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UTS, 15 BROADWAY ULTIMO

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Prices Pre sale $40 On the door sale $50 No pass-outs | 9.30pm lockout | Cloak room available

First in NSW HSC Dance 2013

Some can’t see the pointe. We prepare you for it. Raise the bar with an HSC that allows you to perform to your strengths. Choose Bradfield Senior College. Open Day Thursday 7 August 2014 @ 4.30pm bradfieldseniorcollege.com.au t 9448 4200

BRAG :: 570 :: 09:07:14 :: 3

rock music news welcome to the frontline: the latest touring and music news...with Gloria Brancatisano, Chris Martin and Lauren Gill

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THE BRAG

speed date WITH

MONIQUE BRUMBY Your Profile We layer spontaneous vocals, acoustic 1. and electric guitars with vocal harmonies and keys with electric bass, and blend some loops with synths. We like to play energetic shows. I tell stories about the songs, about my experiences and observations. Connection with a live audience is extremely important to me; the cyclic energy and everyone feeling part of it.

Your Ultimate Rider I’d have a massage to prepare myself 5. and then request a direct line to the PM’s office

album. We made a music video for the current single ‘Silent War’, a song about marriage equality. As well as touring and releasing independent albums I also run Aardvark Worldwide, a music program for young people with chronic illness – aardvarkworldwide.org – and I’m music business mentor at teen-run record label Decibels Records in Melbourne.

to voice my grievances on proposed Tasmania world heritage delisting, equal marriage rights, treatment of asylum seekers, chaplains in schools program and the distasteful way in which members of his cabinet conduct themselves in Parliament. My band request nothing on the rider, they leave it to me. I guess that makes them actually really beautiful people.

GIG & CLUB GUIDE COORDINATORS: Nic Liney, Emily Meller - gigguide@thebrag.com (rock); clubguide@thebrag.com (dance, hip hop & parties) AWESOME INTERNS: Amie Mulhearn, Nic Liney, Fergus Halliday REGULAR CONTRIBUTORS: Nat Amat, Ian Barr, Keiron Costello, Marissa Demetriou, Christie Eliezer, Blake Gallagher, Chris Honnery, Cameron James, Tegan Jones, Lachlan Kanoniuk, Emily Meller, Adam Norris, Daniel Prior, Kate Robertson, Amy Theodore, Leonardo Silvestrini, Harry Windsor, Stephanie Yip, David James Young Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 fax - (02) 9319 2227 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG. ACCOUNTS RECEIVABLE: Luke Forrester: accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121 DEADLINES: Editorial: Thursday 12pm (no extensions) Artwork/ad bookings: Friday 5pm (no extensions) Ad cancellations: Tuesday 4pm Published by Furst Media P/L ACN 1112480045 All content copyrighted to Cartrage P/L / Furst Media P/L 2003-2014 DISTRIBUTION: Wanna get the BRAG? Email distribution@ furstmedia.com.au or phone 03 9428 3600 PRINTED BY SPOTPRESS: www.spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204

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Where: Gallery Bar, Oxford Art Factory When: Saturday July 12

ASH’S MAD DASH

After spending a month in America touring with Xavier Rudd, Ash Grunwald has announced a huge Australian tour. Bringing his blend of blues back to his home stages, Grunwald will play 21 shows right around the country, kicking off in Townsville mid-August and finishing up in Port Macquarie at the beginning of October. He’ll be at Mona Vale Hotel on Thursday September 18; the Collector Hotel on Friday September 19; The Entrance Leagues Club on Saturday September 20; Newcastle’s Cambridge Hotel on Thursday October 2; and Carmens Nightclub in Miranda on Friday October 3.

WITH FLYYING COLOURS

ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: James Ambrose, Katrina Clarke, From The Pit, Amath Magnan, Ashley Mar ADVERTISING: Georgina Pengelly - 0416 972 081 / (02) 9212 4322 georgina@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 les@thebrag.com PUBLISHER: Furst Media MANAGING DIRECTOR, FURST MEDIA: Patrick Carr - patrick@furstmedia.com.au, (03) 9428 3600 / 0402 821 122 DIGITAL DIRECTOR/ADVERTISING: Kris Furst kris@furstmedia.com.au, (03) 9428 3600

Wainwright at Melbourne Recital Centre and Frente’s Marvin The Album Tour.

xxx

MANAGING EDITOR: Chris Martin chris@thebrag.com 02 9212 4322 ONLINE EDITOR: Tyson Wray ONLINE COORDINATOR: Emily Meller SUB-EDITOR: Emily Meller STAFF WRITERS: Alasdair Duncan, Jody Macgregor, Krissi Weiss, Augustus Welby NEWS: Gloria Brancatisano, Lauren Gill, Nic Liney, Amie Mulhearn

Current Playlist New tracks from The Bamboos and 4. Neko Case. Recently I’ve seen gigs by Martha

Keeping Busy For the past few months I’ve been 2. playing shows promoting my self-titled

Best Gig Ever Best gig was supporting The Bangles at 3. The Palais, Melbourne. I try to put bad gigs out

Jonathan Boulet

of my mind but let me just say there was one that ended with me in the toilet at the venue after the show standing in vomit that was not my vomit!

HEY HEY BOULET

After returning from a year in Germany, Jonathan Boulet has announced the release of his third LP, Gubba – due Friday July 18 – and he’ll be heading out on an east coast tour this August in support. The tour will see the multi-instrumentalist play dates in Melbourne, Sydney, Adelaide and Brisbane, and will be his first shows back home for a while. After touring Europe and the UK and performing at SXSW last year, Boulet packed up and moved from Sydney to Germany. He returns with the self-produced follow-up to 2012’s We Keep The Beat, Found The Sound, See The Need, Start The Heart. Boulet will play Goodgod Small Club on Thursday August 21.

Melbourne psychedelic outfit Flyying Colours have locked in a tour to celebrate the release of their latest single, ‘Not Today’. The track, which follows previous favourites ‘Wavygravy’ and ‘Like You Said’, has already received airplay from the likes of triple j and overseas community radio. Catch Flyying Colours at Oxford Art Factory’s Gallery Bar on Thursday July 17 and Newcastle’s Cambridge Hotel on Saturday July 19.

SOUNDS OF THE SUBURBS

Ink it in your diary: the date is locked in for Cronulla’s favourite backstreet festival. Sounds Of The Suburbs returns to Wilbar Lane this September, and it’ll be jam-packed with great music, food and art. The brainchild of Space 44, the festival picked up a nomination in the category of Best Music Event at FBi Radio’s SMAC Awards last year. Stepping up its game for 2014, Sounds Of The Suburbs will boast a lineup of 21 bands and four stages over one

Megan Washington

MEGAN WASHINGTON

Aussie pop favourite Megan Washington will play a run of dates around the country ahead of her new album release, There There, due out Friday September 12. On the back of latest single ‘Limitless’, the singersongwriter will bring her fresh material and catchiest hits to Oxford Art Factory on Thursday August 28.

day. This year’s event will light up the Shire on Sunday September 28. Stay tuned to the BRAG and thebrag.com for the full lineup as it’s released.

FIRE UP THE KINGSWOOD

Melbourne rockers Kingswood have announced a mammoth tour to support the release of their forthcoming record Microscopic Wars, due out Friday August 22. The band has just dropped the latest track from the record, ‘I Can Feel That You Don’t Love Me’, following on from the booming ‘Suckerpunch’. Kingswood’s album tour will see the four-piece play 22 shows right around the country throughout August, September and October, including Newtown Social Club on Wednesday August 27, Newcastle’s Cambridge Hotel on Thursday September 18 and Parramatta’s Collector Hotel on Saturday September 20.

LUNATICS ON POGOSTICKS

Teen rapscallions Lunatics On Pogosticks will tour the east coast this September in support of new EP Slug Cat And Snail Dog. The New South Wales trio has released two EPs in the last two years, and following recent performances at the Live It Up and Falls festivals, this one will be out on Friday July 11. Lunatics On Pogosticks take over Parramatta’s Collector Hotel on Thursday September 4 and Oxford Art Factory’s Gallery Bar on Friday September 5.

Torche

LIGHT THE TORCHE

Miami metal outfit Torche will make their maiden voyage to our shores this October. Since forming in 2004, the four-piece has released three studio albums of their anthemic metal, including 2012’s highly lauded Harmonicraft. Its follow-up is slated for later this year on new home Relapse Records. Catch Torche on Sunday October 19 at Oxford Art Factory.

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BRAG :: 570 :: 09:07:14 :: 5

live & local

free stuff

welcome to the frontline: what’s goin’ on around town...with Chris Martin and Amie Mulhearn

head to: thebrag.com/freeshit

speed date WITH

Sky Ferreira

SAM WESTPHALEN Your Profile My name is Sam Westphalen 1. AKA Sambo Ray Jr. AKA Super Lightning Guitar Slappy Man (Chinese promoters changed my name to something that loosely translates to that). And I’m known mainly for YouTube videos in which I tastefully smack my guitar around and make dumb noises with my face. Keeping Busy I just recently came off a 2. ten-city tour of China with Maton Guitars. Next gig coming up is Splendour In The Grass. In the meantime I’ve been practising, recording and planning my next escape – I have a bunch of offers from all over Europe for gigs and clinics so that’s hopefully somewhere in the near future.

significance – it was the first and only time I’d get to play there after going as a punter almost every year since 2008 or something. I ended up getting paid the same

The Barefoot Band

Current Playlist Well right now I’m deep in 4. practice mode so a lot of the time I’m listening to a metronome. Apart from that, iTunes says the last things I was listening to were Trilok Gurtu, Mr. Bungle, Virgil Donati, Venetian Snares and Frank Zappa. The best gig I’ve been to recently was probably Mountain Mocha Kilimanjaro – they’re a Japanese funk band. Your Ultimate Rider Warm light beer and a 5. bruised, floury apple. What: Splendour In The Grass Buskers Stage, presented by AIM Where: North Byron Parklands, Byron Bay When: Friday July 25 – Sunday July 27 And: The Australian Institute of Music hosts its Surry Hills open day on Saturday August 16

Slumberjack

SKY FERREIRA

The controversial and kooky yet always fascinating Sky Ferreira is on her way Down Under for Splendour In The Grass this year, and she’ll play a sideshow at the Metro Theatre on Friday July 25. It follows the release of her debut album, Night Time, My Time, and an enigmatic show at the Oxford Art Factory in March that our reviewer said was devoid of all “pretence or bravado”. The album features cuts like ‘I Blame Myself’, ‘24 Hours’ and ‘You’re Not The One’, and our giveaway pack includes a copy of Night Time, My Time on vinyl to go with a double pass to Ferreira’s Sydney sideshow. To be in the running to win it, head to thebrag.com/freeshit and tell us why nighttime is your time.

