many gigs for so long now that [performing] is never really a daunting thing,” he says. “It’s sort of second nature these days. There are [some] nerves about getting out there and playing, but not really.” No One’s Waiting Anymore makes it apparent Power has been around the block a few times. It’s a tender assemblage of bruised and bristling country tunes that exudes technical skill and conviction. “Because I’ve been playing guitar for other people for so long, it was fun just to focus on the solo stuff,” he says. “It’s been a really nice experience to get to write about things that have been simmering under the surface that I’ve just been too busy to take time with. It’s been good to put that time aside and just let these songs come out.” Honesty and autobiography rule when it comes to Power’s songwriting practice, and a tune like the barbed That’s For Sure (“You got what you came here for / Some better friends, that’s for sure,”) is based on figures that populate Power’s own life.

“I find it really hard to put myself into the shoes of someone else, or write about something that’s not true,” he says. “All these tunes are definitely autobiographical: they’re about things that have happened, or are still going on. “I feel it’s a lot easier for people to make a connection if I’m singing about something that’s not only true, but that actually

Mia Dyson T earing

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T h e

T own

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I first stumbled across Mia Dyson quite by chance, though it turns out I was rather late to the party. It was several Woodford Folk Festivals ago, and Dyson was sharing the stage with Jeff Lang and Matt Anderson, blowing everyone away with vocals so husky you felt instantly compelled to swill fine scotch and smoke cheap cigars, probably simultaneously. Her original songs are bluesy vignettes that have already caught countless ears, and with a new EP, Right There, the enchantment is likely to continue. This time, however, the songwriter adopted a different approach. “I’ve been writing with my husband, which is interesting,” Dyson says. “Before, I’ve always written by myself. He’s always written poetry and stories, and I started trying to put his poems to music, because they were really interesting, different forms to the way that I would write lyrics. We found this real, unexpected synergy there. I’ve tried co-writing before and I’ve found it pretty difficult. You don’t want to step on toes, you don’t want to hurt somebody’s vision. It’s tricky. For me lyrics take a long time, but because he’s such a wordsmith they

come much faster to him. So we’ve been able to write a lot more than I normally would. I’m just interested in so much more, and exploring so much more, especially the next recording. I’m not going to reinvent the wheel here or become a totally different artist, but I want to experiment.” Part of that experimentation has involved return visits to the US, which has become a second home to Dyson over the years. After moving there in 2009, Dyson has yo-yo’d across the oceans ever since, adding experiences and influences to her musical

happened to me. All the things I’m writing about are things everyone has gone through. So the stories, while being unique to me, are still kind of universally relatable. I feel like just giving a bit of context to each song before I play allows people to go into the song and know exactly what it is about and just connect to it. That’s the goal there.” In terms of his plans for the future, Power is utterly committed to a life of music. “I’ll do another EP I think,” he says slowly, chewing over every word. “I’m not sure what the attention span of the general audience is full for length albums. I might do another EP or just do singles. It’s an interesting thing, what’s the best way to release music these days, given there are so many avenues.” No matter what project Power eventually commits himself to, one thing is clear: for the young musician, crafting songs is as essential as drawing breath. “It’s definitely a natural thing,” he says. “In terms of how I write, I might just play a little fingerpicking thing and then be like, ‘That’s kinda cool, I’ll hang around that for a little bit,’ and if I don’t get the bulk of the song out in half an hour [then I leave it]. That initial little spark – that inspiration – you can’t force that. Or I can’t force that, anyway. Some people can. But that little spark, that has to come naturally.” MITCH POWER is launching No One’s Waiting Anymore on Sunday March 20 at the Evelyn Hotel. No One’s Waiting Anymore is out now through Bandcamp.

palette along the way. Indeed, she has only been back in Australia a handful of months, having spent a year in the States following the release of 2014’s Idyllwild LP. She has returned revitalised, with an upcoming run of gigs including the Brunswick Music Festival and Glenmaggie Blues and Roots Festival. “I still think of Australia as my home, but there’s an attitude over there of openness and inspiration, a sense that it’s really great to go after your art, that’s it’s not important how successful you are. And yeah, I know there are so many other attitudes over there as well, the whole shallow spectrum of Hollywood success. But there’s also a world of people just making art for its own sake, which I love. There’s people doing that here too, of course, but it took going over there for me to see it. It’s like not being in your hometown. After growing up in a rural town, when I first moved to Melbourne I was all, ‘Wow. I’m free. I’m anonymous.’ It’s kind of like that going to the States.” It also doesn’t hurt that the USA seems preternaturally aligned with musical odysseys; jumping in a tour bus and sweeping from coast to coast, leaving a trail of larger-than-life characters and raucous gigs. “Absolutely, and honestly the mysticism and romanticism of America has not gone for me. On the first trip you will just see the surface, all of the McDonalds’. The shitty things about America are very visible. But there’s an incredible landscape there, and a mythology behind so many places. I get excited when I drive through certain towns and think, ‘That’s in that song.’ It’s silly, but it’s such a shame that I don’t feel that way when I hear songs about Australia. I don’t know if everyone is like that with their own country. It seems like Americans sing about their country with a real reverence that most Australians just don’t quite have. I love Australia and I love the landscape, but I don’t feel the same awe. Like, Khe Sanh,” she laughs, “just doesn’t have the same ring for me.” MIA DYSON is playing at Estonian House on Friday March 18 with Jess Ribeiro for the Brunswick Music Festival. Right There is available now. W W W. B E AT.C O M . A U

ELLE KING

SWEET SUCCESS

BY ADAM NORRIS

Read enough articles, and you’ll inevitably start finding patterns. Every emerging artist seems to enjoy a meteoric rise to fame, every single is either haunting, anthemic or in the very least, highly anticipated. Sometimes, it’s even true. Take Elle King for example. She has burst onto the scene in a big way – with Grammy nominations for Best Rock Performance and Best Song – but has been building towards this moment her entire life. Her debut, Love Stuff, dropped a little over a year ago, and since then King has been touring to beat the devil, and now she’s found her way to Australia. As often as she performs, however, this whole carousel still strikes her as surreal. “It boggles my brain a little,” King says. “This is my first album, and my first single. I don’t have a computer and I don’t Google myself or anything, but people kept sending me links to Grammy predictions, and I started thinking, ‘Wait a minute. Could this happen? Did I get nominated for a freakin’ Grammy?’ So you expect nothing and hope for the best, and then I got two nominations, which was the craziest thing ever.” That single, Ex’s & Oh’s, reached platinum sales status both in the US and in Australia. It’s taken from the album Love Stuff, from which King recently dropped the third single, America’s Sweetheart. Sweetheart draws out the rough, smoked-vocal blues that are starting to become the New York singer’s signature. She is proud to wear her influences on her sleeve, but if there’s a pattern emerging she’d rather break away from it. “When I was younger, 15 or so, there were three female singers I listened to. They were Wanda Jackson, Aretha Franklin and Dolly Parton. I’d hope that someone can hear what an impact those three women had on me as a singer. Writing and learning to sing, I didn’t have a vocal coach, I had those women. I’d sing along with them, and try to sing like them until my voice matured and I settled into how I sang. I stopped trying to sing like them, and let my voice take on its own form. So I hope I haven’t been locked down to one genre. “I’m happy to be in the rock category, because I love rock’n’roll, but what’s beautiful about rock’n’roll is that it can take so many different forms. Look at Elvis. I mean, look at the fucking Beatles. The Beatles are rock’n’roll, but there’s so many different levels of music, so many different styles they played.” A genuine testament to this can be found in the various acts King has supported. You can draw a rather shaky line between Of Monsters & Men and Modest Mouse, but throw acts like Ed Sheeran, Dropkick Murphys and James Bay into the mix and you’ve got yourself an eclectic CV. “I’ve been very lucky to have been brought on all the tours I’ve been on, and I’ve also been lucky to not be pigeon-holed. Because my music changes so much and I can play

so many different styles, it’s given my the opportunity to open for so many different types of music. “I try to learn something from every tour that I’ve been on. For me, a lot of it is the travel. I never expected to travel to most of the places that I’ve been to, let alone get to sing there. That’s something that’s very special to me. I was recently told that I will meet my match, that someone will outdrink me in Australia.” With appearances at Bluesfest and scattered sideshows, King is keen to experience Australian audiences, although she’s terrified of the flight. While she may well find herself inspired by her time here – or at least, find a stalwart drinking buddy – the chances of sitting down to get some writing done is fairly slim. “I try to not take a step back and look at everything, because it can be a little overwhelming. I haven’t had much time, either. I rarely get even a day off, so I just try and stay focused and think about whatever show I have to play that night. It can be overwhelming, and I hate thinking, I hate emotions. I try to stay away from that and avoid those as much as possible. “It’s hard, because I’ve been so focused on working and touring this album. It took so long. Three years. And I’m so proud of it, but I haven’t really put much thought into writing. This whole thing happens now when you sit down to write and it’s like, ‘OK. Is this for album two?’ And it takes away from why I write music. And so that weird shift happens in my brain, and I have to work on re-training myself on writing. It’s also a very personal thing for me, and I don’t get a lot of time by myself on the road. After this very large amount of touring, I’m hoping to get some time to reflect on everything that’s happened over the past couple of years, and we’ll see what happens. For me, it’s heavily about vibe, about what I’m feeling in the moment. You can’t turn it on or off. It just comes.” ELLE KING is playing at the Corner Hotel on Tuesday March 22. She’s also appearing at Bluesfest 2016 at the Tyagarah Tea Tree Farm, NSW, from Thursday March 24 – Monday March 28. BEAT MAGAZINE PAGE 29

RIFF RAIDERS CHEAP TRICKS

BY ROD WHITFIELD

LOS CHICOS FORGETTING ABOUT REGULAR JOBS B Y PAT R I C K E M E R Y

Early last year, Spain’s Los Chicos played arguably one of Melbourne’s most exciting rock’n’roll gigs. In amongst their own killer garage rock tunes came a cover of The Flamin’ Groovies’ Shake Some Action, a cover of Compulsive Gamblers’ Stop and Think It Over (featuring Johnny Casino on guitar and vocals), a murderously good cover of Spencer Jones’ Rain (with Jones emerging from the crowd to join the band onstage) and a segue into Radio Birdman’s Descent Into the Maelstrom. Given Los Chicos’ oft-professed love of Australian rock’n’roll – and Australian musicians’ complementary admiration of the Madrid band’s rock’n’roll attitude – this was the perfect illustration of Los Chicos’ symbiotic union with Australian garage rock. “It was so good playing there and looking out into the crowd and seeing so many of our friends in the crowd,” says lead singer Rafa Suñén. “It was the last show of the tour so we knew it was going to be a big show. It was great play with Johnny and Spencer. They are such guys, and such good friends of ours. The show was so good that afterwards we had people coming up to us and asking us to stay for a few more dates, and we actually stopped and thought about whether we should stay – I was this close to saying to the guys in the band ‘Forget about Spain, forget about regular jobs, let’s do this again.’ It’s all because of the generosity of the audience here.” Los Chicos’ 2015 Australian tour was so invigorating, in fact, that it spurred the band into writing and recording their new album, Rockpile of Shit. “We had so much energy after that Australian tour that we got to this point where we were absolutely sure about the band,” Suñén says. “It wasn’t like we didn’t want to keep going with the band, but we realised that we needed to record a new album and go back to Australia with the new album.” While Los Chicos have a loyal following in Spain and across the channel in England, they haven’t devoted a lot of attention to playing in continental Europe. “We realised when we got back from our third Australian tour that we had to play more outside of France. We have tended to play in the UK and in Spain, and then we go to Australia, but we never play in any other places,” Suñén says. “A friend of our who plays in King Salami said that there are people in Europe who don’t believe that Los Chicos exists anymore.” The Australian shows had also been the first overseas tour for Los Chicos’ new rhythm section. “I think it’s the best formation the band has ever had,” Suñén says. “It’s given the band a new kind of edge to it, because the bass player plays with a pick, so it’s maybe a more punk sound – less funky than the other bass player that we had. And our audience in Spain has noticed it as well. We’re a fresh band now, which is great.” This new, refreshed lineup went into the studio in the middle of 2015 to record Rockpile of Shit, which Los Chicos will premiere during their upcoming return to Australia. “We’re super proud of the new album,” Suñén says. “For this album we weren’t allowed to drink inside the studio. BEAT MAGAZINE PAGE 30

Our producer has a studio in a house in the countryside, and he has this rule that from the door to the studio you cannot have liquids apart from water – and maybe a shot for me before I sing. So it was less of a party to record it, and we really enjoyed it. We were more insistent on things on the final mixes, and I think we made our producer crazy with all the emails we were sending after it had been recorded. But he was really proud of us because we were giving a shit more than any other time.” Los Chicos are back in Australia to play the tenth anniversary of Boogie Festival in Tallarook, as well as a few choice side shows. Suñén remembers fondly the band’s first appearance at Boogie in 2010, and their follow up appearance last year. “It was amazing the first time we played. After that time at Boogie the twins [identical twin guitarists Antonio and Geraldo Urchaga] decided we had to start a festival in Spain,” Suñén laughs. “We’ve done other festivals, including the Tapestry festival in Wales which was fantastic, but Boogie was like Tapestry times one hundred. We got there, and we didn’t know what to expect, and the first thing we see is heavy metal music and a hundred kids in a cardboard battle, with cardboard robots, cardboard horses, cardboard tanks, cardboard machine guns, fighting. It was just a battlefield. We’d never seen anything like it, but it was so fun.” Beyond the cardboard battlefield, Suñén and his band mates bathed in Boogie’s welcoming atmosphere and boutique aesthetic. “Everyone is just walking around talking to each other, the bands are in the crowd. And it wasn’t like other festivals when you can smell the substances in the atmosphere, and everyone is drunk or people giving pills away – with Boogie, it’s not that kind of festival. It’s sunny, there’s families and just good people around. It’s not easy to find that type of festival in Spain. I think that it’s the best festival there is. And I don’t know how the fuck they put a festival on like that without advertising.” LOS CHICOS are playing at The Tote on Saturday March 19, The Reverence on Sunday March 20 and Sooki Lounge on Wednesday March 23. You can also see them at Boogie Festival at Bruzzy’s Farm, Tallarook from Friday March 25 – Sunday March 27.

When you think about cover bands, terms like ‘unconventional’ and ‘left of centre’ don’t usually spring to mind. Cover bands tend to specialise in a bunch of safe rock songs designed to please a specific audience. But Melbourne’s Riff Raiders are a cover band with a difference, as guitar player Marty Powell explains. “We formed this band about a year ago,” he says. “We’d all come from original band backgrounds, and we wanted to do something a bit different. Instead of just being a usual cover band, we wanted to do some seminal ‘70s hard rock acts, but not all their obvious songs. “Case in point, [Thin Lizzy’s] The Boys are Back in Town has been done to death, so do Emerald and Cowboy Song and all that sort of thing. Zeppelin, we do The Rover and Misty Mountain Hop as opposed to the more obvious tracks. And we like to give them a bit more respect. I go to a bit of effort with changing guitars and having the right effects and all that. So that’s the idea.” So far, this approach has gained Riff Raiders a very positive reaction. The feedback they’ve attracted reflects the atypical nature of the band. “It’s been very interesting,” Powell says. “People aren’t sure at first. The reaction we’ve been getting has been like, ‘Gee, I remember that one,’ or ‘I didn’t know that they had other songs.’ ” Riff Raiders’ next hometown show will also offer something out of the box. American rock act Cheap Trick are being inducted into the Rock And Roll Hall Of Fame, so Riff Raiders are hosting a Cheap Trick themed celebration. To coincide with the induction ceremony, they’ll hit up Cherry Bar to play Cheap Trick’s 1979 live album At Budokan in its entirety, plus extra songs like California Man and Southern Girls. “They were getting acknowledged in the

Rock And Roll Hall Of Fame this year, and for a band like Cheap Trick to get that type of recognition I think is fantastic, and they’re not a band that has many tribute nights. For us it was a bit of an extension to play in that style rather than the classic British hard rock I was just describing. So it’s a really good journey for us. “And we’re playing on the same night as they’re getting inducted in the Hall of

KEITH RICHARDS: A LIFE IN PICTURES NO STONE LEFT UNTURNED

B Y B E L R YA N

The Rolling Stones are an undeniably iconic fixture in popular music, with guitarist Keith Richards thought by many to epitomise rock’n’roll. ‘The Human Riff,’ ‘Mr Unhealthy’, ‘The cat with five strings and nine lives’ and ‘Keef Riffhard’ are just some of the monikers by which Richards has been known. Omnibus Press have recently published a stellar collection of rare photographs chronicling Richards’ legendary rise to fame, aptly titled Keith Richards: A Life In Pictures. Beat speaks to contributing author and celebrated music journalist Andy Neill about his contributions to the book. “I came on board towards the end of the project,” says Neill. “I was brought in to write the introduction and, because of my extensive Stones knowledge, accurately caption the images and provide relevant quotes where necessary.” Neill is no stranger to writing about rockstars, having previously published books on The Who, The Faces and The Beatles. With the addition of Neill’s expertise, Keith Richards: B E AT.C O M . A U

A Life In Pictures provides an incredibly indepth exploration of the guitarist’s career and personal life. “Keith has lived his life out in public to such a great extent,” says Neill. “Much of what is in the book is out there and in his own words. Richards’ life has been pretty much an open book.” A Life In Pictures illustrates the many ecstatic highs and absolute lows Richards

Fame. Well, as close as you can between Melbourne and New York anyway.” Riff Raiders generally jam around with the songs they cover, but for the Cheap Trick show they’ll stick close to the original versions. “With this Trick stuff, we’re going pretty close to what’s on the record. Being that it was a live album, there’s probably too many drum solos and all that, so we’ve got rid of that and put a couple of different arrangements in, just to make it a bit more dynamic.” They’ll actually perform two sets on the night, and the second set also fits the theme. “The second set will be other Hall of Fame bands that are already there. So your Kiss and Zeppelin and Sabbath et cetera.” Powell feels comfortable playing the show at a renowned original band venue. In fact, Riff Raiders are one of the very few cover acts to be accepted by the original band scene. “We’ve played there once before with The Lazy’s late last year and that went down well. The other good thing about us is that we’re more than tolerated and allowed to play with original bands. That’s what I always wanted for us was to either give them a go, or just be the fun part of the night. It’s just about getting people out seeing live music.” RIFF RAIDERS Cheap Trick tribute goes down at Cherry Bar on Saturday April 9. The Cheap Trick set starts at 9pm sharp, Hall of Fame set is 10.30pm.

has experienced throughout his professional life. The book dates back to the Stones’ formation in 1962, and brings us right up to the band’s Zip Code tour of 2015. In Neill’s introduction, he writes that, “No matter how low the gutter, Keith was always slightly above it.” This is followed by a direct quote from Richards, saying, “I’d rather be a legend than a dead legend.” A particularly confronting spread of images shows Richards during one of his battles with substance abuse. The section, entitled ‘Pretty Beat Up’, contains a series of portraits from 1977, when in addition to a heroin habit, Richards was looking down the barrel of a seven year sentence for trafficking. The photographs show a broken man, accompanied by a quote from Richards: “I was asleep when I got busted. I had been at rehearsal got back to the hotel and passed out. My next memory is being dragged around by these two very big people who were slapping me awake. The shit hit the fan big time.” It’s amazing to think Richards managed to scrape himself together and has continued playing with the Stones for almost another 40 years. For Neill, there’s another time in Richards’ life that holds particular significance. “I like the pictures from 1968-69,” he says. “Brian Jones, who rivalled Jagger as the most photogenic Stone, was fast fading, and Keith was starting to get the demonic ‘Keef ’ look together. Or as I put it in the book, Keith was becoming ‘Keef ’. Previously he had been quite shy and in the background, even though he was very much the drive behind the Stones’ music.” Richards’ professional life has been as varied as it has been fascinating, and the book looks at his acting work in the Pirates Of The Caribbean films, and his brief stint as the face of high-end fashion label Louis Vuitton. Keith Richards: A Life In Pictures presents an unrivalled collection of photographs, showcasing the inner-workings of a man who has lived a life of chaos and achievement. In his own words, “Somebody has got to find out how far you can take this thing, and I guess it might just as well be me.” KEITH RICHARDS: A LIFE IN PICTURES is available now courtesy of Omnibus Press.

