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August 1, 2018 Issue N o 1637
Melbourne International Film Festival / Katankin / United Skates
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ISSUE NO 1637
Contents 8
Contents
10
News
12
Arts Guide
14
Trophy Eyes
15
Melbourne Guitar Show 2018 Guide
48
Melbourne International Film Festival United Skates
50
Katankin Profiles
52
48
Melbourne International Film Festival
Album of the Week Singles of the Week
Feature
54
Gig Guide
Editor’s note With Kate Streader
Today I wrap up four-and-a-half weeks of filling in for our incredible online editor/ social media manager/all-round content king, James Di Fabrizio and while he’s been off on an actual adventure for the past month, I feel like I’ve been on a bit of a journey myself. This week we look at Melbourne International Film Festival and, paired with the recent announcement of their massive 2018 program, I’m reminded more than ever of how lucky we Melburnians are to live in a city that places so much value on creative industries. Despite the bone-chilling cold that’s blanketed the city this month, there’s always reason to pile on a few extra layers and brave the elements, and that in itself is enough to make these miserable few months bearable. This week we’ve got a special guide dedicated to Melbourne Guitar Show and, as always, the program is bursting at the seams with talent. From seasoned experts like Albert Lee and Jeff Lang to up-and-comers such as Rackett and Charlie Bedford, as well as a host of gear and sound experts, MGS is a pretty cool way to celebrate one of music’s most diverse instruments. So rug up and go outside, there’s plenty happening right at your doorstep this winter.
PUBLISHER Furst Media Pty Ltd. 3 Newton Street, Cremorne, VIC, 3121 (03) 9428 3600 EDITOR Gloria Brancatisano DIGITAL EDITOR/SOCIAL MEDIA MANAGER James Di Fabrizio ACTING DIGITAL EDITOR/SOCIAL MEDIA MANAGER Kate Streader SUB EDITOR Abbey Lew-Kee
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Fussell, Jacob Colliver, Anna Rose, Kate Streader, Paul Waxman, Anthony Furci, Zachary Snowdon Smith
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NEWS
News Melbourne International Arts Festival Unveil 2018 Program
— Sat 04 August —
Abramelin, Dreadnaught, Frankenbok & More! — Sat 11 August —
Triology of Rock Whole Lotta Rosie Gold Chisel Live & Dangerous
The Melbourne International Arts Festival will offer a spectacular program when it comes into the city in October. A smattering of local and international pioneers, including heralded German composer and pianist Nils Frahm, UK post-punk royals The The and an elite team consisting of Japanese composer Ryuichi Sakamoto and German experimental electronic artist Alva Noto. Meanwhile The Go-Between’s acclaimed album 16 Lovers Lane will be celebrated by original band members and a team of guests including Romy Vager (RVG), Jen Cloher, and more. Melbourne Festival goes down from Wednesday October 3 until Sunday October 21.
— Fri 17 August —
Stryper
— Sat 18 August —
Psycroptic Archspire + Hadal Maw — Fri 24 August —
Mafikizolo
— Sat 01 September —
Enslaved & Solstafir — Thu 06 September —
Satyricon
— Sat 08 September —
Rebirth Festival
Ryuichi Sakamoto and Alva Noto
— Wed 12 September —
Therion
— Sat 15 September —
Lagerfest
— Thu 20 September —
Andrew McMahon
— Fri 21 September —
Zeljko Samardzic
— Sat 22 September —
Lord, Vanishing Point & Alarum — Sun 23 September —
The Black Dahlia Murder — Thu 27 September —
Paradise Kitty
— Fri 05 October —
Sleepmakeswaves 10th Anniversary Tour — Sat 06 October —
The Superjesus
— Sat 20 October —
Klear
— Thu 25 October —
The Sword
— Fri 26 October —
Peter Murphy (Bauhaus) — Sat 27 October —
Calum Scott
— Thu 01 November —
Killswitch Engage — Fri 02 November —
Roger Hodgson
Parcels
Celebrating the 40th anniversary of Supertramp’s acclaimed Breakfast In America album, the man who penned and sang it, Roger Hodgson is embarking on a world tour. Set to hit the country in early 2019, Australian fans of the acclaimed English rock band will be able to revel in the album – which sat atop the Australian charts in 1979 for six weeks – in full. Hodgson is set to power through all the classics including ‘The Logical Song’, ‘Take The Long Way Home’ and the title track when he bring his Breakfast In America 40th Anniversary Tour to The Palais on Saturday February 2, 2019.
After spreading the word of their explosive live shows at international festivals including Rock En Seine (France), Reeperbahn and Melt (Germany) and Dour (Belgium) throughout the year, homegrown powerhouse Parcels have announced they are headed for the motherland next year. The run of shows will come in support of the five-piece’s heavily anticipated debut album, due later this year, which follows on from their singles ‘Tieduprightnow’ and ‘Bemyself ’ which are already receiving massive amounts of love to th tune of over 50 million streams. As part of their Australian tour, Parcels will come into 170 Russell on Monday January 14, with tickets on sale now via Moshtix.
The Supertramp singer-songwriter is coming to Australia
Aunty Donna
Announce 2019 Australian tour
— Sat 03 November —
Aunty Donna
— Thu 08 November —
Conan + Bell Witch — Fri 09 November —
Fozzy
— Sat 10 November —
Sinsaenum
— Fri 16 November —
Primal Fear + Sinner — Fri 30 November —
Vlatko Stefanovski Trio — Tue 04 December —
Kamelot
— Fri 07 December —
Gary Og
— Fri 01 February —
The Smyths
Tickets & Info: MAXWATTS.COM.AU facebook: @maxwattsmelb instagram: @maxwattsvenue VENUE HIRE ENQUIRES bookings.melbourne@maxwatts.com.au
125 Swanston St, Melbourne
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Image by Noelle Duquette
William Ryan Key
Announces debut Australian solo shows Former Yellowcard lead singer, songwriter and rhythm guitarist William Ryan Key has announced that he’ll be bringing his solo show Down Under for the first time in September. The American pop-punk outfit enjoyed a two-decade long career which spawned eight albums before their disbandment in 2017. Key released his debut solo EP Thirteen in May this year, marking a new beginning for the former frontman. Key is set to perform intimate shows across the east coast, including the Northcote Social Club on Friday September 28.
Boytoy
Lock in 2018 Australian tour New York-native four-piece Boytoy are set to hit Australia for the first time, off the back off their breezy sophomore album Night Leaf. The alt-rock outfit have had a spectacular run of late, including a tear up at SXSW recently, as well as touring across the States with Australian heavyweights Gooch Palms, while also sharing the stage with Midnight Oil. Playing nine dates as part of their debut Australian run, Boytoy will come into The Tote on Thursday September 27.
NEWS
Glow Winter Arts Festival is Set to Light Up Malvern East Set to fill the crisp night-time air with an array of immersive outdoor installations, Glow Winter Arts Festival is gearing to make their fifth instalment their biggest and boldest yet. A heaving roster of artists will come in to make their mark on the free event, including the award-winning Mandylights crew presenting The Laser Garden, and S1T2 who’ll present Revive The Reef, which will take visitors into an underwater landscape and task them with unravelling the issues that threaten the water. Oversized neon letters, trees, umbrellas and other objects will come from artist Carla O’Brien, while an interactive tree installation will come from Melinda Hetzel & Co. Glow Winter Arts Festival goes down at Malvern East’s Central Park from Thursday August 16 until Sunday August 19.
RVG Image by Steve Gullick
Didirri Image by Ian Laidlaw
Kyneton Music Festival
BIGSOUND
Now in its seventh year, Kyneton Music Festival has lifted the lid on a mammoth roster of artists for their 2018 instalment, when it rolls into the Macedon Ranges in October. Opening night will see psych-pop outfit Moonlover, ‘60s garage-pop darlings The Pink Tiles, party starters Mighty Duke & The Lords and the everenergetic rockers A.Swayze & the Ghosts. Other highlights on the bill include the likes of Adalita, Emilee South, RVG, Rackett, and Pony Face. The 2018 Kyneton Music Festival goes down on Friday October 26 and Saturday October 27.
With previous alumni including the likes of Flume, Gang of Youths, Courtney Barnett, DZ Deathrays and more, BIGSOUND is the place to be for aspiring musos, music-lovers and music business professionals. The acclaimed annual music industry gathering has announced that they’ll be welcoming sets from Didirri, CLEWS, Bad Juju, Robbie Miller, Arno Faraji, Edward R, Eliza and the Delusionals, and a stack more, alongside the 75 already-announced artists on this year’s bill. BIGSOUND comes into Brisbane from Tuesday September 4 until Friday September 7.
Drops heaving 2018 lineup
Add final round of performers to 2018 stint
Caravan Kids
Local’s Music Festival
G Flip
A night of music and free music workshops is set to come into The Corner Hotel as part of Local’s Music Fest. Featuring performances and informative workshops from folk artist Ernest Aines, eightpiece outfit The Pirateska Rebellion and indie-pop band Caravan Kids, the event is raising funds for The Locals Matter project, which promotes youth into becoming change-makers through music. Local’s Music Fest goes down at The Corner Hotel on Friday August 3.
Cementing her status as one of the most blockbuster newcomers of the year, singer, songwriter, producer and multi-instrumentalist G Flip has locked in a string of headline shows for August and September. It comes after a mammoth first half of the year for the Melbourne-native, after her single ‘About You’ catapulted her onto the world stage. The electronic pop artist has since played iconic stages including The Great Escape, SXSW and Splendour In The Grass and is now to set to take things across Australia and New Zealand. G Flip will hit the Northcote Social Club on Friday September 21.
Raising funds for the Locals Matter project
Locks in run of headline dates
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ARTS
Arts Guide LEXICON
BEAT’S ICK TOP P
Melbourne International Arts Festival
Deliver massive lineup of arts offerings The Melbourne International Arts Festival has lined up a steaming pile of arts offerings for their 2018 instalment, offering audiences everything from circus, theatre, dance, installations and more. Artistic highlights include the leading UK circus company NoFitState with their production LEXICON, and large-scale fire spectacular Fire Gardens each taking over the Royal Botanic Gardens respectively. The classic Middle Eastern tale of Layla and Majnun will also be performed in epic dance-opera style, while there’ll be theatre in the form of Flight, from Scottish ensemble Vox Motus. The team behind House of Mirrors – the stunningly disarming installation that was the talk of last year’s festival – are also returning, this time with a chooseyour-own-adventure style piece called 1000 Doors. Melbourne Festival runs from Wednesday October 3 until Sunday October 21. Wildlife
Melbourne International Film Festival
The adored Melbourne International Film Festival kicks off this week, and with it, a smattering of acclaimed local and international films being showcased across the city. Choice picks for this week include the opening night gala on Thursday August 2 at The Regent Theatre and the screening of Wildlife – which chronicles a teen dealing with his family falling apart in 1960s Montana. This week punters can also look forward to screenings of rollicking rom-com Juliet, Naked and Cannes Festival Jury Prize-winner Capharnaüm, while director Debra Granik (Down To The Bone) will also appear In Conversation. Melbourne International Film Festival takes place from Thursday August 2 to Sunday August 19.
The Next Level
A publication highlighting digital art
Wacom – the company behind interactive pen displays and tablet styluses – has teamed up with Just Another Agency to bring forth a publication featuring a range of digital art from artists who use Wacom tools to create their work. Feature artists in the publication include the likes of Kelogsloops, Loretta Lizzio, Mark Conlan, Mateusz Witczak, Nosego and Paul Braddock, who will appear alongside winners of The Next Level Instagram competition. You can catch The Next Level publication launch at Besser Space on Friday August 31 from 6pm.
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Comedy 9 for 9 Comedy at Speakeasy HQ You betchya, mates. That’s nine stand-up comedians for a cheeky $9. Going down at the Vault Theatre at Speakeasy HQ, 522 Flinders Street, you can lap this one up on Tuesday August 7 from 8pm. Get in while you can as it’s the second last week.
Mandela My Life
The Fall
In a world first, an exhibition featuring artefacts, documents and personal possessions from Nelson Mandela’s life is set to come into Melbourne as part of a worldwide tour. Mandela My Life will showcase items such as the boxing glove signed and gifted to Mandela by Muhammad Ali, the shoes and walking cane used by Mandela in his senior years, as well as some of his favourite ‘Madiba shirts’. Archived sound and video recordings from across Mandela’s career will also come as part of the exhibition, offering a rare and touching glimpse into the life of the icon. Mandela My Life: The Official Exhibition will run from Saturday September 22 until Sunday March 3, 2019.
Off the back of a resounding run at the Edinburgh Fringe Festival, The Fall is set to land in Melbourne for the first time this month. Written and performed by University of Cape Town students – who were involved in the 2015 uprising protesting the white, Euro-Centric culture that dominated the university – the play tackles race, class, gender, colonialism and ideologies of patriarchy in remarkable fashion. The Fall will play from Thursday August 28 until Sunday September 2 at Arts Centre Melbourne as part of their Big World Up Close program.
An exhibition showcasing revolutionist Nelson Mandela is coming to Melbourne
Impassioned political piece set to debut in Melbourne
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FROM OZTIX.COM.AU • 18+ ONLY
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For bookings and enquiries Contact Lee - 0416 808 467
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13
COVER STORY
Trophy Eyes By Paul Waxman
It’s October, 2016. A freezing John Floreani, with long hair stuffed under a baseball cap, is stood in front of a petrol station holding a copy of his band Trophy Eyes’ new album Chemical Miracle, released just that day. Even in that moment, Floreani had ideas for a new album billowing away in his brain, along with thoughts of self-deprecation and doubt. Now, with a new home in Melbourne, and after time away in the US, Floreani has a new outlook on his music and his life. Despite being on what seems like an unstoppable upwards trajectory, Trophy Eyes was almost a temporary entity. Their debut album Mend, Move On – according to Floreani – was a personal failure, a record that left the band feeling defeated about their future. It’s follow-up, 2016’s Chemical Miracle was their last opportunity to make something they were proud of. “We left all of our boundaries behind,” Floreani says about their thought process going into Chemical Miracle. “We said, ‘Let’s write a record that is our favourite record we’ve ever written.’” The thinking behind their soon to be released third album The American Dream was similar to that of their sophomore effort. Trophy Eyes weren’t out to meet anyone else’s expectations. They made sure they loved every part of their music first. Although the recording process wasn’t painstaking, it was still meticulous and pedantic, with most of the audio recorded over a five-week period with sound engineer Shane Edwards in Thailand. “If you want to translate what you’re feeling or what you think, if you want to translate a passionate vocal onto a record, you have to live it and you have to do it just right. Sometimes you have to be a little over dramatic or a little bit more animated to make sure that it comes across,” Floreani says. “A lot of the time you have to dig up [heavy] shit.” Floreani drew on a slew of bleak thoughts and moments that he experienced throughout the album’s creative process, including a run of nights
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out in Thailand where Floreani felt his tendency to self-destruct exacerbated. “Drinking excessively and going out a lot and being like that always makes its way into my songs because it’s something I’m not really proud of but it’s something that I always find myself in the middle of,” Floreani says. “I’ll be like, ‘I don’t care, I’m staying in tonight,’ then all of a sudden I’m ten drinks deep swinging from the ceiling somewhere.” Feeling worn down, Floreani needed to leave Australia for more than just a therapeutic sabbatical. He needed to start anew, to live in a place where he knew no one – so he moved to Burleson, Texas for two years. Floreani’s new environment eventually earned him a new perspective – inspiring the themes and sound of The American Dream. “The American Dream is something that exists. There’s a chance for everybody. Anybody can go there, start anew, and get what they want. “Something I always thirsted for was a white picket fence and a dog called Lucky. That was the life I wanted. I craved it. I wanted to wake up every day in the same place and be surrounded by people where if they found me passed out on the front lawn they’d be like, ‘Oh my god, what are you doing?’ not ‘Yeah, John’s passed out again. Let’s do that again’,” Floreani says. “When I got maybe five or ten songs together, I realised they all sounded like Texas. They sounded like crickets and summer. They sounded like the rock’n’roll that I can hear from the bar down the street that would play Bruce Springsteen, and people are flying American flags. I felt a sense of, maybe not pride, but some kind of patriotism – which is strange – but I felt like I belonged there.” It’s October, 2016 again – before Texas – and Trophy Eyes had wrapped up a tour in the States and
Floreani was back home. He had a horrible feeling. He slowly felt a helplessness towards something that’s impossible to escape. He felt hatred for himself. “I got to this point in my life where I was like ‘Shit, I’m just like everybody else, I’m just an idiot, I’m just a fucking 30-year-old guy. Uneducated, unqualified, and stuck in this stupid world I didn’t ask to be born in and now I have to live it like some mundane idiot.’ “Being somebody you don’t like personally on a cellular level is torture, it’s like spraying a shark with shark repellent. I can’t imagine anybody having to feel that feeling,” Floreani says. This pain led to the inception of the band’s most recent anthemic single ‘More Like You’, where you can hear the Floreani of old before he felt like he transformed in Burleson. “The ‘More like you, less like me’ isn’t for secondary gain. I didn’t want to be somebody else – to look different or to be a better person or be rich or have a better life or anything like that. It was simply because I was in a place where I literally couldn’t stand the thought of myself,” Floreani says. “That was scary. I remember waking up a lot of the time and the first thought that would pop into my head would be ‘Oh. Fuck. We woke up.’ That was a scary space to be, and when I look back and I hear that song and I listen to myself, especially in the second verse where I’m actually just screaming, it chills me and it scares me and it makes my throat tight. It makes me think ‘You poor guy.’ I’d go back and give him a hug if I could.”
“The American Dream is something that exists. There’s a chance for everybody. Anybody can go there, start anew, and get what they want.”
Trophy Eyes’ new album The American Dream is out Friday August 3 via Hopeless Records/UNIFIED. They’ll take over The Forum on Saturday October 20.
AUGUST 4 & 5 CAULFIELD RACECOURSE Tickets from oztix.com.au australianmusician.com.au/melbourne-guitar-show
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MELBOURNE RECITAL CENTRE PRESENTS
Double bill concert with two of the world’s greatest guitarists
KAKI KING
(U.S.A.)
Kaki King, her guitar and dynamic visual projections tell an extraordinary creation myth.
Marc Ribot
‘I’ve never seen anything like it … A sumptuous feast for the senses, a dizzying display of sound and vision .. I repeat; do not miss this.’ THE BOSTON GLOBE
(U.S.A.) Legendary guitarist Marc Ribot has released over 20 albums under his own name over a 30-year career playing no wave, free jazz, rock and Cuban music. Don’t miss him play favourites from his vast back catalogue.
Monday 13 August 7.30pm • Tickets $59/$49 CNR SOUTHBANK BLVD & STURT ST, SOUTHBANK
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Welcome to Melbourne Guitar Show 2018 BY LEXI HERBERT
The biggest weekend dedicated to guitar brands, suppliers, manufacturers, and music in Australia is back. The Melbourne Guitar Show will bring together an array of world class artists, alongside the brands you know and love. UK guitar legend Albert Lee will be in attendance, alongside Sydney punk-pop band RACKETT, The Baby Animals lead guitarist Dave Leslie, and Australian fingerstyle guitarist Van Larkins. There’s a lot to take in, so we’re giving you a sweet taster to get you started.