Gazele

SLUMBERJACK

The World Bar’s usual assortment of musical magic gets a beaty injection this Friday July 11, with Slumberjack headlining the Mum party. The duo comprises Morgan Then and Fletcher Ehlers, and when they’re not sleeping they’re responsible for a kaleidoscope of sound that takes its cues everywhere from Flying Lotus to Skrillex. You’re bound to find your way to the dancefloor and stay there.

PEACEFUL PROTEST

ONE LOVE

The One Love Reggae Movement spreads its wings this weekend from the Jam Gallery, where it was hosted in April, to Newtown’s Town Hall Hotel. There’ll be live music from The Barefoot Band, featuring former The Voice contestant Ben Goldstein, plus The Strides’ Ltl Gzeus and Revolution Incorporated. The night will also feature an art show and t-shirt stall by Charke Inc Design & Clothing. It all goes down this Friday July 11.

They’re promoted as “the new kings of Sydney reggae”, so it’s worth casting your vote at The Protesters’ gig next Friday July 18 at the Lewisham Hotel. The group features members

of Melbourne Ska Orchestra, King Tide and Watussi, and is due to follow its 2013 debut, Soul Of The Nations, with a second album in the near future. Meanwhile, get up, stand up, and enjoy the rhythms for free next week.

King Tide

While her Sydney date will be singer Gazele’s first headlining showcase, this talented lady is no stranger to the industry. Gazele has spent the last three years building a steady reputation for herself as a backing singer for Jessica Mauboy and session musician. Now she’s stepping out as a solo artist in her own right, complete with a full band of talented musicians supporting her. James Chatburn will open the show – another Sydney newcomer who’s gaining steady attention from triple j Unearthed. Gazele’s debut showcase will be at Ginger’s at The Oxford Hotel in Darlinghurst on Thursday July 17.

BUSK FOR A CURE

Buskers don’t usually do encores, but Helmet Uhlmann’s set will end a little differently at Busk For A Cure on Friday July 18. When Uhlmann lays down his guitar at 11pm, he’ll have his head shaved to raise money for Cancer Council NSW and Crohn’s & Colitis Australia. Also raising funds on the evening are performers Ver Erdy, Angharad Yeo, Corwainers and Rose Winters. Get down to the corner of Liverpool and College Streets to check it out from 6:30pm.

MARBLE BAR

It’s a weekend of multicultural music at Marble Bar coming up, with Kiwis Leisure Bandits headlining the famous old venue this Friday July 11. The twin brothers from across the dutch mix modern sounds with influences from their heritage. Then, Saturday July 12 sees Reyes de la Onda bring a blend of salsa, samba and soul. All of the Ss for a Saturday siesta, see? Yesssssss. 6 :: BRAG :: 570 :: 09:07:14

LIKE A GAZELE

LOS HOMBRES DEL DIABLO

ONE DROP RANKIN RIDDIM

One Drop Rankin Riddim is a Jamaican expression for “a great reggae groove” and an appropriate title for Sydney’s newest reggae festival. Making its debut this year, the One Drop Rankin Riddim Spring Fest will begin as a boutique event aiming to showcase the wealth of talent here in Sydney. Pat Powell (Melbourne Ska Orchestra) and Dale Ryan have recruited the likes of King Tide, The Midnight Tea Party, The Protesters and many more to keep punters dancing until late. The festival will also include Jamaican-inspired food, giveaways and a guitar auction. One Drop Rankin Riddim Spring Fest hits the Factory Theatre in Marrickville on Saturday September 13.

It won’t be the first rodeo, as the saying goes, for Los Hombres Del Diablo at Frankie’s Pizza come Sunday July 13. The devil men bring their filthy rock to town under the influence of Black Sabbath, Cream, Brant Bjork and the like – and being as they’re on the highway to hell, the satanic numbers all line up for them: six members, six strings, signed to the 666 Records label. Rock’n’roll on the 13th night of the month, at Frankie’s legendary Sabbath Sessions… it’ll be a devil of a dalliance. thebrag.com

Xxx

Best Gig Ever Peats Ridge Festival 3. 2012 holds some sentimental

amount as John Butler that year – only I opted for no artist fee beforehand [laughs].

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BRAG :: 570 :: 09:07:14 :: 7

Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR * Aussies Abroad: Iggy Azalea made chart history in the US when ‘Fancy’ stayed at number one for six weeks, making it the longest track to stay at the top by a female rapper ‌ Vance Joy’s ‘Riptide’ entered the US Top 100 ‌ The Preatures created a stir at the Glastonbury and Bonnaroo festivals, winning fans including NME, model Alys Hale and The Brian Jonestown Massacre ‌ A grant for Brisbane’s Bec Laughton from the Lord Mayor’s Young & Emerging Artists Fellowship will see her work in the States with Grammy-winning bassist and producer Michael League of New York-based Snarky Puppy. * On ABC TV’s Australian Story this week, Megan Washington revealed how she has lived with a debilitating stutter. * As Lorde works on new demos in New Zealand, she complains that “ghostsâ€? in

the studio are creating hums on the recordings. * Ed Sheeran’s X is the UK’s fastest selling album this year, with 182,000 copies sold in its first week. It beat Coldplay’s achievement for Ghost Stories in May by 14,000. * Sydney’s Papa vs Pretty have split after releasing two albums through EMI. * Coldplay’s Chris Martin gave up being a vegetarian after his marriage split. * Lou Reed left a $30 million fortune, $20.4 million of which was gathered by his manager after his death last year. His wife Laurie Anderson gets $15 million, his $7 million Manhattan apartment, and a $1.5m property in the exclusive Hamptons area of Long Island. * As part of an installation exhibit by Portuguese artist João Onofre, UK death metal band Unfathomable Ruination will play for three nights a week until August 1 in an airtight, soundproof cube until they run out of oxygen. * Paperback Rioters: Justin Heazlewood (AKA The

MUSICNSW LEGAL PANEL Jake Stone, who has joined MusicNSW as their education officer, has initiated a series of panels. The first is a legal panel called Better Get Yourself A Lawyer! in conjunction with The Arts Law Centre and Sydney TAFE Music. Chaired by Jules Munro from Simpsons Solicitors, it will cover management, label and booking contracts, publishing and sync agreements, business structures, booking agents, merch, copyright issues and how artists can solve legal

Bedroom Philosopher) is launching his book, Funemployed. It looks at the reality of the working musician in Australia, with input from acts including Gotye, Amanda Palmer and Clare Bowditch. Meanwhile, former triple j Magazine editor Jenny Valentish has released her first book, Cherry Bomb, based around Nina Dall of fictional Sydney punk band The Dolls. * Festival fave Julia Rose will embark on tours of Australia, Japan and Canada behind new single ‘Come What May’, to be released later in 2014 through Human Records. It was produced by her manager, Guy Cooper (Buena Vista Social Club, Newton Faulkner). The video features Felicity Lawless, Daniel Hitzke, Julz Parker (Hussy Hicks) and her sister CC the Cat. In May she was awarded Performer of the Year at the Pride Festival Queens Ball Awards. * The Hunter Valley’s PigSty festival on the weekend sold out days ahead.

disputes. Speakers include Anika Valenti (The Arts Law Centre), Julia Kosky (Brett Oaten Solicitors), Tim Levinson (Urthboy), Jonathon Carter (APRA AMCOS), Ben Fletcher (Moneypenny Business and Taxation Services), plus Katie Wighton and Martin Cubby (Media Entertainment and Arts Alliance). It’s on Tuesday July 22, between 6pm and 8pm at Sydney TAFE, 695-731 Harris Street. The panel is free, but RSVP to jake@musicnsw.com by 12pm on Monday July 21.

E HIFI 1300 THO M.AU

THEHIFI.C

Just Announced

This Week

Coming Soon

Sat 2 Aug

Fri 11 Jul

Wed 23 Jul

Salsa Fusion

(GER)

Tankard & Abigail (JPN)

Wed 13 Aug

Fri 15 Aug

Sat 16 Aug

Hanson

UZ (Mad Decent)

UNDRGRND

Kelis

JUSTICE CREW MAKES CHART HISTORY With their now-triple platinum ‘Que Sera’ staying at number for a ninth week since its debut in May, Sydney hip hop group Justice Crew have had the longest run at the top of the ARIA singles chart by an Australian artist since the chart came into being in 1983. The track equals Katy Perry’s ‘Roar’ and LMFAO’s ‘Sexy And I Know It’ for the third-longest stay at the top this decade.

THIS WEEK’S CERTIFICATIONS Illy’s ‘Tightrope’, Nico & Vinz’s ‘Am I Wrong?’ and Tove Lo’s ‘Stay High’ (Habits Remix) went platinum ‌ Iggy Azalea’s ‘Fancy’ and her guest spot on Ariana Grande’s ‘Problem’ both went double platinum ‌ The Madden Brothers’ ‘We Are Done’ hit gold. As for albums, 5 Seconds Of Summer’s self-titled debut went gold as it debuted at number one (it’s the third number one album with a ‘five’ in its title, the others being Powderfinger’s Odyssey No. 5 and Glee: The Music Volume 5). Chet Faker’s Built On Glass also went gold.

MORE WOMEN ON AMP PANEL After criticism about gender inequality in the Coopers Australian Music Prize judging panel, the number of women has been‌ amped up. Jen Cloher, Sarah Smith and Bryget Chrisfield and a yet-to-beannounced fourth name are new; Jet Black Cat Music’s Shannon Logan remains, while Renee Geyer takes a break.

APPOINTMENTS AT APRA AMCOS APRA AMCOS has appointed Matthew Fackrell its director of business change. Catherine Giuliano takes over her former role of director of recorded music licensing. Fackrell will work on new core technology platform CLEF (copyright and licensing enterprise facility) with the technical team. The deputy director of writer services Jana Gibson is now deputy director of communications and events.

CARLTON DRY GLOBAL GRANT OPENS Indie label association AIR and Carlton Dry have opened applications for the $50,000 Carlton Dry Global Music Grant. Selfreleased acts or those signed to an indie can only use the money to tour, showcase, record or relocate. For more info visit air.org. au; the deadline is Monday September 1. Last year’s winners, King Gizzard And The Lizard Wizard, used the grant to tour North America and rent a house in upstate New York to write songs for a month.

AUDIO NETWORK BUYS AUSSIE SUBSIDIARY The UK-based Audio Network, which provides music for film, TV and video, has bought out Audio Network Australia. ANA’s co-founder Linda Tizard, who set up the local company jointly in 2008 with the UK parent, handed over management to two of her team. Head of sales Charles Cutbill will become sales director. Head of creative services Jess Ossington will take on the role of operations director.

WORLD FIRST FOR PRESETS VIDEO The video for The Presets’ new single ‘No Fun’ claims a world first as a six-sided interactive clip. It has six full-length music videos, each with their own distinct narrative, to run on six sides of the ‘cube’, allowing viewers to twist, turn and manipulate their own audiovisual experience of ‘No Fun’ in real time.