VIOLENT SOHO E C L I P S I N G

T H E

G H O S T S

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Mansfield’s biggest export, Violent Soho, had a huge start to 2016. Not only did their single Like Soda score a top 20 spot in the triple j Hottest 100, they did the rounds nationally as a part of the Laneway Festival. Despite the array of notable international acts on the bill, Soho were a major drawcard – they even attracted the largest crowd of the day in their native Brisbane. “They were some of the best sets we’ve played,” says frontman Luke Boerdam. “At the Melbourne leg we played the Dean Turner stage. That meant a great deal to us as Dean was such a huge supporter of this band really early on. It meant so much to pay tribute to him that way. The lineup was fucking amazing, too. Usually, we feel like the real outliers at festivals like this – it’s a lot of electronic acts and then us and maybe two other token guitar bands. This time around, there were acts like DIIV, Metz, The Smith Street Band – who we’ve toured with – and Courtney Barnett did the New Zealand one, too. We got along really well with everyone, just talking gear and hanging out. It really is the best festival in Australia. We played it back when we started out, just some scruffy kids from Brisbane, and they gave us a chance when no one else would. It was an honour to be asked back.” This month will see the release of Waco, Violent Soho’s third album (or fourth, if you count We Don’t Belong Here, most of which was re-recorded for their self-titled album). It follows 2013’s Hungry Ghost, which saw them crack the ARIA charts, sell out national tours, and become potentially the biggest name in contemporary Australian rock. For a band that existed on the fringe for nearly a decade, it was a big payoff, and songs from that album, such as Covered in Chrome and In the Aisle, have remained rock radio staples since their release. When it came to Waco, the elephant in the room had to be acknowledged – just how do you follow up one of the biggest Australian rock records of the 2010s? “I was so confident,” says Boerdam. “I thought that I’d be able to finish writing for the album in four months. When that was up, I realised that I had two songs – and I wasn’t confident enough in either to show to the rest of the band. I remembered Hungry Ghost took three years to write, and I decided to start fresh. I guess what I’ve found is that I never make a single song in the one go. I’m always scraping together bits from three or four different ideas. I tend to work in fragments – a riff here, a sound idea here, some lyrics there. You mix and match, you collate until you have something cohesive. It’s about the gut feeling, really. It’s about knowing what direction you want the songs to take. We got stuck into it every day and we came out of the process with something we were really happy with.” Waco was recorded throughout 2015 at The Shed in Brisbane by Bryce Moorhead, a long time friend of the band who has worked on several of their past releases. Mixing and mastering was completed in Moorhead’s basement, and the end result somewhat diverges from the mane-thrashing, abrasive alt-rock Violent Soho have become renowned for over the last decade. “I guess the foundation of this band is those threechord/four-chord heavy pop songs,” says Boerdam. “We wanted to see what would happen if we explored away from that. “There’s a bit of that on Hungry Ghost, definitely. A song like OK Cathedral was a really different experience for us, doing something so quiet and then so weird and jammy. It’s a much bigger part of Waco, though. I’d like to think what separates Violent Soho from being a straight-up punk band or a straight-up grunge band or whatever is our willingness to explore what we can do on a higher level – building up these big, layering guitars and having these spiralling, revolving riffs that expand out into something new entirely. Every time we try out something new in the band, we just hope that the people that have followed along with us for a long time are able to kind of go along with where we want to take them, and us, next.” The band are set to tour Waco throughout May. While their last national headline tour – the No Sleep ‘Til Mansfield tour – was their biggest in terms of length, the Waco tour is easily their biggest in terms of venue capacity. Along with long-time friends DZ Deathrays and Dune Rats, the band will take on theatres in most major capital cities, with many shows already sold out and additional dates added. Soho also hope to get back to the States this year – a place where they once floundered, they now hope to thrive. “There’s stuff coming in and out of my calendar every day,” laughs Boerdam. “It’s going to be a pretty massive year – I mean, it already has been, and we’re not even halfway.”

Waco by VIOLENT SOHO is out on Friday March 18 via I Oh You. See them at Forum Melbourne on Saturday May 14 (sold out), Sunday May 15 (sold out) and Monday May 16. W W W. B E AT.C O M . A U

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THE WOOHOO REVUE

Kim Salmon

BREAKING THE CURSE

B y A d am N o r r is

G oing

O f f

S c r ipt

B y Pat r ic k E me r y

“I never really set out to start making a record,” says Kim Salmon about the creative process that led to his new album, My Script. It’s Salmon’s first album since Kim & Leanne’s 2013 release True West, and the first record Salmon considers to be a genuine solo album. “I knew that I wanted to make another record, and I knew that I’d done a few collaborations – with Darling Downs, with Leanne [Chock] and with Spencer [P. Jones] – and they’d just happened the way that they’d happened. But with this record, it wasn’t the case that I decided that I wanted to do this, and I was going to do it this way.” My Script came together in collusion with producer Myles Mumford. Salmon worked with Mumford as part of his collaboration with Waleed Aly on the Key of Sea project in 2012. When Mumford approached him about doing another record, Salmon realised he had enough song ideas to create an album. “I knew I had probably half a dozen sketches on my phone that could be used, and Myles seemed like he had a lot that could he add as a producer,” Salmon says. But whereas many of Salmon’s previous records have been built around a particular conceptual idea, here Salmon was simply working on the basis of some vaguely formed song ideas. Once it became apparent he was embarking on a solo project, this had an impact on his artistic process. “I thought [the album] had to redefine me to people who know me,” he says. “It had to be something that was current so that I could go out and work it. It had to push some boundaries and explore ideas so that I’d been in a different place after it, and it had to encompass things that were me.” Salmon spent the first few months of the project working only with Mumford in the studio, keen to develop his fledgling musical sketches into properly formed songs. “I tend to be very impatient and like to get things done quickly so I can move onto the next thing, but if it’s not right, it’s not right,” Salmon says. “Part of what I like about the album is that there are ideas that went down in a day, and there are ideas that took months. There’s a couple of songs that use this 808 drum app from my iPhone. I made a pattern with that, and I used that as a bed. The first thing I came up with was this funky beat, and I tried something else, which turned into Sign Apps. But I liked that funky rhythm and that became a guitar rhythm [for] which I eventually came up with a bass line, and that became It’s SOdiSTOPic.” On Client JTG683, Salmon revisited the track he’d written originally with Waleed Aly for the Key of Sea project. With the prodigiously talented Aly’s musical interests more inclined to Pink Floyd’s progressive rock era, Salmon knew he was going to be exploring new territory. “It’s got an almost AM radio sort of feel, and it’s not something I would normally have done. It’s slicker and tidier, but it’s still got a place on the record.” Salmon found the challenge of working with the cerebral Aly a positive experience – and not just because Aly taught Salmon BEAT MAGAZINE PAGE 32

about the Mixolydian scale, a tonal sequence that can be traced back to ancient Greece. “I knew he was very erudite and what was I? A rock’n’roll buffoon,” Salmon laughs. Drawing upon Aly’s legal and political background, Salmon suggested they use the anomalies of Australian refugee and immigration law as a creative starting point. They spoke to a barrister friend of Aly’s, who explained the euphemistic discourse of refugee law – refugees as unnamed ‘clients’, electric fences as ‘energised courtesy curtains’ – and Client JTG683 took shape. Beyond exploring the disconcerting aspects of Australia’s immigration policies, Salmon says there’s an autobiographical aspect to some of the lyrics on My Script. “It’s a pap line, but it definitely came up during this process: all autobiography is tainted with some fiction, and all fiction has some aspect of autobiography. On this record, because it’s a solo record it was always going to have an autobiographical element.” As an example, when Jen Anderson (Weddings, Parties, Anything) approached Salmon to write a song promoting hepatitis C awareness, Salmon drew loosely on his own success in overcoming the disease a couple of years ago to pen Making Me Better. While Salmon says there was nothing contrived about the songwriting process itself, he was adamant for the album to be more than a linear aggregation of songs. “On one level it was all over the shop, and I don’t really like albums that are like that – I like them to have an idea. So the challenge was to come up with something that was cohesive. If it had an identity crisis, it was going to sound like that. I find myself thinking, ‘What would Scott Walker do? What would Todd Rundgren, David Bowie or Harry Nilsson do?’ Because I guess these are people who are very eclectic and iconoclastic – they completely disregarded any expectations.” While Salmon says he needs more time to genuinely evaluate the final product, he thinks he was successful in leaving his comfort zone. “There’s definitely things on there that I wouldn’t have done on any other record.” KIM SALMON’s new album My Script is out on Friday March 18. Check him out at Northcote Social Club on Saturday March 19 and the Flying Saucer Club on Saturday April 16.

The Woohoo Revue are a lot like The Little Engine That Could. It seems that no matter what you throw at them – trucks, blizzards, each other – they manage to keep on rolling through sheer force of will and a love of performance that has been tested more times on many occasions. Their Balkan gypsy party jazz stylings (though, as ringleader Dannie McKenzie points out, descriptions of how they sound are rather loose) will soon be heard at Estonian House for the Brunswick Music Festival, assuming they don’t spontaneously combust en route. After their last European tour, you’d be forgiven for thinking they’ve somehow been cursed.

“Man, what’s OK to print? Let’s see,” McKenzie considers. “Having to get the van towed onto the ferry in the UK to get to Calais to find out on the ferry that there’s no hire car companies, no mechanics, nothing open. Eventually getting a 750 euro taxi to Amsterdam airport, where we still missed the flight and had to pay another two and a half grand to get everyone home. That was whilst in torrential rain and wind, pushing the van along the side of a highway in France, where the only people who would help us were not cops, but the refugees. Having to replace a fan belt every few kilometres with a piece of rope or an occy strap or stockings, anything we could find. And the fan belt is for the alternator, so it wasn’t even charging the lights, so we’re travelling along this highway, trucks whizzing by, and I’m on the phone to the cops saying, ‘This is an emergency,’ and all they wanted to know was what colour the car was. “It was a dark time. It was a very, very scary place to be. That was the last day of a three and a half month tour, which made blowing the clutch in the Austrian mountains quite a pleasant story in comparison.” Having your tour van implode has been a staple of tour life for years, but Woohoo

appear to push their adventures much further than most. They are an exuberant, raucous bunch, whose membership is always being updated, and their travels are clearly far-reaching. Lately, however, things have been somewhat quieter. That last overseas trip took a toll, and the Estonian House gig will be their first Melbourne headliner in over a year.

The Jessica Stuart Few

S a f e P assage G ua r antee d B y A d am N o r r is

I’ve been warned in the past not to scoff at voodoo, and so I approached The Jessica Stuart Few with gentle steps. Stuart has toured Australia before – indeed, she has developed a true affection for the place. But prior to our originally schedule conversation, the Canadian artist completely lost her voice. Last time I spoke with a singer who had recovered from a lost voice, I lost my own voice the very next day. Still, Stuart assures me her black magic skills are negligible. “It was the very first time I ever lost my voice,” she laughs. “I’m in a position that many other independent artists are in, where I’m doing a lot of the business side of my profession as well. So I’ve been burning the candle at both ends, to be honest, leading up to this tour. In Asia we have people who take care of the whole hard thing, but most English-speaking countries B E AT.C O M . A U

I do it, and that’s probably part of why I lost my voice. Part of the reason as well is that I had a two-set gig in a loud venue last Saturday night, and that’s what blasted it out. I gave it my all. I had a great time, but turns out that was all there was, there was nothing left afterwards. I got home and muttered some things in baritone, and woke up totally silent.”

“After that I was about ready to give the whole thing up altogether,” McKenzie says. “That was the second European tour, and that was supposed to be better, but it ended up costing a lot of money. We did some amazing shows, but it was a bit of a hair-brained scheme to be honest. Getting over there with a bunch of people where nobody really knew each other very well, trying to rehearse a band up from scratch in three weeks. It was ambitious, and many memorable times were had, just not all of them were good. Now, we’ve really been waiting for the right time. The band has momentum again, we’ve got a good bunch of guys, some of the old crew back too. Everything seems in place to have a real good ol’ party.” Given it has been four years since their last LP, Moreland’s Ball, this may also be your first chance to hear fledgling songs from their next album. “We’ve half an album we’ve been mucking around with. It’s quite a departure from the Balkan gypsy inspired stuff. It’s definitely a real mix of stuff from people who play all kinds of strange and interesting music. That’s going to be the focus this winter. We’re not going back to Europe this year, even though we’ve been able to avoid winters three years now. But it’s time to lock ourselves down in dreary old Melbourne town for the winter, which is also probably a good way to get things done.” THE WOOHOO REVUE are playing at the Shadow Electric, Estonian House on Saturday March 19 for the Brunswick Music Festival.

Stuart is a native Torontonian, but as a youngster she spent a year in rural Japan. Following the lead of her mother – who’s considered a master of the instrument – Stuart is renowned for playing the koto. The traditional Japanese instrument is a huge and beautiful stringed device, the length of an average person and shaped like the tooth of a mythical shark. “The koto is tuned to a scale, as opposed to a guitar where if you strum the strings without putting your fingers down anywhere, it doesn’t really sound like anything in particular,” Stuart says. “No matter how you strum it, the koto will sound good. But there aren’t that many koto players around, and there’s no one writing original music for koto in a non-traditional style. There is a kind of wonderment, this magic sound to it – I don’t know how better to explain it. The koto has a kind of mystery about it, and it inspires me in a different way than playing the guitar does.” In the lead up to her new album, The Passage, Stuart is undertaking a comprehensive tour of Australia. It’s a lifestyle she has always been drawn to, and one that directly translates back home, once she finally settles down and returns to the serious business of being an undefeated champion of Boggle (and yes, she is open to challengers). “I’m a travelling soul and grew up in a travelling family. I mean, we weren’t nomadic or gypsy in any way, [but] to be honest, when I’m in one place for too long I start to feel stagnant. It’s not that Toronto lacks creative and exciting things; it’s more that you start looking at them in the same way. “When you’re travelling, your eyes are opened a little wider. I think a little of that goes away when you’re living in a place for a long time. So when you do travel, that sparks up again, and I always find when I get back from travelling I enjoy home more. I’ll notice more things about it. So I do love being on the road. I love seeing new things, meeting new people.” See THE JESSICA STUART FEW on Monday March 21 at the Retreat Hotel. The Passage is out on Sunday April 3.

KAMASI WASHINGTON EPIC PROPORTIONS

B Y D AV I D J A M E S Y O U N G

Kamasi Washington is here to subvert all kinds of jazz conventions and venture forth in his quest to expose a new generation to the endless potential of this still-vibrant musical movement. The saxophonist and composer is now in his 30s, but in jazz years he might as well still be a toddler – which is fitting, given a love of music was instilled in the LA native from around that age. “I don’t think that there was ever any question that I’d find my way into playing music,” he says. “It was almost as if it was inherited. Both my parents are musicians. My dad played jazz saxophone and my mum played flute and a lot of gospel music.

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“I can remember getting a drum kit when I was three-years-old – I thought I was pretty good, too. That eventually led to learning piano when I was about seven or eight, and by the time I was 13, I had moved onto saxophone. I’m in my 30s now, and it feels like there has never been a time in my life where I wasn’t actively playing music.” In a considerably short period of time, Washington has risen to prominence as one of the most notable jazz musicians of the modern era, thanks in no small part to the vast array of artists he has collaborated with. These include Kendrick Lamar – who featured Washington on last year’s Grammy-nominated instant classic To Pimp A Butterfly – as well as Thundercat, Lauryn Hill, Flying Lotus and even Snoop Dogg. Washington’s willingness to dabble with a variety of genres has had an impact on the music he makes under his own name. However, he emphasises this trait isn’t exclusive to him. “I think it’s in the nature of every jazz musician to explore outside of that immediate bubble,” he says. “I mean, you go back and you look at that early bebop stuff, that’s all just show tunes that have been done up in this new style. [ John] Coltrane always wanted to see what was going on in all sorts of music. That’s definitely been a part of my life. I mean, before I properly got into jazz as a teenager, I was super into gangsta rap. I had no idea that kind of attitude could be expressed through playing jazz as well.” “I’ve always been a curious person – it’s inherent to my nature. When I hear music that’s unfamiliar, it doesn’t scare me. It entices me. I study a lot of different approaches to music and I’ve studied a lot of psychology behind them. You have to always be on a quest for something new.” Washington’s latest album is entitled The Epic, and you’re unlikely to find any other LP from last year with a more fitting name. Not only does the triple album run for a jaw-dropping 173 minutes, it also details the deeply layered concept of a dojo, a guardian of a mythical city and a battle of warriors that bleeds between reality and fantasy. It’s a lot to take in – especially considering it’s an instrumental record. Washington insists, however, that the medium is the message

when it comes to his music. “Music communicates on a deeper level than just words,” he says. “Lyrics can say one thing, but the music can convey [its] own message. Say, for instance, you hear a song in a language you don’t speak. You might not be able to understand a single thing they’re saying, but you can ascertain as to what the song is about due to the nature of its composition. In a lot of ways, it’s a language unto itself. When you’re playing from the heart, it gives listeners a glimpse into who it is you truly are. I don’t necessarily have to try and put a message into the music – the message is already there. It’s an extension of who I am. It’s where I’m at. It’s where I’ve been. It’s where I’m going.” Washington is set to appear at Bluesfest over the Easter long weekend, the lineup of which features some of the biggest names to have ever appeared at the festival. It’s his first trip to Australia and he’ll also do two headline shows in Sydney and Melbourne. Washington’s excitement for visiting and playing to Australian audiences is palpable – especially when he lays out what people will get out of coming to see him and his band perform. “We play songs from The Epic and we play some new compositions I’ve been working on. That said, that’s just song titles on a piece of paper – we always play these songs differently. Even I have no idea where we might end up with them. For us it’s about reading the crowd and playing to their energy, seeing what they respond to. Whoever comes to see me and the band play are going to get an experience entirely unique to them.” KAMASI WASHINGTON is playing at the Prince Bandroom on Tuesday March 22. He’s also appearing at Bluesfest 2016, Tyagarah Tea Tree Farm, Thursday March 24 – Monday March 28. The Epic is out now through Brainfeeder.