Alison Ferrier
ALBERT LEE
2018’s Melbourne Guitar Show is stacked with talent from across the globe, including legendary UK export, Albert Lee. Known for his unusual playing technique – a hybrid fingerstyle picking movement – Lee has worked alongside the likes of Eric Clapton, Jow Cocker, Emmylou Harris, and The Everly Brothers. There’s nothing quite as hardcore as seeing a 74-yearold shred an electric with ease, so let one of the world’s leading guitarists show you how it’s done. AON Whammy Bar, Saturday August 4
BEN KELLY
SONGS AND STRINGS
FIONA BOYES BAND
CAT CANTERI
Aussie multi-instrumentalist Ben Kelly leads the charge when it comes to producing a sound that can’t be confined to a genre. With the intention of creating music for change, Kelly brings forth the sounds of Latin America, Spanish guitar, Africaninspired rhythms, and eastern-inspired melodies. Usually found travelling and meditating, Kelly will bring his internationallyinspired music to the stage. Exclusively Acoustic Stage, Saturday August 4
One of MGS’ biggest collaborative events this year, a powerhouse collection of five singers, songwriters and exponents of acoustic guitar will perform their songs in a round robin-style concert. Alison Ferrier, Cat Canteri, Fiona Boyes, Zevon Hiltz, and Abbey Stone are all Melbourne-based country musicians, and this will be a tutorial in technical proficiency as well as a chance to check out the jamming skills of five industry professionals. AON Mezzanine Stage, Saturday August 4
James Ryan
VOX SHOWCASE
One of the MGS specialties is creating a junction between the biggest brands in the guitar business and the musicians who use them. The VOX showcase will see James Ryan – Men At Work, Jon Stevens, Kate Ceberano – test out the newest amps released by VOX, from the pocket-sized MV50s to the monstrous AC30S1 in real time. It’s an invaluable lesson in what to look for when purchasing equipment, provided by an artist-slashindustry professional. Winners Circle Workshop Room, Saturday August 4
Matthew Fagan
ESPANA
Internationally-renowned ten-string guitarist Matthew Fagan, guitarist Bernardo Soler, and bassist Dean Gaudion will unite to bring the groove and spirit of Spain. Having toured internationally, with particular interest in exploring the origins of Latin guitar techniques, Fagan will combine his love for Latin music with the talents of Soler and Gaudion to create a collaborative rendition of his new album, el Vito. AON Mezzanine Stage, Sunday August 5
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Fiona Boyes has been performing and recording for over 25 years – touring the world and marking her name as a festival favourite in the blues genre. Simultaneously described as “Australia’s first lady of Blues” and “Bonnie Raitt’s evil twin,” Boyes switches between electric and acoustic with ease; try to pick out each influence and technical lick (the Delta-slide is a favourite). AON Whammy Bar, Sunday August 5
When folk meets country meets indie-rock meets the inherent grit of art made in Melbourne, you get Cat Canteri’s catalgoue; 2014’s While We Were Young, 2016’s Late At Night and 2018’s Inner North. Canteri’s music flows slow and deep, with an unmistakable realism that pairs cleanly with her latest release’s exploration of life spent growing and learning in Melbourne’s inner-northern suburbs. Canteri’s intimate and emotional country-meets-folk ballads shouldn’t be missed. AON Mezzanine Stage, Sunday August 5
Charlie Bedford
TRIPLE M FINALE JAM
Always a highlight of the MGS program, this year’s Triple M Finale Jam is set to be huge. An exciting, overwhelming, noisy, guitar-laden shred sesh, the Whammy Bar will bring some of the festival’s best together for a final hurrah. The lineup includes Jack Jones, Brett Garsed, James Ryan, Shannon Bourne, and Charlie Bedford. Get excited, it’ll be shred central. AON Whammy Bar, Sunday 5 August.
DAVE LESLIE
Previously the lead guitarist for Baby Animals – the Sydneyborn rock’n’roll staple founded almost three decades ago – Dave Leslie was responsible for the infectious licks and riffs of ‘90s hits such as ‘Rush You’ and ‘One Word’. After breaking up in 1996 and regrouping in 2007, Baby Animals have been touring ever since. Leslie will discuss guitars and his life in a highprofile band during an Up Close & Personal Session. Up Close & Personal, Sunday August 5
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Fender Player Series Stratocaster It feels like lately the kind folk at the Fender dream factories have decided to smarten up their already spiffy act. Gone are the modern appointments, nay quirks of the Blacktop and Highway One series’. Workhorse American Professional models have well and truly planted themselves in the hearts and minds of players from all walks of life and their classic era builds have those of us with nostalgia on the brain tied up in knots. What’s next then for the biggest name in the game? Why not leave no stone unturned, take a trip south of the border and tweak the whole catalogue from the ground up? It’s about time to close the gap between the made-in-Mexico standard riff sticks and the rest of the family. Say hello to the new and improved Player Series Stratocaster. Over the course of the last few years of cleaning up, Fender have gotten very good at identifying their own faults. Standard Series guitars are probably one of their highest sellers, owing mostly to the price point, and it stands to reason that this is where they should look next in order to get that classic Fender sound into as many hands as possible. I’ve always had a lot of time for Mexican builds.
With the Corona, California factory mere miles from door-to-door there is no reason why anyone should snub one build in favour of another, aside from the obvious differences in spec sheet and the necessary variation from piece to piece. The Player Series picks a few cherries from their gringo neighbours’ tree in order to sweeten its own pie. The most obvious improvement by far is the way these things sound. As soon as I picked up this aged Malmsteen yellow axe I knew that something had changed. Side by side the old stock has something of a dimmed, sock-over-the-mic dullness that has well and truly been replaced by a light, crispy chime much more akin to an American Standard with Texas Special pickups on board. The neck too feels less like an imitation. It arcs gently across a more vintage ‘C’ shape than its predecessor making for a smoother ride that is as easy on intermediate hands as it is familiar to a more seasoned Strat-ophile. Simply put, it’s Strat-ier than ever before. 22-frets, a twopoint anchored tremolo, ‘F’ stamped neck plate on the back of an Alder body and some of the choicest, vintage paint jobs you’ve seen, the only thing that reminds you that it’s not actually American is the
MX at the beginning of the serial number. Fender remind us once again that there’s classic, and there is classic. The improvements they have made to the entry point of their line are just enough to put the Player Series ahead of not only the old Mexican Standard stuff, but streets ahead of any pretender to the throne. If this is where the story starts then more and more people than ever are going to be tempted to read on.
unprecedented detail; choose from a swathe of mics and then position them as you please. You can add tap tempos, notch EQs and take to it with any number of other fine-toothed combs. In browse mode you can scour the landscape for all the tools and tricks you need then save your own patches in the order that most suits the flow of your set. Not only that but the first thing the unit asks you to do when you first light it up is enter your name and the date and time so that it can apply that information to your patches as a personal signature, helping you recall and copyright all your own unique snow flakes. It was quickly apparent that there was little to no limit to the possibilities of what I could conjure myself once I really got stuck in. It’s an experience not unlike moving into a new house – you may not
like what the previous tenants had done with the place, but once you move all your stuff in it starts to feel like home. The rotary cabinet sound was one of the nicest I’ve heard in this context and some of the low gain, Fender and Soldano reproductions were quite brilliant. If imitation is the sincerest form of flattery, then The Kemper Profiler is bound to get you where you need to go. The faithful simulations in this stylish, pea and bottle green housing are second to none. If you’re looking for the simplest way to get a Triple Rec on the same stage as a ’56 Bassman without millionaire status then look no further.
Fender Music Australia fender.com.au Expect to pay: $1199
HITS: Improvements are actually improvements, not just changes for the sake of it. MISSES: None
BY LUKE SHIELDS
Kemper Amplification Profiler Head and Remote Modeling effects are hardly a new idea, companies have been trying to replicate the nuances of tonal triumphs for decades, a case in point being the swelling market for clones of prized overdrive pedals. For years the use of professional digital imitators carried a stigma of philistinism around with it, largely due to manufacturers’ inability to overcome the indelible effect that digitisation has on fidelity. It seems like players are realising the potential inherent in some of the more top of the line examples and utilising them in live touring rigs. Cue the rise of Axe-FX as one of the most divisive names in today’s riff game, and the engineers at Kemper have certainly come nipping at its binary heels. With a lot of these units, functionality is the key to success. Often you’re faced with something that’s far from plug-n-play, meaning you spend as much time studying the manual as you do shredding away to your heart’s content. Kemper’s Profiler, however is only as complicated as you want it to be. You can simply pick a patch from the exhaustive list of factory presets designed by card carrying Kemper alumni and use the buttons that litter the face plate to sculpt to taste; add stompbox-style effects or switch between faithfully reproduced cab and head emulations. If you really feel like being fiddly you’re afforded
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BY ROB GEE
Innovative Music innovativemusic.com.au Expect to pay: from $3399
HITS: Easy to use, endless possibilities, faithful reproductions of tones. MISSES: Presets won’t be to everyone’s taste.
AND
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The Powercab is a 1x12 active speaker system that delivers an authentic “amp-in-the-room” playing experience when paired with any modeller. When set to Flat mode, you simply plug your modeller in and play; Powercab amplifies the sound of your presets as they are — but with the response and feel of an actual guitar amplifier.
The Powercab guitar speaker system accomplishes this by combining a clean 250-watt power amplifier with a custom hybrid coaxial speaker. The speaker combines the range, clarity, and power-handling capabilities of a P.A. speaker, with the rapid transient response of a guitar speaker, in just the right measure to function optimally in both Flat and Speaker Modelling modes. And Powercab is loud, producing a room-filling 125dB SPL maximum volume.
Speaker Modelling Now imagine having an empty 1x12 speaker cabinet that you can instantly load with any one of six classic speaker types just by pressing a button. Setting the Powercab to Speaker Modelling mode enables you to do just that — virtually — using a new technology developed by Line 6. Simply bypass the speaker cabinet models in your modeller’s signal chain and let Powercab provide the sound and feel of playing through those classic speakers.
Need Even More? The Powercab 112 Plus features an extra XLR/Jack input, 128 Patches, MIDI control, Digital AES/L6 Link, plus the ability to import your IRs via the Powercab Edit Software.
AVAILABLE NOW AT YO U R AU T H O R I S E D L I N E 6 D E A L E R PRODUCT INF0 line6.com/powercab
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Cioks DC8 Pedalboard Power Supply A guitarist’s pedalboard is often an ever evolving work. New pedals, different gigs, different patch leads, new signal paths, buffers, wireless, cables and of course, the power supply. This last item, however, doesn’t always receive the attention it properly deserves. You spend so much time researching, trying, buying and playing with pedals to then use them with a $15 power supply and daisy chain from a dodgy online supplier? Doesn’t make much sense to me. Thankfully, there is an ever growing selection of power supplies to cover your needs for boards of all sizes with Cioks being one of the best, in my experience. From its Professional line, let’s check out the DC8. Described as a medium-sized power supply, the DC8 comes in the typical Cioks tough metal casing that feels like it could withstand almost anything. Both the pedal outlets and the IEC input are recessed, which adds some coverage to the possibility of them being pulled out. The unit also comes with mounting accessories for those looking to fasten it to a pedalboard. Spec-wise there are eight outlets grouped in six isolated sections (pairs 5/6 and 7/8 share the same section). As the name suggests, these outlets are DC power offering two 100ma outlets at 9V, two 100ma outlets that can be run at 9 or 12 volts and the final two sections
that can be run at 9 or 12 volts and offer 300ma. The package then comes with a range of Flex cables in various lengths to cover a good cross-section of standard pedal types. Cioks has added LED indicators to each section so you can monitor performance, and the tweaking of each section’s power options is easily done via the DIP switches on the bottom of the unit. The various options are also clearly marked on the underside of the DC8 meaning you don’t have to drag out the manual to remember what’s what. Furthermore, the mains can be switched from 110V to 230V, allowing you to travel without the worry of needing to swap power supplies internationally or lug step down transformers and the like. Cioks really seems to make consistently high quality products that are reliable. I’ve used many different brands of power supplies over the years
(including some other big name competitors) and haven’t found anything better than this brand. For my purposes, it’s been the quietest and most reliable power supply across a range of gigs, venues and circumstances, with the Flex cables always keeping up and offering plenty of options – even for those random finicky pedals. Most players typically spend lots of money on their pedalboards – why not make a great investment with a quality power supply? Especially when they cost less than some of the favourite (insert latest boutique drive/delay/verb name here) pedals on the market. Go Cioks.
light but tough. With rounded edges and multiple cut outs the Dingbat has a slightly different design and aesthetic to its competitors with the design enabling you to place pedals almost anywhere and utilise either Velcro or cable ties when fixing them to the board. Another major feature of the Dingbat is the pre-attached Mondo power supply which offers 12 outlets in a variety of AC and DC settings. Essentially you just have to stick on your pedals, plug in the appropriate power adaptors and you’re good to go – it’s as easy as that. The Dingbat feels solid, really solid. It could easily hold a swagger of pedals combining smaller boss sizes through to Strymon and the like with the board cut outs making great spaces for running leads whilst still offering plenty of contact space
in between for Velcro or dual lock. The Mondo is a beast of power supply, and if you’re undecided or unsure of your power requirements it’s a very impressive starting point as an all-in-one unit. Gigbag’s are a great lightweight and portable alternative to a road case and the included straps and handles give you enough options to manoeuvre and handle the Dingbat quite easily. A great unit at any level (amateur through to professionals) with pro-level gear that is built to last and flexible enough to accommodate a multitude of options and setups.
Amber Technology ambertech.com.au Expect To Pay: $349
HITS: Quiet and reliable, tough housing, well built. MISSES: Some will want more power and/or more cables (but there are plenty of other models and accessories if needed).
BY NICK BROWN
Voodoo Lab Dingbat Large Pedalboard Voodoo Lab have long been major players in the guitar industry. Effects, power supplies, switchers and more are part of the VL stable with items such as the Sparkle Drive, Pedal Power Micro Vibe and Ground Control Pro all instantly recognisable and widely used. In fact, Voodoo Lab’s Pedal Power line of pedal power supplies was one of the first pro level units to really hit widespread usage and it’s still going strong today. Combining a couple of their items, VL have released the Dingbat Pedalboard packages with this particular model coming loaded with a Pedal Power Mondo and housed in a snazzy padded gigbag. Aimed as an all-in-one, ready to go deal, the Dingbat looks the goods, so let’s take a closer look. Coming in three sizes the Large is the biggest of the group and measures around 64 x 40 cms. VL suggest the Large will hold 10 to 16 pedals, depending on size obviously, so it should cover quite a few setups, styles and players. Made from aircraft grade aluminium, the board itself is super
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BY NICK BROWN
Eastgate Music eastgatemusic.com.au Expect to pay: $939
HITS: Power supply being included means you’re ready to go. Lightweight and tough. MISSES: Some may like a hardcase option.
D
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SIGNATURE STRATOCASTER® LIMITED EDITION
"This guitar rings a lot of bells for me — visually and sonically speaking it's where it all started"
APPEARING AT THE MELBOURNE GUITAR SHOW
11:30AM SUNDAY, 5TH AUGUST WINNERS CIRCLE WORKSHOP ROOM
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Truetone CS6 Pedal Power Supply Most guitarists will have used or seen the classic 1 Spot power supply with its streamlined plug that doesn’t hog a power point. For years Truetone let the 1 Spot solely rule their power supply offerings until they saw a need for extra isolation, function and flexibility thanks to the changing landscape of new pedals on the market. This led to the well received CS7 and CS12 power supplies which can be seen on boards the world over.Extending their wares even further, Truetone have released the CS6 sporting six outlets in a low profile casing. Is size really that big of an issue/selling point/ marketing slant? A big yes from myself, and many others I think. Guitarists agonise over pedalboard decisions and pour lots of dollars into trying the latest and greatest, or rare and hard to find, stomp box. It’s then fitting that they use a high quality power supply that provides the correct power in a clean and noise free manner, which isn’t always the case. Six outlets are on offer providing switchable options from 9,12 and 18 volts at 100, 200 and 500mA. These are set via the easy to access DIP switches and the unit is powered by your typical IEC cable. While the size in terms of both length and width is smallish, the height of the CS6 is only about 3cms. This gives you options for mounting underneath many boards as well as mounting on your board with the ability for the CS6 to act as a riser. Truetone also include a cardboard template with clear ‘drill here’ markings for those that want to mount the CS6, making it easy to get your pedalboard underway.
Truetone really have hit the mark with their range of power supplies over the last few years and the CS6 is no exception. The options of 9, 12 and 18volts at anywhere from 100 to 500mA covers a lot of ground and the included converter plugs can hook up a whole lot more if needed. The switching voltage input lets you travel with ease and of course the CS6’s size and form factor will impress many that have limited pedalboard space and/or specific size requirements. It’s been said before but I’ll say it again now – if you’ve spent a heap of money on pedals and/or putting a pedalboard together why would you skimp on powering it with a cruddy power supply? Size, reliability, noise-free, or at least much quieter operation, voltage options for
the price of, perhaps, one or two pedals. It’s really an easy answer – and with a great range of units on offer, and plenty of pros and amateurs alike sporting them, you should definitely check out Truetone. BY NICK BROWN
Eastgate Music eastgatemusic.com.au Expect to pay: $289
HITS: Tough, smaller size, plenty of power options. MISSES: None
Fender Player Series Telecaster Let’s use much loved ‘90s cartoon series Teenage Mutant Ninja Turtles as an analogy for a moment. Imagine Leo Fender’s famed Stratocaster is Leonardo, a wise leader, the oldest of the crew and ready willing and able to take any situation in stride. That would make his Telecaster the equivalent to Raphael – an emotionally raw, younger upstart with as much anti-authoritarian angst as it has a tendency towards its softer side. Leo himself then becomes Master Splinter and a certain other rival builder with evil robotic attachments The Shredder, but I digress. Since their inception, the two at the top of every Fender catalogue have always had that hand-inhand yet push/pull relationship. Even as individual as they are, you rarely think of one without thinking of the other. Fender have taken aim at their entry point as the next in line for the continuing spring clean of their entire line up. Replacing the old Standard models, the Player Series makes a blind comparison of American and Mexican builds next to impossible. The Player’s Telecaster bolts a 22-fret neck and either maple or Pau Ferro fretboard into a choice Alder body with a newly ‘F’ stamped neck plate. The particular beast that I held purring in my hands was as butterscotch blonde as the
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cover of a Springsteen record, just as I’d hoped, and with it’s three-ply black pick-guard, it is just as classic. I have had the distinct fortune of taking in just about every colour in this new branch of the family tree and I must admit that choosing between this and its blackon-black brother is the kind of thing that keeps a kid up at night. As with the Strat, and indeed the entire line, the pick-ups are voiced much closer to their northern counterpart. Nowhere is this more apparent than in the unmistakable chiming nature of the lipstick pick up in the neck position. It is incredibly responsive to the nuances you conjure with your pick hand, almost to the point of leaning back with you in your more delicate moments. Back at the bridge and there is just about enough punch and raucousness to wake up Joe Strummer without the harsh, ice pick sharpness that fader jockeys love to dial out. That amount of characteristic tonality coupled with the minor yet imperative adjustments to the spec
sheet make the thing feel bigger and more alive in your hands too. It might be psychosomatic but the impact on the personality of the guitar has a direct connection to the way you approach playing it. Both you and your new guitar will play up to each other in a new and inspiring way. Much like it’s Stratocaster counterpart, the Player Series Telecaster is more of what you deserve from that name without the limitations you’d expect from the price point. It has all the personality and tonality of an American build and is just as full of songs. All I need to do now is figure out which one is Donatello and which is Michelangelo. BY LUKE SHIELDS
Fender Music Australia fender.com.au RRP: $1149
HITS: More Tele than the price point would have you believe. MISSES: None
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MELBOURNE GUITAR SHOW 2018 PROGRAM SATURDAY TH AUGUST Today’s Show: 10am-6pm
AON WHAMMY BAR
Click to website: http://www.australianmusician.com.au/melbourne-guitar-show/
EXCLUSIVELY ACOUSTIC STAGE
Presented by Australian Musician and Triple M FM
Level 2 Escalator West
Level 1 Escalator East
11.00am
WINNERS CIRCLE WORKSHOP ROOM
AON MEZZANINE STAGE
Level 1 Escalator West 10.30am
Level 1 Escalator West
AMEB: Rockschool A Creative Focus
10.30 am
Join Lead Examiner Alyson Locke as she takes us through Rockschool’s Guitar, Bass, Ukulele and Music Production syllabuses with performances by young guitarist Joe Wright.