CASWELL LOSES ALABAMA BATTLE

Fri 22 Aug

Sat 23 Aug

Sat 6 Sep

Justice Crew

Kid Ink

DevilDriver

Fri 12 Sep

Sat 27 Sep

Sun 5 Oct

Sat 22 Nov

El Gran Combo

Rebel Souljahz (USA)

Dead Kennedys

Toxic Holocaust & Iron Reagan

Australian singer-songwriter Allan Caswell has lost a ten-year legal battle against US country rock band Alabama. He sued claiming that his 1978 song ‘On The Inside’ was similar to their 1982 single ‘Alabama Christmas’. ‘On The Inside’, sung by Lynne Hamilton, was the theme song for the Prisoner TV series, reaching number one in Australia and number three in Britain. Ironically, both songs were published by Sony ATV, whom Caswell also included in his 2004 suit. Caswell said in a posting of the Supreme Court decision, “There were holes in their defence that you could drive a truck through,� and suggested he might appeal.

AWME CONFERENCE CALLOUTS AWME (Australasian Worldwide Music Expo) is accepting proposals from industry

associates who want to suggest and present relevant topics and speakers for the 2014 Conference Program. Each session lasts for no more than an hour, with a maximum of four speakers. The deadline is Thursday July 31; see awme.com.au.

VENUES #1: PIANO ROOM BECOMES STUDIO The site occupied by the Piano Room in Kings Cross is being turned into a broadcast studio. Ron Creevey, who founded Magna Data (one of the country’s first internet services), has set up a studio open to anyone who wants to record, hold a live event, or broadcast for radio, TV and online platforms.

VENUES #2: NEW ROCK’N’ROLL BAR Ben May (Manly Wharf Hotel, The London Hotel, Mrs Sippy) and Raul Gonzales and David Freeman (The Backroom) have opened a late-night rock bar and diner called Brooklyn Social, upstairs at the Central Tavern (17 Randle Street, Surry Hills). The Central will be closed this month for renovations.

RADIO STATION MUST REINSTATE MEMBER The NSW Supreme Court told Hawkesbury Radio 89.9 FM it must reinstate John Bryant, a member who was expelled last year. The judge found he was denied procedural fairness. The station has been investigated by the ACMA over complaints (many dismissed) and will release its findings shortly.

MAKER SIGNS NICKY NIGHT TIME Nicky Night Time has signed with the Maker agency, home of Anna Lunoe, Cassian, Golden Features, Motez, Nina Las Vegas, Sampology, What So Not and Tame Impala. Director/ founder Alastair Green said, “I’ve had a long history of managing his [Nick Routledge’s] bookings as Van She and Van She Tech. Nicky has the raw talent, understanding and drive to go all the way.� He has a record deal with OneLove. His single ‘Everybody Together’ is getting airplay and chart action globally, and he’s doing his first Aussie tour.

Lifelines Ill: Neil Young & Crazy Horse’s long-time bassist Billy Talbot had to pull out of their European tour after he had a mild stroke. Recovered: one-time Wu-Tang Clan-affiliated rapper Christ Bearer, who cut off his dick when on PCP, says it’s now reattached and he plans to show it’s in full working order by doing an adult film. Arrested: two Idaho cops overhearing two men talking about their fave band Nickelback misheard it as “nickel sack�, a marijuana reference, and detained one of them. Died: Australian A&R exec Peter Dawkins, 68, after a fall at his home. As head of A&R at EMI, CBS and Festival, he signed and produced hits for Dragon, Matt Finish, Mi-Sex, Air Supply, Russell Morris and Australian Crawl. Died: Australian production and road crew technician Andrew McDonald, from pancreatic cancer, at his home on the Gold Coast. He worked with bands such as Kush, Dave Warner and The Expression, as well as Sam Music in Melbourne, Purvis Concert Systems in Perth and at Darwin Casino. Died: Taree Max FM broadcaster of nine years, The Dice Man (real name: Craig Huth), 47, after a stroke. He was known for his gregarious personality and his commitment to fundraising for local charities. Died: businessman Greg Coote, one-time 2Day FM director, and president and CEO of Village Roadshow, 72, from cancer. He was also managing director of Ten Network and headed the film division of Columbia TriStar.

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t’s easy to romanticise a place’s music scene from afar. The early ’90s grunge movement introduced Seattle in Washington as a mecca of music. While the heyday of grunge has long since passed, the Pacific Northwest hub has been churning out great bands ever since. In recent years, Seattle has given rise to a number of heartwarming indie-pop and folk rock acts, including Fleet Foxes, Band Of Horses and Perfume Genius. The Head And The Heart fit this description, but Josiah Johnson, one of the band’s co-frontpeople, says they’re not part of a unified network of Seattle bands. “It’s not like in the ’90s when all of the grunge dudes knew each other and were all part of the same scene,” he says. “I’ve never met any of the dudes in Fleet Foxes. It’s not like we’re all friends.” Perhaps this has something to do with the fact that Johnson and his five bandmates – Jonathan Russell (vocals, guitar), Charity

“THE FIRST THING TO WRITING SONGS IS TO HAVE IT SAY SOMETHING ABOUT YOUR LIFE, BUT ALSO HAVE IT BE UNIVERSAL ENOUGH THAT PEOPLE CAN IDENTIF Y WITH IT E VEN IF THE Y ’RE NOT LIVING YOUR LIFE. THE BAND SHOULD ELE VATE WHATE VER SONG A SONGWRITER COMES IN WITH.” 10 :: BRAG :: 570 :: 09:07:14

Rose Thielen (violin, vocals), Chris Zasche (bass), Kenny Hensley (piano) and Tyler Williams (drums) – all lived in different parts of the US, working on separate projects, before serendipity united them in Seattle in 2009. The fantasy of a tight-knit community of Seattle artists mightn’t be justified, but cultivating a sound during the city’s indie-folk boom must have influenced the band’s musical direction. Well, no, that’s not true either. “I don’t think at the time that there was a real sense that that’s what Seattle’s sound was,” Johnson says. “When we got to Seattle the only record that had come out that was in that vein was the first Fleet Foxes record. I can’t think of any other records you’d really call ‘indie-folk’. Maybe the fact that we both have acoustic guitars and have harmonies is similar to Fleet Foxes, but in terms of songwriting they’ve got a much more pastoral, almost Gregorian chant-type melody and harmony structure. We come from a much more pop music-oriented songwriting style.” It’s an important distinction Johnson makes here. See, The Head And The Heart’s radiofriendly immediacy is precisely what pushed them into the spotlight back in 2010. Without implementing any major marketing strategy – other than writing ear-grabbing pop-rock tunes – after just a handful of hometown gigs, the band’s independently pressed and self-titled debut started selling by the thousands. As a result, hefty offers from several major labels came rushing in. Eventually the band signed with iconic Seattle indie imprint Sub Pop – also home to Fleet Foxes and formerly Band Of Horses. Of course, The Head And The Heart welcomed their first album’s breakaway success, but it was never the driving intention. So when he’s asked to make an assessment of the success of last year’s sophomore effort, Let’s Be Still, Johnson’s only concern is with the quality of the material. “It feels like a growth from where we were with the first one. I really like to hear the songwriting [grow],” he says.

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Despite Johnson’s relative nonchalance, the impact of The Head And The Heart meant there were stacks of expectant fans waiting on album number two. Upon its release last October, Let’s Be Still debuted at number ten on the Billboard charts, assuaging any fears of the band being a flash-in-the-pan phenomenon. What was more important, though, was Let’s Be Still’s retention of the first record’s breezy, uptempo demeanour. Johnson says the band was able to ensure this by fending off extraneous distractions. “The six people in the band have a democratic approach to the band,” he says. “[That’s] been good for a lot of reasons – making the second record was one of them. The most important thing for each of us was impressing the other members of the band. Everyone being excited about it was the main goal – and we were. That made making a follow-up record to a record that blew up much easier.” Bands often suggest that they’re set up as a democracy, but the implementation of democratic policy widely varies. For some, following instructions from a clear leader works best, while other acts function as a platform for multiple songwriting personalities. The Head And The Heart’s version of democracy takes the traditional approach: basically, there needs to be a majority of votes in favour of an idea for it to be accepted into the sextet’s repertoire. “If people in the band don’t identify with a song, then that song doesn’t end up going out to represent the band,” Johnson says. “Even if you aren’t someone writing the lyrics, there is still some element of accepting a song, being excited about a song.” The group’s fastidiously democratic ethos means that, while The Head And The Heart are a rather wholesome-sounding unit, pitching songs to the collective isn’t an easy task. “Showing songs to the band is an art form if you’re one of the songwriters,” Johnson says. “[You have to present it] so that it hits

in a way that inspires the people playing their instruments to want to work on it. It pushes everyone to write the best songs possible.” Obviously, this wouldn’t be achievable if the six individuals didn’t share an aesthetic vision. Johnson underlines the essential target for each song, no matter who the instigating party is. “The first thing to writing songs is to have it say something about your life, but also have it be universal enough that people can identify with it even if they’re not living your life. The band should elevate whatever song a songwriter comes in with. If someone brings in a song and the band doesn’t feel like it can take it to another level in the way that this band does, then we don’t use the song.” This commitment to making sure all members are satisfied with each and every song is reflected in the collective spirit that characterises the group’s releases. “If another songwriter [in the band] writes a song, you’re just like, ‘Fuck. I have to top this now,’” Johnson says. “There’s certain songs where it’s like, ‘Oh, I wish I had written that,’ and that just makes you want to write a better song. There’s definitely a competition, but in a respect kind of way, not a negative way. “When Jon and I met, both of us had been in bands for years and had grown tired of it. We were just writing songs on our own but we were fans of each other’s songs. The band formed out of an admiration for each other’s songs and tricks that he knew to songwriting that I found illuminating [and vice versa].” What: Splendour In The Grass 2014 With: Outkast, Two Door Cinema Club, Lily Allen, Foster The People, London Grammar, Darkside and many more Where: North Byron Parklands When: Friday July 25 – Sunday July 27 Sideshow: Oxford Art Factory, Saturday July 26 And: Let’s Be Still out now through Sub Pop/Inertia

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n a world where homogeneity is so often rewarded and encouraged, Wild Beasts’ take on things is refreshing. The UK-based avantgarde dream-pop outfit has been described as “exquisitely weird”. Hayden Thorpe, their considered frontman, is well pleased. “I love that description,” he laughs. “Although, I’d prefer that it’d been ‘weirdly exquisite’. We’re forever at odds. I think that’s what we do. It’s a constant in a forever-changing world – the constant is in our difference.” Clearly, Wild Beasts don’t shy away from oddity or difference. In fact, they frequently describe themselves as outsiders – it’s a point of pride. Partly, they put this down to location. They formed in 2002 in Kendal, a far-flung, tiny farming community in England. Being so far from where it’s at creates a sense of isolation and distance. They’re extraordinarily popular now though, so why does this sense of otherness persist? “It’s because it’s strongly addictive,” Thorpe says. “It’s a galvanising tool. Also, it’s because we’ve not taken the typically careerist route – we’ve not gone to bed with industry. Our strength lies in the uniqueness of what we offer, not the similarities. People are drawn to us because we’re a bit left of centre, a bit bizarre, a bit more niche. All of my favourite bands were like that. Take The Smiths, for instance – it was like being part of a complex members’ club if you got their humour, their quirks and irony.”