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Closure in Moscow

Photo by Ian Laidlaw

The Workers Club Sunday March 13

Sleater-Kinney The Croxton

Friday March 11

In 2002 Sleater-Kinney played the Corner Hotel on the back of the freakishly brilliant All Hands on the Bad One album. At that show they were supported by The Sailors; pairing an icon of the Riot Grrl scene with a band with a penchant for smutty lyrics was either an act of ignorance, contrived artistry or brazen provocation. The only thing even more incongruous would’ve been SleaterKinney treading the stage at Thornbury’s suburban oasis of misogynistic pub rock, The Croxton Park Hotel. But here we are: it’s 2016 and SleaterKinney are playing the third night of a sold-out series at the re-born Croc. The last time Sleater-Kinney were in Australia things didn’t seem quite right. The band’s recent album The Woods had sapped the band members’ energy, and seemingly eroded their once-impregnable internal dynamic. Ten years later, and the rejuvenated Sleater-Kinney are as vital as ever. Corin

GODSPEED YOU! BLACK EMPEROR MELBOURNE RECITAL CENTRE MONDAY MARCH 7

Post-rock is generally verbose. It’s often unnecessarily complicated and the supposed emotional transcendence is habitually, well, mythical. A cataclysmic crescendo without heart is meaningless – no matter how you get there. The genre was flourishing in the mid-’00s, but when online magazine The Silent Ballet began to die, so did many of the genre’s stalwarts – Joy Wants Eternity, Caspian, pg.lost, Balmorhea, The Evpatoria Report and Jeniferever. People stopped caring. People stopped sharing the music. The passion died. The artists moved on, those who stayed behind were largely ignored.

PEKING DUK FORUM MELBOURNE TUESDAY MARCH 8

Peking Duk’s set at the Forum was a superstar display of modern DJing. The act’s investment in visuals and pyrotechnics truly accented the era of the Drop. Every time a song peaked over a soul-shaking bass rhythm, the visuals matched the sublime physical stimulation. The backbone of the set was bangers and mash, so this could accurately be described as the meat and potatoes of contemporary Australian EDM. Australiana was the night’s overriding theme, with primary support Benson arriving to the sound of fictional lawyer Dennis Denuto from The Castle telling the court that it’s about the “vibe”. Benson announced his intentions early on, with Beastie Boys’ Intergalactic fortified by the crescendo of INXS’ Need You Tonight. BEAT MAGAZINE PAGE 36

Tucker has a voice that’d shatter any audio equipment pumping out the conceited playlist of mainstream rock’n’roll. Carrie Brownstein is the indie rock legend whose pretentious imitations provide Portlandia with so much razor-sharp comic material. Janet Weiss is a machine, a flurry of pummelling beats worked into the band’s jagged punk rock melodies with the dexterity of a Parisian baker. Lora McFarlane is tucked up at the back of the stage, adding guitar, percussion and keyboards; her contribution to the music as significant as her presence is to the Sleater-Kinney historical narrative. If there’s anything wrong with tonight, nobody cares. Every song is an anthem of defiance, a celebration of independence and a rallying call for a better sociological existence. Most of the set comes from the last two albums, The Woods and last year’s startling return to form No Cities to Love. The trip back through the catalogue includes Get Up and The End of You from

The Hot Rock; while Words and Guitar and Turn it On from Dig Me Out send almost as many shivers down the spine as the unexpected Ballad of a Ladyman. The first set ends and the band are back for a three-song bracket that culminates with Dig Me Out. There are hugs, tears and a lot of love in the crowd. This was, like the preceding nights from all accounts, a special night. And the fact that it was at the Croc made it even better. By Patrick Emery LOVED: My special one-night only friends in the audience, Caitlyn and Jess. Plus Ballad of a Ladyman, and all the rest of the set. HATED: Nothing, but maybe only that I had to be up at 6.45am the next morning, but shit happens. DRANK: Coopers Pale, in pots and bottles.

Godspeed You! Black Emperor are perhaps the exception that proves the rule. There’s no arguing that the Montreal outfit are the most revered of the genre. Case in point: their 1994 cassette All Lights Fucked on the Hairy Amp Drooling, which was limited to 33 copies and has been legitimately heard by next to no-one, is the most valuable prize any online music community can fantasise of. Apparently the music itself is awful, the band themselves don’t align with it, but no one cares. They just want to hear it, simply because they can’t. Humanity’s fascination with the unattainable is a peculiar beast. On Monday night the stage was illuminated with one of the most impressive visual shows seen in recent times. Private government documents, ghostly deer in the headlights and ghastly fires all accompanied the nine-song setlist (which approached two hours in length). The music of the night was dominated by the four tracks from 2015’s ‘Asunder, Sweet and Other Distress’, alongside older favourites such as

Mladic (from 2012’s ‘Allelujah! Don’t Bend! Ascend!) and Moya (from 1999’s Slow Riot for New Zerø Kanada EP). There was not a single word spoken to the sold-out crowd. Largely, there was next to no acknowledgment of the crowd whatsoever, with the majority of the band sitting within a circle facing only each other. There would be no encore. As they one-by-one slinked off the stage, the crowd, overwhelmed but overjoyed, began to welcome the inevitable silence. Perhaps that’s the intrinsic beauty of music: a rare escape from the deafening silence of the world we inhabit.

After Benson left the stage there was an intense five minutes of muted anticipation. The crowd, culturally naïve due their age, twitched and fretted wondering what a Peking Duk set would be like. Suffice to say, it was fucking incredible. If you can imagine the opulent hedonism of a generation born into an economic boom trans-mutated into one hour of contemporary dance hits, then you’re halfway there. DJs Adam Hyde and Rueben Styles are masters of the aforementioned Drop, and a standout moment was RL Grimes’ Scylla. However, as producers the pair treads the line between emotive sophistication and visceral excess (case in point: High). Similar to other electronic acts with a major hit, Peking Duk opened with an alternate version of High, and closed spectacularly with the album version, joined by a fuck load of streamers and smoke bursts. The multiple big screens streaming synchronised 3D versions of Hyde and Rueben were mesmerising – a highlight

were the macabre Day of the Dead versions of the DJs that pulsed with a deathly stare in time with the music. Vocalist Alphamama appeared for multiple songs, but the standout guest vocalist was Ringwood rapper Ivan Ooze, who came out to perform M.O.P’s all-in chant track, Ante Up. Peking Duk’s appeal is not rocket science. They intersperse adrenaline-charged trap songs with their own hits and other quasiclassics like the Macarena. As 40% of the 2000-strong crowd started doing the Macarena, my guts turned in a bad way – it was lame as fuck then and is lame as fuck now. But they own their mainstream appeal by making the accompanying visuals and pyrotechnics so overwhelmingly stimulating.

BY TYSON WRAY LOVED: Epiphanies. HATED: White dudes with dreadlocks coming to the show late and getting in my way while they dickheaded-ly tried to find their seats. DRANK: Nostalgia, it burned.

By Dan Watt LOVED: Sensory overload. HATED: The disunity of the audience. DRANK: Soy sauce.

A muggy night in Melbourne, a sweaty, packed out venue in Fitzroy, and all was in readiness for a memorable night of left-ofcentre Australian rock. Myyth are a Mornington Peninsula fourpiece with a very interesting sound. While first impressions are that of a rough and ready alt-punk band, they are super-tight, ultra-energetic and their vocal harmonies are to die for. Their songs are punchy as all hell and have a real At the Drive-In feel, and their short, sharp set climaxes with some on and off stage carnage. They even put their very own, unique take on a Savage Garden tune. A happy contrast comes in the form of Sydney’s Glass Ocean. This four-piece are attempting an alt-rock sound based on ambience that rocks out on occasion, rather than the other way round. On record, it works an absolute treat. The two EPs they’ve released are superb. Live, they need to get a few more shows under their belt before it truly starts to gel. Glass Ocean have no discernible harmonies, but frontman Tobias

Crossfire Hurricane

The Grace Darling Hotel Thursday March 10

It’s not often that a sober Thursday night out leaves you in a state of absolute ecstasy, but after watching four Melbourne acts smash up the Grace Darling basement, a state of euphoria was reached. Melbourne singer/songwriter Heloise started things off with her sweet, chunky blues and finished with the call of kick-arse country, playing the audience just as well as her acoustic guitar. Next, Hollow Hounds took their place beneath the fairy lights to seduce us with sultry psych rock and funky foot tappers. Sliding into some easy listening, Hugh Fuchsen & Sauce Sauce Sauce had people grooving instantly with the opening couplet of City On The Moon and Go Back To The Country. Together, the three acts warmed the crowd, readying us for local heroes, Crossfire Hurricane. Whether you were wearing dress shoes like vocalist Daniel Unwin, going barefoot like bassist Callum Humphrys or sitting smooth like drummer Joe Gleeson, it was officially time to get your feet moving.

RACK OFF! FESTIVAL THE TOTE

SATURDAY MARCH 5

Commemorating International Women’s Day, Rack Off ! featured a stellar lineup of femme-dominated bands, performers and DJs. The festival, curated by Joanna Nilson and run in conjunction with YWCA Victoria, raised funds to support at-risk and marginalised women in Victoria. Rack Off ! also made a big statement to the music establishment, highlighting the gap in many festival bills that are male-centric and unrepresentative of female and non-binary acts. It was a conscious decision by Nilson and hopefully encourages other show promoters to follow suit and stop the trend of predominantly male artist lineups. It was a remarkable affair; the Tote was packed to the brim, the atmosphere warm and engaging. Walking in to see disco dancing in the front bar was a novelty for the Tote. Upstairs, Stations of the Cross set the mood to a heaving room. Saturated in the red light of the stage, a synth heavy mix exposed a new dimension to the band, revealing layers of intricate oscillations and

IF YOU ARE READING THIS YOU ARE TOO CLOSE

Atkins has a very strong and unique voice, as well as an interesting stage persona, with much side to side swaying and dancing. They have excellent songs (especially The Mystery, which is quite stunning), brilliant singing, and an ambient but powerful sound – they just need a little more roadgrind to hone their live presentation. Speaking of a well-honed live show, Closure in Moscow put on a typically psychedelic but electrifying set for the completely sold-out crowd. It’s fantastic to see them in a small, sweaty venue like this. They’re scintillatingly entertaining in any live setting, and with that ultra-close, in your face interaction between band and crowd only possible in such an intimate setting, their live show comes alive even more. It’s amazing how much more you can take in as a crowd member when you’re almost on top of the band. On this occasion it’s the incredible things frontman Christopher De Cinque does with his voice, both with effects and with the voice itself, and just how dextrous bassist Duncan Millar is. This was another beautiful and varied night of Aussie rock music. BY ROD WHITFIELD LOVED: The bands and the vibe. HATED: The weird trade-off between the high humidity outside and a too cranked air-con inside. DRANK: Pale ale. Opening with the enticing electric riff of Not Again, Unwin was busting out hip thrusts and twists in no time. Instantly impressive, the young talents produced a mature sound, propelled by sheer energy. Later they unveiled new single, Help Me. Obviously feeling the heat, the unit’s frontman swiftly stripped off his top – but baby, you know he left his hat on. Putting all their energy into their only cover of the night, the threesome leaped into the track that inspired their name, The Rolling Stones’ Jumpin’ Jack Flash. With Down, Down, Down, the guys slowed the tempo before bringing it back up with the fresh and super fast Soda Pop. Fan favourite Hopscotch closed the night in typical Crossfire fashion. From gripping guitar solos to Gleeson’s daring drum work, the track is easily one of the band’s most exciting to date. Placing no boundaries on their audience’s experience, Crossfire Hurricane’s tunes had people dancing, banging their heads and shaking like saltshakers. BY PHOEBE ROBERTSON LOVED: The non-stop dancing man. HATED: The beer soaked tablecloth. DRANK: Midori and coke – hold the Midori. melody atop bass and drums. The vocals soared overhead, charged with conviction and shifting from dulcet tones to banshee like wails. Holy Balm had the whole main room dancing, crafting an exultant ambience throughout the crowd. Simona Kapitolina continued the party feel, performing live electronic drums to a captive audience, bathed in the cool blue lights of the stage. Beaches were another standout, a wild synthesis of guitars amid the propulsion of steady drums. The female five-piece captivated the room with their hallucinogenic sounds, riffs circling the room in a psychic requiem of noise. Rack Off ! was a significant event that not only provided support to women in need, but also raised relevant questions about music programming in our local scene. With over 15 acts from an eclectic range of genres, the festival proved there is never an excuse to not represent female and nonbinary acts on a lineup. Lets hope we see greater diversity in the future from show promoters and bookers. By Cassandra Kiely LOVED: Everyone. HATED: Nothing. DRANK: Everything.

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GOLDEN PLAINS X MEREDITH SUPERNATURAL AMPHITHEATRE SATURDAY MARCH 12 – MONDAY MARCH 14

Golden Plains. Two words guaranteed to bring a smile to the faces of many a music lover; a weekend-long celebration of music and life held in the picturesque surrounds of the Nolan farm in Meredith, Victoria. Gold Class kicked things off, bringing their sparse and emotive rock’n’roll to the Supernatural Ampitheatre. The moody skies above us fit perfectly with Adam Curley’s bleak delivery. Natalie Prass’ set was perhaps a little too laid back for the excitable crowd, as attendance dwindled somewhat and the muddy mix made the guitar and vocals hard to discern. It was interesting to note how country and sweet she sounded without the horns and other production elements featured on her album. John Grant’s set was kind of confusing. Rather than the baroque piano ballads he initially became known for, he favoured the electronic production of his latest two records. Wearing baggy jeans, a t-shirt and beanie, Grant left most of the playing to his band as he cut an unusual dance hero, rocking the front of the stage with microphone in hand over squelchy synths. The first of the legacy bands to feature were none other than the mighty Buzzcocks. It was interesting to see the difference between the two frontmen: Steve Diggle pogoed around his part of the stage, exaggerating emphasis whenever he struck a big chord, while Pete Shelley remained fairly static. The group sounded as energetic and fun as ever, with the run of singles towards the end of the set reminding everyone what a great contribution they made to pop in ‘77-‘78 with Orgasm Addict, What Do I Get and Ever Fallen in Love (With Someone

You Shouldn’t’ve). Royal Headache were the first act to make a strong impression, their marriage of rock, soul and punk showing a quality band in their prime. Singer Shogun strolled across the stage with purpose, looking totally in command. Parts of the crowd were fairly ambivalent, although Caroline seemed to perk things up. Friendships put on an incredible set; well thought out and well executed. Nic and Misha both worked laptops and sampler pads as they built up kick drums and manipulated snares underneath video projections of their own creation. Under normal circumstances any type of spoken word should be approached with scepticism, but Nic pulled off two very effective pieces during less-involved tracks, with interpretive dancers and guest rappers joining them at other points. The dreary weather of Sunday morning didn’t perturb people from turning out for HTRK’s 10am set, the austere nature of their music perfectly reflecting the mood. Now cut down to two members following the death of bassist Sean Stewart, guitarist Nigel Yang filled the frequency spectrum with a wash of slow guitar noise and occasional synth parts, delivered over a heavy programmed kick, snare and bassline. Jonnine Standish’s vocals were as cold and beautiful as ever with Ha and Give It Up obvious standouts. Sampa the Great may be a relatively new artist, but she was perfectly at ease on the stage, exerting real star power and charisma. On record she is produced by Godriguez, who, when performing live, reinterprets his jazz sampled productions for drums, bass and guitar, he himself acting as band leader and guitarist. The

subtle shifts in rhythm and emphasis were fascinating, with Godriguez’s jazzy runs and rock chords taking the tunes in very different directions. Tyrannamen impressed by taking on very basic rock’n’roll with complete conviction and passion. There was a lot of fist pumping, and some pretty rockin’ guitar action from Cal Walker. Nic Imfeld proved to be a very convincing frontman, with last song You Should Leave Him particularly memorable. Freddie Gibbs was the token afternoon hip hop act, always slotted late enough that people will be able to get their awkward shuffle on, but early enough to not scare the rock fans. This wasn’t lost on Gibbs, who greeted us saying, “Hi white people.” Gibbs’ intelligent lyricism was matched by his tough delivery, rapping his arse off over selections from Shadow of a Doubt, Pinata and ESGN. When Harold’s received a lot of raised boots a bemused Gibbs, obviously unfamiliar with this tradition, laughed “thought you were about to through shoes in this motherfucker.” Despite breaking up for eight years before returning to the fold in 2014, Sleater-Kinney didn’t disappoint. Carrie Brownstein, Corin Tucker and Janet Weiss had energy, attitude and riffs for days, sounding as fresh and energetic as any band on the bill. This was not the case, however, with the Violent Femmes, another reformed legacy act, whose acoustic busker shtick was as tired as ever. They opened with Blister in the Sun and it’s just as annoying as you remember. When the first band of this lineup was announced much of Melbourne lost their minds. Having left us while at the peak of W W W. B E AT.C O M . A U

their powers, Eddy Current Suppression Ring are the one that got away – that one to return to every so often and ponder ‘what if ?’ Brendan Suppression took to the outer edges of the stage and preached to the masses, the sound of the band massive and intricate, using dynamics and force to bring this incredible music to life again. It was a religious experience,

a moment to be treasured and passed down to our children. BY ALEX WATTS LOVED: Rush to Relax. HATED: Nothing. DRANK: A slab of cheap French beer and some Pink Flamingos.