ROHAN STEVENSON (I built the sky)
ADAM MILLER BAND
Adam uses complex rhythms dissonant haunting phrases, combined with breathtaking riffs and melodies. His jazz influenced style with finger-picking mastery creates a improvisation filled performance that’s beautifully unpredictable.
12.00pm
DAVE LESLIE (Baby Animals)
Dave Leslie is the lead guitarist from iconic Australian rock band The Baby Animals, who have had numerous hit songs over the last few decades. We’re honoured to have Dave perform for us at MGS2018
1.15 pm
ALBERT LEE (UK)
Courtesy of Ernie Ball Music Man guitars, we’re thrilled to welcome UK guitar legend Albert Lee to the show. Albert is one of the most respected guitarists in music history, having worked with Everly Brothers, Eric Clapton, Emmylou Harris and The Crickets. Lee has received numerous awards as a guitarist, winning consecutive times Guitar Player magazine’s “Best Country Guitarist”
2.45pm
12.00pm
NICK CHARLES
A class act, revered by peers and critics as one of the finest pickers and players in the land. 201 Artist of the Year at the Port Fairy Folk Festival
1.00pm
JUSTIN BERNASCONI
Straddling styles and sounds from the Delta Blues, Appalachian Bluegrass, English Folk and all stops in between, Justin Bernasconi’s highly original tunes are infused with exciting and soulful guitar playin
2.00pm
BEN KELLY
NAT ALLISON BAND
Nat Allison delivers a pitch-perfect scream, strut antics and evil guitar showboat. A high energy, guitar heavy performance with tough lyrics, powerful vocals and guitar solos to match. To date Nat has played over 000 gigs, and well known as guitarist in Suzi uatro’s band.
3.45 pm
RACKETT
RACKETT make loud and experimental punk-pop. Based in Sydney, Australia, the band have moved from virtual anonymity to playing in major theatres and festivals throughout Australia, receiving regular airplay on community and commercial radio.
4.45pm
SCOTT DARLOW
Scott Darlow is a versatile singer guitarist didge player, who has released albums to date. A famously down-to-earth performer, Darlow is known for using his infectious charm, from the biggest festivals to the smallest club crowds to raise awareness and funds for World Vision Australia’s Indigenous program.
Ben Kelly’s music is difficult to pigeon-hole as his musical stylings come from across many genres including Latin America, Spanish Guitar, African inspired rhythms, eastern influenced melodies, and the all inspiring driving factor of creating music and situations for the betterment of mankind.
3.00pm
ADAM MILLER Adam uses complex rhythms dissonant haunting phrases, combined with breathtaking riffs and melodies. His jazz influenced style with finger-picking mastery creates a improvisation filled performance that’s beautifully unpredictable.
*PROGRAM SUBJECT TO CHANGE
Rohan Stevenson has released 2 albums, 1 EP and singles as the prog-electric band, I Built The Sky. This year, Rohan dons an acoustic guitar and presents another side to his creative palette.
11.30am
POSITIVE GRID CLINIC
With James Ryan. BIAS mini is a 300W small format guitar head with 16 fully editable amp presets. You can also connect to BIAS AMP software iphone ipad Mac PC) to open up a world of component options all without a soldering iron). Choose between different preamp and power amp circuits, change the tubes and transformers, add clipping diodes and tryout different rectifiers.
11.30am
SONGS AND STRINGS
Featuring Alison Ferrier, Cat Canteri, Fiona Boyes, Zevon Hilt , and Abbey Stone. Five fine singer, songwriters and exponents of acoustic guitar present their songs to us in this round robin-style treat.
12.30pm
BOSS TONE DESIGN MASTERCLASS
In this masterclass, Joshua Munday will show you how to ‘hear’ guitar tones on famous guitar recordings and then show you step-by-step how to recreate them! After explaining the original studio techniques used on each famous record, Josh will then demonstrate his approach using the BOSS GT-1000.
12.45pm
JEFF LANG
Australian guitarist-songwriter-vocalist-producer, Jeff Lang has built a reputation for making startling music that is accomplished, intricate, gutsy, melodic and loaded with soul. Anyone who witnessed Jeff at the 201 MGS will know what an amazing, energetic show he performs.
1.30pm
VO SHOWCASE
In this session Australian guitarist James Ryan Men at Work, Jon Stevens, Kate Ceberano) will showcase the newest amps released by VO including the new monster AC30S1, the pocket-sized MV 0s and all new, all Nutube MV 1 0 series. James will play some songs, do some A and show you how to get the best out of this new gear.
2.00pm
DANIEL CHAMPAGNE
2.30pm
Daniel Champagne is regarded as a leading light in acoustic music, with a firm reputation for making festivals buzz, holding crowds in his palm, dropping jaws and breaking guitars wherever he goes. Daniel has relocated to North America where he continues his exciting career as an international touring and recording artist.
MATON AP5 PRO PICKUP SEMINAR
By Head of Research and Development Patrick Evans. Patrick has been at Maton for over twenty years and is one of the designers behind the AP PRO. He will go through every aspect of the Maton’s world renowned AP PRO Pick up System. From design to operation. The AP PRO is the first choice for some of the worlds most respected guitar players.
3.30pm 3.30pm
NICK CHARLES BLUES & ROOTS SHOW Some of our finest blues exponents will talk about their approach, plus there’ll be finger-picking good solos and “all-in” jams. Nick Charles hosts Fiona Boyes, Justin Bernasconi, Charlie Bedford, Phil Manning, Ed Bates
COLE CLARK SHOWCASE
Miles Jackson, CEO of Cole Clark, Neil Kennedy, designer of the new Cole Clark Kennedy bass and Jamie Pye, Cole Clark Artist, will present the new Cole Clark Kennedy bass and Cole Clark acoustic guitars. We will cover timbers, construction and electronics.
4.30pm
MALCURA PRESENT KATOH GUITARS
MALCURA are a “Heavy Flamenco” trio from Melbourne. See them as they take Katoh guitars through their paces.
The Melbourne Guitar Show acknowledges its sponsors for their support in staging the event
MEET THE PLAYERS Cafe Corner. Ground Level Get up close and personal with the Pros, in this play chat session. It’s an MGS A where you get to talk to the pros and hear some of their magic too. 12noon THE ART OF ELECTRIC BASS Featuring Rod Bustos, Craig Newman, Mitch Cairns. A bit of playing, a bit of talking, a bit of demonstration about what it takes to be a pro bass player 1.30pm PHIL MANNING As a founding member of Chain, one of Australia’s best known blues bands, Manning has been equally successful as a soloist and sideman for a lengthy list of artists. Phil’s musical tastes have broadened to include folk, celtic and world music flavours. 3.00pm FINGERSTYLE GUITAR Featuring Thomas Leeb, Van Larkins, Mark Fisher. Inspiring the making of the Acoustic Nation movie, this style of guitar playing is capturing a lot of players. We’re happy to present three of the very best exponents in an enthralling session.
MELBOURNE GUITAR SHOW 2018 PROGRAM SUNDAY 5TH AUGUST Today’s Show: 10am-4pm
AON WHAMMY BAR
Presented by Australian Musician and Triple M FM
Level 2 Escalator West
Click to website: http://www.australianmusician.com.au/melbourne-guitar-show/
EXCLUSIVELY ACOUSTIC STAGE
SHANNON BOURNE
Melbourne Guitar Show regular Shannon Bourne is known as one of Australia’s premier guiatrists. Shannon has just released an incredible new solo instrumental guitar album, ‘Words Fail’ and will perform music from it at the guitar show. One not to miss.
12.00pm
FIONA BOYES BAND
Australian Blues guitarist and singer, Fiona Boyes, has been variously described by reviewers as a ‘musical anomaly’, or ‘Bonnie Raitt’s evil twin’. Fiona has become become an internationally recognised and awarded recording and touring artist, who has even got the nod of approval from the late Pinetop Perkins and Hubert Sumlin,
1.00pm
ALISON FERRIER BAND
Alison Ferrier is a prolific songwriter and talented guitarist, performing regularly in Melbourne with some of the town’s best musicians. In the last couple of years, she’s played at Port Fairy Folk Festival and Cool Summer Festival, had a successful solo tour along the east coast of Australia, and made Bluebirds, an album with supergroup collaboration Suzannah Espie, Kerri Simpson and Barb Waters.
2.15pm
You’ve spent the weekend watching some of Australia’s finest guitar talent, you’ve picked up your dream guitar bargain, seen a cool demo or two and thinking life couldn’t get any better… BUT ... we’ve saved the best until last! Some of Australia’s slickest pickers will come together on one stage for the Triple M Finale Jam. The line up includes: Jack Jones (aka Irwin Thomas), Brett Garsed, James Ryan, Shannon Bourne, & Charlie Bedford
10.45am 11.30am
VAN LARKINS
Combining classical guitar style with musical influences like electronica, Psytrance and 70s funk, Van Larkins’ ground-breaking techniques and complex compositions have earned him a coveted spot on the U.S. CandyRat Records roster, multiple endorsements and praise from the world’s best fingerstyle artists
12.30PM
MARK FISHER ( PHISHA)
Talented Melbourne based acoustic guitarist Phisha brings a refreshingly modern approach to the acoustic singer songwriter genre, infusing traditional folk sensibilities and evocative lyrics, with jaw dropping style and technique.
1.30pm
THOMAS LEEB Thomas Leeb is a frequent performer at concerts and festivals in Asia, the Americas and Europe and has been featured in numerous guitar magazines all over the world. Every year, he teaches workshops and master classes in universities and colleges and his album “Desert Pirate” was voted one of the essential albums of the last twenty years by Acoustic Guitar Magazine. His peculiar guitar style owes as much to percussive techniques as traditional fingerstyle guitar
The Melbourne Guitar Show acknowledges its sponsors for their support in staging the event
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Level 1 Escalator West
Level 1 Escalator East
11.00am
TRIPLE M FINALE JAM
AON MEZZANINE STAGE
CAT CANTERI
Cat Canteri is a true musician in the sense that she lives for the music, primarily as a solo artist but also with a rich history of collaboration with other bands and songwriters. Cat’s acclaimed current album is called Inner North
11.45am THE WEEPING WILLOWS
Featuring Andrew Wrigglesworth The Weeping Willows play almost every week of the year, often three or four times, winning over new fans and loyal friends wherever they go. It’s the reason they turn up on more festival bills than just about any other local act
12.45pm
ESPANA
Featuring Matthew Fagan, Bernardo Soler, Dean Gaudion Internationally renowned 10 String Guitarist Matthew Fagan combines musical passion and virtuosity to celebrate the Spirit of Spain with music from his new album “el Vito”, featuring Bernardo Soler and Dean Gaudion.
2.00pm
WORLD OF ACOUSTIC GUITAR
Hosted by Nick Charles and featuing Daniel Champagne, Peter Baylor, Jeff Lang, Adam Miller, Van Larkins. The acoustic guitar has left its imprint on many cultures and musical genres across the world. This show will feature some of the diverse styles and sounds of the instrument
*PROGRAM SUBJECT TO CHANGE
WINNERS CIRCLE WORKSHOP ROOM
Level 1 Escalator West 10.30am
AMEB Classical Guitar with Benjamin Dix ‘Communicating through tone and technique’ and discussing the importance of establishing a solid foundation. Exploring how simple scale and arpeggio techniques are developed throughout the various AMEB grades and how technique and tone can facilitate musical expression at any level. Musical excerpts will be performed to demonstrate key learnings and to provide insight into the process of preparing or sitting for an AMEB examination.
11.30am
DIESEL SIGNATURE STRATOCASTER® feat MARK DIESEL LIZOTTE
Join Australian guitar legend Diesel as he demos his new Diesel Signature Stratocaster. Blending a brash 80s look with modern playability and maturity, this guitar has been designed to look and sound as cool as its namesake.
12.30pm
BOSS TONE DESIGN MASTERCLASS
In this masterclass, Joshua Munday will show you how to ‘hear’ guitar tones on famous guitar recordings and then show you step-by-step how to recreate them! After explaining the original studio techniques used on each famous record, Josh will then demonstrate his approach using the BOSS GT-1000.
1.30pm
LINE 6 SHOWCASE
In this session we will deep dive into the flagship Line 6 Helix guitar processor and what it can do in the studio and on stage. Writer, performer and producer Michael Paynter (Icehouse, The Veronicas) will show you how he uses Helix to layer tracks in pop, rock, and country music, as well as how he uses Helix live. You’ll learn tips, tricks and how to make the most of Line 6 Helix.
2.30pm
FRACTAL AUDIO WORKSHOP Featuring Michael Dolce
Michel Dolce will demonstrate his use of the Fractal gear live and in the studio. Michael has been part ‘of The Voice’ house band on their ‘Live to air’ shows and on recordings as well as numerous recordings with Delta Goodrem and more
UP CLOSE & PERSONAL Cafe Corner. Ground Level
12.00pm BRETT GARSED Brett Garsed is one of Australia’s most celebrated guitarists. Best known as John Farnham’s guitarist on numerous tours, Garsed also made a name for himself overseas with Nelson, and later with Chicago-born guitarist TJ Helmerich. Brett is now back in Australia and we’re lucky to have him join us in this intimate session in which he’ll discuss his career and guitars. 1.30pm DAVE LESLIE Dave Leslie is the lead guitarist from iconic Australian rock band The Baby Animals, who have had numerous hit songs over the last few decades. We’re honoured to have Dave at MGS2018. Check out this session in which Dave will discuss guitars and life in a high profile recording and performing band.
EXHIBITOR LIST MELBOURNE GUITAR SHOW 2018 FLOOR PLAN - GROUND FLOOR
MELBOURNE GUITAR SHOW 2018 FLOOR PLAN - LEVEL ONE
MELBOURNE GUITAR SHOW 2018 FLOOR PLAN - LEVEL ONE
MELBOURNE GUITAR SHOW 2018 FLOOR PLAN - LEVEL ONE
Electric Floor Ground Level 1 Wildwood Instruments 2 Melbourne School of Guitar Making 3 Melbourne School of Guitar Making 3A Bose 3B Owen Ray’s International Music 3C Strandberg Guitars 3D Cilia Guitars 4 Melbourne Bass House 4A Poly Expressive 4A Crossley Guitars 4A Grubisa Guitars 5 Guitars Plus 6 Jack’s Music 7-9 Amber Technology 10-11 Eastgate & EGM Distribution 12 Sunburst Music 13-14 Eastman Guitars 15 The Resource Corporation 16-19 Gibson & Epiphone 20 Colonial Leather 21 Port Mac Guitars 22-23 Guitar Village 24 Brock Guitars 25 Bass Centre 26-30 Ibanez 31 Hal Leonard 32 Studio 19 Rentals 33 & 35 CMC music 33A Link Audio 34 Music Junction 36 Macron Music 37 Headrush 38 Independent Music Products 39 Oz Inventions 40 Roland 41-42 Ruben Guitars 43, 50, 55 Yamaha 44-46 Cranbourne Music 47 ET Guitars 48 Innovative Music 49 Bernies -Hammond 51 George Evans Custom 51A DK Alloy Guitars 51B Brookwood Guitars 52 aPurla – Handcrafted Guitars 53-54 Dunphy Imports 55 Vox 56-58 KC’s Rock Shop 59 GH Music 60 Mannys 60-63 Fender Australia 64-65 D’Addario 66 Fusion Guitars 68 Reverb.com
Mezzanine Level- Acoustic only A1 Cargill Custom Guitars – Southern Tonewoods A2 CMC Music A3 Cole Clark A5 – A6 Maton Guitars A8 – A9 Taylor Guitars A10 Yamaha Music A12 Washburn A13 Pat’s Music A15 AMEB Rockschool A16 Fender Australia A17 Tanglewood – Elixir A24 NCAT A25 Shoma Guitars A25 Octigan Guitars A26 Rizollo Guitars A26 Rainbow Music A27 Melbourne Guitar Night A28 Double Bass Tattoo A28 Racz Leatherart *the list is subject to change and will regularly update
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Cat Canteri While you might now know Northcote local Cat Canteri for her work on the guitar, the versatile instrument wasn’t actually her first musical love. A drummer in high school, Canteri didn’t find herself drawn to guitar until she was in her mid-teens and wanted to pursue songwriting. “I really felt drawn to writing songs and being a songwriter, and guitar is the ultimate instrument to do that with,” she says. “Guitar playing is a bit more of a creative outlet [than drums].” Her new album, Inner North, sees Canteri take on the role of storyteller as well as songwriter. Tracks ‘Fitzroy Bowl’ and, particularly, ‘Pentridge Wasteland’ offer much more than just solid lyricism. The latter discusses the confronting issue of child sexual assault, inspired by a former neighbour of Canteri’s who was convicted of such a crime. “Occasionally when I’ve got it on my setlist at gigs I sit there and I go, ‘I don’t know if I really want to play this song,’ because it’s really intense, but the reason I continue to play it – and I don’t know if I will forever – but I feel that being onstage you’re in a position of power,” she says. “Me speaking about it now enables anyone who’s younger than me, looking at me the same way I looked at people in my teens, to go ‘Oh, she’s speaking about these things and she’s noticing these things and they’re real, and it’s ok for me to speak about them, too.’” As a kid growing up, Canteri wasn’t exposed to a great deal of contemporary music. Her parents preferred the sounds of classical and traditional Irish music, which meant it took Canteri a while to discover which genres she really liked and identified with.
“Whenever I heard something come on the radio occasionally that was like blues, or rockabilly, or outlaw country music, whenever I heard something like that I would go ‘Oh my god, what is that sound? I love this music; I don’t know what it is, but I love it.’” Her first proper gig at age 14 was the Silverchair Diorama tour at the Palais Theatre, but her love for grassroots music continued to bloom when she discovered Mia Dyson and a string of other musicians in that vein. “The people who I’ve always really looked up to as musicians, have always been local people and that’s because it’s really tangible and real. When the person you’re idolising is someone you can literally go and travel like two kilometres, and go to a pub with your mum so you can get let in,” – she pauses with a laugh – “when you can sit down and take it all in, you can just be like ‘Yeah, this is fucking incredible,’ and that’s really powerful. “There were some amazing performances I saw when I was a teenager that changed my world. It was particularly great to have some amazing female songwriters and guitarists to look up to.” This passion for live, local music is something Canteri still carries, and she takes joy in helping others
find artists and musicians they can get around too. “One of the things that I do a lot is have conversations with people who’ve never been to a local gig before. There’s all these people out there who want to go and experience the live music culture that we have in Melbourne, but literally don’t know where to start. “Once you find one band that you really like, most likely people who play in that band will play in other bands in a similar vein, and it’ll explode for you. If you find one band that you’re like ‘I fucking love this,’ it’ll expand to at least three or four other bands, and then you’ll find other songwriters, and then it opens up your world.” It’s one thing she loves about events like Melbourne Guitar Show; the fact that it brings people together. “Melbourne has its own discreet music industry that thrives and works all on its own, and events like Melbourne Guitar Show and the Ultimate Drummers Weekend that they have in Melbourne as well, feeds into that. That’s also part of the broader musical, creative landscape.”
“I had a week’s notice to fill his shoes, but literally within two days with the Helix I built what I needed for the entire Icehouse set.”
Although he’s not that far into his 30s, Michael Paynter has a vast and respectable resume as a professional musician.
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Catch Cat Canteri perform on the Aon Mezzanine stage at 10.45am on Sunday August 5, and as part of Songs & Strings on the Aon Mezzanine stage at 11.30am on Saturday August 4, as part of Melbourne Guitar Show 2018.