Wild beasts photo by Klaus Thymann

Thorpe is concerned that it’s becoming increasingly difficult, musically, for people to do their own

“OUR STRENGTH LIES IN THE UNIQUENESS OF WHAT WE OFFER, NOT THE SIMILARITIES. PEOPLE ARE DRAWN TO US BECAUSE WE’RE A BIT LEFT OF CENTRE”.

thing. It’s not without precedent, but it’s rare. Take St. Vincent. “She’s a wonderful example of artistry and the ability to hold her own,” he says. “It can and does happen. It’s not an easy thing to do, though, and it’s certainly not as easy as it is to play by the rules. For every St. Vincent, there are ten who don’t make it.” And, most certainly, Wild Beasts have made it. If it’s any indication, they’re just back from playing Glastonbury (again) and they’re about to embark on a pretty comprehensive world tour. Achieving the level of success they enjoy doesn’t come without a price, however.

“I guess I sacrifi ced normality from an early age,” Thorpe says. “I’m more interested in unpredictability and a visceral existence. I guess that’s not a sacrifi ce though – it’s been a blessing. For all its uncertainties, creative work is a privilege.” In February, the band released Present Tense, its first album in three years. The group believes that music is supposed to be a response to the world. What were they responding to this time around? “We’re responding to adult existence,” says Thorpe. “For anyone, it’s a bit of a headfuck. By nature, we question things. That’s

certainly the case for us coming out of our late 20s. I do think the way that our culture is now elongates youth. For those who are lucky enough, you can almost hitch-hike your way to your mid-20s. Then, you hit some fallout. Where do I move? What do I do now? After [2011 album] Smother, we were fi nding our bearings again.” This whole discussion has been a bit of a refl ection on the passage of time, and it leads back to where it all started. Doing things his own way is nothing new for Thorpe – it’s been a character trait since youth. “My mother made me go to piano lessons from the age of seven,” he recalls. “I absolutely hated them.

It was strict classical teaching and I hated it. I found a lot more joy in my own compositions, my own ideas. Playing them back was most rewarding. “Then, as I got older, like any teenage boy, it was football or the guitar. I was way too skinny and wet to get too far with football. So, as skinny, wet boys are wont to do, I picked up the guitar, smoked weed and became introverted and, at some point, I emerged out of that as an adult.” What: Present Tense out now through Domino/EMI Sideshow: Manning Bar, Monday July 28, with Jesse Davidson

Have you heard?

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“I WANTED TO MAKE A DANCE ALBUM; I WANTED TO MAKE PEOPLE SHAKE. THE REASON WHY WE BROUGHT IN PRODUCERS FOR HELP IS BECAUSE THEY HAVE THE INSIDE SCOOP ABOUT WHAT MAKES DANCE MUSIC AND RADIO POP WORK.”

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errill Garbus and her avantpop project tUnE-yArDs have jumped on board the Splendour In The Grass bandwagon this year to show off their freshly released third album, Nikki Nack. They’ll be sharing it with live audiences at sideshows in Sydney and Melbourne as well – and the performances are as much about visual expression as the music. Bright colours and boldness correspond with what tUnE-yArDs’ music wants to do, says Garbus, as she runs through what punters can expect from their upcoming gigs.

tUnE-yArDs photo by Holly Anres

“There’s going to be a lot of insanity. We have a really strong live show; we’ve honed it. We now have two backup singers in addition to me, and then a percussionist, and it’s pretty incredible how much we all intersect. It’s hard music to make look easy and relaxing, but that’s what we are trying to do.” It’s fair to say that relaxing is not exactly what Garbus was doing in the lead-up to recording the new album, having sought out the help of two of the industry’s most respected producers to refine the band’s earlier sounds. John Hill (Rihanna, M.I.A.) and Malay (Frank Ocean, Alicia Keys) taught Garbus and her longtime collaborator Nate Brenner how to get people moving. “I wanted to make a dance album; I wanted to make people shake,” says Garbus. “The reason why we brought in producers for help is because they have the inside scoop about what makes dance music and radio pop work.”

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“Nate comes from a jazz background and I come from a more DIY background,” Garbus says. “We learnt about the really deep synth and subharmonic sounds and drum machines and some other really technical tricks of the trade.”

doing sometimes. I’m just following my nose, but I’ve been told that it sounds crisper and more refined. I still like to think that it’s got a lot of rough edges – an abrasiveness that’s intentional. It’s gone from being a really lo-fi project to having the lower-fi elements being a part of the overall sound, and we have been lucky enough to record with amazing engineers, too. I feel more like a composer now. The early years were pretty simple and I feel like I have a broader confidence now.”

Even with the help of some bigwig producers, Garbus has her own ideas on how the process of making her version of pop music has developed since tUnE-yArDs were born.

But it’s not only her music that has undergone a transformation, as Garbus opens up about the personal challenges she’s dealt with in parallel to her music.

“I think for me, of course, it’s hard to have perspective on what I am

“You know, I used to wear all black. I think as part of tUnE-yArDs, I’ve

tUnE-yArDs’ sound definitely has the ability to get people up and out of their seats. Listening to tracks featuring layers of repetitive drumming like the personality-packed ‘Water Fountain’, it’s almost impossible not to want to throw shapes wherever you are.

scheduled day off in Sydney. But it’s not just our unique culinary delights Garbus wants to sample. This time, a spot of retail therapy is also on the cards.

really enjoyed coming into my body more. My body was always a source of pain and shame for me for a lot of my life, and it’s been great to become bolder.” Indeed, a common thread throughout tUnE-yArDs’ music videos is the presence of colour, movement and energy – three elements that Garbus now exudes in her own personal style. “I looked in the mirror the other day at this crazy clashing outfit that I had on and thought, ‘That just makes me happy; it gives me energy looking at it.’ And that’s the bonus of being a rock star. I can get away with anything.” Having visited our shores before, tUnE-yArDs are well versed in where to find a delicious kangaroo steak – and that’s at the top of their ‘to do’ list during their one

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antagonising,” he says. “I’ve always liked rock music. I liked that there was less bullshit and they weren’t trying to fool you. For example, John Lennon or Bob Dylan, they’re just using a guitar to convey something. I love that and that’s what the core of [Darlia] is. It’s using a guitar to say, ‘I’m not fucking about, I’m just doing something.’”

Emerging less than a year ago, Blackpool three-piece Darlia are currently exciting UK audiences with their brash yet melodic take on guitar music. And the trio’s frontman and songwriter Nathan Day doesn’t hesitate to voice his bold ambitions.

As soon as Darlia’s debut EP Knock Knock landed last October, the group’s sonic semblance to both grunge and Britpop led the UK press to nominate them as harbingers of a new rock revival. Day is aware of garnering comparisons to such iconic forebears, but recapitulating the 1990s’ major rock movements wasn’t the intention.

“I don’t care how it sounds, it’s the truth: I’m playing a game, I’m

“I don’t want to be a grunge band at all,” he says. “I’m not a fan of

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grunge, I don’t love grunge, I don’t have anything to do with grunge. The only thing that ties me and the ’90s together is the fact that I was born in ’94.” Given that Darlia’s peroxide-blonde creative force is only 20 years old, it’s fair to assume he’s still cultivating a songwriting personality and developing the band’s sound. Conversely, Day says he’s been working towards this project for years. “I’ve known what I’m doing since a young age. I’ve planned it all. I know what I’m doing. That’s the way I’m rolling. I’m doing it my way and what works and what stinks, with what I’m doing, is what happens. “Before I’d even met Dave [Williams, bass] and before I’d even met Jack [Bentham, drums], I had albums’

While the UK music press has a tendency to make exaggerated proclamations about paradigm shifts in rock music every other month, hindsight suggests that nothing from the last few years justifies use of the terms ‘movement’ or ‘revolution’. However, Day believes the time for a change is here. “In 2000 and 2001 there was new wave of new guitar and it was like, ‘This is the new noise,’ as opposed to the ’90s. I think that restarted in maybe 2012, but did not actually happen at all. Then in 2013 it was like, ‘Is it going to happen? No it’s not.’ And then, 2014 – ‘OK, yes it is.’” Day might be confident that a real resurgence is upon us, but he’s not necessarily satisfied with the work of his contemporaries. “There’s a lot of bands that I like what they’re doing,” he says, “but there’s no message and there’s nothing that you can take from that. “Last year I did not read the NME, I didn’t read any music magazines, I didn’t care about anything. But I was kind of aware that Palma Violets and Peace and Swim Deep and anyone who basically held a guitar – that was cool again. And I knew that this was starting again, this whole guitar bollocks.” Bollocks? Surely the guitar’s return to the spotlight is a positive shift for

And though tUnE-yArDs are in the midst of an exhausting touring schedule, Garbus tries to remember that this lifestyle of music, food and shopping won’t last forever. “Being at home and writing an album for a year has really made it clear what a privilege it is to be able to travel internationally and be witness to other people’s lives first-hand,” she says. “For me, that is really priceless information.” What: Nikki Nack out now through 4AD/Remote Control Sideshow: Oxford Art Factory, Monday July 28, with D.D Dumbo

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worth and albums’ worth [of songs] ready. I knew how things would unfold, even the bad side of things. I knew that we’d get compared to grunge bands. For the time being I know that what we’re doing sounds grungy and I know that it sounds poppy and grunge-poppy. But in time it will be truly what I meant it to be.”

he history of UK rock music comprises a succession of outspoken personalities. Key provocateurs from past decades include foul-mouthed punk Johnny Rotten, belligerent vegetarian Morrissey and baffled egotist Liam Gallagher. In recent years it’s been serial fuck-up Pete Doherty, cartoonish saviours Kasabian and eloquent heir to the throne Alex Turner perpetuating the lineage of outspoken rock’n’rollers.