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Top Tens HEARTLAND RECORDS TOP TEN 1. 30 Years Live LP BAD RELIGION 2. Night Thoughts LP SUEDE 3. Self Titled LP ABBATH 4. Nemesis LP/CD BLUTENGEL 5. Ouroboros LP RAY LaMONTAGNE 6. My Script 2LP KIM SALMON 7. You And I 2lp JEFF BUCKLEY 8. Mountain Czar LP/CD KARMA TO BURN 9. For All Kings 2LP ANTHRAX 10. From The Muddy Banks 2LP NIRVANA

OFF THE HIP TOP TEN 1. Tyrannamen LP TYRANNAMEN 2. Hikikomori LP HITS 3. Kaptain Kavemen LP VARIOUS 4. I’m In Your Mind Fuzz LP KING GIZZARD 5. Quarters LP LIZARD WIZARD 6. High LP ROYAL HEADACHE 7. Pronto LP PRONTO 8. You’ll Never Make It LP LIFE STINKS 9. Anywhere and Everything LP RON S. PENO 10. Smoke LP SMOKE

THE DRONES

Feelin’ Kinda Free (Tropical Fuck Storm/MGM)

On album number seven, The Drones strike out through virgin territory and deliver the best kind of bad time. After making the Drones album to end all Drones albums – 2013’s masterwork I See Seaweed – Australia’s best live export have decided to radically alter their approach, producing eight slabs of warped cyberpunk. This new direction is best heard in the guitar treatment. Gareth Liddiard and Dan Luscombe, perhaps bored with blues guitar, have radicalised their instruments and come up with a sound that’s ill and infected. The album’s flawless first half includes the national anti-anthem Taman Shud and the bitter, heartrending ballad To Think That I Once Loved You. Album opener Private Execution showcases all of the band’s new tricks, with heavy doses of synth paranoia while Liddiard provides a laundry list of reasons for losing hope. Then They Came For Me is a slow burner that

likens the current immigration/refugee situation to Nazi propaganda on its way to an atomic explosion. The record’s second half is even weirder in a host of subtle ways. Tailwind and Sometimes halve the tempo and triple the tension (the latter led by the vocals of bassist Fiona Kitschin), while Boredom makes good on the band’s pre-release murmuring that it’s a “bad trip you can dance to.” Shutdown SETI features Liddiard’s best ever anti-melody and one of his best lyrics (“Hightech don’t mean higher moral standing / That’s kinda racist”), before finishing the album by declaring humanity worthless over a symphony of guitars that would make Kevin Shields proud. Feelin’ Kinda Free doesn’t sound like any other band. It doesn’t even really sound like The Drones. BY LEONARDO SILVESTRINI

SINGLE REVIEWS WITH AUGIE

ESPERANZA SPALDING One (Concord) On One, Esperanza Spalding isn’t afraid to hope for more. While

appreciative of the romance she’s known, Spalding has faith that the greatest high is yet to come. This hopeful sentiment can also be applied to macrocosmic issues such as global understanding and artistic progression. To enhance her claim, Spalding leads a spacejazz arrangement, echoing Joni Mitchell’s vocal phrasing and the dimension traversing of Prince. KING GIZZARD & THE LIZARD WIZARD Gamma Knife (Flightless/Remote Control) Here’s King Gizz at their loudest and nerdiest. Recalling the boogie-kraut of their Mind Fuzz LP, Gamma Knife is a straightahead rock stomper. Why nerdy, then? It feels more like rock lord

role-play than a serious deposit of inspiration. Gizzard have yet to capture the frivolity of their live shows on record. And while Gamma Knife is a lot of fun, the struggle continues. JULIANNA BARWICK Nebula (Dead Oceans) Julianna Barwick slows down the world, making space to relearn the practice of daydreaming. Nebula floats on an ethereal synth riff, misty voices hovering overhead. The persistence of the central riff hypnotises, equal parts calming and commanding. Nebula won’t make your problems go away, but it’s incentive to breathe in and seek out an ulterior point of view.

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CATE LE BON Wonderful (Turnstile/Caroline) Sounding like a lost Elephant 6 recording, Wonderful is a gloriously playful piece of art pop. Le Bon sees the world as if brand new, rolling out a stream of seemingly disconnected images, communicating the essential wonder of sensory perception. The song bundles forward like a bicycle speeding downhill with no breaks, stereopanned guitars converse with glockenspiel, while Le Bon’s vocals stay blissfully amused by the absurdity of language. BEAT MAGAZINE PAGE 38

HOW SICK IS MUSIC? HEAPS WICKED

1. Fool For You KILTER FT MICAH JEY 2. Gamma Knife KING GIZZARD & THE LIZARD WIZARD 3. Anything Near Conviction LUCA BRASI 4. Infinite Paradise LULU RAES 5. Don’t Look MACHINE AGE 6. A Match Made In Heaven ARCHITECTS 7. Dead Beat Girl DAY WAVE 8. Get Out FRIGHTENED RABBIT 9. Separate Lives HAELOS 10. Baby’s Alright INHEAVEN

RECORD PARADISE TOP TEN

RIP George Martin. What a guy. Always spoke like he was the smartest person in the room. Probably always was. KANO This Is England (Atlantic Records) Kano’s view of England stems from the outer neighbourhoods of East London, where survival means obeying unscrupulous gangsters like the Kray twins and digging yourself into a hole of delinquency. But Kano’s “a Tupac in a town full of Suges,” and he’s not alone. As this mini rap-opera becomes more imposing, the MC gives a nod to grime co-leaders Lethal Bizzle and Wiley, the song itself a testament to their sub-cultural defiance.

SYN TOP TEN

1. Eddy Current Suppression Ring EDDY CURRENT SUPPRESSION RING 2. The Catastrophist TORTOISE 3. Grey Tickles, Black Pressure JOHN GRANT 4. Tyrannamen TYRANNAMEN 5. Afterlife NO ZU 6. Emotional Mugger TY SEGALL 7. Twerps TWERPS 8. No Cities To Love SLEATER KINNEY 9. Pond Scum BONNIE PRINCE BILLY 10. Painting With ANIMAL COLLECTIVE

BEAT’S TOP TEN SONGS OF WISDOM 1. Genius FRENZAL RHOMB 2. The Smartest Monkeys XTC 3. Da Vinci WEEZER 4. Genius Of Love TOM TOM CLUB 5. The Marxist Brothers NOFX 6. Luigi & The Wise Guys FRANK ZAPPA 7. Genius KINGS OF LEON 8. Wise Ol’ Man THE FALL 9. Nietzsche THE DANDY WARHOLS 10. Getting Wise YVES KLEIN BLUE

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THE MURLOCS

THE WEEPING WILLOWS

YOUNG BLINDNESS (Flightless/Remote Control)

With Young Blindness, The Murlocs waste no time on formalities, combining a steady smear of reverb licks with ’50s-style R&B riffs and sultry blues melodies. The record alternates between raw textures and choruses that sit just on the right side of sloppy, and the band seem to gain great pleasure from staying within their own sonic spectrum, albeit while occasionally playing with convention along the way. For the most part, fuzzy remnants of guitar rule the day, but there are occasionally tinges of wailing harmonica and a hefty, drunken drawl; touches that evoke the shadowy sing-song flair of the early Stones. Three tracks in, Adolescence reflects on the standard qualms one faces in their early-to-mid-20s, while the scuzzy riffs build up to a percussive blowout in Wolf Creep. Instant foot-stomp generator Unknown Disease is blissfully juxtaposed with the mild measure of Rolling On and Let Me Down Lightly. Although it sits towards the end of the record, Think Out Loud is a notable highpoint and closes out proceedings in the best possible way. Young Blindness mightn’t break any new ground, but the ground it is treading, it’s treading pretty damn well. BY KIERA THANOS

The debut record from Milwaukee Banks, Deep Into The Night is a mixture of subtle electronic tweaks, clever synth work and often punching, throbbing beats. The production on the album has some absolutely mind-melting moments. Second track Faded sets a plodding, progressive beat against some cascading synths, while Mona Lisa contains a desperate, echoing, brilliant bridge. It’s all pulled to a close with Grace, a number full of fascinating and intermittent electric guitar. Nonetheless, the album leaves a lot to be desired on the lyrical front. What could have been an intricate amalgamation of perceptions, merely becomes an ever so slightly manipulated rip-off of themes such as self-worth, the persistence required to play ‘the game’ and girls. These are themes that we’re all too familiar with, and one sighs at the thought of Milwaukee Banks treading the same subject matter as Drake and Fetty Wap. Do we really care that the band’s budding interaction with a young female is “burning up like hot chicken”? No. Rather, we’re left wondering why the pair behind the Milwaukee Banks name would let themselves get so hungry that chicken is feeding their similes. That said, although it’s definitely not perfect, Deep Into The Night has enough going for it to make this debut well worth a listen.

BY ANITA CONNORS

BY CHELSEA DEELEY

MATT CORBY

PLAGUE VENDOR

TELLURIC (Universal)

DANGEROUS LEVELS OF THAT’S FINE (Wingette Recordings)

BY BRONIUS ZUMERIS

DEEP INTO THE NIGHT (Dot Dash/Remote Control)

Things have gotten a whole lot darker and more measured for Melbourne alt-country duo The Weeping Willows since the release of their debut album Till The North Wind Blows. Not that they have ditched their rolling harmonies, twangy banjo or crafty storytelling. On the contrary, all those elements are wildly present on the self-produced Darkness Comes A-Callin’. However, it’s the undercurrent of bluegrass and gothic Americana that has changed. Once a gentle presence, their intensity has been kicked up a notch, making the pair’s second record a brooding, tortured look into life, love and loss. The Weeping Willows is the project of couple Andy Wrigglesworth and Laura Coates, and they took three years to write Darkness Comes A-Callin’, adding a sense of real life to the record. This isn’t just some polished assemblage of radio-friendly choruses and neutered guitar work. This is an album of grit and violence, one that seizes listeners by the scruff of the neck and doesn’t let go. The standout track is by far the Robert Johnson-esque opener Devil’s Road, co-written with alt-blues songsmith Lachlan Bryan. The album is sprinkled with veteran session players and guest vocalists, adding a very significant layer of technical skill. Such talent, all in all, helps to create what is a portentously atmospheric but polished record.

FOREVER SINCE BREAKFAST

Hailing from Arkansas and Texas via the Hunter Valley are the shadowy collective that arose from the remnants of several bands, most notably Muzzy Pep. The record’s clever title signals what’s to come, and this modus operandi is followed through with songs like Wake Up Sleeping and IKEA Heirloom. Several songs display a certain resilience and defiant candour. Some are seductive, featuring ‘60s harmonies and meditative guitars that drift off into the ether at a galloping pace. Ginchy Woo Woo sounds plain silly in principle but has plenty of artistic merit to back it up. With a fusion of psych rock, jangle and reverb, the band leapfrogs decades into the past. And when they do so successfully (see Damp Places), they do it really well. Elsewhere, such as Gone, there is not much to recommend repeated listens. It’s got too much of a slacker, bedsit style to truly inspire. Generally though, Forever Since Breakfast’s crisp economics do lead to a blooming sound that develops a balance between light and shade. This mightn’t become a canonical recording that’ll be difficult to listen to in the future without being overwhelmed by its reputation, but there is some guile and invention to be found for those wishing to explore. Just how expansive the future is for Forever Since Breakfast, however, we’ll just have to wait and see.

MILWAUKEE BANKS

DARKNESS COMES A-CALLIN’ (Independent)

Not many artists can boast about winning two ARIA Awards before releasing their debut album, but this is just one of the unique details of Matt Corby’s journey so far. Teasing us with not one but five EPs (the fourth of which, Into the Flame, was certified 6x platinum on the ARIA Charts) over the last few years, Corby has finally delivered the debut album we’ve all been waiting for. As well as composing every track on Telluric, Corby learnt all the necessary instruments to put it together just the way he liked it. Some parts were finalised with session musicians, but it’s ultimately the realisation of his vision. With each listen, you’re able to form a deeper appreciation of the artist that is Corby – not only as a songwriter, but also as a musician and exceptional vocalist. Album opener, Belly Side Up, explores a topical darkness that’s intially masked by the gentle groove of its rhythm. Likewise, Wrong Man, which creeps up on you. There are also moments one can only hope to see performed live, such as the funky We Could Be Friends, featuring a climax that gives a firm nod to Prince. The single Sooth Lady Wine is an album highlight. Catchy from the first lyric onwards, it has an old world charm that lingers long after the song ends. Also familiar to radio audiences, Monday ventures into the world of gospel with stripped back harmonies and biblical references. There is much to love about Telluric, but it’s also evident there is still so much yet to come for this budding superstar. If this is just a taste of what he is capable of, we’d better pray it doesn’t take another four years for his next release. BY JEN WILSON

ALBUM REVIEWS - BECAUSE YOU CARE WHAT WE THINK

BLOODSWEAT (Epitaph)

Bloodsweat is the second album from Southern Californian post-punk/ deathrock act Plague Vendor. The band’s debut album, Free To Eat, won fans over with its rambunctious punk heart and roughly hewn edges, indicative of four young guys who didn’t give a shit about being cool. However, on album two, these guys from Whittier, California have gone for a richer sound, replacing the jarring impact of their previous album with a textured drone. Vocalist Brandon Blaine shapes his voice in the mould of The Killers’ Brandon Flowers, departing from his former Jello Biafra-esque styling. In Jezebel, a rolling rhythm paves a path for Blaine’s best Paul Banks (Interpol) impression before mirroring the instrumental to break open for the chorus. Album standout is Ox Blood. This song juxtaposes muted picking with riotous punk rock riffage and distorted vocals. It’s as though the band are holding a can of whoop arse and every 30 seconds they loosen the lid only to tighten it back up again, before repeating the dose. The sonic metamorphous undertaken by Plague Vendor on Bloodsweat is similar to the shift in-style of another deathrock influenced punk band, The Horrors. From their debut, Strange House (2006), to their sophomore release, Primary Colours (2009), they lost their attitude and morphed into something far more digestible. This change was frustrating at the time, but without Primary Colours The Horrors would’ve never written Skying, one of the greatest albums of the past five years. So while it’s difficult to love Bloodsweat, it may be an integral step in the maturation of the extremely excellent Plague Vendor. BY DAN WATT

BEAT MAGAZINE PAGE 39

GIG GUIDE

THURSDAY 17 MAR THECRAVE

WEDNESDAY 16 MAR GWYN ASHTON

WH OL E LOT TA LOV E Gwyn Ashton has been hauling his beaten up National steel guitar and ‘63 Strat around the world for nearly 20 years. In the past he has opened for top-billing artists Van Morrison, Johnny Winter, Canned Heat, Robin Trower, in addition to headlining his own concerts from the UK to eastern Europe. Check him out at Whole Lotta Love on Wednesday March 16 at 7pm for only $10.

ANGELA DAVIS + TONY GOULD Paris Cat Jazz Club, Melbourne Cbd. 8:30pm. $20.00.

BIG EASY SOUL SESSIONS Carlton Club, Melbourne Cbd. 8:00pm.

THE HUNTED CROWS

CH E RRY B A R Melbourne’s very own rock duo The Hunted Crows will be continuing forth for their Cherry Bar residency on Wednesday March 16. For the week’s addition they will be joined by garage-pop friend Plotz, in addition to Horace Green. Doors are at 6pm and entry is a measly $5.

GUDRUN GUT+ HTRK

THE JOHN CURTIN Germany’s Gudrun Gut is coming all the way to Australia, teaming up with HTRK for an exclusive Melbourne show on Wednesday March 16. Gudrun is bringing her live show Wildlife 2.0 to Australia and Vietnam, presenting old and new material. Expect an eclectic electronic solo performance – including music, vocals and videos. It’s all going down at The John Curtin, doors are at 8pm and tickets are on sale via the venue.

Hotel, Brunswick. 8:00pm.

LETTERS FRAA & ZLATNA Melbourne Recital Centre,

Lotta Love, Brunswick East. 8:00pm.

Southbank. 2:00pm. $29.00.

GABRIELLA COHEN + TV + HILLS HOIST Tote Hotel,

LETTERS FROM ABROAD - FEAT: ANJA & ZLATNA

Collingwood. 8:00pm. $10.00.

Melbourne Recital Centre, Southbank. 6:00pm. $29.00.

INTERCRANIAL TREMORS + ANNIHILIST + BEHOLD THE

OPEN MIC Mr Boogie Man Bar, Abbottsford. 7:00pm.

DEFIANT + ARMATA Bendigo Hotel, Collingwood.

OPEN MIC NIGHT Purple Emerald, Northcote. 8:00pm.

7:30pm.

OPEN MIC NIGHT Ascot Vale Hotel, Ascot Vale. 8:00pm.

JAMES MOLONEY & THE MAD DOG HARRISONS + KAKU +

RUMBLE IN THE JUNGLE - FEAT: JOEY ELBOWS The

WE TIGERS Workers Club, Fitzroy. 7:30pm. $10.00.

Luwow, Fitzroy. 8:00pm.

KISSING BOOTH + SUMMERHILL Catfish, Fitzroy.

SCOTT COOK Open Studio, Northcote. 8:00pm.

9:00pm. $5.00.

SUNN O)))

8:00pm. $17.00.

STAV + DIDIRRI + AARTI JADU Grace Darling Hotel, Collingwood. 7:00pm. $10.00.

TAMARA MURPHY’S SPIROGRAPH STUDIES Bennetts Lane Jazz Club, Melbourne Cbd. 8:00pm.

BYO VINYL NIGHT

TH E RE T R E AT On Wednesday March 16 the Melbourne Record Club is putting on a very special night at The Retreat. Punters are encouraged to bring down their favourite vinyl for a spin on the decks and if you don’t know how, the guys from the Record Club are happy to lend a hand. A great excuse for music nerds to get together for a chin-wag, plus it’s all for free. Starts at 7pm.

M A X WAT T ’S It’s been two glorious decades since the genre-defying Sunn O))) first got together and on Wednesday March 16, they’re putting on what promises to be a hell of a show at Max Watt’s. Combining metal, drone, doom and performance art, Sunn O))) have attracted a cultlike following since their inception. Doors open at 8pm and tickets have sold out online, so hopefully you were lucky enough to get your paws on one.

Reverence Hotel, Footscray. 8:00pm. $5.00.

FORKLIFT ASSASSINS + SCROOD + SAINT BONES Whole

THE TOFF I N TOWN Having toured some of the countries most prestigious festivals, including Melbourne International Arts Festival, Mullumbimby Folk Festival and The Adelaide Cabaret Festival, Miles & Simone are launching their highly anticipated second album, Dance With Me For A While. The country-folk duo recorded the album in Miles’ Torquay bungalow, and will launch the album at The Toff in Town on Thursday March 17 with The Collingwood Casanovas. Tickets are $15 and available via Moshtix.

MEZZ LIVE Chelsea Heights Hotel, Chelsea Heights. 5:30pm.

RAMSHACKLE ARMY Yah Yah’s, Fitzroy. 7:30pm. SHOWCASE NIGHTS Purple Emerald, Northcote. 8:00pm. VIOLENT FEMMES + XYLOURIS WHITE Corner Hotel,

SUMMER SONGWRITERS - FEAT: JANINE MARSHALL +

Richmond. 7:30pm.

MATT ALFORD Tago Mago, Thornbury. 8:00pm.

ANTON DELECCA QUARTET Bennetts Lane Jazz Club,

TANGRAMS + GRACE ANDERSON + AHEAD OF THE

Melbourne Cbd. 8:00pm.

HUNTERS Grace Darling Hotel, Collingwood. 8:00pm.