BY GRETA BRERETON
Michael Paynter
As well as his solo discography, he’s also been a touring musician for the likes of Icehouse, Seal, and The Veronicas, toured in support of Miley Cyrus and The Script, and now works with Michael Delorenzis as part of MSquared Productions. At the Melbourne Guitar Show he’ll be running the Line 6 Showcase, a session that will see Paynter taking attendees deep into the capabilities of the flagship Line 6 Helix guitar processor and what it can do in the studio and onstage. Paynter, who was an early adopter of modelers ten years ago, grapples with a statement made under a video explaining that the Helix Floor modeler is “the death of the backline.” “I got a Helix pretty early on in the piece – almost two years ago. As a producer I’ve been using guitar modelling software for about ten years and this is my preferred way of operating in a studio environment – to have control of a plug-in or a processor over an amp. “This is coming from a guy that did over a decade touring around the world with $20,000 worth of amplifiers in a truck, so I’ve definitely been on both sides of the equation and it’s changed my life – and I don’t say that lightly at all.” While Paynter isn’t saying the Helix is the death of the backline per se, he is contending that the device has allowed him to focus more on the quality of the artist he’s producing, instead of the time-consuming minutiae of integrating multiple pedals with large and heavy amps. It has given Paynter the ability to take his music further.
“There’s all these people out there who want to go and experience the live music culture that we have in Melbourne, but literally don’t know where to start.”
“It has always been very easy to pull a great sound in the studio with plug-ins because you have EQ [equalizer] and compression. It’s buried in a mix, so unless you’re making a solo-guitar record you could never tell anyway. What the Helix has done is taken the quality of a fully produced record feel and put it in a compact processor that can sit in front of you like a pedal board meaning that you can take it anywhere,” Paynter says. Pushed on the true expansiveness of the Helix’s capability, Paynter gives an example specific to his work playing guitar for Icehouse. “In 2017, Icehouse’s lead guitarist, Paul Gildea, broke his wrist. This was about a month after I got the Helix. We had the fourteenth anniversary tour coming up that included 50 shows. “I had a week’s notice to fill his shoes, but literally within two days with the Helix I built what I needed for the entire Icehouse set. Keep in mind this set spanned their entire career, so I had to build in Fender Deluxes, AC30s, Plexies, a little Gibson supros, all those amps,” he says.
Even though it’s over 12 months since he achieved this feat, Paynter’s voice still seems filled with a sense of awe over what the device achieved. A common reproach levelled at modulators and processors is that they lack the warmth of the analogue devices they are emulating. A sense of exacerbation creeps into Paynter’s voice as he tackles this criticism. “It’s warmer,” he says. “It’s the same two things with any gear – it is the fingers that are on the guitar and the ears that are setting the tone. “If you have the ears for it, and great fingers, you can make anything sound good. You could buy a 1972 Plexi and put an L series Strat through it but if you can’t it’s going to sound like shit.” Paynter encourages guitarists of all abilities to attend the workshop and ask as many questions as possible. “The more interactive the better because then I shape the workshop to what is relevant to those attendees. The Helix will improve the output of any guitarist, from a beginner to an expert,” he says. BY DAN WATT
Michael Paynter will lead the Line 6 Showcase in the Winners Circle Workshop Room at 1.30pm on Sunday August 5, as part of Melbourne Guitar Show 2018.
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Maybach Guitars Very often hearing the name “Maybach” has people wondering, “Isn’t that a car brand?” Indeed they are correct, in automotive terms Maybach is to Mercedes what Music Man is to Fender. There’s a considerable correlation here as the namesakes both make their names as incredibly hearty riffs on the theme lain out by their forebear. The brainchild of German music purveyors iMusicnetwork, the Maybach line not only offers shapes and styles you know and love, but also some sought after things that the big guys simply refuse to do. All of the timbers used are sustainably sourced from certified suppliers, and each piece is expertly created from start to finish with an unwavering eye on the incontrovertible quality of the finished product. Essentially it is “one of each” selection. The Stradovari, Teleman and Jazzpole series’ square up against Leo’s big three, while Lester, Albatroz and Capitol keep the once mighty Les in check. It would be all too easy to write them off as simple facsimiles of the original – especially with such a tongue-in-cheek naming convention – but the proof really is in the pudding. All of their builds are replete with a lush and not overly applied nitro finish, peppered subtly
with a tasteful amount of road-worn charm. The necks in all three Fender-baiters have the heft and intimidating wrestle familiar to fans of ‘50s models. Eyes closed, the only thing that’ll remind you that the latter three aren’t genuine Gibson axes is the fact that they don’t fall apart in your hands. The feel on these things is everything you’d expect from either company’s Custom Shop without the price tag or wait time. Where feel is concerned they go over and above to prove themselves in the twin shadow of such greatness. Sonically the chorus repeats. I haven’t played a ‘50s-style Tele that was so harmonically rich, touch sensitive and stratospherically clear in all my life as this Aged Vintage Cream one. Provided by fellow Germans Amber Pickups, the voicing is not unlike a thoroughly gigged in Texas Special pairing or some mythic thing that you might dream of finding in a backwater pawn shop somewhere below the Mason Dixon line. Now, at this point I’ll have it known that I’m as skeptical as the rest of you. I’ve seen a lot of gear that talks a big game up against bigger names, so much of which falls criminally short of the benchmark.
Maybach, however, seem to have a knack for capturing the under-the-radar, troublemaker spirit that keeps so called “lawsuit era” riff sticks in such high demand. Everything that’s often amiss about name and off-brand guitars alike is taken in stride; so much so that the only thing I can really fault them for is over-referencing the big two in their blurbs. If I might chance a couple of popular culture references; far from being pretenders to The Iron Throne, these are the kind of wands that choose their own wizard. BY LUKE SHIELDS
Van Larkins
“That type of performance is a masterclass in how to perform and break the boundaries of what’s traditionally known as acoustic guitar playing.”
He’s the fingerstyle guitar virtuoso who’s been making waves as a solo artist, and continues to break boundaries and cover new ground in this intricate style of playing. Van Larkins has a massive touring itinerary ahead and wants to share his music, stories and knack for breaking ground along the way. In the past, Larkins has said that, “Aussies tend to associate the acoustic guitar with genres like bluegrass, country and blues, but fingerstyle covers every genre on the planet.It’s the next big thing in the live music industry – people just don’t know it yet.” The confidence of his statement says it all – fingerstyle can encompass every genre, which makes his work as much of an education for the audience as it is an education for Larkin when he sees how his performances are received. “I think that type of performance is a masterclass in guitar,” Larkins says. “The reason why I love [fingerstyle guitar] so much, [is that] it might be classed as a genre now but when you define it, it can be inspired by any genre which I think helps it to appeal to a wider audience. That type of performance is a masterclass in how to perform and break the boundaries of what’s traditionally known as acoustic guitar playing.” Larkins’ technique is a fluid motion of sonic beauty. Some of his extended techniques include using the palm of his hand to create a beat and emulate the sound of a snare drum when he brings his hand down onto the strings, the whole concept allowing him to echo the sounds of a whole band. It’s easy to think Larkins is using a backing track – he isn’t. “I concentrate on original compositions and arrangements of other people’s music,” he says. “I put my own spin on it.” BEAT.COM.AU
Maybach Guitars are now available in Australia thanks to Cranbourne Music. You can see them at booth 4446 at the Melbourne Guitar Show.
Larkins dubs the Melbourne Guitar Show as the standout event of the year for guitar nerds and he’s looking forward to exchanging ideas and performances with other players. “The calibre of players there is outstanding,” he says. “You get bang for your buck – all the gadgets and gizmos, all the players that are showcasing. I’ll be representing Tanglewood guitars as well as doing a couple of performances.” With his own compositions already standing out as much as they do, Larkins is sure to leave a mark on Australia. Wanting to spread the word a little further, however, Larkins has been hard at work with filmmaker and guitarist Drew Roller, who has created the world’s first fingerstyle movie, a documentary called Acoustic Uprising. A fingerstyle player himself, Larkins says Roller was inspired to make this movie after travelling around the world to interview guitarists who are making their mark at the moment. Larkins makes an appearance on the film, talking about YouTube and how the social media platform has changed the way players learn. “I’ve seen people use gimmicks to boost views online,” he says. “With YouTube and Facebook, you have to pay for views to spread the word, unless you throw a gimmick in there which is where people start
using different parts of their body and gadgets. But that’s just for fun, really. “[YouTube] is an infinite library of anything you can imagine, including guitar playing, composition, technique – it’s just a motion now.” Larkins’ mission to maximise the popularity of his genre doesn’t stop there. He’s preparing to move to Nashville in a couple of months, confident he’s done enough within his craft to stand out among some of the best musicians in the music-making capital of the world. “I think it will fit because it’s acoustic guitar,” he says. “There’s been a massive wave in the fingerstyle movement in the last few years. I’ve tried to translate all the experiences I’ve had and the places I’ve been, all those inspirations into a song. The acoustic guitar will help me fit in, but the compositions will help to stand out.” BY ANNA ROSE
Van Larkins’ latest album Cinder Moon is out now. He’ll perform on the Exclusively Acoustic stage at 11.30am on Sunday August 5 and as part of the Meet The Players Fingerstyle Guitar session - Café Corner at 3pm on Saturday August 4, as part of Melbourne Guitar Show 2018.
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
GH Music
MUSIC
Northern College of the Arts & Technology
MUSIC
Tell us about GH Music. The story of GH Music started much earlier than the five years our store has been open. A true Melbourne musical icon, the building that we now operate from was the original Billy Hyde’s Music shop, which opened in 1962. Over the years this shop has played host to many music greats including Charlie Watts (The Rolling Stones), Don Henley (The Eagles), Dave Grohl and Taylor Hawkins (Foo Fighters), to name a few. What sets GH apart from other stores? GH Music was opened with the philosophy of giving the best possible service to our customers and ensuring that they feel they are the priority. Whether you’re just starting out on your musical journey or are a touring professional, here at GH Music we take the time to understand your needs and make sure you receive the best suited equipment and advice. We’re not striving to be the biggest store in Australia, but rather the best. What types/brands of guitar do you stock? Our guitar department stocks a wide range of both electric and acoustic guitars including the brands Fender, Gretsch, Gibson, Ibanez, Suhr, Schecter, Maton, Cole Clark, Martin and Yamaha, plus many more. What other accessories and equipment do you offer guitarists? We offer a full range of amps, pedals, cables, strings, cases and bags. We also offer maintenance and spare parts through our in-house guitar tech service. What model would you recommend for a beginner and why? We have a full range of student model guitars with some popular options being the Squier Affinity Series, Yamaha Gigmakers and Valencia Classical guitars.
What is NCAT? The Northern College of the Arts & Technology offers specialist, hands-on education in all areas of arts and technology. The college’s Musical Instrument Making and Repair curriculum is the only qualification of its kind in Australia, covering both traditional and emerging digital technologies. Opportunities are available in the guitar industry, practicing repair or instrument set up, manufacture and design. Programs offer both traditional woodcraft and high volume manufacture techniques. Do prospective students need prior skills or certificates? We cover all the necessary skills from the starting point. This not only happens in woodcraft, but also in instrument repair, setup, business, drawing, design and 3D modelling skills. As with all hands on skills, the more prior ability students have, the easier they’ll find it. What skills can students hope to acquire? Students begin by completing an extensive OH&S program. Across the year, students learn to make a bolt-on electric guitar, a dreadnaught-style acoustic guitar, and design a custom-made instrument of their choice. Students also learn to complete perspective drawings, isometric and concept drawings and use their skills to develop a product range. They also learn to generate computeraided drawings and create custom templates and jigs, and develop custom logos and inlays for their instruments. In the Repair and Set-up class, all of the classic models are investigated, and tips given on improving the playability and sound quality of their instruments. We look at timber repair methods, sanding techniques, paint and finishing methods, acoustics and sound transfer. The course also covers the development of a business plan.
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Pat’s Music
MUSIC
What types of guitars do you stock? Pat’s is a full-range music shop and we stock a great range of guitars, from classical through to steel string and electrics. We stock all the best guitar brands including Fender, Yamaha, Gretsch, Sigma, Maton, Martin, Valencia, Katoh and Alhambra. We also have a great range of Kala and Mahalo ukuleles, as well as violins, violas, cellos, drums, brass and woodwind instruments, too. What sets Pat’s apart from other stores? Pat’s Music is a family owned business, with a friendly group of staff who are always keen to help, whether you’re buying your first guitar to begin learning or you’re looking for the guitar you want to take with you on tour. Pat’s is an all-round music store and provide great, high quality brands, no matter what instrument you play, whether that be piano, guitar, percussion, brass, wind or strings. If you could only own one guitar in your shop, what would it be? The Maton EM100 Messiah. Praise the lord. What model would you recommend for a beginner and why? Most beginners start with a nylon string classical guitar, because it’s much easier on your fingers while you’re developing your playing technique. However, if you don’t see yourself playing a classical guitar, we stock plenty of suitable entry-level steel string and classical guitars. What’s the most valuable tool a guitarist can have? Patience, discipline, inspiration and most importantly, a guitar, are equally important. PATSMUSIC.COM.AU
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SPIDER V
Spider V is the first amp to have a built-in wireless receiver — making it easier than ever to take your performance wireless. It’s a serious addition to your rig that combines incredible wireless freedom with refreshing simplicity. Just plug a Relay G10T transmitter into a Spider V 60/120/240 and start playing.*
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Spider V 20 $289.99 RRP
Spider V 30 $349.99 RRP
Spider V 120 $699.99 RRP
Spider V 240 $899.99 RRP
Spider V 240HC $849.99 RRP
Spider V 60 $549.99 RRP
• Create your sound with over 200 newly refined amps, cabs and effects • Use LED colour-coded controls to select, build and edit your tone • 128 presets include iconic rigs and classic artist tones — choose a tone and play • Hone your timing and chops with real drummer loops and a built-in metronome * Relay G10T transmitter sold separately. Compatible with Spider V 60, Spider V 120, Spider V 240HC, and Spider V 240 models only. The Relay G10T transmitter is compatible with typical 1/4" output jacks used on most passive and active instruments. Guitars that have non-standard jack wiring may require a 1/4" mono adapter for use with Relay G10T. The prices set out in this advertisement are recommended retail prices (RRP) only and there is no obligation for Line 6 dealers to comply with this recommendation. Errors and omissions excepted.
FIND A DEALER line6.com/dealers
EVENTS AND PROMOTIONS yamahabackstage.com.au
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Inside The Ernie Ball Music Man Factory By Nicholas Simonsen | Photos by p1xels
For decades now, Ernie Ball Music Man has been at the forefront of innovation and quality in the guitar and bass industry. From the legendary StingRay bass, through to signature guitars for game-changers like John Petrucci, Steve Morse, Albert Lee and St Vincent, the brand is synonymous with incredible quality and forward thinking ideas. Last month I had the opportunity to visit the Music Man factory in the heart of San Luis Obispo, California and get the inside look on how their instruments come to life. With 160 employees, Ernie Ball Music Man is far from the biggest guitar company around, but that need not be their concern. It was clear from the moment I walked into the factory that their focus is most certainly on quality over quantity. With up to 15 people working on each instrument in their respective roles along the production process, it’s safe to say that by the time something reaches the warehouse to be shipped out, every fine detail has been checked to ensure it’s up to the strict qualities of craftsmanship the brand is revered for. This was also clear when stumbling upon a few reject bins around the factory; even the slightest imperfection won’t make it through complete production and is discarded without hesitation. The building process begins with a number of CNC machines, including Big Bird, the big yellow robot that takes the raw wood and carves the body blanks in the blink of an eye. From there, the bodies are sanded to perfection, painted, buffed and dried to ensure they are set and stable. The necks are carved out from blanks then given the personal touch and
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sculpted by one of the craftsmen in the workshop. They are then sanded down and the frets are applied by hand. Believe me when I say that this entire process is incredibly meticulous and every employee ensures that their respective part is done perfectly. Once the bodies and necks are all finished and lacquered, the really nerdy stuff begins. Music Man engineer and plate their own bridges. These bridges are designed for maximum comfort and durability. They also design and produce their own hand wound and custom voiced pickups. These pickups can be found in the StingRay, Cutlass, Valentine and St Vincent models. With the electronics all wired and the hardware installed, the final stage of production is the rigorous testing and setup each instrument receives. Given the amount of high quality materials used in the construction, it’s of the utmost importance that the instruments play and sound like a dream. I’m fortunate enough to own a few Music Man guitars myself, and was completely blown away that they were so perfectly setup straight out of the box after travelling from the other side of the world. Seeing the instruments come to life was without a doubt amazing, but the coolest part of visiting the factory was the environment. Every staff member I spoke to on the factory floor was so excited to be
working on the instruments and proud to work for the company. The design and marketing team were filled with passion and eager to talk about ideas for the future. It was plain to see that Ernie Ball Music Man started as family business and that even though they have grown in size, those family values are still very much in place. Given their guitar lineup, it’s plain to see that Music Man has no interest in resting on their laurels or getting complacent. The Valentine and St Vincent models show them trying new things and focusing on the needs of modern players and innovators. The return of classic Music Man models like the StingRay and Cutlass show the vast legacy that the company has built, but now with a practical and modern approach. The continuing development of the John Petrucci guitar models and the StingRay bass show that even though they’ve nailed them time and time again, they’re still looking for ways to take things to the next level. It’s simple; Ernie Ball Music Man aren’t concerned with being the biggest guitar company in the world. They’re far more concerned with the needs of the modern musician and ensuring that their pristine legacy of incredibly built instruments continues to prosper for many years to come.
Ernie Ball Music Man are distributed by CMC Music in Australia.
BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Line 6 Powercab 112 and Powercab 112 Plus Line 6 take their modelling very seriously. The Helix (and original POD) offer amps, cabs, effects tones to use in the studio and onstage to give you a huge sonic palette with a myriad of tweaking options. Further developing this concept, Line 6 have introduced the Powercab range of active guitar cabinets designed as a live sound reinforcement device. Yes, it takes on the FRFR ethos that many modelers utilise, but it also incorporates specific cab sounds for added tonal flexibility. Going for the more traditional look, the Powercab has a cool combo/small cab look to it as opposed to the PA speaker look that many modellers use. Grabbing it out of the box I was surprised at how light it was – great for those sick of lugging big rigs. Housing a 12” speaker designed in collaboration with Eminence and a 1” high compression driver made by Celestion, the Powercab already has some street cred on its side. Rated at 250 watts, all the connectivity is on the back panel. There are some variations between the Powercab and the Powercab Plus with the latter having additional inputs and a USB interface. Otherwise essentially you get combo XLR/TRS inputs, an XLR out, Midi in and out/ thru, ground and low cut switches, power switch and Line 6 Link/AES in and out jacks. The standard Powercab has a push button to cycle through the speaker emulation options, which are colour coded
for easy reference, while the top of the Powercab Plus then features a volume knob, home button, backlit display, save button and select knob. This makes it so easy to get started, you can really just plug your Helix in and crank it up as a starting point. In ‘Flat’ mode the speaker emulation is disabled and you get a clean and clear representation of your modeller tones. This is great for reproducing your finely tweaked sounds but can also be quite confronting at first as it really exposes those sounds you’ve been crafting at home. In the long run I feel this is a good thing though, and it means you’ll get exactly the sounds you’ve been looking for – especially with all the effort put into modeling/ profiling classic guitar tones. Line 6’s angle with the Powercab is then the speaker emulations which offer vintage, green, cream, jarvis, bayou, essex and Hf off models. The idea now is that you can add
some cab emulations to your tones for even more shaping. Line 6 have covered most of the typical speaker faves here too with clean, sparkly F type sounds, rock tones, chimey brite sounds and some American sizzle. All of these can be accessed quickly on the Powercab’s top panel and saved as presets or easily scrolled through on the standard Powercab. Of course there’s great connectivity when combined with a Line 6 Helix. FRFR mode is great for your modeler tones, with the feeling and look of a 112 cab. Then add in the speaker emulations and you could tweak ‘til the cows come home to really hone in your favourite presets.
Yamaha Music Australia au.yamaha.com Expect to pay: 112 - $1119 112P - $1599
HITS: Traditional type cab looks with modern functionality, lightweight and portable, two models adds choice of features. MISSES: Price may exclude some punters.