“There’s an Australian designer – I forget the name – one of our band members Jo [Lampert] loves. She definitely has her eye on their stuff. Apparently they make clothes with sequined eyeballs all over them.”

a band in Darlia’s position. Well, to paraphrase Morrissey, Day stresses that simply playing an electric guitar is not enough to make you a rock’n’roll star. “That’s what annoys me, because if you’re a session musician and you’re playing for Florence And The Machine, for example … it does not make the genre; what you hold in your hand. “The Prodigy – I would say that’s got rock and that’s got punk inside it. I don’t even think there’s a single guitar, apart from a few tracks, but they’ve got more punk than anything that’s around today. What really pisses me off is when people are not rock’n’roll and they’re not punk but they are conveying that false image by holding a guitar and using that as imagery.” Fair enough. There have been plenty of bands and artists through history who’ve utilised the guitar as their primary tool without producing music appropriately deemed ‘rock’ or ‘punk’. But if Day’s willing to make these hard statements, what does he believe it is that properly constitutes rock music? “The human species is a primal thing and we act on instinct,” he says. “Instinct is raw and instinct is basic. I think that if you’ve got a guitar in your hand, a drummer and a bassist – that’s instinctive, that’s primal. You’re just doing it, you’re not fucking about with any politics.” What: Candyman out now through Dew Process/Universal Sideshow: Supporting Skaters, Oxford Art Factory, Thursday July 24

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f he wasn’t superstitious at the start of his career, Mark Zito probably is now. Shortly after Fractures scored The Guardian’s Single of the Week in mid-2013, and a few days before a sold-out gig in Melbourne, Zito fractured his neck. It took him three months to recover, during which time his desire to keep writing and composing found itself put on the back-burner. It makes you glad he didn’t decide to name his musical project Aneurysm or Torn Apart By Wild Dogs. “Yeah, luckily,” he laughs. “Well, I don’t know if it’s luck exactly, but the name came first and the injury second. If I’d been smart I would have come up with a more positive name, but here we are. From the get-go it was clear that the recovery was going to be pretty straightforward, and in my mind I thought it might be a good time to throw some tunes against the wall and see what sticks. But it didn’t really eventuate that way, which was frustrating. I just had to be patient and recognise that it was going to take some time off the radar before I could get back to it.” You have to give the man points for dedication. Less than a year later and his self-titled EP has dropped, he has gigs booked across the country and is featuring at this year’s

industry powwow, Bigsound – not to mention Splendour In The Grass. Clearly the key to success is a brush with mortality. (Not that we’re recommending anyone should start jumping out of windows to get famous.) At any rate, it has led Zito to create some hugely popular, haunting tracks, most of which start their life in decidedly not-mysterious style. “It’s no dark room full of candles,” he says. “My approach is pretty vanilla, really. I give myself a lot of time, and tend to focus on whatever is in front of me. I’ll sit down with maybe a synth plugin and tweak it until I’ve found something I liked. More often than not I’d come up with something on keys and just go from there. I guess a lot of people would say that their music is organic, but for me it really kind of is. And it all just starts with me sitting at a computer alone, hitting keys.” Aside from the music itself, Fractures has developed a reputation for strong, narrative lyrics. It is hard not to hear recent single ‘Won’t Win’ as being somewhat autobiographical. Only, it isn’t. “The thing with ‘Won’t Win’ is – and here I guess you’ve fallen into my trap – is that it’s not really a personal story at all. A lot of the songs are things I’ll

see other people go through. I mean, I’ve had such a breezy life, I don’t really have this catalogue of tragedy to draw upon. But I seem to always write about it anyway. I take a chunk out of a story that’s happened to a friend and extrapolate, fill in the blanks, and try to emphasise my own point of view. Even then, they’re vague enough, or the stories are unremarkable enough, that no-one is ever going to clue on to the fact it’s about them. I’m covering my tracks.” Considering Fractures’ live band comprises Zito’s brother and old friends, it probably pays not to be too specific. You might run the risk of onstage fistfights and trashed instruments. “The beauty of [Fractures] is that ultimately I get the final say, it’s not like it’s an equal partnership,” he laughs. “I’ll always take advice on board, but if I don’t agree, well… Luckily we’re not a passionate enough family to come to blows or anything. [My brother would] probably be able to take me anyway, so I’m glad we don’t have to go there. I haven’t had to call Mum and complain yet.” What: Fractures out now through Create/Control Sideshow: The Vanguard, Friday August 8

Five acts to catch at Byron this year… FUTURE ISLANDS GW McLennan Tent, 7pm Saturday This Baltimore-based three-piece is cruising a massive hype wave from David Letterman straight to Byron Bay. Their fourth album ‘Singles’ is ripe and fresh in our aural conscience, but it’s their rowdy, uninhibited approach to synthpop that puts Future Islands on the top of our ‘to do’ list this Splendour. Hats go off to anyone game enough to try out singer Samuel T. Herring’s mad leg moves in Splendour’s notorious mud pits.

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CITY AND COLOUR Amphitheatre, 9:15pm Saturday

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ntil recently, The Acid were an enigma. No-one knew who they were or where they were from. Initially, calls for information were met with radio silence, adding to the shroud of mystery. All that was known was The Acid were behind some achingly beautiful, even groundbreaking songs. Their eponymously titled EP, The Acid, released in April this year, is a lush, luxuriant, ambient, celestialsounding collection of electronic and guitar-laden beauties that bathes one’s ears in warmth. It’s an experience outside the ordinary listen – much like The Acid’s debut album, Liminal, which followed in May. Now we know the identities behind the band: California’s Steve Nalepa, England’s Adam Freeland and Australian expat Ry X. Nalepa talks about the evolution of the group. “Initially, when Adam, Ry and I got together in the studio, we had no plans,” he says. “However, on the very first day we wrote ‘Animal’ and we were all like, ‘Wow, that is awesome, we better clear our diaries,’ and over the next ten days we recorded the EP. That first song, ‘Animal’, was so magical. We always had that to go back to. “I was on tour with The Weekenders straight after that. Everyone had to split for other projects. In the

meantime, Adam had one of his friends run the tracks through a tape machine to warm things up a bit. Around that time, we made a conscious decision not to tell anyone about it. We all have our own established careers and various things are associated with each of us. We didn’t want the EP to be judged as someone’s ‘new thing’ or side project. We just wanted the music to be first and foremost.” The mystique couldn’t last forever, though. The EP was so well received that it provoked an almost frenzied response. “I wasn’t expecting it,” Nalepa says. “Suddenly we were getting hit up with messages all the time asking about us. People were saying, ‘We are taking bets on who you are.’ It was really catching on and we played up to that a bit. We started saying we were from Santiago, Chile, Berlin, Sydney – all of these exotic locations – and we changed it every couple of days. It was playful.” Despite having no plans when they set out to record, The Acid were guided by principles of minimalism and simplicity. “‘Everything should be made as simple as possible, but not simpler.’ Adam told us that on one of the first days of recording – it’s an Einstein quote. We kept coming back to that. So we stripped everything back as much as we

could, without losing anything. Besides, Ry is such an incredible singer. We don’t need much more.” The aura of mystery around the band was compounded by other factors, including the name. “As far as we were aware, The Acid hadn’t been used yet. It was kind of a bold move, really. It’s a really strong name. Before we identified ourselves as being a band, we connected musically and quickly built a body of work. At some stage after that, Adam was at a friend’s house and he thought he read ‘The Acid’ on something, although, he actually didn’t. We were concerned about the name to a degree, because it has certain connotations. Because of that, we made an effort not to use traditional psychedelic colours and fractals. “There is a bit of mystery around it, too. It can be interpreted in different ways. Another way to look at it is that acid can dissolve things and create something abstract. That’s us – we’ve dissolved into each other and created something else. We’re really proud of what we’ve made and we want people to interpret it as they will.” What: Liminal out now through Infectious Music/Liberator Sideshow: Goodgod Small Club, Wednesday July 23

Australia has fallen in love with Dallas Green, and why not? The Hurry And The Harm is the fourth addition to his catalogue as City And Colour, and Splendour marks his return to our shores for the second time in 12 months to play it, alongside a Sydney Opera House sideshow. A night-time slot on Splendour’s main stage will be the perfect moment for a huge sing-along to ‘Fragile Bird’, ‘Thirst’ and more, no doubt.

JUNGLE Mix Up Stage, 3pm Sunday This UK duo turned musical collective is an ideal festival melting pot of ’70s funk and psychedelic soul, all wrapped up in some downright schmick Adidas jogging suits that we all wish we could pull off. Jungle have been easing themselves into our ears since the end of last year with a string of deeply infectious singles and an EP, The Heat. Byron Bay will be one of their first stops after their debut album drops this month.

SKATERS Amphitheatre, 12:45pm Sunday New York quartet Skaters are making exactly the type of gritty punk rock that you’d imagine. Their debut album Manhattan, released earlier this year, is not the most deep and meaningful release we’ve heard in 2014 – but what Manhattan does have going for it is a solid 40 minutes of fast, loud songs about partying, getting drunk and passing out – the things that many a Splendour punter can probably relate to.

VIOLENT SOHO Amphitheatre, 4:45pm Saturday Yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah! That might be all you need to know about Violent Soho, the Brisbane rockers who have battered the airwaves into submission since the release of their third record, Hungry Ghost, last year. We don’t want to be anywhere else when ‘Covered In Chrome’ drops on the festival crowd this time, though the interests of self-preservation might suggest not venturing too close to the front.

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Thumpers Smash And Grab By James Nicoli

Hailmary Full Of Bass By Bob Gordon

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ailmary released their debut album, Choice Path Consequence Solution, back in late 2012. The Perth band didn’t want to wait too much longer to put out another release and support its new material on the road. Hence the dual EPs lined up for this year. “The plan for 2014 was – and is – to release an album’s worth of material over two EPs,” explains vocalist Kevin Curran. “The first being Navigate The Sunrise, which we released in May and have been touring across May and June, and we’ll kick off work in the studio on the second EP in July. “Our schedule for 2014 was really tight and as such we wouldn’t have had the time to record once again in the States. So, given our drummer Vas [Shevstov] had recently built a studio at his house – aptly named Vasectomy Studio – we thought we’d give the engineering side a go this time around. It was certainly trial and error, but we are stoked with the result.” Given some of the songs on Choice Path Consequence Solution are at this point several years old, the opportunity to perform fresh material is a must for any touring band. That’s certainly how Curran sees it. “I feel they are a step above the songs on the last record,” he says. “Certainly we have a clear ‘Hailmary’ sound now, and there is no doubt they are super fun to play live. They are a fair bit grittier and have been received really well.” Navigate The Sunrise was co-produced by Curran and Shevstov alongside famed US producer Jeff Tomei (Jerry Cantrell, The Smashing Pumpkins, Skid Row), who is by now a long-time Hailmary mentor and collaborator. “This is the third release that Jeff has worked with us on now, so we have infinite trust in Jeff and the part that he plays in the Hailmary sound,” says Curran. “It’s very much a team effort in delivering the final product – despite

being located in two countries, the process worked really well.” With bassist Nairn McKay having left the band before the recording, Karnivool’s Jon Stockman stepped into the studio to help out. “It was pretty amazing, to be honest, and he certainly blew our minds in the studio,” Curran says. “Jon is a super nice guy and it was really awesome to have him play on this EP. His bass is like another arm in the way he plays, and he really brought some awesome stuff to this record.” Melbourne bassist Mick Quee from Dead City Ruins stepped into the bass boots for the tour, and it sounds like a good fit. “He’s a killer player and has bought such a strong dynamic to the band, both onstage and off,” says Curran. “He’s a funny bugger. He’s road-hardened after multiple tours through Europe with his own band, and we’ve really enjoyed playing with him.” In between those studio dates for the next EP, Hailmary head back east for some shows at the end of this month. Later in the year they’ll do another lap of the country, with Europe beckoning afterwards. In the meantime, it’s all about finishing off the national Navigate The Sunrise tour. “It’s been amazing,” Curran says. “14 shows done so far across five states and we just finished the Victorian leg on a massive high, with our best show of the tour at the Rock N Load Festival at The Espy. The energy and support that has been coming from the punters has blown us away.” What: Navigate The Sunrise out now through Third Verse/Black Wolf Records Where: Frankie’s Pizza When: Thursday July 31