ASHA BHOSLE Hamer Hall (arts Centre Melbourne),

$10.00.

Southbank. 8:00pm. $79.00.

TONY MCMANUS & BEPPE GAMBETTA (BRUNSWICK

RENEE MOULLET

MUSIC FESTIVAL 2016) + REBELS WITHOUT A CLUE

COUNTER CULTURE + CONRAD’S ENGLISH + STEPHANIE

Spotted Mallard, Brunswick. 8:00pm. $30.00.

CHAVII Bar Open, Fitzroy. 8:30pm.

WINE WHISKEY WOMEN - FEAT: ZOE K + MONIQUE

HEY HEY IT’S FRIDAY - FEAT: ASTRO BOYS Royal Hotel ,

ANGELE Drunken Poet, West Melbourne. 8:00pm.

Essendon. 10:00pm.

PILLOW PRO Tote Hotel, Collingwood. 8:00pm. $5.00.

CHERRY B AR Cherry Bar’s Soul in the Basement is back for Thursday March 17, featuring accomplished young musician Renee Moullet. She’ll be joined by a full band, backing up her seriously spine-tingling vocals. She’ll be joined by DJs Vince Peach and Pierre Baroni, who will be spinning original 45s all night long. $10 on the door as always, kicking off from 8pm.

RUBIX RADIO ON KISSFM Rubix Warehouse, Brunswick.

BRASS ‘N’ THINGS + DRUMS OF WAR + DOWN TO FUNK

8:30pm.

Bar Open, Fitzroy. 8:30pm.

SHMEGMA + SAINT HENRY & THE MADISONS Bendigo

MELBOURNE IMPROVISERS COLLECTIVE Uptown Jazz

Hotel, Collingwood. 8:00pm.

SWIM TEAM + MOTE Tote Hotel, Collingwood. 8:00pm. TREES FOR RURU + A RIOTING MIND + JOYCE PRESCHNER + ROUGH RIVER Old Bar, Fitzroy. 8:00pm. $8.00.

CAT CANTERI Catfish, Fitzroy. 8:00pm. COLIN HAY St Kilda Memo, St Kilda. 8:00pm. $49.00.

BEAT MAGAZINE PAGE 40

DUNE SEVEN + KATHERINE HYMER + QUANG DINH

MILES & SIMONE

8:00pm. $10.00.

AYAWATAMAYA Gasometer Hotel, Collingwood.

ROURKE AND THE LOVE DOGS + STREET FILTH Brunswick

BITUMEN Old Bar, Fitzroy. 7:30pm. $5.00.

DIZZY’S BIG BAND Dizzy’s Jazz Club, Richmond.

SEX ON TOAST + THE SCRIMSHAW FOUR +

CRAYON KING + STEVIE AND THE SLEEPERS + RIGGIDY

LALIC + ALL THE WEATHERS + RVG + FAYE SOFT +

BOPSTRETCH Uptown Jazz Cafe, Fitzroy. 8:00pm.

LO-RES + SAMASSIN 303, Northcote. 8:00pm.

THE B.E AST Newly formed three-piece TheCrave is comprised of Robbie Rag on the Hammond organ, Dan Pearson providing drum rhythms and Josh Fuhrmeister on guitar. Their combination of instruments is as unique as it sounds, with all three members decidedly masters of their respective crafts. They will be filling up the B.East with their brand of funk on Thursday March 17, from 9.30pm. Get down and boogie with free entry.

SWEEPS

T H E WO R K E R S C LU B Sweeps have been enjoying a brilliant month long residency at The Workers Club and so far have become firm favourites. The progressive soul quintet have been gracing the stage every Wednesday of March, featuring different supports each week. On Wednesday March 16 they’re joined by Melbourne’s BLY DVS and Tommy Rando. Doors open at 7pm and there’s a $10 entry fee.

Cafe, Fitzroy. 8:00pm.

MIDNIGHT EXPRESS - FEAT: PREQUEL + EDD FISHER Toff In Town, Melbourne Cbd. 10:00pm.

RUGCUTTERS Bella Union Bar, Carlton. 8:30pm. $17.00. SOUTHERN STARS Dizzy’s Jazz Club, Richmond. 8:00pm. $10.00.

THE GOOD EGG THURSDAYS - FEAT: HENRY WHO +

DON HILLMAN’S SECRET BEACH Clifton Hill Hotel,

TIGERFUNK + LEWIS CANCUT Lucky Coq, Windsor.

Clifton Hill. 8:30pm.

7:00pm. B E AT.C O M . A U

GIG GUIDE SUPERSTAR + THE SHIFTERS MOUNTAIN MOCHA KILIMANJARO THE RAAH PROJECT

S HADOW EL ECTRIC Featuring Violinist Tamil Rogeon and singer/ rapper Ryan Ritchie from the band True Live, The Raah Project will play Estonian House on Thursday March 17 as part of Brunswick Music Festival. This follows up their sold out launch of their latest album, Take Me Elsewhere. Set to be an intense cross-genre battle between contemporary classical, hip hop and jazz, the show will feature a 16-piece orchestra consisting of electronics, horns and string quartet, premiering new works as well as performing selections from the groups critically acclaimed albums. Tickets are $27, doors at 7pm.

H OWL E R Mountain Mocha Kilimanjaro will be conjuring up their monster brand of turbo-charged ‘Godzilla funk’ at Howler on Thursday March 17. Hailing from the outskirts of Tokyo, the instrumental six-piece are easily imagined stepping straight out of a ‘70s sake-soaked, James Bond-esque manga. Amassing devoted fans in every city they’ve played, Mountain Mocha Kilimanjaro have built a solid reputation for themselves as one of the leading players in the global funk scene and one of the funkiest musical exports out of Japan. Doors at 7pm, tickets are $45 via the venue.

T H E P O S T O FFI C E H OT E L On Thursday March 17 The Post Office Hotel welcomes Melbourne’s Superstar, with the addition of four-piece The Shifters. Both bands are expected to treat listeners to some of their new material, in addition to providing a leisurely ambience for the evening. Entry is free and they will be playing one set each from 9pm.

JR REYNE + ABBEY STONE Retreat Hotel, Brunswick. 8:30pm.

MARY BLACK Forum Theatre, Melbourne Cbd. 7:30pm. MILES & SIMONE + THE COLLINGWOOD CASANOVAS Toff In Town, Melbourne Cbd. 7:00pm. $20.00.

OGHAM SOUP Melbourne Recital Centre, Southbank. 2:00pm. $29.00.

BACKSTAGE - JAM NIGHT - FEAT: COLD TURKEY BAND +

OGHAM SOUP Melbourne Recital Centre, Southbank.

THE SHAKE SHACK BOOGIE BAND Musicland, Fawkner.

6:00pm. $29.00.

7:30pm.

OSCAR JIMENEZ & THE AMARU TRIBE Open Studio,

THE GRUBS Paris Cat Jazz Club, Melbourne Cbd.

BRENDAN MACLEAN Shebeen, Melbourne Cbd. 7:30pm. $20.00.

Northcote. 8:30pm.

8:30pm. $15.00.

DAN BOURKE & CYRIL Drunken Poet, West Melbourne.

PETER ROWAN BLUEGRASS BAND Spotted Mallard,

THE HIP JOINT - FEAT: 70/30 + WE ARE LUSH + LA HAZEL

9:30pm.

Brunswick. 6:00pm. $30.00.

+ MR LITTY + MOSE + MORE Boney, Melbourne Cbd.

JOHN MCCUTCHEON St Kilda Memo, St Kilda. 8:00pm.

9:00pm.

$30.00.

TIMBALERO THURSDAY La Di Da, Melbourne Cbd.

ST PATRICK’S DAY

9:00pm. $10.00.

ALLEGED ASSOCIATES Newport Bowling Club, Newport. 7:00pm.

KRAKEN FOLK SESSION

T H E DRUNKEN POET St Paddy’s Day kicks off at The Drunken Poet on Thursday March 17 with the Kraken Folk Session in the afternoon, followed by Dan Burke (The Bushwhackers, Tommy Emmanuel) and Cyril Moran – well known traditional Irish players, who promise a fun and lively evening. Get on down at 3pm, entry is free so you’ll have plenty left over to spend on pints.

DA N O’ CON NE LL H OT E L There is no better way to celebrate St Pat’s day than with some old fashioned Irish grub and a hearty swig of Guinness. The Dan O’Connell Hotel are hosting a mixed bag of festivities on Thursday March 17 to celebrate their day of days, including busting out their tasty collaboration with the Moon Dog Brewery – a delicious cranberry and apple kolsch. There will also be stacks of live entertainment from The Go Set, Tim Scanlan, The Drunken Poachers and Claymore, in addition to a performance from Christine Ayres School of Irish Dancing. The Dan O’Connell Hotel will be opening at 7am so you can get started nice and early, with plans to keep the party going until 1am.

AURA

G R AC E DA R LI NG H OT E L Melbourne based electronic and pop act AURA, aka Lisa Spencer, is launching her brand her single at the Grace Darling Hotel on Thursday March 17. The track Out Loud is the second release from her upcoming EP, which is due for release in the middle of 2016. She’ll be joined by Dhana Bhutan and Slowcoaching, entry is $10 and doors are at 8.30pm

Q&A

COLOSTOMY BAGUETTE?

Hey there. Who are we speaking to and what do you do in the band? My name’s X and I’m the noise person (lots of contact microphones and pedals and going way too far in the red without hitting any discernible notes). Who’s drawing together everyone for Incestfest and why? It was more or less a family (of the chosen kind) effort. A few of the bands on the bill started playing together due to mutual appreciation, then one thing led to another and further bands were born. You’ve got a lot of crossover members between bands on the Incestfest bill. Is it safe to say you’re all pretty close mates? Myself and Wayniac – the vocalist for Colostomy Baguette? and Religious Observance – have both been going to gigs for years, though not yet found ourselves in the right situation to have mates who are as eager as this bunch are to make heavy noise with us, and who’re unashamedly fanatical about the knock-off shitcore Merzbow-esque stuff we’ve been churning out in CB? for the last seven years. There’s a fuckload of sludge, grind/noise and doom acts on the bill. How well do you think these scenes get represented in Melbourne? There’s a good number of bands around, I reckon, along with a great tendency for folk to collaborate across disparate noisy and heavy genres. Entry cost is a total of zero bucks. Were you just feeling generous? We’re all just keen to get up and play as often as we can to as many people who will have us. COLOSTOMY BAGUETTE? are playing at Incestfest at the Tote on Friday March 18.

COMING UP SUNDAYS IN MARCH

THE SEVEN UPS (RESIDENCY)

TUESDAY 15TH MARCH

THE RAMBLING BOYS (IE)

DOORS/DINNER 6PM, SHOW TIME 8:30PM PRE SALE $25 + BF WEDNESDAY 16TH MARCH THE BRUNSWICK MUSIC FESTIVAL PRESENTS

TONY MCMANUS

FRI 11TH MARCH

DOORS/DINNER 6PM, SHOW TIME 8:30PM, PRE SALE $35+ BF / $30 + BF

SHOW TIME 4:30PM NO COVER CHARGE

+ BEPPE GAMBETTA

THURSDAY 17TH MARCH

PETER ROWAN BLUEGRASS BAND (USA) + SPECIAL GUESTS

DOORS/DINNER 6PM, SHOW TIME 8:30PM, PRE SALE $30 + BF

FRIDAY 18TH MARCH THE BRUNSWICK MUSIC FESTIVAL PRESENTS

HAT FITZ & CARA ROBINSON + SUZANNAH ESPIE DOORS/DINNER 6PM, SHOWTIME 9PM, PRE SALE $35 + BF / $30 + BF (CON)

sATURDAY 19TH MARCH THE BRUNSWICK MUSIC FESTIVAL PRESENTS

THE FURBELOWS + THOMAS WADELTON

DOORS/DINNER 6PM, SHOW TIME 9:00PM, PRE SALE $27 + BF

WED 23RD MARCH

COTTON CLUB FT. DAN DINNEN

BLUES SWING DANCING 7:30PM ($15 PER PERSON) MUSICAL PERFORMANCE FROM 8:30PM NO COVER CHARGE

$8 Pints Craft Beer

Tues - Sat 4pm-7pm KITCHEN HOURS Tues-Fri open 4pm Sat & Sun open 2pm

TICKETS

For ticket sales visit www.spottedmallard.com 314 Sydney Rd, Brunswick

B E AT.C O M . A U

BEAT MAGAZINE PAGE 41

GIG GUIDE ALSARAH & THE NUBATONES

TH E B.E A S T Songwriter Jp will be launching his EP Running at the B.East on Friday March 18. After spending years as a session drummer, it comes as no surprise that his experimental approach combines a variety of genres, sitting somewhere between indie and pop. He will be joined by his live band – a collection of his favourite fellow session musicians. There will be some special guests on the night and it all starts at 9.30pm.

HOWLER Drawing on her Sudanese heritage and the influence of Yemen where she lived briefly, singer/songwriter and ethnomusicologist Alsarah makes spellbinding and eclectic East African retro-pop from her base in Brooklyn. She has carved out a distinct sound with Middle Eastern swing and a nod to the retro sounds of Ethiopian music of the ‘60s and ‘70s. Alsarah is bringing her expressive live performance with her quartet The Nubatones to Melbourne for one show only, as part of the Brunswick Music Festival. Catch her at Howler on Friday March 18. Doors are at 8pm and tickets are $45.

2:00pm. $7.00.

FLOUR + WHITE WALLS + LOOBS + OHMS Old Bar,

SEVENDUST 170 Russell, Melbourne Cbd. 8:00pm.

Fitzroy. 8:30pm. $10.00.

SHAKERFAKER Yah Yah’s, Fitzroy. 9:00pm. $10.00.

FRIDAY NIGHT LIVE - FEAT: BRADY JAMES + TAYLOR

SLUMBERHAZE + BAPTISM OF UZI + CANARY Penny

PIGGOTT + BEN JANSZ + MORE Continental Hotel

Black, Brunswick. 9:00pm.

Sorrento, Sorrento. 9:00pm.

STRUNG OUT + PEARS Pier Live, Frankston. 8:00pm.

GRUDGE + BØG + STRICT VINCENT + VULTURE CULTURE +

$40.00.

ROLLING BLACKOUTS COASTAL FEVER Yah Yah’s, Fitzroy.

INFECTED TRANSISTOR Whole Lotta Love, Brunswick

DIED PRETTY

M A X WAT T ’S Australian alt-rock legends Died Pretty are playing a sold-out show at Max Watt’s on Friday March 19. For those who managed to snag a ticket, the band are set to showcase a plethora of material from their eight album strong discography. It’s been ten years since they’ve played a club gig in Melbourne, and rumour has it the band plans to make up for lost time with an absolutely killer set. Doors are at 8pm with supports from Even and Cam Butler.

East. 8:00pm.

DAN PARSONS Basement Discs, Melbourne Cbd.

HIGH TENSION The Croxton, Thornbury. 8:00pm.

12:45pm.

I AM DUCKEYE + WAR HAWK + PEGBUCKET Bendigo

DARYL JAMES Drunken Poet, West Melbourne.

Hotel, Collingwood. 8:00pm.

8:30pm.

TAIPAN TIGER GIRLS & CURSE OV DIALECT

DEATH OF ART + AMARONIX + DIVINE ASCENSION Mr

T H E CAT FISH Old friends will be reunited, new friends made, genres ignored and defied. Curse Ov Dialect are sharing a double headline bill with old mates Taipan Tiger Girls for a one off night of outsider hiphop and danceable noise. Opening the night will be Erasers (W.A) who blew minds with their dreamy guitar and synth psychedelic densities at Howler last October. Get yourself down to the The Catfish on Friday March 18 by 8pm and save $10 for entry.

Boogie Man Bar, Abbottsford. 7:30pm.

FRANK SULTANA + LUCAS ROAD + JOSHUA SEYMOUR

SWIM SEASON + BAD PONY

Labour In Vain, Fitzroy. 7:00pm.

INCESTFEST - FEAT: RELIGIOUS OBSERVANCE + THE

GRACE DAR LI NG H OT E L Swim Season and Bad Pony are teaming on Friday March 18 for a dual headline and single launch show. Melbourne’s five-piece Swim Team will be showcasing Gold Cloak City from their highly regarded Cascades EP, while Sydney’s Bad Pony are celebrating the release of their dark, gritty track Zombie. Locals Reika will be supporting, topping off what promises to be a night of first-class indie-pop. Get yourself down to the Grace Darling Hotel at 8.30pm, entry is $15 on the door.

HIGH DRIFTERS + SHE-BEAST + COLOSTOMY BAGUETTE +

THE JENSENS + NEON QUEEN + SLOWCOACH Shebeen,

JAMIE PAYET Milano’s Tavern, Brighton. 5:00pm.

MORE Tote Hotel, Collingwood. 8:00pm.

Melbourne Cbd. 7:30pm. $7.00.

JEREMY HANLEY’S HONK A TONK Pascoe Vale Rsl,

INTO THE MYSTIC (THE MUSIC OF VAN MORRISON)

THE PEOPLE Big Huey’s Diner, South Melbourne.

Pascoe Vale. 8:00pm. $8.00.

Flying Saucer Club, Elsternwick. 8:40pm. $23.00.

8:00pm.

JORDIE LANE + SWEET JEAN + LEAH SENIOR Gasometer

JUROR + EVANGELINE + SONIC VIBES + MIMI The

THE PINK TILES + TRACY MCNEIL & THE GOODLIFE + IQ +

Hotel, Collingwood. 8:00pm. $25.00.a

Luwow, Fitzroy. 8:00pm. $12.00.

LADYCHOIR Brunswick Library, Brunswick. 6:00pm.

MAX TEAKLE & FRIENDS Lomond Hotel, Brunswick

LA DANSE MACABRE + BRUNSWICK MASSIVE RESIDENT

VIOLENT FEMMES + XYLOURIS WHITE + PIKELET Corner

East. 5:30pm.

DJS Rainbow Hotel, Fitzroy. 9:00pm.

Hotel, Richmond. 8:30pm.

MORNING MELODIES - FEAT: TONY DIAMOND: NEIL

WATT’S ON PRESENTS Prince Public Bar, St Kilda .

DIAMOND & FRIENDS Ferntree Gully Hotel, Ferntree

8:30pm.

Gully. 10:00am. $17.00.

WORLD’S GREATEST SHAVE EVENT - FEAT: LIFE OF RILEY

ROSS WILSON & THE PEACENIKS Caravan Music Club,

+ KISS THE VYPER + RATTLNCANE + EINSTEINS TOYBOYS

Oakleigh. 8:00pm. $32.00.

Musicland, Fawkner. 7:30pm. $10.00.

STEVE EARLE & THE DUKES Melbourne Recital Centre,

BAD PONY + ROMEO MOON Baha Tacos & Tapas Bar,

Southbank. 7:30pm. $79.00.