BY NICK BROWN
1359 SYDNEY ROAD FAWKNER 3060
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In House Music Shop Check us out
facebook: musicland melbourne website: musiclandonline.com.au
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Positive Grid BIAS MINI Bass and Guitar Head The digital age has brought about a number of products that play gleefully into the hands of this concept. Modeling amps and floorboard units abound, each promising unmitigated combinations and permutations allowing you to dial in the entirety of sonic history at the click of a drop down box. Positive Grid was one of the first companies to bring this hivemind mentality to the fingertips of smartphone and tablet users the world over in their BIAS Amp line of apps, which have now expanded to include Mac and PC users in their stable. They subsequently entered the world of hardware a few years ago with the BIAS Head. I had the pleasure of reviewing one as one of my first forays into the modeling world and was struck dumb by the limitless possibilities the physical product afforded me even before plunging into the software. As such, I had a reasonable idea of what I was in for when faced with the two new miniaturised versions I see before me. Before I get to the amps themselves, I have to make mention of the electronic brain of the enterprise, the software. This is, after all, where the vast majority of the tone shaping comes to life. Positive Grid’s software allows you to choose from hundreds of different amp models just as they appear in the real world; anything from the giants of the industry like ‘70s Plexis, British Class A Tube circuits, searing solid-state shredders and a plethora of others. Starting with those blueprints, you can swiftly and
easily change out power transformers, pre and power tubes and their age and era of manufacture, capacitors that warm over time, tonal filtering and just about every possible thing there is to tweak about an amp. The cabinet well is just as deep. Speaker cone types and combinations, cabinet thicknesses, mic placement and even the parameters of the simulated room said cab is in is all up for grabs and ready to take with you wherever you’re playing. Whether you’re a guitar or bass player there are literally millions of different combinations on the menu even before you download the impulse responses designed by world-renowned artists and tone chasers. My head is spinning just thinking about it. While it all sounds a lot, when you pour all of that infinite possibility into something as compact and lightweight as either of these heads, the whole thing becomes strangely easy and familiar. Both the bass and guitar MINI heads come loaded with 16 factory presets that start the smoke clearing as soon as you plug in. From glassy Princeton clean tones, to bluesy break up, to abject sonic destruction, there is enough in tow from the get-go to simply set up and start playing. At this point, possibility turns to functionality and renders either or both units a perfect choice for those of us looking to downsize a touring rig, especially when you realise just how much of the 300 watts of output power you’re ever going to need. Once you have designed your own Tonehenge in the app and assigned it a destination on board, you can zero in on the specifics of the room with the staggeringly simple three-band EQ, input gain and Master volume. This is where I genuinely preferred the MINI heads to their predecessor as this achingly simple final touchstone
streamlines proceedings for those instances when there is just too much else going on. In sound check, this amount of distillation would prove a handy way to hone in without getting lost in the milieu and without proving to be little more than limitation. In many cases, this is where a lot of modeling units fall down. Any and all of them are, or at least should be, designed with the heady, anxiety inducing arena of live performance at the fore. The last thing anybody wants to do is spend a whole sound check reading a user manual or scouring the FAQs for answers when the drummer is pilfering the rider. Positive Grid has done well to balance unmitigated possibility with on-the-fly functionality. This, combined with the surprisingly lightweight yet next to bulletproof allmetal housing, makes the MINI heads a particularly road-ready variation on the theme. We all want to leave as distinct and individual a mark on the world as we can. For many of us, looking to music as a chief means of personal expression is a direct reaction to this innate desire. While the digital age has opened up can after can of worms and the burden of choice weighs heavy on those who dare to wander down that rabbit hole, it is incredibly encouraging to know that companies like Positive Grid keep a watchful eye on real world application in designing their units. Both the guitar and bass versions of the BIAS MINI heads are two of the most user-friendly modelers I’ve come across, guiding you through the process of fully tailoring your sound to suit your every waking need.
how and why channel jumping works as much as we have, whether or not we bother venturing down that path. This is where the new AC comes in. For what feels like the very first time Vox delivers a single channel, single 12” speaker variation on the theme and for me it immediately takes its seat at the top of the hierarchy. Much like the models it joins in the AC council of elders, 12AX7 preamp and EL84 power tubes drive the beginning, middle and end of the S1 story. The expansive, chiming response of the former is beefed up and thrust forward by the latter in exactly the way you’d expect from a Vox build. For what it’s worth, I’ve never found an AC30 I’ve loved as much as I’ve wanted to. I’ve always found the voicing a little too dry and evened out for my taste and wanted more space in the reverb tank to splash around in. That is until now. Immediately the S1 has a vastness, harmonic richness and almost Fenderesque brilliance that I’ve yearned for from Vox for
as long as I can remember. I feel like the distilled nature of the single channel design has trimmed a lot of fat from the voicing and allowed it to blossom gloriously, giving that famous tube combination a lot more breathing space. Driven hard there is a luscious amount of natural compression to the gain stage that opens up as you dig in while retaining a warmth, versatility and transparent grit that blues and jazz players will respond as favorably as your average rock pig. I can now breathe an eternal sigh of relief, safe in the knowledge that Vox have perfected their historic AC line. While it might seem like me making a big deal over a simple modification, the proof is in the aural pudding. With a luxurious harmonic landscape and classic design features, the AC30 S1 is the Holy Grail amp that Vox have been promising for eons.
Link Audio linkaudio.com.au Expect To Pay: $999
HITS: Limitlessness, simplicity, power and portability. MISSES: None
BY LUKE SHIELDS
Vox AC30 S1 Amplifier As it’s defined by the Oxford Dictionary, in physics, singularity is the “point at which a function takes an infinite value, especially in space–time when matter is infinitely dense, such as at the center of a black hole.” Taken more figuratively it is the position that a thing takes of absolute self hood, where any given object is the most condensed version of itself, leaving little to no room for accouterments, addendum or paraphernalia; the one and only source of its own characteristic. Metaphorically speaking there is a number of beings that exist in the musical world that could claim to have achieved this solitary state of being. Jimmy Page’s ancient Supro, the first Strat or Nocaster, and Keith Richards’ original skin all hold an absolutely singular place in the great hall of musical artifacts. Given its pivotal role in defining the sound of generation after generation of guitarists, Vox’s inimitable AC30 guitar amplifier has been achingly close to achieving this holy oneness for decades. Now, in one of the more closely kept secrets of recent times, the AC30 S1 takes this earth-shattering vibration to that higher plane. Now, we’ve all seen, heard, played through, and tried to lift an AC before. We all know what they are there for. Heavier than hell and louder than your neighbouring nation could abide, that infamous hazelnut grille-cloth has long been the dream for anyone with a thirst for tube transcendence. At the same time we’ve all scratched our heads wondering
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BY LUKE SHIELDS
Yamaha Music Australia au.yamaha.com Expect to Pay: $1499
HITS: Harmonic richness like never before. MISSES: None
PRESENTS
SUPERTRAMP’s
CELEBRATING THE 40TH ANNIVERSARY OF BREAKFAST IN AMERICA
The Logical Song Give A Little Bit Dreamer Take The Long Way Home & MANY OTHER HITS
SAT 2ND FEB PALAIS THEATRE
Tickets on sale Tuesday 7th August: www.ticketmaster.com.au 1300 139 588 www.rogerhodgson.com presented by bluesfesttouring.com.au
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Positive Grid Bias 600W Modeling Amp We may not eat food in pill form or hoon around in hovercars just yet, but we are well and truly living on the cusp of, if not smack bang in, the belly of the future. Positive Grid is a company that has been at the coalface of this technological tin mine for years now. Famous for creating some of the most user-friendly and sonically advanced music apps on the market, their new Bias Head sees them take one almighty leap into the physical realm and apply the entirety of their tone-tech prowess in the real world. The Bias Head is, at its genesis, a modeling amp – just not like you’ve known before. As opposed to being an engorged menu of presets and optional extras, this unit seeks to put the power in your hands. You choose just about everything except the printed circuit board it’s built on, and the unit itself quietly ensures that a) you have easy access to all your choices and b) every last one of them sounds as natural as the real thing. Despite being loaded with features, the unit itself is simple enough to navigate. The traditional controls are there along the bottom row; input gain, bass, mid, treble, presence and master volume can all be used to chip away at what it is you’re looking for. There’s an output volume for your neighbours’ sake and a vintage/modern switch that changes the era your tone mimics. Along the top row is where it gets interesting. Essentially, you have five banks with
Vox MVX150C1 Combo and MVX150H Head and Cab Is there a way to be everything to everyone? Is it possible to please every comer no matter what his or her particular predilection may be? Is there even a point trying or is it simply too much to ask? These are the basic questions behind much of the research and development that has poured into the design and manufacture of most, if not all of the musical instrument, effect and amplification products available on the market today. Nine times out of ten a product will take a specific bent, with the sole intention of doing one thing and doing it well. There are, however, a number of products, particularly of the digital persuasion, that have a ruddy good crack at the spread. The digital age has brought on wave after wave of advancements where the distillation of the spirit of analogue componentry is concerned and while most sure fall flat long short of the finish line, increasingly over the last decade or so others have come as close as anyone before to getting the whole thing right. Vox entered this arms race a long time ago with BEAT.COM.AU
five presets per bank, each loaded straight out of the factory to represent a broad sweep of desirable heavy hitters in the amplification hall of fame. Anything from Fender Blackface or JC120 clean to Marshall Plexi and 5150 high-gain are on offer straight out of the box and make for a great place to start. From there the tube stack selection, circuit design type, and power-amp dials offer you a simplified version of the options you can tune in once you hit the digital realm, but more on that later. The back panel is a studio or live engineer’s dream. The speaker out reads and matches impedance to just about any cabinet you can put it in front of. There are balanced and unbalanced XLR and TRS outs in stereo pairs for sending signal to various destinations. Effects loop, headphone out, and pre and post switch for the cabinet simulator mean that the person behind the faders has just as much control over what comes in as the person doing the shredding. Dual footswitch ports offer yet another hall of possibility, and the whole unit is MIDI compatible via the in, out and through five pin ports. Whether you’re playing the thing live, recording it patched straight into a desk or using the machine to trigger lighting rig changes, there is absolutely no limit to what you can do with this sleek, black and silver capsule. Here’s where it gets really incredible. All of what I’ve written above is merely a conduit for the infinite, awe-inspiring possibility you get once you hook your Bias Head up to your Mac, PC, or
tablet. The companion apps offer you not only the opportunity to render your tone from the library of options available, but you can also render an exact replica of your favourite rock box simply by using a recording into the interface to map its tonal fingerprint. It’s the kind of thing that there are X Files episodes about: upload the consciousness of even the shitty, ancient practice amp that you’ve become accustomed to into the machine and the Bias Head lets you take it anywhere. This means it will never die on you, never conk out at the crucial moment, and always be there when you need it. Kinda spooky really, especially when you actually do it and see just how startlingly accurate it is. One of the fatal flaws of even the frontrunners of the digital modeling amp race is suspension of disbelief. All of the examples I’ve played so far are good, but I’ve always been deathly aware that I am not playing the real thing but shredding inside a simulation. This is where Positive Grid has made a huge leap forward. Not once in the few hours that I played with this amp did I think to myself, “Yeah, but…” and that’s all down to how much care has been given to make the amp feel like a real, humming and whirring machine in its own right. 600 watts of power and one of the cleverest processors on the market, close your eyes and you’d never know you were sleeping next to a Replicant.
the advent of their Valvetronics range. Hot on the heels of the then fledgling Line 6 modelers, these amps used a combination of analogue, solid state and digital thinking to pack more sounds into the same box than ever before, to varying degrees of success. Skip ahead a number of years and it seems they have turned their attention partly away from modeling, back towards the classic tube realm. Enter the MVX150, a whopping 150-watt combination of PCB and proprietary Nu Tube technology. Developed in conjunction by KORG and the Noritake Itron Corporation, Nu Tube harnesses the tonal juiciness of the humble vacuum tube in order to rectify the sonic limitations of ones and zeroes. Vox first used a Nu Tube in the output stage of their VT and AV lines which were impressive enough but it wasn’t until they unveiled their MV50 micro head units that people really started to sit up and notice. Both the MVX combo and head/cab units take the successful thinking of these previous iterations and applies it to a more performance based approach. The first thing I thought when I pulled the impressively lightweight combo out of its box was that it reminded me of my first big-box, only with more switches and dials. With all the lights off I’d be tempted to put it next to Peavey Bandit 112s and the ilk in a shop. Powered up though, it is a much more flashy and searching experience. There are two foot-switchable channels, each with a designated master volume and two stage gain switch. Channel 1 is either bell-like and replete with headroom or
mildly overdriven and crunchy depending on your mood and dialed in with a combination of a single tone knob, bright and fat switch. Channel 2 is the angry one. Go from beefy, ‘90s friendly overdriven sounds to searing high gain at the flick of a switch. Zero in with both the three-way EQ and mid shift switch and you have just about every type of clip from transparent overdrive to flat out distortion at your fingertips. To the left of the panel you have the aforementioned master volumes as well as a swelling, spring style reverb. There are alo presence and resonance knobs that allow you to wrap your tone up in a warm, rich, thick blanket of energy. On the back panel there are further enhancements that you can make. Dial in a healthy dollop of vintage charm on either or both channels with independent voicing knobs and keep your housemates happy with the six way attenuator. The Celestion Redback speaker in both the combo and the separate BC112150 cabinet is perfectly equipped to handle just about everything this amp can throw at it. In the MVX150 range, Vox have made an excellent attempt at the above rubric, everything to everyone. While it may not have the inbuilt effects, amp models and user preset banks of its Valvetronics cousins, it is an incredibly versatile unit with the unmistakable warmth and distinguished air of a real tube amp.
Link Audio linkaudio.com.au Expect To Pay: $1999
HITS: Incredibly realistic tone. Literally infinite tone shaping options in a totally portable yet durable package. MISSES: None – reverb would have been nice but you can get that elsewhere.
BY LUKE SHIELDS
BY LUKE SHIELDS
Yamaha Music Australia au.yamaha.com Expect to Pay: MVX150C1 – $1799 MVX150H – $1399 BC112-150 – $699
HITS: Chiming, clear clean and light crunch tones in a portable and snappy looking box. MISSES: There’s nothing better than the real thing and no shame in being a one trick pony.
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BEAT’S GUIDE TO THE 2018 MELBOURNE GUITAR SHOW
Musicology: Top Eight Tips for Tasty Tone BY ALEX WATTS
We thought we’d look at some of the areas that may be affecting your guitar tone. Some of these are obvious, some are not, and some kind of are, but maybe you didn’t want to ask, and that’s cool. There are so many components to do with your signal that have an incremental effect on the overall sound. Here are a few to keep in mind.
SPEAKER CHOICE
The type of speaker magnet used is one of the major factors affecting your sound, with ceramic and alnico being the most common. Alnico was once king and can be relied on for warm, 1960’s tone, whereas ceramic is much more common these days and delivers a cleaner and punchier sound.
AMPLIFIER VALVES
LEADS
If you want to go to Tone Town, you have to let your valves warm up before playing. You’ll hear a massive difference if you can leave your amp turned on for half an hour before playing. If you plug in and turn on immediately you won’t be getting the full sound of warmed up valves that sounded so good in rehearsal until the tail end of your set. Secondly, if you are gigging regularly with a valve amplifier, it’s a good idea to change the output valves every year. Valves will begin to wear after a while, resulting in loss of volume and occasional errant high frequency noises.
The longer distance your signal has to travel the higher capacitance it will have, resulting in a loss of high frequencies. There are other factors that affect your tone when it comes to guitar leads, but assuming you are using good quality brands, capacitance is important to be aware of.
STRINGS
POWER SUPPLY CHOICE
Hate to be Captain Obvious here, but your string choice will drastically alter your guitar tone. Regardless of the gauge, the make of the strings is a tone-oriented decision. It’s fairly easy to get a consistent, medium tone from the round-wound nickelplated steel strings produced by the major brands, however it’s also fun to experiment. Generally speaking, pure nickel strings will give a ‘rounder’ sound associated with vintage tones, while stainless steel strings are brighter and more aggressive, and flatwound strings are mellower, with less treble emphasis resulting in a tone favoured by jazz musicians.
Many of us have been guilty at one stage or another of carefully selecting the pedals that will help shape the sound we are after and then using a $12 power supply and daisy chain for the lot of them. Take a little time to check the different power requirements of your pedals, especially if you have second-hand pedals that were made for an overseas market, and get to know the difference between AC, DC and negative and positive polarity tips. Having one pedal in the chain that doesn’t match the power requirements can at best result in a loss of tone and introduce a 60-cycle hum, and at worst destroy your pedals. Using an isolated power supply will help ensure that your board doesn’t affect your sound adversely.
PICKS
Picks are made from a variety of materials and each will result in a different tone. Softer materials, such as nylon, typically yield a softer attack and therefore a ‘rounder’ sound. Harder materials, like Tortex, on the other hand, tend to be better at producing a brighter and more percussive attack. Thinner picks, such as the .40-.60mm nylon range, will have a lighter sound well-suited to acoustic strumming, while the .60.80mm range produces a fuller sound, either for solo performers or rhythm guitar players as they are both stiff enough to accentuate individual notes with high-end bite, and flexible enough to still strum with.
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UNDERSTAND YOUR VOLUME SETTINGS
Many won’t have realised that the volume pots on your guitar also act as a subtle low-pass filter, meaning that when you turn down the volume you also roll off some of the treble. This is by no means a problem, but it’s good to understand how that may be affecting your overall tone when you turn down during the quieter sections of your set.
REMEMBER TO ADJUST THE SETTINGS FROM REHEARSAL TO STAGE
Again, this seems so simple, which is why it’s so easy to overlook. Of course you are going to set your pedals for what feels right during rehearsal, but remember to adjust them during soundcheck as each venue is different and you will need to react to that in order to sound your best. A large reverberant space will call for less delays and reverbs muddying up your tone, and similarly you will usually want less bass frequencies once you are playing at full volume with other instruments through a large PA.
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INTERVIEWS
Melbourne International Film Festival 2018 When planning a tribute, most film festivals pick a safe subject; an unassailable giant of cinema like Orson Welles or Ingmar Bergman. Melbourne International Film Festival, however, has chosen not to play it safe this year, with a 12-hour Nicholas Cage marathon and accompanying panel discussion titled, For the Love of Cage. Described as the “jazz musician of acting” by David Lynch, Cage’s bona fides as a respectable thespian seem hard to dispute – at least on paper. But, in 2018, Cage is beloved less for his Oscar turn in Leaving Las Vegas than he is for his deranged performances in an endless string of schlock movies like Outcast and Ghost Rider, and for his status as a Reddit meme. “We see Nicholas Cage as on the same level as Orson Welles,” says Michelle Carey, Melbourne International Film Festival’s Artistic Director. “Film festivals are there to celebrate everything that’s amazing in cinema. As a festival, we’re very open. Just because these films are seen on TV doesn’t mean they don’t deserve to be seen in a cinema. “Where else are you going to see 737 minutes of Nicholas Cage? The event takes you on a journey. The night starts with the quality films, his indie films, and it gets more ridiculous as it goes on.”
The Cage-a-Thon event will include Vampire’s Kiss, a horror-comedy that features Cage shouting the alphabet at his therapist while randomly changing posture. The Wicker Man will also get a screening, in which Cage famously runs around punching women while dressed in a bear suit. The MIFF program will also offer more downto-earth fare, including screenings of a record 43 Cannes films and a series of masterclasses on acting, production design, and other filmmaking disciplines. Running the Accelerator Lab masterclass on editing will be Julie-Anne DeRuvo, whose TV credits include Please Like Me and Romper Stomper, and Nick Meyers, editor of Australia Day and 2011’s Sleeping Beauty. The festival’s masterclasses will have something to offer both beginning and experienced practitioners. Movie music buffs can attend both a composing masterclass and a live recording of the Art of the Score podcast, dissecting Benjamin Wallfisch and Hans Zimmer’s BAFTA-nominated score for Blade Runner 2049. Festival screenings will be held at Melbourne mainstay venues including the Astor, the Kino and the Australian Centre for the Moving Image at Federation Square. New to the festival since 2017 is the Regent Theatre. With its sumptuous baroque interior, the Regent will host Terry Gilliam’s The Man
Who Killed Don Quixote, Paul Dano’s directorial debut Wildlife and a screening of Drive with a live synthwave soundtrack, among other films. Another one-time event at this festival will be the departure of Michelle Carey, who plans to hand over the reins to Artistic Director Al Cossar for MIFF 2019. “If I’d only been with MIFF for a couple of years, I’d think, ‘No, I’ve still got work to do’,” Carey says. “But I’ve been here for ten years, and I think it’s important for the festival to have new blood every once in a while. I’m happy to be leaving on a high. It’ll be great to see what Al can do with it.” Carey’s departing contributions to the festival include a new fashion retrospective, exploring the reciprocal influence of clothing on cinema and vice versa through films like the Audrey Hepburn musical Funny Face and 1975’s Picnic at Hanging Rock. “These days, when people can get access to films on YouTube or Netflix, it’s a challenge,” says Carey. “But people will still come out and see a film at MIFF, even a film that they could see on iTunes. They want to see it with an audience. They want to see it on the big screen. MIFF is very, very unique and people know that.”