“I

’ve heard good things about Australia and I’m just super excited to see what it feels like,” says John Hamson Jr. down the phone line in a strong London accent. As part of British alt-pop band Thumpers, Hamson (drums, vocals, bass) and bandmate Marcus Pepperell (vocals, guitar, keys) are about to touch down for their first-ever Australian tour. The duo has spent much of the last year playing shows across the UK, Europe and North America. With just two intimate shows scheduled for this particular tour – one in Sydney and one in Melbourne – Thumpers are preparing to enter unknown territory. “Different countries receive your music differently,” says Hamson. “We did this really long tour with Chvrches last October in Europe. You know, you travel 200 miles, through different cultures and they react to your music so differently. How our music is received is such a big part of it.” The birth of Thumpers was all about timing. Long-time friends and collaborators Hamson and Pepperell had spent countless years playing together in London’s underground indie scene. But after a rather unpleasant encounter with the business side of the music industry, they both found themselves needing to take some time away from everything. Hamson eventually found himself playing as a session drummer and performing live for Friendly Fires. Yet he was never quite able to find the same musical connection he’d had with Pepperell. “When you’re playing other people’s music, it’s brilliant because there’s no strings attached, you just do all the fun stuff,” he says. “Like doing Glastonbury or whatever, there’s a shitload of people, but it’s not for you, there’s a bit of emptiness to it. That is the kind of thing I missed, I suppose.”

It wasn’t long before Hamson and Pepperell reunited, swapping ideas and sending demo tracks back and forth. Their friendship served them well, allowing them to reach their creative potential, but also enhancing their working relationship. “I feel like we’re very honest with each other, and I think that’s why you can have two people being the creative force. But definitely things take slightly longer when you’re recording because all the ideas have to come from two people,” says Hamson. After some initial recordings and live shows, Thumpers began to play a number of increasingly high-profile support slots. Then, enlisting the services of producer David Kosten, the duo went into the studio to record debut album Galore. “[Kosten] was at the top of our list, just because we loved the stuff he had done with Bat For Lashes and Everything Everything. It was just really relaxed. He’s got such good taste and sort of reined us in when we were doing too much. It was a really good experience.” The result is a modern alt-pop record, teeming with catchy melodies alongside unconventional drum sounds, rhythms and layered synths. “That sort of drum sound, it’s all really triple tracked and layered up, just to create something a bit weirder,” says Hamson. “I guess the songs are so poppy – to offset that popness, we like them being really melodic, but then [we have] stuff that’s quite harsh-sounding as well.” What: Galore out now through Hub/Inertia With: Swrls, GG Magree Where: Beach Road Hotel When: Wednesday July 9 And: Also appearing at Newtown Social Club on Thursday July 10 with Tales In Space and Billy Fox

Tim Freedman Imagining Nilsson By Dan Watt

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ho was Harry Nilsson? He was the guy who John Lennon thought it was cool to be into (and that’s pretty cool). The enigmatic recording artist released 17 albums from 1966 to 1980 – his productivity driven by deep emotional issues alongside a savantlike intelligence that was a constant source of creativity as he rearranged and liberated the tenets of pop music. Ironically, Nilsson didn’t write his biggest hit – 1969’s ‘Everybody’s Talkin’’ – and the song he made the most money from, ‘Cuddly Toy’, was performed by The Monkees. With such a varying and broad catalogue, the task of summarising Nilsson’s career into a 75-minute cabaret show would ordinarily be a difficult one. But Tim Freedman – the Australian music industry legend and frontman of The Whitlams – has done just that.

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At night Nilsson stayed up writing, and it was during one of those prolific late-night songwriting sessions that he wrote ‘Cuddly Toy’. He pitched the song to the buzz band of the time, The Monkees, because he thought it would suit Davy Jones’ voice. ‘Cuddly Toy’ was the song that would take Nilsson from bedroom composer to international renown, earning fans in Lennon and Paul McCartney. But with fame and fortune came excess, and Nilsson’s voice began to suffer – though his output remained prolific. Freedman Does Nilsson incorporates this chequered narrative. “It’s vaguely chronological,” says Freedman. “Around the start are early songs that were pretty highly wrought, almost overwritten in the lyric department with lots of rhymes and intricate patterns. He was a maths genius and you can

see that when you take his work apart. So I start with ‘1941’ – that is about a father leaving his son. And throughout the night there are abandonment issues, and how they are reflected in his work, and then I start branching into relationships with other artists like Lennon, McCartney and Randy Newman. And then I need to tackle his decline, because he basically committed a 20-year suicide from ’72 to ’92, so there has to be a little bit of the self-sabotage. Rich fodder for cabaret.” Nilsson’s life of excess showed he was more than happy to let his vices take hold. Similarly, in the early days of The Whitlams, Freedman was renowned for his penchant for red wine – consuming multiple bottles before, during and after a show. However, Freedman says his indulgence paled in comparison to Nilsson’s. “Nilsson was heavily into the uppers – as seemed to be the thing in the early ’70s. Whereas I would drink a bottle of wine and retire for the evening, he would be going for days and, you see, he never toured so he could get away with it – not resting his voice.” What: Freedman Does Nilsson – A Live Imagining Where: The Basement When: Friday July 25

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“I suspected, and my suspicions have been confirmed, that he has largely been forgotten in the broader consciousness,” says Freedman. “He was a prolific recording artist. Quite a maverick – taking left turns and risks with his music. So with any career with over 15 studio albums, there’s a gem from each time period, resulting in an extremely strong 75 minutes of material. I could probably do two hours if I thought cabaret could sustain such a length.”

The homage to Nilsson is titled Freedman Does Nilsson – A Live Imagining, and features Freedman performing each song in character as Nilsson himself. Born in 1941 in a working-class neighbourhood of Brooklyn called Bushwick, Nilsson saw his father walk out on the family when young Harry was only three. It resulted in an emotionally tumultuous upbringing for Nilsson, who dropped out of school early, but his skill with numbers allowed him to bluff his way into a graduate computing position at a bank.

Lowtide The Big One By Lachlan Kanoniuk canvases of shoegaze, the four-piece has fostered a slowly growing following thanks to sporadic live appearances over the past few years. Ahead of the album’s release, bandleader and guitarist Gabe Lewis takes a gaze back on their history. “The solo thing was kind of hard work and lonely – I fi gured that having a few other people around would make it easier,” Lewis says. “That sort of grew into something that was no longer a solo thing and needed its own space. That turned into Lowtide, and it’s just gone on from there.” With only a handful of studio tracks released in the past few years, anticipation for Lowtide’s full-length is understandably riding high. “I guess the oldest song would have to be three or four years [old], then there were a couple of songs just before we started recording,” Lewis says. “‘Held’ was the last one that was written, that was probably two weeks before we started recording. People would go away and we’d think we would have this time to sit down and write stuff because we weren’t doing anything else. Then nothing happens, so eventually we made a rule we would never say when anything was going to be ready. We kept quiet about it, now fi nally we have something out.” It wasn’t simply a case of transposing a setlist into a tracklist – each performance had a highly considered song selection and the album’s running order even more so.

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ne of Melbourne’s best-kept secrets isn’t set to stay that way for much longer, with Lowtide to unleash their

long-awaited, self-titled debut album after what feels like something of an eternity. Painting deft melodic strokes on enormous

“Live, it was just week to week, gig to gig. It depends on who we’re playing with, and we’ll try and tailor it to whoever is supporting us. With the album, we tried to squeeze everything in so it would fi t on two sides of a record. There were a few

things that weren’t fi tting quite right and we weren’t quite sure about it. Then Lucy [Buckeridge, bass] had a connection to Simon Raymonde from Cocteau Twins and sent off an early mix of everything, and he sent back opinions and ideas on track order and things like that. It was great having outside input, especially from him. We took on some of those ideas, then freed it up a bit more by removing songs, then it had a far nicer fl ow.” Rising well above the glut of shoegaze revivalists in recent years, Lowtide manage to craft deft melodic touches within their huge washes of guitar tones. Still, it’s a genre touchstone that’s proving susceptible to pigeonholing. “I do want to be cautious about that, but you can’t change people’s opinions about things. And that shoegaze aesthetic is exactly what I’m trying to get it to sound like. It’s a recent thing – everyone’s so sick of hearing about it now because it’s back in fashion, but I’ve been really into it the past 15 years or so. “I don’t really see it as any different from a blues or roots group rehashing old shit. But obviously I’m trying to add elements of pop to the guitar stuff I’m doing. You need a catch and a hook; it’s not just experimental music or noise, it needs substance and structure. Something that will make listeners latch on. The sound is just the way it’s passed onto you.” What: Lowtide out Friday July 18 through Lost And Lonesome With: Devotional, Miners, Shrapnel Where: The Roller Den When: Friday August 8

The Amity Affliction Strength In Numbers By Peter Hodgson from it. But from everything I’ve heard so far, everyone that experiences the same sort of emotions has been responding in a better way to how they did with Chasing Ghosts. That album had a third person narrative to some of the songs, and this time it’s like it’s more about what I feel and how I go through it. And I think a lot of people who have the same sort of issues as me are responding much more positively and in a much more emotionally cathartic way. More so than an in-your-face topic.” The recording sessions for the album were much more relaxed this time around. Birch got to live at home and was even able to go surfi ng when not in the studio. Producer Will Putney has worked on enough of the band’s projects to know how to help it to realise its musical vision. “He engineered Youngbloods, he mixed Chasing Ghosts, so he has a pretty good understanding of our personalities, having worked with the guitars a lot on Youngbloods and also having seen me have a meltdown on Youngbloods, when I nearly quit the band,” says Birch. “And he’s the same age as us so the music is relevant to him. We really couldn’t have picked a more appropriate producer. We’ve always had a very strong sense of ourselves and our music, and we’re never, ever going to buckle to any outside opinion.