Rye. 8:00pm. $10.00.

ZERAFINA ZARA & ALLEGED ASSOCIATES Smokehouse

BRYAN ADAMS Rod Laver Arena, Melbourne. 8:00pm.

101, Maidstone. 7:00pm.

THAT GOLD STREET SOUND

NO RT HCOTE SOCIAL CLU B Melbourne based soul and funk band That Gold Street Sound are celebrating the release of their brand spanking new 7” record Revive Me. This is a band that likes to put on a massive and exhilarating live show, which is bound to encourage even the shyest of punters to hit the dance floor for a boogie. Special guests for the night include The Sugarcanes, Stevie & The Sleepers and DJ Vince Peach. It’s all happening on Friday March 18 at the Northcote Social Club. Tickets are on sale via the venue.

GHOST TOWNS OF THE MIDWEST + MILLAR JUKES Yarra Hotel, Abbotsford. 7:00pm.

HAT FITZ & CARA + SUZANNAH ESPIE Spotted Mallard, Brunswick. 8:00pm. $30.00.

HIT N’ RUN Inkerman Hotel, Balaclava. 8:00pm. JACKSON FOUR Sound Bar, Werribee. 9:00pm.

CHAIRMAN MEOW Gem Bar, Collingwood. 7:00pm. CHRIS WILSON Cherry Bar, Melbourne Cbd. 5:15pm. CITY SHARPS + LONG HOLIDAY + ACE BRICKLAYING +

SATURDAY 19 MAR

SOUTHBOUND SNAKE CHARMERS Mr Boogie Man Bar,

FEM BELLING QUINTET Paris Cat Jazz Club, Melbourne

Abbottsford. 7:30pm.

Cbd. 9:30pm. $25.00.

FULTON STREET + JUMPIN JOSH + GOGO GODDESSES The Luwow, Fitzroy. 8:00pm. $5.00.

LUKE SEYMOUP BAND + JASON GUY SMILEY + PLOTZ

GLENN SKUTHORPE BAND Lomond Hotel, Brunswick

+ ELEVATOR TALK + MORE 303, Northcote. 8:00pm.

East. 9:30pm.

$10.00.

HOLI FESTIVAL OF COLOURS - FEAT: CHUKIESS &

MEDUSA + CHRIS ANNABEL Rah Bar, South Yarra.

WHACKBOI + BOMBAY BOOGIE SOUNDSYSTEM Sidney

8:00pm.

Myer Music Bowl, Melbourne. 12:00pm. $45.00.

MICHAEL STANGEL + VENOM + DAVE LESLIE + DAVE STEVENS Black Hatt, Geelong. 9:30pm. $10.00. OOGA BOOGAS + TOM RIDGEWELL’S MONGREL + HIEROPHANTS + TOMMY T & THE CLASSICAL MISHAPS Tote Hotel, Collingwood. 8:00pm. $10.00.

RETROMAX Ascot Vale Hotel, Ascot Vale. 8:00pm.

KIT WARHURST

LAMINE SONKO & THE AFRICAN INTELLIGENCE +

TH E WORK E R S C LU B Industry icon Kit Warhurst, of Rocket Science fame, will be launching his new single Rose Red City at The Workers Club on Friday March 18. The track is the second taste from his debut solo album, which is yet to be released. Supporting Warhurst are local acts Maps of Tasmania and Plague Doctors. It’s a 7pm start and tickets are available via Oztix.

MARABOU PROJECT Bar Open, Fitzroy. 10:00pm. LEIGH BARKER OCTET Bennetts Lane Jazz Club, Melbourne Cbd. 8:00pm.

MOOGY & LES PSYCHICS Paris Cat Jazz Club, Melbourne Cbd. 8:30pm. $25.00.

B E AT.C O M . A U

BEAT MAGAZINE PAGE 43

Q&A

NATALIE CAROLAN

You’re releasing your new single She’ll Know How it Goes in the coming week. Can you describe the sound in five adjectives? This single was produced by James Saunders of Colour Bomb. When we started on the track, I actually sent him a list of phrases, adjectives and imagery to give him a sense of where I was coming from. These are some of the original concepts: metallic, muffles, haunting, loss of sanity, driving piano. Your lyrics have been described as ‘understated and vulnerable, yet powerful.’ Where do you draw your inspiration from? I love conjuring up quirky ways of saying seemingly boring things. The old metaphor and simile never go astray either. Inspiration for my songs comes from many places. Of course, the clichéd heartbreak or emotionally charged events that happen in your own life can be easier to write about, but it’s important to break free from these themes to create diversity. You’ll be releasing a trio album with Luke Howard and Leonard Grigoryan, I Sleep, later this year. How is your style complemented by these two? They are obviously incredibly talented, but more importantly to me, they are beautiful and sensitive musicians. That was important to me and the reason I decided to record a separate trio album with them. There are endless layers and production elements in making pop music and the process can seem endless so I decided to focus this album on a more delicate treatment of some of my music. NATALIE CAROLAN is playing at Kew Court House on Saturday May 14. The new single She’ll Know How it Goes lands this week.

Q&A

THE UDDER UBDUCTEES So then, what’s the band name and what do you ‘do’ in the band? The band is called Udder Ubductees. We hail from a planet many light years away and we have come to your puny planet to preach the divine word of our bovine overlords. In this band I play the hell out of my cow fur-clad guitar. What do you reckon people will say you sound like? A choir of angels. If all the angels were wasted junkies who didn’t know how to play their instruments. We’re just a fun time punk rock party. What do you love about making music? The best part about making music is knowing that our word is the truth and the truth is the way. What do you hate about the music industry? The thing that irritates us most about your music is that there seem to be more people complaining about music than there are making it. It’s so simple you fools. If you could assassinate one person or band from popular music, who would it and why? On this planet there is only one band to compete with our level of tomfoolery, and that is Mac Sabbath (look them up). What can a punter expect from your live show? High energy, fast music and plenty of cow jokes. Anything else to add? Give in to temptation. Eat meat and be merry. You are not alone in the universe. UDDER UBDUCTESS are playing at the Brunswick Hotel on Friday March 18. Kick off is at 8pm with The Meteoriots, then Where’s Grover, The Traumaboys and Cyclone Diablo.

BEAT MAGAZINE PAGE 44

GIG GUIDE JAMAICAN JUMP UP #12

DEAD MEMORY FEST II

TH E B E N D I G O H OT E L The Bendigo Hotel is playing host to the second annual Dead Memory Fest, featuring a wide range of music both heavy and acoustic. On the main stage you can catch the likes of The Ramshackle Army, Ganbaru, The Patient, Truthside (SA), Postscript, Dead Joe (SA) amongst many more – while out back you can enjoy a softer selection of tunes with Josh Arentz (NSW), Leight Hair, David Grimson and others performing in the beer garden. Shoot on down to The Bendigo Hotel on Saturday March 19 and catch the whopping line-up of Dead Memory Fest II. Doors open at 2pm, entry is $10.

THE RIPCHORDS Pascoe Vale Rsl, Pascoe Vale. 8:00pm.

THE GASOMETER PBS 106.7FM is presenting the twelfth edition of Jamaica Jump-Up at the Gasometer Hotel on Saturday March 19. This time will include a tribute to Jamaica’s funk, soul and reggae era of the ‘60s and ‘70s. With a focus on material produced out of the incredible Studio One, aka the Motown of Jamaica, Jake Sovonna & Friends will be performing a live homage to one of the founding figures of Jamaican music – the legendary, keyboard virtuoso Jackie Mittoo. Guest selectors Troublemekka and Jim Dandy will be joining PBS’ Jesse I (Babylon Burning), Mohair Slim (Blue Juice) and Stryka D (Break The Chain) providing ska, rocksteady and early reggae tunes throughout the night – 100% vinyl, as always. 9pm on the door and $10 for PBS members or $15 for future members.

$10.00.

BLACKPINK The Music Man Megastore, Bendigo.

THE GANG Reverence Hotel, Footscray. 8:00pm. $6.00.

8:00pm.

ZOMBITCHES + LORDS ON BOARDS + BAT HIGHWAY + DJ

CHUCK + BOUND BY HOUND + VON STACHE + MORE Black

NOVA + DJ VU Ding Dong Lounge, Melbourne Cbd.

Hatt, Geelong. 8:00pm.

9:00pm. $10.00.

COLUMBUS Yah Yah’s, Fitzroy. 9:00pm. $15.00. DOGGEREL + SLIM BELLY BROWN The Who Club,

THE STIFFYS + SHERIFF + THE SEX PILLS Old Bar, Fitzroy. 8:30pm. $10.00.

THE UGLY KINGS + DEVIL ELECTRIC + TWO HEADED DOG Evelyn Hotel, Fitzroy. 8:00pm. $15.00.

TOMAS FORD’S CRAP MUSIC RAVE PARTY Bella Union Bar, Carlton. 9:00pm. $18.00.

TSUGNARLY + COSMIC KAHUNA + KILL DIRTY YOUTH + GEE SEAS Tote Hotel, Collingwood. 8:00pm. $5.00. VIBRAVEIL + MIDNIGHT COLLECTIVE + RICK SOUTH &

KISS DESTOYER 40TH ANNIVERSAIRY

NICHAUD FITZGIBBON QUARTET Uptown Jazz Cafe,

Warburton. 8:00pm.

Fitzroy. 8:00pm.

DYLANESQUE Kingston City Hall, Moorabbin. 8:00pm.

NORIA & LES PARIGOS Paris Cat Jazz Club, Melbourne

$25.00.

Cbd. 7:00pm. $20.00.

EDEN Babushka Lounge, Bakery Hill. 8:00pm.

PHILA PARA Prince Public Bar, St Kilda . 6:00pm.

GALAXY FOLK + SPIKE FUCK + GOLDEN SYRAP John

CHE RRY B AR Ashley Naylor, Danny Leo, Matt Macauliffe and Paul Drennan are taking over Cherry Bar to perform exclusive set of KISS’s acclaimed album Destroyer. It’s going down on Saturday March 19, to celebrate the record’s 40th anniversary. Punters can expect further array of KISS hits and face-paint is encouraged butA optional. Tickets are $25, doors at 8pm.

ROGER CLARK QUARTET Dizzy’s Jazz Club, Richmond.

Curtin Hotel, Carlton. 3:00pm.

ANDY WHITE Open Studio, Northcote. 5:00pm.

9:00pm. $16.00.

AUSTRALIAN KINGSWOOD FACTORY Brunswick Hotel,

SAN LAZARO Open Studio, Northcote. 8:30pm.

Brunswick. 4:00pm.

THE DRUNKEN POACHERS

BACKWOOD CREATURES Retreat Hotel, Brunswick.

TH E C AT FI S H The Drunken Poachers, with their wily ways and wooden instruments, have snuck boot-clad and boozed onto Melbourne’s live music stages. A dubious septet not to be trusted, they poach the tunes of others and after a white-wash of their brand of Irish-blue-grasscountry, they declare what never belonged to them, their own. Featuring banjo, guitar, ukulele, Irish fiddle, uke bass, lagerphone, on Saturday March 19 they will be joined by the return of their spiritual leader and Mandolin Maestro, Mr Scott Bakker. Entry is free and there will be two sets from 9pm at The Catfish.

9:30pm.

BURNT LETTERS + TOM DOCKRAY Old Bar, Fitzroy. 3:00pm.

BECOME AN AMAZING LEAD GUITARIST

SIR ANDREW DAVIS (MAHLER 5) Hamer Hall (arts

INXSIVE + NO EXIT + PURE BLONDE Musicland, Fawkner.

Centre Melbourne), Southbank. 2:00pm. $29.00.

8:00pm. $20.00.

THANDO + LADY OSCAR Penny Black, Brunswick.

JAMES NORBERT IVANYI + I BUILT THE SKY +

9:00pm.

TRANSIENCE + HOLLOW WORLD Workers Club, Fitzroy.

THE LATE SHOW - FEAT: REX + DANIELSAN + RANSOM

8:00pm. $20.00.

+ NICK THAYER + MORE Revolver Upstairs, Prahran.

DAVE WRIGHT & THE MIDNIGHT ELECTRIC

CLAIRE BIRCHALL & THE PHANTOM HITCHHIKERS + POWERLINE SNEAKERS + GOATPISS GASOLINE Tago Mago, Thornbury. 7:00pm. $15.00.

THE WOOHOO REVUE

BANG - FEAT: DEATH BY SIX + CAMBRIDGE +

WH O LE LOT TA LOV E Widescreen rock’n’rollers Dave Wright & The Midnight Electric will be making their anticipated return to Whole Lotta Love on Saturday March 19. They’ll be joined by indie-rockers Mantis and the Prayer, plus musical vagrants The Dead Pharaohs. Doors are at 8pm, $12 to get in.

ESTON I AN HOUSE As part of Brunswick Music Festival, The Woohoo Revue are playing their first headline show in Melbourne in over a year, on Saturday March 19. The fiendishly talented collective has tirelessly toured their all-out instrumental party across Australia and Europe including Glastonbury, Fusion and Colours of Ostrava. They’ll be bringing to the stage their unique brand of Balkan Jazz with support from Galata Express and The Willie Wagtailson at Estonian House. Tickets are $22, doors at 7pm.

HEARTSTRONG Royal Melbourne Hotel, Melbourne

KIT CONVICT & THEE TERRIBLE TWO + CABLE

HARRY COULSON’S RAIN DOGS Rainbow Hotel, Fitzroy.

Cbd. 10:00pm. $20.00.

TIES + THEE CHA CHA CHAS Grace Darling Hotel,

9:30pm.

BITCH PREFECT + SCOTT & CHARLENE’S WEDDING +

Collingwood. 8:00pm. $5.00.

JIMI BEAVIS Retreat Hotel, Brunswick. 5:00pm.

STATIONS OF THE CROSS Evelyn Hotel, Fitzroy. 2:00pm.

LOS CHICOS + MONEY FOR ROPE + THE SHABBAB + WRONG

KARAOKE WITH ZOE Customs House Hotel,

$15.00.

TURN Tote Hotel, Collingwood. 8:00pm. $19.40.

Williamstown. 9:00pm.

NICK LOVELL + RUNNING YOUNG + HANA MARU

KIM SALMON + HARRY HOWARD & THE NDE + MIKE

Gasometer Hotel, Collingwood. 2:00pm. $10.00.

NOGA Northcote Social Club, Northcote. 8:30pm.

NS4U Ascot Vale Hotel, Ascot Vale. 8:00pm.

$18.00.

PARENTS + JACOB + BLIND GIRLS + DIPLOID + BECALM +

LEAVE YOUR HAT ON (THE MUSIC OF JOE COCKER)

MORE Reverence Hotel, Footscray. 6:00pm. $10.00.

Flying Saucer Club, Elsternwick. 8:40pm. $28.00.

SATURDAYS R COVERED - FEAT: RADIO STAR Royal Hotel

MUSTERED COURAGE Retreat Hotel, Brunswick.

(essendon), Essendon. 10:00pm.

12:30pm.

SLUMBERHAZE Baha Tacos & Tapas Bar, Rye. 8:00pm.

NICE BOY TOM + JARED BRENTNALL Workers Club,

STRUNG OUT + PEARS + LAURA PALMER Corner Hotel,

Fitzroy. 1:30pm. $15.00.

Richmond. 8:30pm. $42.00.

SHOT GLASSES Inkerman Hotel, Balaclava. 8:00pm.

TANGRAMS + SAVAGE NOBLES + CELIAC Dane

SILVER CANOE Union Hotel , Brunswick. 9:00pm.

Certificate’s Magic Tricks, Gags & Theatre, Brunswick.

STEVE EARLE & THE DUKES Melbourne Recital Centre,

9:00pm. $5.00.

Southbank. 7:30pm. $79.00.

10:00pm.

THE SUGARFOOT RAMBLERS Bar Open, Fitzroy. 4:00pm ULTRAVIBRALUX Sooki Lounge, Belgrave. 9:00pm. AS A RIVAL + NORTHWOOD + THE SHORTS The Eastern, Ballarat East. 8:00pm. $10.00.

KYLIE AULDIST

H OWL E R Soul songstress Kylie Auldist will be throwing a celebration at Howler on Saturday March 19 as part of Brunswick Music Festival, to launch the title track from her forthcoming album Family Tree. Kylie has shared vocal time with the likes of Aloe Blacc, Megan Washington, Tim Rogers and Daniel Merriweather. Doors are at 8pm, tickets are $27.

B E AT.C O M . A U

GIG GUIDE TUXEDO KITTEN

WESLEY ANNE HOTEL Brisbane’s folk country oddities Tuxedo Kitten have announced their first ever Melbourne show. Making up the duo is John Meyer, former singer of The Good Ship, joined by renowned vocalist and dancer Bertie Page. Tuxedo Kitten have performed all over Australia as well as France and Japan and are currently recording their debut album. Supporting on the night are locals Anne of the Wolves and Emily Mae and the Alarum Belles. It’s going down Saturday March 19 at Wesley Anne Hotel, Northcote. Tickets just $10 at the door.

HIGH VOLTAGE ROCK SCHOOL

TH E WORK E R S C LU B School based initiative High Voltage Rock School has announced the latest showcase of stellar young performers with a show at the Workers Club on Sunday March 20. The all ages event will feature three graduate bands, as well as around 15 more bands currently on the High Voltage Rock School roster. 1pm entry with $15 on the door.

MITCH POWER + TOM DOCKRAY & THE DOCKLEDOODLE DOOS + BEN MASTWYK Evelyn Hotel, Fitzroy. 2:00pm.

THE SEVEN-UPS

STRANGERS IN TOWN + PARANOID + VIOLENT PARADISE

$10.00.

Mr Boogie Man Bar, Abbottsford. 7:30pm.

RVG + SPIKE FUCK Tote Hotel, Collingwood. 5:00pm. $5.00.

TEDESCHI TRUCKS BAND Forum Theatre, Melbourne

THE 131’S + THE QUARTERS + THE BEGGAR’S WAY Old

Cbd. 7:00pm. $99.90.

Bar, Fitzroy. 8:00pm. $8.00.

THE DRUNKEN POACHERS Catfish, Fitzroy. 9:00pm.

THE STEPHEN BLACK TRIO + OFFSPRING OF CONVICTS

T H E S P OT T E D M A LL A R D Blending influences from ‘70s Nigerian Afrobeat with the deepest of street-funk, The Seven Ups are the original seven-piece party band out of Melbourne. In February 2015 The Seven Ups released their debut, self-titled album on limited edition yellow vinyl, which earned them both national and international attention. Get down with them on Sunday from 4.30pm. Free entry.

THE FURBELOWS + THOMAS WADELTON Spotted

Bendigo Hotel, Collingwood. 6:00pm. $10.00.

CONNOR ROSS + LUCINDA + BRI CLARK 303, Northcote.

Mallard, Brunswick. 8:00pm. $27.00.