You might think that skating has been relegated to roller derby and children’s birthday parties – but you’d be wrong. Two filmmakers have spent the past five years documenting an underground, roller skating subculture, that’s as vibrant and widespread as it is overlooked.
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interviews, Salt-N-Pepa, Naughty by Nature, Coolio and other icons of hip hop discuss their roller skating roots. The US’s black skating community didn’t start with disco – it was born during the civil rights era, when activists struggled to desegregate amusement parks, public pools and roller rinks, opposed by business owners afraid of losing the revenue of white patrons. During the long and rocky production of United Skates, Winkler and Brown spoke to men and women who could trace back four or five generations of skaters. One well-seasoned skater describes being attacked by Klansmen while rallying to integrate the rinks. “Rinks were a hard-fought space,” says Brown. “[Owners] would do things like hire thugs to trip skaters when they were skating, and give black skaters the wrong size skates. Black skaters would then protest and try to get these rinks desegregated.” After the death of disco and the advent of the rollerblade, white roller skaters thinned out, and the now predominantly black skating scene retreated from public awareness. Now, many rinks in the US face closure from city councils that would rather host a new Home Depot than a rink that contributes little in sales tax and attracts crowds of black customers. More than three rinks close in the US every month, Brown says. It’s a strange example
Melbourne International Film Festival will take place from Thursday August 2 to Sunday August 19 at cinemas around Melbourne. Head to the MIFF website for the full program.
BY ZACHARY SNOWDON SMITH
United Skates
In 2013, Dyana Winkler and Tina Brown were in Central Park, shooting a documentary short about the veteran skaters of the disco era. “We thought that when they stopped skating that that would be the death of roller skating, because, who roller skates anymore?” Brown says. They were approached by two young black skaters, who told them about an underground event happening that night in Richmond, Virginia, and Winkler and Brown were intrigued. In Richmond, the filmmakers found themselves in a club among thousands of mainly black skaters – a world they’d never suspected existed. Their documentary, United Skates, attempts to capture the culture that produces these earthy and dazzling performances that fall somewhere between figure skating and breakdancing. “When we tell people we’re making a roller skating documentary, the first thing they say is, ‘Is it disco or derby?’” says Brown. “The easiest way to describe it is as hip hop on skates. You can see that kind of culture in the terms that are used: there are skate crews and skate DJs. People are doing it for the love.” Reaching from Eastside LA to South Carolina, skating is somehow both underground and everywhere. Queen Latifah made some of her first West Coast appearances in a roller rink and, before he was selling you headphones, Dr. Dre performed as a skate DJ in Compton, as the film reveals. In
“People will still come out and see a film at MIFF... They want to see it with an audience. They want to see it on the big screen.”
of the way unofficial racial segregation has continued after the end of de jure segregation in 1964. Since that first night in Richmond, United Skates has evolved into a sprawling project that’s taken about as long to assemble as a Kubrick film. In retrospect, Brown didn’t know what she was getting into with this, her first feature film. “It’s been a very long labour of love,” says Brown. “We felt a lot of pushback from the funding community, but not from the skate community – they welcomed us with open arms. Raising the funds was difficult.” Brown hopes that the release of United Skates will help slow the wave of rink closures and bring greater recognition to the sport. “Overall, the film looks at what happens if we, as a society, value commercialism over culture,” she says. “If we didn’t have these rinks 20 or 30 years ago, would we still have hip hop? What’s going to happen in ten or 20 years if we don’t have these spaces? I hope Melbourne audiences get a taste of that and feel inspired to look at the community spaces we have in our own country, and to ensure they’re still there for future generations – and maybe go roller skating.” BY ZACHARY SNOWDON SMITH
“If we didn’t have these rinks 20 or 30 years ago, would we still have hip hop? What’s going to happen in ten or 20 years if we don’t have these spaces?” Catch United Skates at ACMI on Friday August 3 or Hoyts Melbourne Central on Sunday August 5, as part of the Melbourne International Film Festival.
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OPEN UP AUSTRALIAN MUSIC Explore your love of music, revisit big music moments, share memories and discover the stories of Australian contemporary music. Now showing at the Australian Music Vault is an unmissable display of Maton Guitars: Handmade for the World Stage. Everyone’s welcome. No backstage pass required.
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PHOTO: James Geer Courtesy Maton Archive
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INTERVIEWS
Katankin
Image by Steph Tout
In her brand new solo project, Katankin – better known as multi-instrumentalist and singersongwriter Helen Catanchin – takes a wild departure from previous work in contemporary jazz to explore the buzzing world of electronic pop production. “This is another part of my musical aesthetic I’ve wanted to explore and hadn’t done until last year,” she says. “My musical taste has always included electronica, pop and contemporary stuff and I wanted to launch a new project and try something completely new.” That covers the sound, but what about the sentiment? Katankin explains that her second single ‘Midnight Sun’ explores “the cyclical nature of depression, through the allegorical use of imagery such as the sun, moon and tides.” The myth and meaning underlying the singersongwriter’s lyrics are clearly unabashed and unafraid, as she touches on her battles with the wonderfully apt connections she finds in nature. “The lyrics were inspired by my relationship with depression and how it’s very cyclical. My music has always been very personal but I guess it’s becoming more autobiographical or more direct now, with me being able to talk about things as they are. This genre suits that for me better.” In exploring her fascination with this particular imagery and weaving it throughout her music, Katankin is able to express the otherwise restraining elements of things like depression and in a sense, she feels truly liberated. “It’s a cliché but it’s cathartic,” she says, “It puts those things that are inside you outside and you can look at them with other people.
“That’s what poetry is like, I feel, distilling something that’s inside the writer and putting into new words, into their own, unique words. It doesn’t mean they’re the only ones who’ve ever said or felt these things, but they’re able to embody them in their own way, and that’s what it’s like for me writing a song like ‘Midnight Sun.’ “It’s not like it makes me less depressed or less prone to depression, but it somehow has a soothing, therapeutic effect on me. I think that’s the same if you write a song about love, all this stuff inside of you, you want to put outside. It’s the same approach.” Contrasting themes of dark and light play a big part in ‘Midnight Sun’, which, are not only elements personable to Katankin as a person and her character, but also for her music. “I was taking a walk exactly a year ago [on a] cold, crisp, beautiful sunny day. I looked up and I could see the moon – one of those days in the moon cycle it was visible in the day – and for some reason that line came to me, ‘I can see the moon at midday.’ “The moon is a beautiful thing, but it symbolises the night. Seeing it at midday, it’s like it’s always there, and that led me to my relationship with depression. Even though I’m at a good phase, there’s always a reminder of what’s about to come. Or is it a cycle I’ve just left?
Kyle Taylor
MUSIC
How would Kyle Taylor describe his sound and how did he come to it? Indie/Folk. Kyle Taylor was introduced to music by his grandmother and grandfather. What’s Kyle Taylor’s favourite part about making music? Kyle Taylor enjoys making music for the sole purpose of entertaining the public. What is the most memorable time in Kyle Taylor’s life relating to music? Kyle Taylor’s most memorable moment in music has been recording nine albums – his tenth has just been released. He is also releasing a separate single called ‘Truth Please’ featured on his album ‘Mr Blues Curtin Street Rehab’. Other memorable moments have been touring the U.K, New Zealand and Australia and supporting well established Australian acts such as Josh Pyke and Jack Carty. When Kyle Taylor is writing music, what is the source of his inspiration? When Kyle Taylor writes music his inspiration comes from stories of love, hope and unity. Looking ten years ahead, what legacy does Kyle Taylor want to leave behind? In ten years Kyle Taylor is going to have over 20 albums under his belt and will have toured throughout the world sharing his stories of love, hope and unity. kyletaylorfolk.bandcamp.com Kyle Taylor will perform at The Village Green Hotel on Wednesday August 8.
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“The midnight sun was the flip side, written from the perspective of a lover who can be the shining light in the darkness for you but, as I said, it’s a bit autobiographical – there will be a part of me that remembers that there’s still a sun in the darkness even though I can see the moon in the light.” A lot of people experience the darkness of depression, and like Katankin, they too search for the light in different forms. Katankin’s hope is that people listening to her music will find their own light on their own path. “I think all artists would agree that you can’t impose your own relationship to your music on other people,” she says. “I hope people can take something from it. I hope there might be some kind of shared human experience, some kind of emotion that people access through the music. “By externalising what I’m going through, what I feel, what I think, I’m trying to make sense of myself, and if other people understand that then I make sense to them as well. In having witnesses to your thoughts and feelings, you make yourself real.”
“My music has always been very personal but I guess it’s becoming more autobiographical or more direct now, with me being able to talk about things as they are.” Katankin’s single ‘Midnight Sun’ is set for release on Friday August 3.
BY ANNA ROSE
Five Facts You Didn’t Know About Hideous Sun Demon
MUSIC
1.We have never seen the film Hideous Sun Demon. Are we poseurs or are we just really busy? I dunno. Maybe we’ll all sit down and watch it one day. I’ve heard it isn’t very good, but the monster looks cool when he comes up in Google searches. 2. While we’re on the topic of names, here’s one only the ‘super fans’ will remember. The band’s first incarnation of many was as ‘Fantastic Coprophilia’ – a high school joke band that played a few originals and also did Pixies/Gang Of Four covers. We probably played two or three gigs and then got offered a free (it wasn’t) recording session which made us start taking it a bit more seriously. This was a long time ago. 3. Including the current line-up of Vin, Blake and Jake, HSD has had eight members. A real revolving door of a rollercoaster ride. Bill lives in Europe now and is a grade eight pianist who used to shred Beethoven at practice. 4. Only two people in the world have HSD tattoos. They’re our mates’ stick n pokes, so it probably doesn’t count but we aim to increase the number anyway. 5. We’re pretty proud of the time we played three shows in one day. We are less proud of the time we missed our flights home to Perth because we were having parmies at The Birmi. Pretty funny though and they do serve a good bird. An expensive but delicious mistake. hideous-sun-demon.bandcamp.com Hideous Sun Demon’s latest album Fame, Erotic, Dream is out now. They’ll play The Curtin on Friday August 3, Barwon Club on Saturday August 4, and The Eastern on Saturday August 25.
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ALBUM REVIEWS
Album of the Week (Sweat It Out)
Singles With Augustus Welby
Tirzah
Tirzah
Affection (Domino)
Although sultry and sometimes frivolous, Tirzah’s soul/ R&B concoctions are imbued with striking vulnerability. This facet comes to the fore on ‘Affection’, a minimalist construction that implores a lover to quit cowering and face up to relationship difficulties. Mica Levi, an artist wellversed in the projection of intimacy, produced the London performer’s upcoming LP. As such, ‘Affection’ fully encases the listener in its emotional diorama.
Cash Savage and the Last Drinks
Pack Animals (Mistletone/Inertia) See-sawing bassline with a corresponding drum beat, chirpy guitar playing and snappy Aussie-twanged vocals that sound at once disinterested and on the verge of screaming in rage; this song essentially adopts the Eddy Current Suppression Ring formula. For a while every other band in Melbourne was emulating ECSR, and most were pretty shithouse. But Savage and co. make a convincing go of it here, perhaps because they’re driven by similar creative purpose and familiarity with outsider rock music, rather than plainly aping the garage rock anti-legends.
John Grant
Love Is Magic (Bella Union/PIAS) There’s a sense of diminishing returns as John Grant dishes out mid-tempo synthesisers, ‘80s drum triggers and plainspoken lyrics-as-therapy. These elements have come to dominate the American songwriter’s output since surfacing on 2013’s Pale Green Ghosts. But as soon as Grant’s infectious baritone enters, ‘Love Is Magic’ proves every bit as bewitching as his strongest work.
Mojo Juju
Native Tongue (ABC) This poised, blues spiritual finds Melbourne musician Mojo Juju grappling with some hard cultural and existential conflicts. The title stems from Juju not being able to speak the native language of her Filipino father or Wiradjuri grandfather. But the song’s broader concern is the idea of belonging, exposing Juju’s struggle to see herself reflected in the country and society she calls home. Verse two looks at being on the receiving end of destructive labelling and it seems headed for a bruising outburst. But Juju’s artistic tenacity persists and ‘Native Tongue’ acts as a soulful pitch for more accountability, on the way to eradicating discrimination.
POLOSHIRT
POLOSHIRT Throwing it back to 2016, Sydneybased electronic duo Polographia released the single ‘Sly’, featuring the silky-smooth vocals of fellow muso Winston Surfshirt. Now, two years on, the artists have once again joined forces, coming together to form POLOSHIRT.
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The boys spent years jamming together in the studio before deciding to record tracks for their self-titled debut EP. The seven-tracker oozes laid back vibes from late-night recording sessions, dripping in sweet synth and creamy vocals from Surfshirt. Look, it has to be said, this is one sexy album. It’s a lush blend of funk, soul, R&B, groove and electronica, which meld into each other seamlessly. Surfshirt’s style of rapping adds texture to the downtempo sound, but not in a way that feels jarring or out of place. Opening track ‘Ima Give Em’ draws the listener into a world of slinky beats and smooth synth, with Surfshirt crooning “Baby, I just want your body/if I can get you on your own/I’m never gonna let it go.” Melbourne rapper Nasty Mars also lends his voice to the song, providing another layer of velvety lyricism to an already rich production. The whole EP is pretty easy listening, but that’s not to say that it’s boring or bland. All the tracks have a laidback coolness which makes them perfect for a chilled-out afternoon, but there’s also an underlying groove which undulates throughout the record and makes you want to dance along. This is particularly true of ‘Basic’ featuring Jordan Dennis, which is a total boogie track, full of funky drums, a foot-tapping bassline and a faster tempo than most of the others. None of it’s going to get you up and raving, but that’s exactly the point. It’s slower, sexier and more sophisticated than that. What POLOSHIRT have created is a record with the best of both worlds, drawing on the strengths of each musician and mashing them together to create something fresh. This is a musical match made in heaven, and hopefully the EP is only the start of what’s to come. BY GRETA BRERETON
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THURSDAY 23 AUGUST
BILLY DAVIS & THE GOOD LORDS AUGUST RESIDENCY W/ AMIN PAYNE + MANGO - ON SALE NOW FRIDAY 24 AUGUST
THE TROPES ALBUM LAUNCH W/ SUSS CUNTS + LOOBS + LEAH SENIOR - ON SALE NOW
SATURDAY 25 AUGUST
THE VELVET ADDICTION W/ GUESTS - ON SALE NOW THURSDAY 30 AUGUST
BILLY DAVIS & THE GOOD LORDS AUGUST RESIDENCY W/ 10TENDO + JORDAN DENNIS - ON SALE NOW SATURDAY 15 SEPTEMBER
FREYA JOSEPHINE HOLLICK W/ SPIKE FUCK & GUESTS - ON SALE NOW SATURDAY 22 SEPTEMBER
BETWEEN YOU & ME ALBUM LAUNCH W/ YOURS TRULY + TURN SOUTH - ON SALE NOW THURSDAY 27 SEPTEMBER
LIARS (USA) W/ HEXDEBT & HTRK DJS - ON SALE NOW SATURDAY 27 OCTOBER
TODD RUNDGREN - ON SALE NOW
This week at
SWAMPLANDS WED 1ST AUGUST
WESTERN WEDNESDAYS
TERESA DUFFY RICHARDS
PRESENTS 8PM FREE
THUR 2ND AUGUST
SOUNDTRACKS FOR IMAGINARY FILMS
Feat. Rusker, Sonke Rocket Sciences’ sonic physicist, Roman Tucker performs to Herz Frank’s ‘10 minutes older’. Simon Grounds, Mount Analogue
THE
MOLDY FIG Kitchen open till 11pm Happy Hour 5-7pm daily $5 wine $10 cocktails $7 schooners $12 jugs after 9pm daily
Wednesday AUGUST 1ST Wine Cheese and All That Jazz!
Nelson Rufatt feat. Emma-Mae
7PM $6 FRI 3RD AUGUST
7pm:
HENRY HUGO AND THE BARSTOOL GHOSTS
THURSDAY AUGUST 2ND locals night 15% discount
6PM FREE
LUAU COWBOYS 9PM $8 SAT 4TH AUGUST
LIVE ELECTRONIC MARQUEE 12
feat: Orches, Twofold Vision, Drama - Band, Brad Wolfe, Hextape Symmetrix, Indtiko
7PM $10
SUN 5TH AUGUST
REPLACEMENT BUSES Funk Dancing For Self Defence, Arkadian
5PM $5
9pm:
Jade Kerber and Band Friday AUGUST 3RD
Floyd Thursby 9pm: Chicago Dime
7pm:
Saturday AUGUST 4TH
Daryl Roberts 9pm: Daemos Griffin and The Fringe Dwellers 7pm:
TUE 7TH AUGUST
Tuesday july 31st Cheap Tuesdays
OPEN MIC 6:30PM FREE
$15 Meals and All Night Happy Hour
HAPPY HOUR
E ALWAYS FRE
TUES-SAT 5PM-7PM, SUN 4PM-6PM $6 PINTS $3 POTS $5 WINE AND BASIC SPIRITS
744 High Street Thornbury, Victoria, Australia facebook/swamplandsbar
PH : 9042 7613
120 Lygon St, Brunswick East
Wednesday 1st @ 8.00pm
‘LOMONDACOUSTICA’ LUAU COWBOYS ALISON FORBES MARTY KELLY
Thursday 2nd @ 9.00pm
OPELUSAS
SUNDAY ROAST IS BACK! EVERY SUNDAY ALL DAY WE ARE SERVING OUR CHEF'S DELICIOUS ROAST. THE ROAST CHANGES WEEKLY SO GIVE US A CALL TO SEE WHAT WE HAVE ON THE MENU THIS SUNDAY!
(Giddy-up country)
MONDAY PARMA SPECIAL
Friday 3rd @ 9.30pm
EVERY MONDAY (LUNCH AND DINNER) OUR FAMOUS CHICKEN PARMIGIANA IS JUST $14.90. SERVED WITH CHIPS & SALAD.
BACKWOOD CREATURES (Swamp chomp)
Saturday 4th @ 9.30pm
THE BAND WHO KNEW TOO MUCH (Way too much !)
Sunday 5th @ 5.30pm
CHECKERBOARD LOUNGE (Soul blues)
Tuesday 7th @ 8.00pm
IRISH SESSION (Fancy fiddlin’)
ALL GIGS ARE FREE 225 NICHOLSON STREET, BRUNSWICK EAST. PH 9380 1752
TUESDAYS BURGER SPECIALS EVERY TUESDAY WE HAVE OUR DELICIOUS WAGYU BEEF BURGER WITH CHIPS ON SPECIAL FOR JUST $14.90.
WEDNESDAY'S STEAK SPECIAL EVERY WEDNESDAY THE 350G RUMP AND THE 250G PORTERHOUSE STEAKS ARE BOTH ONLY $20. SERVED WITH EITHER CHIPS & SALAD OR MASH POTATO AND STEAMED GREENS AS WELL AS YOUR CHOICE OF SAUCE
THURSDAY SPECIALS EVERY THURSDAY WE HAVE A CURRY SPECIAL FOR THE LOW PRICE OF $14.90.