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“I’m not the only one in the band with anxiety issues,” Birch says. “Ahren [Stringer, bass/vocals] has been crippled by it once before. He actually fell over and was paralysed, could not move, and they called an ambulance thinking he was dying. It turns out he was actually having a panic attack. Ryan [Burt, drums] also suffers with it as well. It’s a central theme because I’ve dealt with it over the last year, or the year leading up to writing Let The Ocean Take Me, but I wasn’t planning on writing about it, it’s just how it worked out.” When undergoing a course of cognitive behaviour therapy to address anxiety issues, doctors often stress (there’s that word again) that a certain level of anxiety can actually be motivational. It’s only when things go too far that the ‘fi ght or fl ight’

refl ex is tripped. Is this something Birch has been able to control and consciously harness? “Well, I’m on medication and according to the doctor I’m chronically depressed… I try, but…” For anyone who’s gone through the same thing, there’s a lot to relate to on Let The Ocean Take Me. You don’t need to be in a hugely popular hardcore band to be able to empathise with what Birch and his bandmates are going through. It’s the sound of someone who has good moments and bad moments. “Well, that’s cool because I was actually worried that a lot of my lyrics were too dark and people would feel almost a disconnect

“Like, I don’t ever let anyone fuck with my lyrics, ever, ever – but Will put some changes to me that I made on the record in such a way that it was far more acceptable for me. He would just point out things that could be stronger, almost like an essay where you’ve got to outline the meaning in the first paragraph, then get to it, and then wrap it up at the end. He would provide me with that kind of input and I would change my lyrics accordingly. It worked out really, really well.” What: Let The Ocean Take Me out now through Roadrunner/Warner With: Architects, Issues, Stray From The Path, Deeznuts Where: Hordern Pavilion When: Thursday September 4

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he Amity Affliction have been on a steady upward trajectory since the release of debut album Severed Ties in 2008. They’d been slogging it out with demos and shows until that release and 2010’s Youngbloods, when the band started to become more confident. Their sound and direction was further solidified with 2012’s Chasing Ghosts. But it’s on new album Let The Ocean Take Me that The Amity Affliction come into their element, reaching the emotional core of their musical statement. The heaviness and aggression is still there, but the melodies and lyrics are more personal and cut deeper. There’s an undercurrent of anxiety throughout the album – stress, panic attacks, the heart-racing aftermath. Vocalist Joel Birch explains that part of the change in theme stems from a near-death experience last year.

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PHIL SPENCER, FESTIVAL DIRECTOR OF BONDI FEAST 100 artists. We caught up with festival director Phil Spencer to find out what’s on the program. This is the third edition of Bondi Feast – can you give us a brief overview of its history? In 2012 myself and festival co-founder Zoe Norton Lodge could feel winter looming in on Bondi and we firmly agreed that if the Pav was going to kick serious artistic goals in Sydney, it couldn’t hibernate over the chilly season. So we made a few gallons of mulled wine, called a bunch of theatre-makers, comedians, storytellers and jaffle makers and we started Bondi Feast. From day one, the local uptake for the festival was phenomenal. That may or may not have been due to the mulled wine. What are some of the best highlights from the festival this year? Some of the 2014 highlights include comedy duo Jared Jekyll and Cameron James with their mix of theatrical storytelling, vaudevillian banter, live music and Hawaiian shirts. Plus we’ve invited Eddie Sharp (Erotic Fan Fiction), Vanessa Bates, Caleb Lewis and Sabrina D’Angelo to the party. We’ll also have a 24-hour playwright program, a bumper edition of Cut & Paste, and Shannon Dooley’s ’80s Retrosweat dance class is on the bill – so bring your spandex.

Apart from the shows, you’ve also got food and drink covered? Each night is a new menu, with food from Night Hawk Diner, Al Cabon, Tsuru, Raw Eats and Veggie Patch. Plus the Batlow Cider boys are sponsoring us, so we’ve got plenty of hot spiced ciders to warm you up! The Festival Bar is open from 6pm, Tuesday - Saturday. Do you have big ambitions for where the festival might be in three more years from now? Bondi is not the first name that rolls off your tongue when you talk about the arts in Australia. But maybe in three years, after we’ve thrown a few more Feasts, supported a few hundred more artists and continued to showcase the most exciting new works alongside cracking local food trucks, then maybe – just maybe – Bondi will be up there. And besides, the view from the Pav balcony isn’t going anywhere anytime soon! What: Bondi Feast Where: Bondi Pavilion When: Until Saturday July 26 More: For the full schedule, head to bondifeast.com.au

A Most Wanted Man opens in cinemas on Thursday July 31, and we’ve got ten in-season double passes to give away. To be in the running, head to thebrag.com/ freeshit and tell us your favourite Philip Seymour Hoffman film.

Sun photo by Gabriele Zucca

UK-based, Israel-born choreographer Hofesh Shechter will bring his latest work, Sun, to the Sydney Opera House next month. The Hofesh Shechter Company came to Sydney in 2010 with Political Mother, and returns this time with a new production that challenges the idea of perfection and utopia. Stylistically, Shechter gets his kicks by working with the most raw form of choreography. Sun plays at the Drama Theatre, Sydney Opera House from Wednesday August 27 – Saturday August 30.

Intimately Connected is an exhibition of wearable art: think your own jewellery collection but on steroids. The exhibit will be a combination of art design and contemporary jewellery making, featuring a range of artists and designers from all around the country and the world. Each artist will explore how unconventional materials can connect and disconnect with the human body. The result will be a mixture of theatrics, harmony, unexpected colour and striking sculpture. Intimately Connected pushes the boundaries for how jewellery is used as traditional medium for expression of power, wealth, sexuality and beauty. It runs at .M Contemporary, Woollahra from Tuesday September 16 – Sunday October 26.

Film says farewell to a legend. That’s but one reason to catch A Most Wanted Man, the last completed film in Philip Seymour Hoffman’s famed career. Director Anton Corbijn has only respectful words to offer about the departed actor and his legacy: “He was a giant of a man … He was 200 per cent human, with all the struggles and flaws that come with this – and that is where great art came from”. In A Most Wanted Man, Hoffman plays the dishevelled Gunter Bachmann, a shady character in Germany’s intelligence services who must uncover the true identity of a young half-Chechen, half-Russian immigrant as danger looms.

Sun by Hofesh Shechter

HELLO SUN

ART ON YOUR SLEEVE

A MOST WANTED MAN

I Origins

AIR SEX, INDIE SWEETHEARTS AND MORE URBAN THREADS

Trees get cold in winter too. That’s why the world’s foremost ‘yarn bombing collective’, Yarn Corner, has taken over Chippendale for the month. The Urban Threads public art initiative sees the trees along Broadway and around Central Park wrapped in colourful yarn. It’ll bring some brightness and warmth to the cool change that’s descended over the city. Urban Threads runs until Sunday August 3.

KEIR CHOREOGRAPHIC AWARD

The first major choreography award in Australia has announced Carriageworks as the brand new home for its finals. The Keir Choreographic Award features a $30,000 cash prize, along with

Les Misérables

a $10,000 prize to be decided by a live audience. The award aims to promote innovation in dance within Australia and will provide means for commissioning new choreographic work. Each of the eight commissioned artists will present a 20-minute body of work exploring a range of themes and ideas from Thursday July 17 – Saturday July 19, with four artists progressing to the Saturday final.

GOOD CONVERSATION

Sydney-based artists Lisa Jones and Tom Loveday are coming together for a joint exhibition to explore how different media can overlap. Jones is a sculptor and Loveday is a painter, and the two work alongside each other in a shared studio. The shared space has now led to a shared exhibition, exploring the various elements that make up each artist’s practice. Lisa Jones & Tom Loveday – A Conversation opens at A-M Gallery, Newtown on Wednesday July 16 and continues until Saturday August 9.

The full program for the ninth annual US and Canadian Possible Worlds Film Festival has been announced. Over 11 days in August, Sydney will get a taste of the finest in independent North American film. The 18 features – nine Canadian and nine American – include the world premiere of Jonathan Evans’ Air Sex: The Movie, a film that follows the Air Sex World Championships (just like the air guitar version, except now ‘slap bass’ means something else). The opening night film will be Ricardo Trogi’s 1987, while other screenings include Triptych, Tom At The Farm, When The Jews Were Funny, Young Ones and I Origins. The program screens at Event Cinemas, George Street from Thursday August 7 – Sunday August 17.

Billy Elliot photo by Alistair Muir

Bradley Perret in Billy Elliot

Cameron Mackintosh’s Australian production of Les Misérables will arrive in Sydney early next year. The legendary Boublil and Schönberg musical first opened in Australia in 1987, and Mackintosh’s production premiered in Melbourne this month, winning rave reviews for its modern reimagining and scenery. Simon Gleeson plays Jean Valjean, alongside a cast that also includes Hayden Tee, Patrice Tipoki, Lara Mulcahy, Trevor Ashley and more. Les Mis opens at the Capitol Theatre in March. Tickets go on sale next month.

BILLY ELLIOT ON SCREEN

Get on your dancing shoes: Billy Elliot The Musical’s West End production, being filmed and shown across UK cinemas in late September, will come to Australian screens in October. Lee Hall’s book and lyrics, and Sir Elton John’s score, are brought to life by director Stephen Daldry in the London theatre production – and now fans across the world are getting their chance. Billy Elliot The Musical Live will screen in Australian cinemas on one day only, Sunday October 5. Check local cinema websites for details and tickets.

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Les Misérables photo by Matt Murphy

LES MISÉRABLES

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his month, Bondi Pavilion will again be transformed for the winter as part of Bondi Feast, the festival of entertainment and music that showcases more than 50 events from

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Willem Dafoe and Philip Seymour Hoffman in A Most Wanted Man

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Steve Hughes

A Doll’s House

[COMEDY] Break It Down By Augustus Welby

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teve Hughes’ stand-up comedy straddles the line between affectionate exposition of everyday irrationality and bitter critique of Western ideology. Ahead of his Enmore Theatre show this month, the heavy metal comedian sounds particularly affected by the gravity of his acute observations.

Steve Hughes

“It really brought a lot of things to a standstill, just being on the road for so long,” Hughes says. “I’m putting a limited edition vinyl album out, recorded last year at Enmore, and I’m listening back to it going, ‘I was hitting a peak of anger and exhaustion.’ It wasn’t like that three or four years ago.”

A Doll’s House

Hughes relocated from Sydney to the UK over a decade ago, but that didn’t stop his Australian following from ballooning. He was forced to postpone his Sydney Comedy Festival show until this month, and it might actually be the last opportunity to see him for the foreseeable future.

[THEATRE] A New Identity By Tegan Jones enrik Ibsen’s classic, A Doll’s House, will be hitting the Seymour Centre’s Reginald Theatre this July and August. Those familiar with the play will know of the controversy it caused due to its critical portrayal of marriage norms and gender relations during the 19th century. Despite being over 130 years old, the story is undoubtedly still relevant to a modern audience. Director Adam Cook has made sure of this – he’s adapted the play personally.

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people’s ideas and not allowed to express themselves.”