CRAYON KING + NINOX + NICHOLAS COSTELLO 303,

7:00pm. $10.00.

THE JUMP DEVILS + THE TIPPLERS Drunken Poet, West

Northcote. 2:00pm.

Melbourne. 3:00pm.

DELLACOMA RIO + SKARLETT + RORY JOY Whole Lotta

THE LATCHIKOS

THE WOODLAND HUNTERS Yarra Hotel, Abbotsford.

Love, Brunswick East. 8:00pm.

7:00pm.

ESSTEE BIG BAND Grace Darling Hotel, Collingwood.

PARENTS

4:30pm.

THE R EV ERENCE The Reverence are playing host to a mixed bag of bands on Saturday March 19. Headlining the night are New Zealand’s Parents, who are visiting our fine country to showcase their new album Great Reward. The stacked lineup includes Blind Girls from Brisbane, Sydney’s Jacob, Adelaide’s Becalm and Al’s Toy Barn from Tasmania. Local supports are in the form of Diploid, Shut Up Jackson, The World At A Glance and Endut Hoch Hech. Doors open at 6.30pm, $10 to get in.

GOSPEL SUNDAYS The B.east, Brunswick East. 1:00pm.

T H E D R U NK E N P O E T The originators of “Gyp-Hop” – Gaelic gypsy hip hop – the Latchikos blend a raw mix of Virtousso Violin, spoken word and raw, driving Gaelic beats. If you’re down for something a little bit different, check out The Latchikos when they play The Drunken Poet on Sunday March 20. Starts from 4pm, free entry.

LOS CHICOS

THE REVE REN CE Los Chicos have been blasting rock‘n’roll for 15 years now. Their mix between pub-rock-punk and countrygospel-punk-soul has blown out many stages all over the world. They’ve recorded six LPs, a myriad of singles and been featured in international tributes to acts such as Chuck Berry to The Fleshtones. On Sunday March 20, Footscray will be blessed with their presence at The Reverence as part of their Australian tour. Support comes from The Meanies, The Pretty Littles & Kit Convict & Thee Terrible Two. Doors at 5.30pm and tickets are $22.

GREG DODD & THE HOODOO MEN Rainbow Hotel, Fitzroy. 4:00pm.

HOMESICK RAY & THE MILD BUNCH + THE LATCHIKOS Drunken Poet, West Melbourne. 4:00pm.

PIERRE-LAURENT AIMARD Melbourne Recital Centre,

ELWOOD BLUES CLUB Prince Public Bar, St Kilda .

HUGH MCGINLAY & THE RECESSIVE GENES Standard

Southbank. 5:00pm. $50.00.

8:00pm.

Hotel, Fitzroy. 7:00pm.

STANDING TALL Open Studio, Northcote. 5:00pm.

ETERNALLY FRESH + YFFER + PAPPY Old Bar, Fitzroy.

IAN BLAND & THE LAMINGTON DRIVE ORCHESTRA

SUMMER SOUL SESSIONS - FEAT: HYJINX Continental

3:00pm.

Lomond Hotel, Brunswick East. 5:30pm.

Hotel Sorrento, Sorrento. 3:00pm.

FULL TIME LOVERS Gem Bar, Collingwood. 7:00pm.

LUAU COWBOYS Victoria Hotel , Brunswick. 5:00pm.

SUNDAY SOUL SESSIONS Purple Emerald, Northcote.

GEOFF ACHISON Royal Oak Hotel, Fitzroy North.

TIMBERWOLF + AL PARKINSON + THE OUTDOOR TYPE

9:00pm.

4:00pm.

Shebeen, Melbourne Cbd. 7:30pm. $12.00.

THE DEANS + ZOE K Retreat Hotel, Brunswick. 7:30pm.

GLENMAGGIE BLUES & ROOTS FESTIVAL - FEAT: MIA

THE HOT POCKETS Inkerman Hotel, Balaclava. 4:00pm.

DYSON + THE STRZELECKI STRINGBUSTERS + AMNESIA

THE MELBOURNE JAZZ CO-OP Uptown Jazz Cafe,

BLUES BAND + THE DIRTY SOULS + MORE Glenmaggie

Fitzroy. 8:00pm.

Mechanics Institute - Glenmaggie Hall, Glenmaggie.

BARRY TONES + I KNOW THE CHIEF + RENEGADE JOE +

THE SEVEN UPS Spotted Mallard, Brunswick. 4:30pm.

12:00pm. $25.00.

LONDON Evelyn Hotel, Fitzroy. 8:30pm. $10.00.

TRACIE LAWS + SIX DEGREES + MISSTUESDAY Mr

CATHERINE MEESON + SYMMETRIX SLEEP LAB Bar

Boogie Man Bar, Abbottsford. 7:30pm.

Open, Fitzroy. 8:00pm. $5.00.

VIRGIL DONATI TRIO Bennetts Lane Jazz Club,

E.X.P (HENDRIX & BRITISH ROCK TRIBUTE) + METAL DAZE

Melbourne Cbd. 8:00pm.

Whole Lotta Love, Brunswick East. 1:00pm. $10.00.

WAMBATUQUE SAMBA + UM DUO ENCANTADOR Open

EPICA + VOYAGER 170 Russell, Melbourne Cbd. 7:30pm.

Studio, Northcote. 8:00pm.

$65.00.

WILBUR WILDE BLOWOUT Bennetts Lane Jazz Club,

JAM AT MUSICLAND SUNDAYS Musicland, Fawkner.

Melbourne Cbd. 8:00pm.

7:30pm.

BAT COUNTRY BLUES JAM - FEAT: ZEVON HILTZ + SAM

JOHN WILLIAMS BLUES FEST Ascot Vale Hotel, Ascot

COPE + EVAN TWEEDY + MORE Labour In Vain, Fitzroy.

Vale. 8:00pm.

5:00pm.

SUNDAY 20 MAR

BEN ABRAHAM THE FLAMIN’ MONGRELS

T H E R E T R E AT On Sunday March 20 The Retreat welcomes The Flaming Mongrels, who will be providing their crosspollination of outlaw country, blues, jazz and swing. Why not sweat out the weekend’s poisons by getting down and dirty with some old fashioned rockabilly. It’s kicking off nice and early at 5pm and entry doesn’t cost a dime.

B E AT.C O M . A U

HOWL E R Melbourne modern-folk artist Ben Abraham has quietly been building international acclaim and adulation for his personal and heartfelt cinematic folk music. He has recently celebrated the long awaited global release of his debut album Sirens through legendary indie label Secretly Canadian (Inertia in Australia), with a whirlwind tour of the US, UK and Europe before heading home to launch the record. Abraham has called on many collaborators in the album’s construction including Jonno Steer, percussionist Leigh Fisher, Gossling and Gotye. Abraham is playing at Howler Sunday March 20. Doors from 7pm, tickets online for $25.

BEAT MAGAZINE PAGE 45

GIG GUIDE GREG WALSH

PER A On Sunday March 20 Melbourne’s pianist, vocalist and composer Greg Walsh will be bringing his blend of jazz, blues, soul and funk to Pera jazz bar in Brighton. Anticipate a stellar collection of tracks including covers, originals, some material from his album A Busy Street in addition to some of his newly recorded work. Walsh will be providing his soulful prowess with on the freshly tuned, baby grand piano from 3pm onwards.

TWEEDY Melbourne Recital Centre, Southbank. 7:30pm. $75.00.

VINTEN + ARIELA JACOBS + ALEXANDER BIGGS Workers Club, Fitzroy. 8:30pm. $3.00.

THE JESSICA STUART FEW

TUESDAY 22 MAR TASTE OF INDIE TUESDAYS

2016) + EMMA DONOVAN & THE PUTBACKS + YIRRMAL

T HE RE T R E AT Toronto’s The Jessica Stuart Few are gracing The Retreat on Monday March 21 as part of their national tour. The trio are known for their quirky and playful take on indie-rock, combining elements of folk and jazz. Start your week off with a boogie to one of Canada’s finest. Get yourself there by 8.30pm, entry is free.

Ceres Environment Park, Brunswick East. 4:00pm.

NORTHEAST PARTY HOUSE Workers Club (geelong),

PR I NC E P U B LI C B A R The Prince Public Bar is showcasing some multigenre, original music from the brilliant songwriting and performance talents of three local Melbourne performers on Tuesday March 22 – Lisa Spykers, Brett Franke, and Bob Craine. Presented by the Taste of Indie Collective, the night kicks off at 7.30p. Entry is free, so why the hell not.

$25.00.

Geelong. 8:00pm.

ANN VRIEND Toff In Town, Melbourne Cbd. 7:00pm.

SOUTHERN LIGHTS Big Huey’s Diner, South

LORD HURON + TEXTURE LIKE SUN Corner Hotel,

$25.00.

Melbourne. 4:00pm.

Richmond. 8:00pm. $50.00.

ANNA’S GO-GO ACADEMY Bella Union Bar, Carlton.

MICHELLE GARDINER Customs House Hotel, Williamstown. 3:00pm.

PEASANT MOON Union Hotel , Brunswick. 3:30pm. SHANE HOWARD TRIO (BRUNSWICK MUSIC FESTIVAL

6:30pm. $10.00.

YARED TRIO

TH E POST OFFICE H OT EL The Post Office Hotel are celebrating their sixth birthday on Sunday March 20 with a bounty of live music across two stages. So far on the bill are Yared Trio, Hierophants, Empat Lima and Lost Ragas, with more acts set to play on the day. There’s going to be a BBQ, food trucks and DJs in the beer garden to boot. The festivities are taking place from 4pm onwards, wander on down for a pint of Coburg Lager and some free music.

STEVE FRASER BENEFIT SHOW - FEAT: CHRIS WILSON + JEFF LANG + PHIL MANNING + KERRI SIMPSON + MORE Cherry Bar, Melbourne Cbd. 2:00pm. $20.00.

SUNDAY SESSION - FEAT: BRUNSY Ferntree Gully Hotel, Ferntree Gully. 2:00pm.

JAALA + TWO STEPS ON THE WATER Gasometer Hotel, Collingwood. 8:00pm. $18.00.

KAMASI WASHINGTON Prince Bandroom, St Kilda. 8:00pm. $61.10.

LOVE LETTERS - FEAT: NICK DEUTSCH + HAMER QUARTET

KENDRICK LAMAR

AND FRIENDS Melbourne Recital Centre, Southbank.

ROD L AVE R A R E NA Hip hop giant Kendrick Lamar is flying into Melbourne on Monday March 21 to perform at the coveted Rod Laver Arena. The release and success of 2015’s To Pimp A Butterfly solidified the rappers reputation as one of the most influential musicians of his generation. Grab yourself a ticket via Ticketek, this is one arena show not to be missed. Doors will open at 7.30pm/

SUNDAY SESSIONS - FEAT: VARIOUS ARTISTS Lucky Coq, Windsor. 4:00pm.

ROSIE MISCHIEF + WHISKY BLISS + ESSIE THOMAS Open

THE BAND WHO KNEW TOO MUCH Union Hotel ,

Studio, Northcote. 8:30pm.

Brunswick. 5:00pm.

TULALAH + HANNAH CAMERON + WINDARI Evelyn Hotel,

THE PENINSULA PICNIC 2016 - FEAT: MISSY HIGGINS +

Fitzroy. 8:30pm. $10.00.

6:00pm. $29.00.

SERENADES - FEAT: NICK DEUTSCH Melbourne Recital Centre, Southbank. 11:00am. $40.00.

KYM STATON

LO O P PR OJ E C T S PAC E & B AR Get yourself down to the Loop Project Space and Bar on Tuesday March 22 for a documentary screening, raw vegan chocolate and some live music. Sydney’s singer and songwriter Kym Staton first launched into the scene in 2012 and has been amassing a steady following ever since. His unique sound is both exotic and earthy – an eclectic concoction of blues, jazz, folk and Celtic covers. Staton’s raw rock tenor voice mirrors this versatility, complementing each genre effortlessly. It’s going down at 6pm, tickets are available via the venue website.

KIM CHURCHILL + DARREN MIDDLETON + TIMBERWOLF

FRESH INDUSTRY SHOWCASES Revolver Upstairs,

+ RUBY WHITING Mornington Racecourse, Mornington.

Prahran. 7:00pm.

11:00am. $77.00.

HILLS HOIST + FULL FLOWER MOON BAND + MOSAICZ

THE HOUNDLINGS Catfish, Fitzroy. 5:00pm.

Evelyn Hotel, Fitzroy. 8:30pm. $5.00.

THE BLACK SORROWS Flying Saucer Club, Elsternwick.

THE PÖPLI KIDS + BADSKIN + SPACE CADET Brunswick

3:30pm. $33.00.

Hotel, Brunswick. 8:00pm.

THE FLAMING MONGRELS Retreat Hotel, Brunswick. 5:00pm

UPTOWN ACE + REDRO REGRIGUEZ & HIS INNER

THE STEVE MARTINS Lomond Hotel, Brunswick East.

DEMONS + JONO BARWICK Cherry Bar, Melbourne Cbd.

9:00pm.

6:00pm.

THE STRAGGLERS + EARLY NIGHTS + KERRYN FIELDS

ELLE KING Corner Hotel, Richmond. 7:30pm. $40.00.

Reverence Hotel, Footscray. 3:00pm.

ERN MALLEY + GARETH SOBEY + OSCAR LUSH Workers

TOM REDWOOD + KATE ALEXANDER Yarra Hotel,

Club, Fitzroy. 8:30pm. $5.00.

Abbotsford. 5:00pm. $10.00.

MISS QUINCY + BUFFALO NICKLE Retreat Hotel,

MONDAY 21 MAR 303 YARRA BANKS JAM NIGHT 303, Northcote. 8:00pm. SIR ANDREW DAVIS (MAHLER 5) Hamer Hall (arts Centre Melbourne), Southbank. 6:30pm. $29.00.

CHERRY JAM Cherry Bar, Melbourne Cbd. 8:00pm.

CLASSIFIEDS

LUCKY PETERSON

Brunswick. 8:30pm.

N ORTH COT E S O C I A L C LU B Contemporary blues musician Lucky Peterson has become known for his fusion of soul, R&B, gospel and rock’n’roll. During his time in the spotlight, Peterson has released a whopping 17 solo albums, the first of which when he was a young whipper snapper, at just five years of age. The Lachy Doley Group will be joining him for the evening, which gets started at 8pm. Tickets are on sale now via Ticketscout.

33c per word per week (inc GST) Send your classified listing to classifieds@beat.com.au. Payment options include VISA/Mastercard or EFT (1.5% surcharge for

credit card payment). Deadline is Monday 11am, prior to Wednesday’s publication. Minimum $5 charge per week. We do not accept classifieds over the phone - sorry.

ACTS WANTED FOR SUNDAY ROCK SHOWS Contact: mark@gunnmusic.com.au

NOW BOOKING BANDS at Dane Certificate’s Magic Bar. Email danecertificate@yahoo.com.au

BANDS/DUOS/SOLO ACTS WANTED FOR ACOUSTIC/INDIE FEST Contact: mark@gunnmusic.com.au ROCK/METAL ACTS WANTED FOR LOCAL ROCK SHOWS Contact: mark@gunnmusic.com.au BEAT MAGAZINE PAGE 46

MELODIC GUITARIST WANTED for an edgy original rock band. Aged 25-45, must have professional outlook and previous band experience, own gear and transport, rehearse in Bayswater. www. alesserego.com. Contact Pete: PRN Management on 0419 004 095 or email prn.management@hotmail. com

URBAN LANDSCAPES URBAN SOUNDS - FEAT: GENERAL MEN + MARIANNE DIGGS + QUEEN BEAVERS Old Bar, Fitzroy. 7:00pm. $6.00.

The Push PRESENT

Access All Ages WITH GRACE KINDELLAN Attention songwriters: Push Songs’ innovative and inspiring song writing mentoring program continues into its 8th year throughout April and May 2016 and it’s still free. The program is made up of three one-on-one song writing workshops, plus Tuesday Night Song Club where you’ll meet and share ideas and talk about gigs with fellow song writers. Working alongside Push Songs co-ordinator Charles Jenkins, will be a bevy of experienced song writing mentors including Darren Hanlon, Jess Ribeiro, Dan Kelly and another special guest mentor to be announced very soon. Applications close on Thursday March 31 so head to thepush.com.au if you’re keen. The Push is super excited to launch New Slang – a series of monthly, all-ages events held at Arts Centre Melbourne’s The Channel. These intimate and exclusive gigs will showcase both touring and local artists to Melbourne’s all-ages audiences. We are looking for 10 dedicated and enthusiastic tastemakers aged 15-17 to lead the organisation and programming of New Slang as members of our events team for 2016. New Slang events team members will gain a heap of experience in managing events and programming line-ups plus there will be lots of chances to meet like-minded people and music industry professionals. Check out www.thepush.com.au for more details. Check out the pop-art visuals with a soundtrack of sweet pop music at Friday Nights at NGV. Acclaimed singer/songwriter Bertie Blackman will take the stage this Friday to showcase her new album of euphoric, fist-pumping synth bangers. Tickets include entry to the Andy Warhol | Ai Wei Wei exhibition and access to exclusive talks, food and bars from 6pm to 10pm this Friday, March 4. For more information, head to www.ngv.vic.gov.au. If you like getting rowdy in quiet, educational institutions, Live at the Library is the gig for you. Come down to the Brunswick Library this Friday March 18 to see a range of luscious pop bands from 6pm to 8.30pm. Country-rockers Tracy Mcneil and the Goodlife are fresh from the release of their new single Paradise and are set to tear the house down with help Melbourne’s favourite melody makers The Pink Tiles, unknown project IQ and Ladychoir will be playing their first show ever. They’re a group of six acclaimed song-writers and musicians who sing sweet acapella versions of pop hits including covers of Bjork, Elbow and Dolly Parton. Head to www.facebook. com/MorelandLibraries if you wanna know more. Keen to get amongst the Brunswick Music Festival but didn’t make it down last weekend? There’s still time. Amped Up Productions is hosting a not-so Secret Garden Party this Saturday in Saxon Gardens Brunswick and it’s gonna be HUGE. The Black Harrys will be bringing their rootsy, melodic folk music to the stage, plus pop slayer Gabriella Cohen is playing solo with support from Folkie & The Punk, Harry Andrews and Georgeia Ashworth all for a measly $10. It’s all happening from 2pm to 6pm at 33 Saxon St, Brunswick with more details at www. facebook.com/ampedupfreeza.