FRIDAY $5.50 HAPPY HOUR(S) 5-7PM EVERY FRIDAY 5PM - 7PM ALL SCHOONERS OF BEER AND CIDER ARE ONLY $5.50 AND GLASSES OF HOUSE RED OR WHITE ARE ONLY $6.00.
44-48 Hoddle Street Abbotsford (03) 94173088 BEAT.COM.AU 53
FEATURED GIGS
Gig Guide Wednesday 1 August JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Malcura Bendigo Hotel For the first show of their August residency, acoustic trio Malcura are kicking off the month with a free, hump-day gig. Hailing from Melbourne, the band honed their sound busking in Bourke Street Mall, combining elements of Latin rhythm and Flamenco music with rock n roll attitude. They’ll be joined by Alister Turril, at Bendigo Hotel, opening for the night at 8.30pm.
(U)NITY Bird's Basement, Melbourne.
7:30pm. $29.
BELINDA PARSONS QUINTET Paris Cat
Jazz Club, Melbourne Cbd. 8pm. $20.
BOHJASS + EDEL PLASTIC + KEWTI
303, Northcote. 7:30pm. BOPSTRETCH Uptown Jazz Cafe, Fitzroy. 8:30pm. $15. DIZZY'S BIG BAND Dizzy's Jazz Club, Richmond. 8pm. $15. JENNIFER WARD-LEALAND Melbourne Recital Centre, Southbank. 2pm. $75. JENNIFER WARD-LEALAND Melbourne Recital Centre, Southbank. 7:30pm. $75. KING RIVER RISING Cherry Bar, Melbourne Cbd. 8pm. MAX TEAKLE’S JAZZ REVOLUTION
Compass Pizza, Brunswick East. 7pm.
PANGEAN NIGHTS - FEAT: ADRIANA + TOMMY GROVES + OLIVER FRANCIS
Section 8, Melbourne Cbd. 6pm. ROB BURKE SEXTET The Jazzlab, Brunswick. 8pm. $20. THE HANDLE BARS Bar Open, Fitzroy. 7pm. UNITED VOICES Paris Cat Jazz Club, Melbourne Cbd. 7:30pm.
Birdhouse Old Bar Melbourne four-piece Birdhouse are back after an eight-month hiatus, and celebrating their return to the stage at Fitzroy’s Old Bar on Thursday. Lead singer Danny Smith has spent the best part of the year studying abroad, but now the boys are back together and keen to perform. They’ll be joined by The Oh Balters and Eaglemont at 7.30pm, for a cheap $10 on the door.
WINE CHEESE AND ALL THAT JAZZ FEAT: NELSON RUFATT (WITH EMMAMAE) The Moldy Fig, 7pm.
INDIE, ROCK, POP, METAL, PUNK & COVERS BEN ALTER Evelyn Hotel, Fitzroy. 8:30pm.
$15.
BUZZ & THE PICKUPS + MARLON BANDO + JAMES AYRIS & THE CARPAL TUNNEL BAND Gasometer Hotel,
Collingwood. 7:30pm. $5.
CRUWYS + LIOTIS + MAY KAVELIN Bar
Open, Fitzroy. 8:30pm. $5.
Elliot Brain Wesley Anne
JOHNNY & MICHAEL + ANNIE & BERN + DJ SAUL KNIGHT Some Velvet Morning,
Hailing from Byron Bay, 23-year-old Elliot Brain is a songwriter with a roots, blues and folk sound. He’s played a bunch of big name festivals like Falls and the East Coast Blues and Roots Festival, delivering insightful lyrics with the propensity to warm hearts and move crowds. Head along to Wesley Anne and see the muso for free at 6pm this Thursday August 2.
KITSCHEN BOY + BACKYARD MAFIA + GOOD GRIEF Yarra Hotel, Abbotsford.
Clifton Hill. 8pm.
7:30pm. $5.
MARCEAU CAMILLE Milano's Tavern,
Brighton. 10am. $5.
ON DIAMOND + LIVING CURRENCY + BASTARD AMBER Old Bar, Fitzroy.
7:30pm. $8.
DION HIRINI + DANNY SPENCER Memo
Music Hall, St Kilda. 6pm.
DON'T THANK ME SPANK ME Drunken
Poet, West Melbourne. 9pm.
KICKASS KARAOKE - FEAT: VARIOUS ARTISTS Sooki Lounge, Belgrave. 9pm. LOMOND ACOUSTICA - FEAT: LUAU COWBOYS + ALISON FORBES + MARTY KELLY Lomond Hotel, Brunswick
East. 8pm.
MALCURA + ALISTER TURRILL Bendigo
Hotel, Collingwood. 7pm.
Spectral Fires + more Reverence Hotel A massive lineup of punk rock, emo and hardcore acts have assembled for the sixth instalment of BYP at The Rev. Spectral Fires are headlining the night, joined by Vermont, Parkwood, Valerie Avenue and Greyview, who’ll be taking the chance to debut a brand-new single. Things kick off at 7.30pm this Friday, with tickets $10 on the door. Gear up, it’s going to be a big one.
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MUDDY'S BLUES ROULETTE - FEAT: VARIOUS ARTISTS Catfish, Fitzroy. 8pm. NOCTURNAL FEVER - WOMEN OF SIN - FEAT: DIAMONDS & THE BLUES
Butterfly Club, Melbourne Cbd. 8:30pm. $34. OPEN MIC NIGHT Penny Black, Brunswick. 7:30pm.
OPEN MIC NIGHT + VARIOUS ARTISTS
Whole Lotta Love, Brunswick East. 6pm. OPEN MIC NIGHT Sloth Bar, Footscray. 8pm.
REBECCA BARNARD & BILLY MILLER'S SINGALONG Caravan Music Club,
Bentleigh East. 7pm.
YAZMINDI Drunken Poet, West
Melbourne. 8pm.
YUKUMBABE + ISABELLE SKYE + LONGHAIR FAMILY DREAM BAND + EASY MUMMA Workers Club, Fitzroy.
8:30pm. $10.
Thursday 2 August JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC (U)NITY Bird's Basement, Melbourne.
7:30pm. $29.
ANDREA KELLER TRANSIENTS TRIO
Uptown Jazz Cafe, Fitzroy. 8:30pm. $15.
BRIAN EL DORADO & THE TUESDAY PEOPLE Bar Open, Fitzroy. 7pm. BUNGALOW The Jazzlab, Brunswick. 8pm.
$20.
GIRL FRIDAY Fitzroy Pinnacle, Fitzroy
North. 8pm.
JADE KERBER & BAND The Moldy Fig,
9pm.
JAKE BARDEN 4TET Paris Cat Jazz Club,
Melbourne Cbd. 7:30pm. $25.
JENNIFER WARD-LEALAND Frankston Arts Centre, Frankston. 7:30pm. $69.
MO’ SCO - THE MUSIC OF JOHN SCOFIELD Paris Cat Jazz Club, Melbourne
Cbd. 8pm. $20.
THE PO BOYS 303, Northcote. 8pm. $10. THE UNIT + PAUL JAMIESON Open
Studio, Northcote. 8pm. $8.
INDIE, ROCK, POP, METAL, PUNK & COVERS ATOM + WINTER SUN + USER Woody's
Attic Dive, Collingwood. 8pm. $6.
BIRDHOUSE + THE OH BALTERS + EAGLEMONT Old Bar, Fitzroy. 7:30pm. $8. GIRLATONES + EMMA RUSSACK + EGGY Yarra Hotel, Abbotsford. 7:30pm.
$10.
KATY PERRY + STARLEY Rod Laver
Arena, Melbourne. 7:30pm.
KAZ GARAZ + MIDDLEMARCH + SANDY DISH + LULU SPENCER Bar
Open, Fitzroy. 8pm. $5.
KING CIG + SHROUD + GIANT Bendigo
Hotel, Collingwood. 8pm. $10.
MERPIRE Gasometer Hotel, Collingwood.
ALISON FORBES Charles Weston Hotel, Brunswick. 6:30pm. BRAD COX Spotted Mallard, Brunswick. 8pm. $12.53. ELLIOTT BRAIN Wesley Anne, Northcote. 6pm. MUSICLAND OPEN CHOIR REHEARSALS - FEAT: VARIOUS ARTISTS Musicland, Fawkner. 7pm. $5. NOCTURNAL FEVER - WOMEN OF SIN - FEAT: DIAMONDS & THE BLUES
Butterfly Club, Melbourne Cbd. 8:30pm. $34. OPELUSAS Lomond Hotel, Brunswick East. 9pm. OPEN MIC NIGHT Drunken Poet, West Melbourne. 7pm. OPEN MIC NIGHT Sloth Bar, Footscray. 8pm. PAUL DEMPSEY Sooki Lounge, Belgrave. 8pm. THE DRUNKEN POACHERS Edinburgh Castle, Brunswick. 8pm. THE WOLFE BROTHERS + ANDREW SWIFT Memo Music Hall, St Kilda.
7:30pm. $23.
FRIDAY 3 AUG JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC (U)NITY Bird's Basement, Melbourne.
7:30pm. $29.
BOB SEDERGREEN Melbourne Recital
Centre, Southbank. 7pm. $30.
COPPERHEAD BRASS BAND + THE SEDUCEAPHONES The B.east, Brunswick
East. 8pm.
COUNT BASIE ORCHESTRA + CARMEN BRADFORD Hamer Hall (arts
Centre Melbourne), Southbank. 7:30pm. $112.05. DJ MAMA DISQUO Edinburgh Castle, Brunswick. 9pm.
FLIP YOUR WIG - FEAT: THE PEARLY SHELLS + KERRYN TOLHURST + FLIP YOUR WIG Kastoria Music Club, Coburg
North. 7pm. $20.
FLOYD THURSBY The Moldy Fig, 7pm. FROM GRAINGER TO MORNINGTON ISLAND - FEAT: VARIOUS ARTISTS
8pm. $10.
Melbourne Recital Centre, Southbank. 11am.
Brunswick East. 7pm. $10.
KOI KINGDOM + ISM Wesley Anne,
MONKEY BISCUIT + SPRUNG BAD + THE LOVE FISH + DEZ Whole Lotta Love, NEWTOWN STORY + SNARK + TRASH LILY + PAMELA ST. Toff In Town,
Melbourne Cbd. 7pm. $10.
NINJA GAIJIN + RAWHEAD + TERRIBLE MUTILATION + SPASMOSLOP Last Chance Rock And
JULES BOULT & THE REDEEMERS Paris
Cat Jazz Club, Melbourne Cbd. 9pm. $25.
Northcote. 8pm. $10.
MANDARIN DREAMS - FEAT: KUZICH + FOSSE + DUFRENSE + DJ AKID + DJ LORI + DJ JOLIE DE VOGUE Night Cat,
Fitzroy. 9pm. $10.
SOFT POWER Wesley Anne, Northcote.
Roll Bar, North Melbourne. 7:30pm. $5.
6pm.
Hotel, Coburg. 9pm. SNOW PATROL Palais Theatre, St Kilda. 7pm. $132.38. TELECASTRO Labour In Vain, Fitzroy. 8pm. THE STRAYS Musicland, Fawkner. 8:30pm. $10.
Paris Cat Jazz Club, Melbourne Cbd. 8pm. $32.50.
SHARDS + WINTERCOATS Post Office
THROWBACK - FEAT: VARIOUS DJS
Lucky Coq, Windsor. 9pm. TINGY CELESTINO Customs House Hotel, Williamstown. 8pm.
VANCOUVER SLEEP CLINIC + DOMINIC BREEN Howler, Brunswick.
8pm.
WAY SHIT + SHRIMPWITCH + PISS FACTORY Grace Darling Hotel,
Collingwood. 8pm. $10.
ADAM MILLER + SIMON PHILLIPS Some
Velvet Morning, Clifton Hill. 8pm. $15.
TAMARA KULDIN'S DIRTY MARTINI
THAT GOLD STREET SOUND + THE PUTBACKS + STRIPPED BACK CHINA BEACH Cherry Bar, Melbourne Cbd. 8pm.
$10.
THE ART OF THE TRIO Paris Cat Jazz
Club, Melbourne Cbd. 6:30pm. $25.
THE HARRIETT ALLCROFT GROUP Lido
Jazz Room, Hawthorn. 8pm. $25.
THE STEPHEN MAGNUSSON TRIO
Uptown Jazz Cafe, Fitzroy. 8:30pm. THE WIKIMEN Open Studio, Northcote. 8:30pm. $12. TUNES OF I + MANALION + STOKA
Northcote Social Club, Northcote. 8:30pm. $25. XANI The Jazzlab, Brunswick. 8pm. $20.
Wed 1st August
W i n e , W h i s k e y, W o m e n : 8pm: Yazmindi
& Don’t Thank Me Spank Me Thurs 2nd August
Open Mic Night! Fri 3rd August
6pm: Traditional Irish Session 8.30pm: Sat 4th August 3pm: Stephen Kennedy 9pm: The Houndlings Sun 5th August 4pm: Nick Lovell
Mr Alford
6.30pm:
Brad Gillies
Tues 7th August
Tu e s d a y Tr i b u t e
8pm: Liam Gerner & Louis King play
Randy Newman
The Drunken Poet, 65 Peel Street (directly opposite Queen Vic Market), Phone: 03 9348 9797. www.thedrunkenpoet.com.au
BEAT.COM.AU
55
FEATURED GIGS
INDIE, ROCK, POP, METAL, PUNK & COVERS ALPHA WOLF + GRAVEMIND + THE GLOOM IN THE CORNER + LONE
Workers Club, Fitzroy. 8pm. AUTO-MASH DJS Rainbow Hotel, Fitzroy. 9pm. CAPTAIN SPALDING BAND Customs House Hotel, Williamstown. 8pm.
CHAPEL STREET SOCIAL CLUB - FEAT: PHATO A MANO + NAMN + MATT RADOVICH Lucky Coq, Windsor. 9pm. CHESTER BRIX + DAVY SIMONY + ZAC SLATER Evelyn Hotel, Fitzroy. 8:30pm.
Greg Steps Compass Pizza
Guitarist, pianist, harmonica player and singer, Greg Steps’ musical talents are impressive. He’s a modern-day storyteller with a sweet, folky sound, well-versed in the production of poetic and poignant lyricism. It’ll be worth catching him at Compass Pizza on Friday August 3, for a free performance that’s bound to move you. He’ll play the venue at 8pm.
$10.
CINCO SAVAGE + AUSTRALIAN KINGSWOOD FACTORY + STRAWBERRY FIST CAKE + ERIN WILL BE MAD Gasometer Hotel, Collingwood.
7pm. $8.
COSMIC KAHUNA + THE DAGGAR + BLOODY RASCALS + SMASH BROS
Bombay Rock, Brunswick. 8pm. COUNTDOWN 80'S Musicland, Fawkner. 7:30pm. $10.
(essendon), Essendon. 10pm. HIDEOUS SUN DEMON John Curtin Hotel, Carlton. 8pm. $10.
IMMIGRANT UNION + FULL FLOWER MOON BAND + SCURVYLICIOUS Old
Bar, Fitzroy. 8:30pm. $15.
IVEY + RANCID EDDIE + PARTY ON MY DARLING Penny Black, Brunswick.
7pm.
JOESKI + BRIAN FANTANA + OLLY DAVIS + GAV WHITEHOUSE + JAMES WINTER + MORE Revolver Upstairs,
TURN SOUTH + BLUE VELVET + THE BELAIR LIP BOMBS + FACE FACE Grace
Darling Hotel, Collingwood. 8pm. $10. BACKWOOD CREATURES Lomond Hotel, Brunswick East. 9:30pm. CHICAGO DIME The Moldy Fig, 9pm. GREG STEPS Compass Pizza, Brunswick East. 8pm. JOHN ATSIARIS + NOTI + THE CHRIS COMMERFORD BAND Woody's Attic
Dive, Collingwood. 8pm. $5.
JOYCE PRESCHER Edinburgh Castle,
MAMA KIN SPENDER Basement Discs, Melbourne Cbd. 12:45pm. MATT BORG TRIO Catfish, Fitzroy. 9pm.
Melbourne Recital Centre, Southbank. 11am. $49. MR ALFORD Drunken Poet, West Melbourne. 8:30pm.
NOCTURNAL FEVER - WOMEN OF SIN - FEAT: DIAMONDS & THE BLUES
Butterfly Club, Melbourne Cbd. 8:30pm. $34.
PAUL DEMPSEY + FRASER GORMAN
Grand Hotel Mornington, Mornington. 7:30pm. RATTLINCANE Musicland, Fawkner. 7:30pm. $10. STUART SKELTON Melbourne Recital Centre, Southbank. 7:30pm. $62. SUZANNE VEGA + DEBORAH CONWAY & WILLY ZYGIER Palais
Theatre, St Kilda. 7pm. $101.79.
Office Hotel, Coburg. 9pm.
THE WOLFE BROTHERS + STRAALEN
JULES SHELDON + LOU DAVIES Post KATY PERRY + STARLEY Rod Laver
Arena, Melbourne. 7:30pm.
LOCAL'S MUSIC FEST - FEAT: THE PIRATESKA REBELLION + ERNEST AINES + CARAVAN KIDS + MORE
$10.
NEVER ENDING 80S Matthew Flinders
Hotel, Chadstone. 8pm. $29.60.
PARTY ANIMALS Hysteria Lounge,
Lilydale. 6pm. $10.
56 BEAT.COM.AU
Whole Lotta Love, Brunswick East. 8:30pm. $10.
Prahran. 7pm. $20.
MR. MCCLELLAND'S FINISHING SCHOOL Retreat Hotel, Brunswick. 10pm.
Jemma Nicole is bringing her brand of gritty country noir to the Charles Weston on Saturday August 4 for this free gig. It’s dark kind of music with a country twist, the musical lovechild of Nick Cave, Johnny Cash and Hope Sandoval. You can catch her onstage at 6.30pm.
TRIUMPHS + DARK TEMPLE + THAW
THE WEEPING WILLOWS + DEBORAH HELEN WRIGHT & BAND Some Velvet
Corner Hotel, Richmond. 8:30pm. $20.
Jemma Nicole Charles Weston
Tote Hotel, Collingwood. 8pm. $10. THE SMASH ‘EM UPS Gem Bar, Collingwood. 8pm. TOTTY Yah Yah's, Fitzroy. 8pm.
MOZART'S OBOE - FEAT: AUSTRALIAN NATIONAL ACADEMY OF MUSIC
East. 8pm. $32.
GEORGE TRIMMER BAND Royal Hotel
Haunting melodies and mesmerising vocals are Joyce Prescher’s signature, the kind of music you’d usually listen to in the comfort of your home, unless you’re lucky enough to see her live. Well, here’s your chance. She’ll be playing a free, intimate show at Brunswick’s Edinburgh Castle on Friday August 3, taking to the stage at 6.30pm.
THE PATIENT + WOLFPACK + THE ORPHAN + GRIDFLEX + SNOWFLAKE
EFFIE'S FIGHTING PILLOW + NIINE + MORE Bar Open, Fitzroy. 8:30pm. $10. EXQUISITOR + THE GOOD MINUS + THE FLOCK Reverence Hotel, Footscray.
24 Moons, Northcote. 8pm.
Joyce Prescher Edinburgh Castle
Roll Bar, North Melbourne. 8pm. $9.
Brunswick. 6pm.
8:30pm. $5.
The latest offering from Melbourne singer-songwriter Jules Sheldon, Bloodshed & Serenity, is a post-punk soundscape, full of synth and shimmering guitars. He’s currently touring the album, making a stop at the Post Office Hotel on Friday August 3. He’ll be joined here by Lou Davies, who’ll inject some bite into the night with his psychedelic, garage rock sound. It’s free entry for this one, with doors opening at 8pm.