All Ages Gig Guide F R I DAY M A R C H 18

Terang Pool Party w/ DJs, Terang Swimming Pool, 6.30pm - 9.30pm, $5, www.corangamite.vic.gov.au, U18

S AT U R DAY M A R C H 19

HARD ROCK/HEAVY METAL GUITARIST WANTED. Must have experience and own songs/riffs. Phn: 0433 726 449 MODELING. We’re looking for confident women of all styles (aged 18+) for our pro-feminist photographic projects with an emphasis on style and creativity. Nude/undies, paying $100 to $500 per shoot. Don’t overlook this until you’ve found out more about it. Rebecca ph.9495 6555

B E AT.C O M . A U

Wall to Wall Jam and Stencilling Workshops w/ 23rd Key, Zoo York, YMCA and Scoot, skate, BMX clinics and mini-games, Benalla Skatepark, Fawckner Drive, Benalla, 9.00am - 5.30pm, Free, www.benalla.vic.gov. au, AA Beachside Youth Festival w/ Woodlock, Josh Cashman, Nussy, The String Theory, Universal Outcasts, DJ Gabish, Green Point, Brighton Beach, (The Esplanade, end of South road,) 3.00 - 8.00pm, Free, www.facebook.com/beachsideyouthfestival, AA KewFestival KewMunity Day - FReeZa Youth Performance w/ Tram Drivers, Victoria Park, Corner High Street and Adeney Avenue, Kew, 12.00pm 5.00pm, Free, www.kewfestival.org, AA

S AT U R D AY 1 9 T H & S U N D AY 2 0 T H

Relay for Life w/ Daniel Reeves, Second Voice, Gayle Mawson, DJs, Euroa Showgrounds, Charles Street, Euroa, 2pm on 19/3/2016 - 10am 20/3/2016, Free, AA

Wed 16th March

W I N E , W H I S K EY, W O M E N 8pm: Monique Angele 9pm: Zoe K Thurs 17th March

St Paddyâ&#x20AC;&#x2122;s Day

Kraken Folk Session 9.30pm: Dan Burke & Cyril 6pm:

6pm:

Friday 18th March

Traditional Irish Music Session

Daryl James 3pm: March The Tipplers 9pm: The Jump Devils Sunday 20th March 4pm: The Latchikos 6.30pm: Homesick Ray & The Mild Bunch 8.30pm:

Saturday 19th March

Tuesday 22nd March

8pm:

Weekly Trivia

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

B E AT.C O M . A U

BEAT MAGAZINE PAGE 47

BACKSTAGE MUSIC VICTORIA MEMBERSHIP DRIVE SUPPORT LOCAL MUSIC BY ADAM NORRIS

Patrick Donovan has led the kind of career that most music journalists would sell family members to emulate, and while it’s not the reason we’re talking, the fact he has interviewed the likes of David Bowie, Patti Smith, Bob Dylan and Nick Cave is never far from my mind. From 15 years as the chief music critic at The Age, to his role as chair of the Australian Music Industry Network and CEO of Music Victoria, Donovan understands the complexities of the music industry like few others. “No two days are alike,” he says. “[At Music Victoria] we’re currently writing a national business plan to present to government in the next month – what we believe the industry needs, what the issues and opportunities are. Copyright needs a bit of firming up. The regulatory situation is bad in other states, so we’re advocating

for a national standard around things we have in Victoria, with the lock-out laws and exemptions for live music because it’s a solution for violence and not a cause. Sustainable careers and more opportunities for artists. There’s lots to do, and we’re coming together like we’ve never done before.”

For those unfamiliar with Music Victoria, it’s a not-for-profit, independent body whose charter quite simply is to champion Victorian music. The organisation fulfils a bundle of functions, from providing a forum for artists to network and develop, to advising on the nuts-and-bolts of a music career. To do so, it relies upon the financial support of Music Victoria members, which means the current Membership Drive is crucially important. “[Music Victoria] is a community,” Donovan says. “We work very hard on getting more offers for bands to make it a no-brainer to pay their $66. They can come to all of our professional development workshops for free, get all of the merch and recording discounts. It’s really important to get on our radar because we’re always – two or three times a week – asked to recommend bands. We’re doing a playlist for the AFL, we’ve done a playlist for Tourism Victoria. A lot of people also join us for the advocacy work that we do, we have a really good track record with that. Essentially, it’s about being allowed a voice, and the bigger the numbers we have, the stronger the voice.” As we know, Victoria is home to a staggering number of musicians, and standing out from the pack isn’t always easy. “Melbourne has 460 venues and growing, which is the main thing, unlike London and Sydney. There’s around 18,000

bands registered with triple j Unearthed in Victoria, so it’s growing and growing. Yes, it is hard, I’m in a band myself and I know it’s hard to cut through sometimes. That’s what Music Victoria offers. It’s basically skilling up bands on how to maximise the opportunities in this new digital landscape, how to run their own business.” One such opportunity is the I Love Live Music competition, which closes Friday April 1. Filmmakers and local musicians are asked to unite and produce a 60-second short film celebrating live music. Winners will bag not only cash prizes, but some hefty industry contacts. It’s also rather serendipitous timing, given Donovan and co. are currently lobbying for the launch of a brand new televised music show. “If you’re a band and you have someone who knows how to shoot a video on their phone and you win? You’ve got ten grand worth of cash and prizes there. And those top videos are sent to managers all over Australia. You just have to be aware of what’s going on, but many people aren’t. If you’re tapped into Music Victoria, we tell you exactly where these opportunities are. “We’re actually having conversations about a national live music show. Molly just rated six million views over three weeks, and Chanel V closed down the next week. I mean, the ABC has to get off its arse and put together a music show. It’s in

their charter, it’s time that they seriously thought about it. And because the industry is so united at the moment, we’re going to present a united front that we will deliver the acts that they need. It’s time.” MUSIC VICTORIA MEMBERSHIP DRIVE is on now. Head to musicvictoria. com.au to show your support for local music and become eligible for a range of industry services.

What is the Deal with Crosswords? Jerks, I’ve gone and knocked you up a Seinfeld crossword this week. If you don’t know anything about the show just write hate mail in the boxes and send it to me puzzleguy@beat.com.au

ACROSS

DOWN

E: jez@myceliumstudios.com P: 9410 0166

BEAT MAGAZINE PAGE 48

LOCAL HAPPENINGS

REHEARSAL STUDIOS

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NEW WEBSITE TO TRACE RECORDINGS A new website is being set up to identify nearly 20 million sound recordings, making it easier for recording artists, managers rights owners and music services to trace where the recordings were used and also to make data reporting more accurate. The ISRC Search Site is a team-up from the London-based international trade body for the recording industry IFPI, and the world’s biggest digital collective management organisation, SoundExchange. See https:// isrc.soundexchange.com or via the IFPI site https://isrcsearch.ifpi.org.

HANNA, ENGLISH, FAREWELLED Guitar rock and reggae legend Ross Hannaford was farewelled with an honour guard of family and friends in a beautiful valley in Blackwood in the Macedon Ranges outside Melbourne. The soundtrack was chosen by Hanna himself: the 32-minute The Creator Has a Master Plan from Pharoah Sanders’ 1969 album Karma (the vinyl version, of course). In the wake of Jon English’s passing, his 2-CD 2011 set Six Ribbons – The Ultimate Collection on Ambition Entertainment returned to the ARIA chart at #23, after a day’s collation of sales. While his success story has been recounted extensively in other media outlets following his death, what was not noted was that US band Tower of Power asked him to become their singer in the ‘70s.

NICHE SIGNS FORTUNES Niche agency has added Melbourne R&B duo Fortunes to its artist roster. The act was formed by producer Barnaby Matthews and vocalist Conor McCabe – both originally from New Zealand – and quickly made a name for themselves with a sound that also encapsulates hip hop and soul. They released the Jacket EP recently, selling out the launch night.

WICK STUDIOS PART WITH LYNN ROBNETT Melbourne’s Wick Studios has parted with Lynn Robnett, who joined the company ten months ago from LA to develop acts and get them deals abroad. She has since returned to America. A statement said, “Wick Studios business will continue to be conducted as usual. Glenn Scott and Dan Corless will be fully available (info@ BEAT MAGAZINE PAGE 50

Plans have firmed up for the Concert for Steve Fraser on Sunday March 20 between 2pm-6:30pm at Cherry Bar. Fraser, a long time supporter of local music as presenter at 3CR and formerly PBS and RRR (as well as past president of the Melbourne Blues Appreciation Society, suffered permanent brain injury following a diabetic coma, and remains in a brain injury care unit. He has a 13-year-old daughter to support. Acts performing include Jeff Lang, Kerri Simpson with The Gospel Belles, Chris Wilson and Phil Manning.

THINGS WE HEAR Which club DJ is about to land a TV gig? Which airline is to announce a major new initiative with Australian music acts? Is Airbourne’s Joel O’Keeffe in the lead to replace Brian Johnson in AC/DC? Original singer Dave Evans said he’d be up for it, but agrees he won’t be getting a call in the near future from Angus and co. Johnson’s growing deafness was not a sudden diagnosis: there were rumblings about it during their Oz tour last year. Live Performance Australia (LPA), which represents the live music industry, holds the 16th Helpmann Awards on Monday July 25 at the Sydney Lyric Theatre. LPA also said it was “very concerned” that even though the promoter or ticketing company of cancelled regional Victoria’s Maitreya Festival were LPA members, they had not within four days advised patrons of refunds. There were posts by ticket-holders on the festival’s Facebook page. Spotify Aus/NZ appointed Hayley Treasure (ex-Nine Entertainment) as account manager, and Matt Bryant (from digital agency F Sharp) as client creative lead. Reports say Sony Music Entertainment Australia’s regular refreshing of its roster saw the exit of Nathaniel Willemse and Reigan Derry, both from X Factor. At which point is doing work for free “building up one’s portfolio” and when is it exploitation? It’s a constant debate in the entertainment biz, and one re-ignited when reports emerged that reality TV show The Bachelor producer Warner Bros approached students at the Australian Institute of Music to work for free on social media. Split City: World’s End Press have disbanded after great live gigs and radiosupported singles here and abroad. A six hour metal show is being held in Casino, NSW, this week to farewell Seabound after five years, with singer Jayden Ridley now in Brisbane’s Stepson, who’re also playing the gig. Greek extreme metal band Rotting Christ will tour South Africa as Χ Ξ Σ fter a religious backlash. Police were generally happy with the crowd’s behaviour at the weekend’s Port Fairy Folk Festival: just a bloke picked up for drink driving on the way there and a cannabis warning inside, two underage drinking and one offensive behaviour. Some tracks are holding on for dear life in the ARIA charts. This week, Robin Schulz’s Sugar celebrates half a year in the top 100, Wiz Khalifa & Charlie Puth’s See

STEVE FRASER BENEFIT FIRMS UP

After the success of last year’s inaugural National Contemporary Music Roundtable in Sydney, organiser Music Australia has upped the ante in 2016 courtesy of a $30,000 sponsorship from the City of Sydney. It will bring together federal, state and local policy makers to discuss strategies for government support of the music industry. This year’s partners include ARIA, APRA AMCOS, Association of Artist Managers, AIR, Live Music Office, Australian Music Industry Network, AMPAL, Sounds Australia, Live Performance Australia and others. This year’s meet will draw 100 delegates from every major association (up from 40 last year) to discuss music policy, industry development, venues, export, music education and research. Last year’s National Music Business Plan will be developed by June. Music Australia CEO Chris Bowen said, “The Roundtable is set to become Australia’s major music policy and industry development forum – a national brains trust for innovation and development in contemporary music.”

wickstudios.com.au) to address any client needs.”

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MUSIC ROUNDTABLE GETS $30K

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MUSIC INDUSTRY NEWS & GOSSIP

INDUSTRIAL

You Again a year, Ed Sheeran’s Thinking Out Loud 79 weeks and Mark Ronson & Bruno Mars’ Uptown Funk 69 weeks. The Cat Empire had their second #1 debut with their seventh album Rising With The Sun – eleven years after their second album Two Shoes did it in April 2005. It’s the fifth Aussie album to hit #1 this year. On her current UK tour, Adele is signing random souvenirs sold at merch stands at the shows. She also dropped in at a fan’s house and gave tickets to another who wailed on Twitter she couldn’t go. To mark the 375th anniversary of Montreal, Pink Floyd’s The Wall will be staged as an opera by Opera de Montreal next March. The Floyd’s Roger Waters is recruited as its librettist. Part of the album was inspired after a 1977 incident at a Floyd show in Montreal when Waters spat on a fan. Thieves broke into Newcastle singer/ songwriter Tim Rossington’s garage and made off with $9000 worth of gear. A benefit is held this week and a GoFundMe campaign launched. Both The Eagles and Crosby Stills & Nash, who’ve toured here of late, have announced the end of their roads. The Eagles after Glenn Frey’s death, and CSN because Graham Nash and David Crosby are pissed off with each other.

STUDY: POP SONGS ARE AGEIST “What a drag it is getting old,” sang The Rolling Stones. “Hope I die before I get old,” said The Who. The Pulp’s Help The Aged asked fans to give the aged hope and comfort “cos they’re running out of time.” “Will you still need me?” The Beatles asked in When I’m 64. Pop music sets a bad example by portraying ageing and old folks negatively, focusing on them as dying or in physical decline. So says a study by the UK’s Anglia Ruskin University published in the Journal of Advanced Nursing. 55 of 76 songs were guilty of this. However the study found John Lennon (“now I am older, ah hah, the future is brighter”) and Dusty Springfield (“growing old is no sin”) provided a positive option.

BARNETT TO BUILD MUSIC SPACE WITH AMP PRIZE Courtney Barnett is using her $30,000 prize money from the 11th Australian Music Prize to build a studio/space to write, paint and record. “I’ve never had a novelty cheque before – I’m a bit nervous to hold it,” she told the gathering at the Basement, Sydney. “One thing I like about this award, it’s judged on the art and the music and it’s not on sales or other boring shit like that. So thanks.” Barnett was handed the cheque by Henry Rollins, who was Q&A guest. While Barnett tours in Australia, her UK team at Marathon Artists is nominated in the Artist Marketing Campaign category of the Music Week Awards. She’s up against James Bay, Bring Me The Horizon, Coldplay, Jess Glynne, Little Mix and Years & Years.

NSW GOVT SPOOKED BY LOCKOUT PROTESTS Despite is tough talk about lockouts, the NSW Government seems to have been spooked by the pesky lockout rally groups’ campaigns. So much so it’s invited Keep Sydney Open to join round table discussions on Sydney’s night time economy and reigniting the once-thriving entertainment precincts. These are held Thursday March 31, Thursday April 28 and Thursday May 19, and will be included in retired High MUSIC INDUSTRY NEWS & GOSSIP

S tu f f f or t h is co l umn to be emai l ed to ce l iezer @ netspace . net . au by Friday 5 pm

Court Justice Ian Callinan’s review of the lock-outs, due in August. “Everyone wants a safe and vibrant nighttime Sydney economy, this is an exciting chance to work together,” said Deputy Premier and Minister for Justice and Police, Troy Grant. But the Greens’ Newtown MP Jenny Leong stated that the invitation means that the anti-lockout activities are working: “Minister Grant seems to be singing a very different tune. [We] have said from the start that it’s essential that local communities are involved.” Hopefully a long term benefit of these discussions will not only to drop the lock-outs but see compensation offered to venue owners. In Queensland there are discussions about launching legal action against the Government there on the basis of lesser trading hours resulting in less revenue, and casino exemptions creating a non-level playing field.

BRAND, KERNAGHAN, WIN COUNTRY MUSIC TROPHIES At the 6th CMC Music Awards at QPAC Brisbane, Adam Brand won CMC Oz Artist of the Year. Lee Kernaghan’s Spirit Of The Anzacs landed him three: male artist, video and ARIA Highest Selling Australian Album. Keith Urban took International Artist for the fourth time and International Video for the fifth. Others triumphs were by Amber Lawrence (female), Wolfe Bros (group), Caitlyn Shadbolt (new artist) and Alan Jackson (ARIA Highest Selling International Album). The awards were broadcast live on Foxtel and sold out a few days before. This was a triumph for the Queensland government’s move to make the state a country music destination. It positioned the awards a night before the CMC Rocks Queensland festival (also a sell out), which it drew to the state from NSW, and allowed it to tap festival acts as Jason Aldean, Florida Georgia Line, Kelsea Ballerini and Morgan Evans to perform at the awards as well.

STRONG START FOR NE OBLIVISCARIS CAMPAIGN Melbourne prog-metal band Ne Obliviscaris’ ambitious campaign on Patreon to get fans to pay the six of them an annual regular wage so they can devote their time to music has had a strong start. Within the first seven days, fans promised $105,000 a year on www.patreon.com/neobliviscaris, well on the way to the target of $12,000 a month. Used for years by sporting clubs, it paves the way for other music acts to financially survive without help from record labels, publishers or corporate sponsorship – although in NeO’s case, they already had a huge global following through touring, and whose 2014 raising of $86,000 via Pozible remains one of the highest netting music campaigns in the world.

JACKIE ORSZACSKY LECTURE, COMP Eight years after his death, the inaugural Jackie Orszaczky Music Lecture, in conjunction with APRA AMCOS, is held on Tuesday May 10 at the Basement. The lecture will keep alive the work and philosophy of the Sydney bassist, composer and bandleader. Musician and broadcaster Lucky Oceans will deliver the first lecture on unique ways to find one’s own music voice. A concert featuring ex-band members will perform his work. The competition, for APRA members, is to write a composition in his spirit.

Lifelines Divorcing: Don McLean’s wife is filing for divorce citing adultery and “cruel and abusive treatment,” after a January domestic abuse incident in their home saw him arrested, and postpone his Australian tour this month until 2017. Ill: former Rolling Stones bassist Bill Wyman diagnosed with prostate cancer. Caught in its early stages he’s expected to make a full recovery. In Court: Paramore’s former bassist Jeremy Davis, who acrimoniously left last year, is suing for a share of the band’s income, saying he and singer Hayley Williams formed the band before current member Taylor York joined. In Court: former Hatebreed drummer Nicholas “Nickel P” Papantoniou faces up to 90 years in jail when sentenced in May, after being found guilty of murder, first degree burglary and criminal possession of a firearm in Connecticut. Died: British keyboard virtuoso Keith Emerson, of Emerson Lake & Palmer and The Nice fame, 71, at his home in Santa Monica in Los Angeles. In the early ‘70s he was known for merging jazz, rock and classical and his showbiz routine of throwing knives into his keyboards. Died: Aaron Hoffman, bassist and co-founder of US band Harvey Danger, 43, from respiratory failure after a long illness. Died: former Eagles bassist Randy Meisner’s wife Lana Rae, was accidentally shot by a rifle while she was moving it at their home in LA. Two hours before, LAPD were called to the house to deal with an alleged domestic abuse incident. Died: Andrew Loomis, drummer with Oregon punk band Dead Moon, 54, after spending many of his final months battling lymphoma. Died: Bruce Geduldig, visual artist and film maker with US art rock act Tuxedo Moon and The Weathermen, 63, after battles with liver issues. Died: Louis Meyers, one of the four founders of SXSW 30 years ago. He was its prime booker until he left in 1994.