THE CLINCH + BASTARD NORTH + DOVE + THE OPPOSITION + POWERSKIDS Last Chance Rock And
DARREL HIGHAM + HANK'S JALOPY DEMONS Caravan Music Club, Bentleigh
FUNDRAISER FOR VETERANS 360 AUSTRALIA - FEAT: SOUTHBOUND SNAKE CHARMERS + RIFF RAIDERS + AS CROWS FLY + TURK TRESIZE BAND
Jules Sheldon Post Office Hotel
VERMONT Reverence Hotel, Footscray. 7:30pm. $10.
POPROCKS + DR PHIL Toff In Town,
Melbourne Cbd. 9pm.
RAZZMATAZZ - FEAT: CAITY K + TED C
Gasometer Hotel, Collingwood. 11:30pm. $10. RUNK + CASH + TRUCKS + THE TREPIDS 303, Northcote. 8pm. $10. SCOTT & CHARLENE'S WEDDING + NO SISTER + MYSTERY GUEST Tote
Hotel, Collingwood. 8pm. $10. SHANNON NOLL Commercial Hotel (sth Morang), Morang South. 8pm. $39.80.
SHIPS PIANO + PICKET PALACE + THE BLINDS Toff In Town, Melbourne Cbd.
7pm. $8.
SMOKE STACK RHINO + WHOOPIE CAT + WINTER MOON + SWEDISH POP FACTORY Bendigo Hotel,
Collingwood. 8pm. $10.
SOUL SACRIFICE - THE MUSIC OF SANTANA Spotted Mallard, Brunswick.
8:30pm. $23.77.
SPECTRAL FIRES + GREYVIEW + VALERIE AVENUE + PARKWOOD +
OLIVIA CHINDAMO SEXTET The Jazzlab,
Brunswick. 8pm. $30.
SAMMY OWEN BLUES BAND Royal Hotel (mornington), Mornington. 8pm.
SOUL A GO-GO - DJ SPECIAL - FEAT: RICHIE1250 + MISS GOLDIE + VINCE PEACH + PIERRE BARONI + COCO BROWN + SUGAR D Night Cat, Fitzroy.
9pm. $15.
SOULCO + MORE 303, Northcote. 8pm.
$10.
TAMMA Open Studio, Northcote. 2:30pm. THE BAMBOOS + DJ PIERRE BARONI + KARATE BOOGALOO + DJ MISS GOLDIE Corner Hotel, Richmond. 8:30pm.
$35.
THE BAND WHO KNEW TOO MUCH
Lomond Hotel, Brunswick East. 9:30pm. THE FURBELOWS Paris Cat Jazz Club, Melbourne Cbd. 9pm. $32.50. THE KAHUNA DADDIES Sloth Bar, Footscray. 8pm. THE ROOKIES The Jazzlab, Brunswick. 11pm. THE TANGO CHAMBER Open Studio, Northcote. 5:30pm.
UPTOWN CAFE'S 10TH BIRTHDAY - FEAT: EUGENE BALL'S NEON LIT KLUGE Uptown Jazz Cafe, Fitzroy. 8:30pm.
INDIE, ROCK, POP, METAL, PUNK & COVERS 2018 AIR GUITAR AUSTRALIA FINALS - FEAT: VARIOUS ARTISTS Night Cat,
Fitzroy. 5:30pm. $5. ALBERT LEE Caravan Music Club, Bentleigh East. 8pm. $59.90.
BITCH PREFECT + SUMMER FLAKE
Retreat Hotel, Brunswick. 3pm.
BLUNT SHOVEL + SHATTER BRAIN + GRUDGE + NECK GRIP Last Chance
Rock And Roll Bar, North Melbourne. 8pm. CHOCOLATE STARFISH + DANGEROUS CURVES Musicland,
Fawkner. 7:30pm. $30.
CLEA + MERPIRE + EL TEE Workers
Club, Fitzroy. 8:30pm. $12.
DEAF WISH + UV RACE + PARSNIP + TISSUE John Curtin Hotel, Carlton. 8pm.
$15.
DIRTBIRD + WAYWARD BREED + GEORGIA SPAIN & BAND Old Bar,
Morning, Clifton Hill. 8pm. $20.
Fitzroy. 8:30pm. $10.
York On Lilydale, Mt Evelyn. 8:30pm. $34.70.
Northcote. 8:30pm. $20.
Drunken Poet, West Melbourne. 6pm.
Castle, Brunswick. 9pm.
TRADITIONAL IRISH MUSIC SESSION
Saturday 4 August JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC AFRICAN SAFARI - FEAT: SACA LA MOIS + SONIDERO ESPERANZA + TAHNIOCA CUMBIERA + MORE Horse
DIRTY RASCAL + THE GRAPES + CHUCK JENKINS Northcote Social Club, DJ HALFPRICE HANCOCK Edinburgh DOLE FEST - FEAT: SHIT SEX + HOUSEHATS + TRAGIC CARPET + DOLE CHEQUE + MORE Evelyn Hotel,
Fitzroy. 8pm. $15.
FLUFF + TYSON HODGES TRIO + FANDANGO Cherry Bar, Melbourne Cbd.
1pm.
GRADUAL Piping Hot Chicken & Burger
Grill, Ocean Grove. 7:45pm. $20.
GREASE - RYDELL HIGH DANCE FEAT: THE BEAUTY SCHOOL DROP OUTS + CASSETTE WALKMAN Howler,
Bazaar, Melbourne Cbd. 8pm. BABAGANOUSH Open Studio, Northcote. 8:30pm. $15.
Brunswick. 7:30pm. $38.61.
8:30pm. $5.
Thornbury Theatre, Thornbury. 5pm. $25.
BLUE SHIVOO + THRODA + GROCER GREEN Gasometer Hotel, Collingwood. BOIS ET CHARBON Farouk's Olive,
Thornbury. 8pm. $7.
DAEMOS GRIFFIN & THE FRINGE DWELLERS The Moldy Fig, 9pm. DANDECAT + GYMNASTICS IN THE 70S + ISABELLA KHALIFE Workers Club
(geelong), Geelong. 8pm. $7.15.
ELLY POLETTI & MOVEMENT 9 Paris
Cat Jazz Club, Melbourne Cbd. 8pm. $35. ENZA + THE FIX UPS Belleville, Melbourne. 11pm. MARGIE LOU DYER QUINTET Lido Jazz Room, Hawthorn. 8pm. $25. MEIWA + HOI PALLOI The B.east, Brunswick East. 9pm. NADIRA & FRIENDS Paris Cat Jazz Club, Melbourne Cbd. 6:30pm. $27.50.
HELP FUND A MEDICAL TEAM TO GAZA - FEAT: VARIOUS ARTISTS
JUNIOR FICTION + FACE FACE + DEAD END Reverence Hotel, Footscray.
8:30pm. $10.
LOCO HOMBRES Catfish, Fitzroy. 9pm. MANTELL + PAT DEVLIN Post Office
Hotel, Coburg. 9pm.
METAL FEST - FEAT: ABRAMELIN + FRANKENBOK + DREADNAUGHT + IN MALICE'S WAKE + MORE Max Watt's,
Melbourne. 6:30pm. $38.60.
NEVER ENDING 80S Pier Bandroom,
Frankston. 8pm. $29.60.
NOUGHTS Oh! Jean Records, Fitzroy. 2pm. OCEAN SLEEPER + CAGED EXISTENCE + RUMOURS + SHEPHERD
Royal Melbourne Hotel, Melbourne Cbd. 9pm. $20.
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Weeknight rates from $65
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OUTSIDE THE ACADEMY + FIELD MAPS + TRAM COPS + COMEDOWN PARTY Woody's Attic Dive, Collingwood.
8pm. $10.
RACKETT Cherry Bar, Melbourne Cbd.
8pm. $10.
REWIND 80S Hysteria Lounge, Lilydale.
6pm. $19.
ROY ORBISON ORCHESTRATED FEAT: DEAN BOURNE + AUSTRALIAN SYMPHONY ORCHESTRA + GEORGE ELLIS Hamer Hall (arts Centre
Melbourne), Southbank. 8pm. $99.90.
Presha Grumpy’s New Zealand-born Geoff Wright, AKA DJ Presha, is known worldwide for his drum and bass mixes, and now he’s bringing them to Melbourne. A jack of all trades, Presha has had a crack at pretty much every aspect of the music industry, with a record label – Samurai Music – under his belt. He’ll be bringing along DJ’s Inka, Stitch and Malo for a night of raving at Grumpy’s this Saturday August 4. Tickets are $15 through industrybass.com. Kicks off at 7pm.
RUBY HUNTER FOUNDATION BENEFIT CONCERT - FEAT: DAVE ARDEN & KOKAMARA BAND + CLUSTERFUNK + WILL COYOTE + THE SEA BIRDS + THE BITS + MORE
THE FLORETS + THE BACKS + WILL POVEY Retreat Hotel, Brunswick. 7pm. THE LITTLE MURDERS Labour In Vain,
Fitzroy. 5pm.
Sunday 5 August
ACOUSTIC SUNDAYS - FEAT: MICHELLE GARDINER + PAIGE SPIERS + PAIGE SMITH Customs
Bombay Rock, Brunswick. 8pm.
JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
YARRAVILLE RECORD FAIR - FEAT: VARIOUS ARTISTS + MORE Yarraville
Club, Yarraville. 11am.
House Hotel, Williamstown. 2pm.
ARC TRIO - FEAT: TOM WEST Wesley
9:30pm. $10.
Basement, Melbourne. 7:30pm. $29.
7:30pm. $10.
THE AUSTRALIAN FOO FIGHTERS SHOW Commercial Hotel (sth Morang),
Studio, Northcote. 8pm.
THE DUSTY SPRINGFIELD STORY FEAT: WENDY STAPLETON Yarraville
KELLER/WILSON/HALE (WITH JAMES MACAULAY) - FEAT: KELLER/ WILSON/HALE (WITH JAMES MACAULAY) The Jazzlab, Brunswick.
Hotel, Collingwood. 5pm.
Morang South. 9:30pm.
BERNADETTE NOVEMBRE Open HIGH TEA LIVE - FEAT: HETTY KATE
Arts Centre, Melbourne. 12pm. $89.
8pm. $20.
PRESSURE DROP, JOHNNY LONGSHOT + PRESSURE DROP + JOHNNY LONGSHOT Bar Open, Fitzroy.
8pm. $10.
East. 8pm. $10.
SUNDAZE + COME KNIGHTS + RAT CHILD Evelyn Hotel, Fitzroy. 8:30pm. $10. THE B# BIG BAND Copacabana, Fitzroy.
Diner, Fitzroy. 4pm.
THE NUDGELS Rainbow Hotel, Fitzroy.
ULCERATE + IGNIVOMOUS + OLIGARCH Bendigo Hotel, Collingwood.
8pm. $22.45.
WANK AIRY + THE JOHNNY SHOEGAZE SHOWCASE Old Bar,
Fitzroy. 4pm.
WREATH + CAST DOWN + CASCADES + BROKEN + DEFENESTRATION Boney, Melbourne
Cbd. 7pm. $15.
YOUNG VINCENT + SOFT CORPORATE Toff In Town, Melbourne
Cbd. 7:30pm. $19.58. 7pm. $10.
A CELEBRATION OF GEORGE JONES - FEAT: BEN MASTWYK + RICK HART + MORE Gem Bar, Collingwood. 8pm. ADAM COUSENS + FLOYD THURSBY
1pm. $20. 4pm.
THE SLIPDIXIES Open Studio, Northcote.
5:30pm.
INDIE, ROCK, POP, METAL, PUNK & COVERS ABSOLUTE ELVIS - FEAT: JOHNNY LEE MEMPHIS Thornbury Theatre,
Thornbury. 1pm. $30. BOADZ Dan O'connell Hotel, Carlton. 4pm. BRODERICK SMITH Post Office Hotel, Coburg. 4:30pm.
DANIEL AARON + THOMAS WALLIS + YERGURL Sooki Lounge, Belgrave. 8pm.
Anne, Northcote. 6pm.
Melbourne. 6:30pm.
Hotel, Brunswick East. 5:30pm.
DAREBIN SONGWRITERS GUILD - FEAT: GILL SEALBY + RICHARD GRAHAM + RUTH PARKER + MORE
303, Northcote. 3:30pm.
DAVIDSON BROTHERS + PETE DENAHY + COLLINGWOOD CASANOVAS + LIAM GERNER + THE BURR DAISY STRINGBAND John
Curtin Hotel, Carlton. 5:30pm. $23. EZRA LEE TRIO Union Hotel (brunswick), Brunswick. 5pm. GAVIN DONIGER Catfish, Fitzroy. 5pm. GEORGIA RODGERS + LOLA SOLA
Open Studio, Northcote. 2:30pm. $10.
GREG DODD & THE HOODOO MEN
Royal Hotel (mornington), Mornington. 3pm. HOLY MOSES HEARTACHE Compass Pizza, Brunswick East. 5pm. KARAKORUM - A MEDIEVAL MUSICAL JOURNEY - FEAT: DAVID WENHAM + AUSTRALIAN BRANDENBURG ORCHESTRA
Melbourne Recital Centre, Southbank. 5pm. $39. KATE MADDEN & THE MAINSTAY
Spotted Mallard, Brunswick. 4pm.
LIAM JOHN DALY + GRACE LAWRY + CAM GILMOUR + AN ASTRONAUT
Last Chance Rock And Roll Bar, North Melbourne. 3pm. NICK LOVELL Drunken Poet, West Melbourne. 4pm. SHAKY STILLS Standard Hotel, Fitzroy. 7pm.
EZEKIEL SNEEZED + ELISSA MAY Old
SPARKS & MRS SMITH'S SIP & SING + SPARKS + MRS SMITH Edinburgh
GABRIELLA COHEN + BONNIE LOVE
TAZ & FRIENDS Sloth Bar, Footscray.
JACOB MCGUFFIE & THE DUKES OF HAGGARD Union Hotel (brunswick),
HANK WOOD & THE HAMMERHEADS + PRIORS + STIFF RICHARDS + THE SNAKES + PEST + LÀI Tote Hotel,
THE BAKERSFIELD GLEE CLUB Gem
JASON LOWE Edinburgh Castle,
HEART BEACH + GO GET MUM + PSA
Cbd. 3pm.
Compass Pizza, Brunswick East. 8pm. $10. DARYL ROBERTS The Moldy Fig, 7pm.
58 BEAT.COM.AU
Last Chance Rock And Roll Bar, North Melbourne. 8pm. $5.
WHISKEY DRAM + THE DUFRANES + SOMEONE ELSE'S WEDDING BAND
SPAWN + LA BRONCO + BØG Tote
ZEBULEN + TAYLOR PIGGOTT + TAYLA-LEE Revolver Upstairs, Prahran.
Local artist Nick Lovell has been part of Melbourne’s music scene for over a decade now, taking his music around the country, and the globe. Covering a wide variety of genres, from rock, to folk, to country, he traverses the lines between the three, with songs that explore love, life and loss. See him play the Drunken Poet in this free gig, for a laidback Sunday arvo. Show starts at 4pm.
THE CONSTABLES + SAPPHIRE STREET + STRANGERS FOR SALE
CHECKERBOARD LOUNGE Lomond
TRASH-A-BILLY BATTLE ROYALE FEAT: VARIOUS ARTISTS Evie's Disco
Nick Lovell Drunken Poet
Collingwood. 2pm. $10.
BALKAN BRASS - FEAT: OPA! BATO + OPA SEKO Farouk's Olive, Thornbury.
SONGS IN THE KEY OF SPRINGFIELD - FEAT: BOADZ Bar Open, Fitzroy.
TO AN END + IRONSTONE + NEO RELIC Whole Lotta Love, Brunswick
This two-piece from Northern Tasmania are taking their new EP Roll Town on tour, stopping in at The Evelyn Hotel on Sunday August 5. The boys combine elements of reggae, funk and rock to create their surfy sound. They’re bringing fellow Tassie band Come Knights along for the ride, as well as Melbourne’s Rat Child for this leg of the tour. Catch them at 8.30pm, for just $10 at the door.
Hotel (brunswick), Brunswick. 9pm. THE HOUNDLINGS Drunken Poet, West Melbourne. 9pm. TOM WEST Wesley Anne, Northcote. 8pm. $10. TOMMY CASTLES Rainbow Hotel, Fitzroy. 9:30pm.
BRAD GILLIES Drunken Poet, West
Yarra Hotel, Abbotsford. 7:30pm. $10. THE SMOKES Yah Yah's, Fitzroy. 8pm. $12.
Sundaze The Evelyn Hotel
THE DRUNKEN POACHERS Union
TELESCREEN + GENA ROSE BRUCE + SLOWCOACHING Gasometer Hotel,
(U)NITY - FEAT: (U)NITY Bird's
THE PLAYBOOK + BUKOWSKI + HOLLOW + TV DINNERS + JAMO
If laidback live music is more your Saturday night vibe, then check out The B.East this weekend. Canadian singer-songwriter Meiwa will be playing the venue, delivering sweet, thoughtful lyricism with an equally beautiful voice. Accompanying her are local band Hoi Palloi, who’ll add a dash of folk and alternative jazz to the evening. Doors open at 9pm, and it’s a free event too.
8pm. $10.
Tote Hotel, Collingwood. 8pm. SHANNON NOLL Village Green Hotel, Mulgrave. 8pm. $39.80.
Club, Yarraville. 8pm. $23.
Meiwa + Hoi Palloi The B.East
GREENHATCH Red Betty, Brunswick.
Brunswick. 5pm.
Brunswick. 5pm.
$10.
Bar, Fitzroy. 4pm.
Some Velvet Morning, Clifton Hill. 6pm.
Collingwood. 5pm. $15.
Castle, Brunswick. 3pm.
5pm.
Bar, Collingwood. 7pm.
THE HORNETS Bar Open, Fitzroy. 6pm. THREE KINGS Cherry Bar, Melbourne TROUBLE PEACH + MOONLOVER (SOLO) Reverence Hotel, Footscray. 3pm. VAN WALKER Union Hotel (brunswick),
Brunswick. 6:30pm.
Old Bar, Fitzroy. 7:30pm. $8. KATY PERRY + STARLEY Rod Laver Arena, Melbourne. 7:30pm.
LOST WOODS + GOLDSOCKS + PARIS PLAN + MANORISM Whole Lotta Love,
Brunswick. 3:30pm.
Melbourne Recital Centre, Southbank. 7pm. $39.
NEW AGE + DIRTY RATS + CYCLONE DIABLO Workers Club, Fitzroy. 1pm. $8. OPEN/MIC JAM NIGHTS Musicland,
FOR THE LATEST GIG LISTINGS, HEAD TO
Some Velvet Morning, Clifton Hill. 4pm.
PEARL BAY + SCRATCH MATCH
JEMMA NICOLE Charles Weston Hotel, KARAKORUM - A MEDIEVAL MUSICAL JOURNEY - FEAT: DAVID WENHAM + AUSTRALIAN BRANDENBURG ORCHESTRA
MEZZ COLEMAN + PATRICK LIONEL NOCTURNAL FEVER - WOMEN OF SIN - FEAT: DIAMONDS & THE BLUES
Brunswick East. 7pm.
Fawkner. 7pm.
Retreat Hotel, Brunswick. 3pm.
RAISED BY EAGLES Spotted Mallard,
REDRO REDRIGUEZ & HIS INNER DEMONS + FUCK THE FITZROY DOOM SCENE + FLUFF + TWO HEADED DOG + PSEUDO MIND HIVE + MORE Baha Tacos & Tapas Bar, Rye.
STEPHEN KENNEDY Drunken Poet,
ROY & THE 60'S & 70'S EXPERIENCE
Butterfly Club, Melbourne Cbd. 8:30pm. $34. Brunswick. 8:30pm. $23.77.
West Melbourne. 3pm. TEAM LOVE Wesley Anne, Northcote. 6pm. THE CORNERSMITHS + LUKE
4pm. $15.
Musicland, Fawkner. 1:30pm. $10.
SAN ANTONE + JULIET MARY + LILY CRISP + SAM MCCANN Workers Club,
Fitzroy. 7pm. $15.
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