“[I began] to think, ‘Well, there must be a higher way to think about this. How can I make this comedy be deeper without being lofty or intellectually aloof?’ I’m actually wondering, ‘How do I make this still funny?’ As much as people claim to like peace and love, on a subconscious level they probably prefer violence. [It’s] far more of a thrill to have their own unexpressed anger versed by some comic ranting his fucking head off.”

Originally performed in 1879, much of the initial contention around A Doll’s House was a reaction to its feminist themes, personified in the character Nora Helmer. Cook explains, “People were so affronted by Nora’s behavior. Even one of the original actresses who played the part demanded that the ending be changed. She just couldn’t play a character who would do that. In fact, Ibsen did do a rewrite, but when he talked to his wife about it, she said, ‘Well if Nora doesn’t leave, I will.’”

“That was what was really apparent, just working on it ourselves. Everybody was thinking how spot on it is in terms of what was happening then, of course, but also for us. It’s a mirror of our contemporary world.”

Sure, Hughes has a reputation for digging the blade into negative features of the contemporary world, but he’s never simply made nagging complaints. His deft slants against established phenomena carry a provocative propensity. Even so, he’s not prepared to think of himself as an educator.

Cook adds that despite the drastic change in time period, the climax – and the play in general – will continue to make an impact today. “It’s still a very shocking moment, no matter what century you live in. It feels so fresh and the arguments are so pertinent to the lives we’re living now.”

“After this tour I might take some time to invest in different things, to see if I’m even going to continue to do comedy,” he reveals. “For years I’ve been on the treadmill of touring like a fucking freight train. I’ve reached a point of re-evaluation and directionlessness.” Hughes’ uncertainty about to where to go next isn’t due to a lack of ideas. Rather, after being swept up in the whirlwind of full-time touring for a number of years, he’s begun to doubt the constructive impact of his comedy. “My intuition has been telling me, ‘How long can you rail against an idea before you perhaps begin to perpetuate the very thing that you’re claiming to be against?’” he explains through maniacal laughter. “A lot of the comedy was directed towards things that apparently seemed to be closing in on some kind of catastrophe; along the lines of global war or the coming together of an ancient plan. So I began to go, ‘OK, how long can you really rally against this?’

OK, so Hughes is basically asserting that a collective breakdown is necessary if we’re to halt planetary destruction and overturn the dominant draconian politics. However, contributing to its occurrence poses a weighty dilemma.

“I would never make an assumption about my audience knowing more or less than me. I think anyone who does stand-up comedy thinking, ‘The audience is stupid,’ [that’s] the dumbest thing you could do. You have no idea what the audience thinks. You have to be open to be proved wrong.” Where: Enmore Theatre When: Friday July 18

Nora’s struggle and path to self-discovery should by no means only be relatable to women. The difficulties she has are a metaphor for a far more universal problem that we’re still dealing with today. “It’s not just about the challenges of womanhood in a masculine world, it’s also a play about intolerance and people’s lack of empathy for any other point of view besides their own,” says Cook. “That’s the world we’re still living in. There’s no openness about alternative ideas. You see the internal destruction done to people when they’re controlled by other

The Effect

This is particularly true for women, who are still pressured to act, dress and speak in certain ways in order to be considered ‘attractive’ and ‘feminine’. “What kind of censoring and self-censoring do women [still] experience?” asks Cook. “What kind of psychic landscape is created in women as a result of having to have relationships with men, and even their own sex?” Cook adds that it’s because of the aforementioned mirror image that he chose to set the play in its own period. “Rather than set it now and have people say, ‘Oh, well it’s a contemporary play about a marriage.’ But when you know it was written 130-odd years ago and you see the world they’re living in, you’re invited to reflect on whether anything has changed or how it has changed. How far have we come? How far do we have to go?” What: A Doll’s House Where: Reginald Theatre, Seymour Centre When: Thursday July 17 – Saturday August 2

A Doll’s House photo by Takaya Honda

“We human beings like to have epiphanies when we have breakdowns, don’t we? Four years of touring gave me a tap on the shoulder and then I thought, ‘Perhaps if an individual can have a wake-up to a breakdown, then the planet may be heading for a breakdown.’”

Even the play’s title implies this context of control and forced perfection. It may seem like the pressure to present acceptable versions of ourselves has lifted – particularly due to the significant societal, moral and religious changes that have occurred since the 19th century – but Cook believes this aspect of the play is still incredibly apt.

Anna McGahan in The Effect

[THEATRE] Love Is The Drug By Adam Norris

“O

ne of the great things in theatre – though really any artistic form – is that you have to expect and embrace the obstacles and the challenges. That’s part of the creation of it,” says Sarah Goodes, director of The Effect, which starts this week at the Sydney Theatre Company. “When we were right in the thick of it and struggling, it was like, ‘This is normal.’ We wouldn’t be doing our job if we weren’t struggling with it. You need to; it’s part of it. You need to keep investigating, trying it different ways. It’s an evolving thing.” Though Goodes is a very convivial conversationalist, her sentences tend to scatter all over the place like ants swarming a piece of cake. Her enthusiasm is infectious, but at times it’s as though there are several different thoughts trying to emerge from her mouth at once. She also has a charming habit of inserting supporting dialogue into her responses in the same fashion a character might step forward to contribute lines.

18 :: BRAG :: 570 :: 09:07:14

The Effect certainly sounds like a fascinating piece of multi-layered theatre. In the Lucy Prebble-written play, we follow medical volunteers in a drug trial as they are being observed by a psychiatrist, who is in turn observed by a doctor. Then, of course, there is Goodes the director, asserting her own control of character and scene. Suddenly, the complications of mounting such a production seem vast. Goodes laughs. “That’s exciting, I think, and challenging. It’s defi nitely one of those pieces that has a lot more going on than at first appears. A lot of the physical language of a piece has to be discovered and created on the fl oor of the rehearsal room, so there is an element of how prepared you can be, and then how much has to be generated from the actual combination of everyone in the room discovering it together. How does time move in this world, how do people move, how do they appear and disappear? I fi nd I always get to this point and go, ‘Ahhh! How come I couldn’t have seen this before?!’ But you can’t, really; it’s something that needs to grow organically. Otherwise you start pushing a round peg into a square hole.”

Helming such a complex show sounds exhilirating – but also rather exhausting. The end result, however, justifies the stress faced along the way. “There are times when I wish I was a photographer or a painter and could lock myself in a room and just do something on my own,” says Goodes. “But most of the time, this is what I love most. I love looking back and remembering that really fabulous connection

between the actors and me, with the sound designer, the lighting and set designer. Having those extreme challenges is exciting, and finding different ways to tell complicated stories is just great.” What: The Effect Where: Wharf 1, Sydney Theatre Company When: Thursday July 10 – Saturday August 16 thebrag.com

The Effect photo by Aaron Tait

“I’ve been working for a really long time directing shows, and I think you sort of… in order to do a show you need to immerse yourself in it, and sometimes you come out of it and look back and go, ‘Wow, that was a really tough one.’ Your memory is really good in forgetting the horror; it tends to remember the good bits. You tend to remember the shows where you all just came together and it was a great time, you know? [The Effect] is a really interesting play, and it’s so

brilliantly written. It’s one of those ones where you start digging and you go, ‘Oh yeah, this is cool, we know what this is.’ But then the more you dig, the more there is, and you start saying, ‘Fuuuuck! It’s much bigger!’”

Film & Theatre Reviews Hits and misses on the silver screen and bareboards around town

Jersey Boys

Walesa. Man Of Hope

■ Theatre

Julia Ohannessian and Georgina Symes in Every Second

EVERY SECOND Playing at Eternity Playhouse until Sunday July 27 ■ Film

WALESA. MAN OF HOPE ■ Film

In cinemas Thursday July 10

JERSEY BOYS

Lech Walesa was the unstoppable driving force behind Poland’s peaceful revolution. At 87 years old, the renowned Polish auteur Andrzej Wajda appears equally unstoppable. No-one seems better qualified to tackle this subject than him. His films have long been chronicling Poland’s history, and he bore witness to the events of the film as they occurred. In fact, Wajda’s Man Of Iron (1981) even featured Walesa in a minor part, playing himself.

In cinemas now Clint Eastwood’s latest directorial effort is an adaptation of the popular Broadway musical Jersey Boys, following the rise and fall of the 1960s rock’n’roll group The Four Seasons and their lead singer Frankie Valli.

Every Second photo by Louis Dillon-Savage

The fi lm is basically Goodfellas, the musical. In the style of Ray Liotta’s Henry Hill, Jersey Boys opens with band member Tommy DeVito narrating directly to the camera. And if you think that name sounds familiar, it’s because Tommy DeVito is actually the name of Joe Pesci’s character in Goodfellas. Add to this that Pesci is himself a character in Jersey Boys, and it’s clear that the Goodfellas connection is not an accident. The fi lm is really well-made, and it does look fantastic, but it seems unable to decide whether it wants to be a gritty gangster fl ick or a Broadway show, which kills the narrative fl ow a little. It also takes a long time to reach its first song, but when it fi nally arrives the movie fi nds its fl ow. John Lloyd Young is absolutely fantastic as Valli, and he really captures that amazing voice that rocketed The Four Seasons to fame. Eastwood’s decision to maintain the Broadway cast for the fi lm is an admirable one, and it defi nitely pays off in the musical numbers. While Jersey Boys is enjoyable, it’s a little long and contains the extra cheese that has been a staple in most of Eastwood’s recent releases. It’s not one of his best, but it’s a solid fi lm and will be a treat for fans of The Four Seasons. Louisa Bulley

Confrontational, charismatic, and committed to peace, Walesa (played this time by Robert Więckiewicz) is the shipyard-worker-turnedhero of Poland’s uprising against the Sovietcontrolled state. It marked the first in a series of revolutions across Eastern Europe, leading to the fall of the Iron Curtain. Man Of Hope is set through the guise of Oriana Fallaci’s 1981 interview with the leader. Through Fallaci’s prompting, Walesa recounts his unplanned rise to fame. Beginning with a small-scale strike in a Gdansk shipyard, he quickly moves on to the role of leader of the Solidarity movement, and eventually wins the Nobel Peace Prize for his work. Więckiewicz’s striking performance brings Walesa to life, and his uncanny likeness means that interspersed archival footage flows easily into the plotline. There is also an effective balance held between Walesa’s public and private life. The strength of his wife Danuta (Agnieszka Grochowska) through the turmoil does not go unnoticed in the film, even if it does by Walesa at the time. With such a complex subject there is potential to get lost in the details, but the film keeps an energising pace as events play out. It’s all helped along by a great soundtrack, which draws on popular Polish music, from punk to reggae. It is noteworthy, however, that the film’s timeline ends in 1981, rather than following Walesa further into his controversial term of president. This leaves the film imbued with a message of hope and success.

There’s a snippet of dialogue that’s reiterated throughout Vanessa Bates’ play Every Second which encapsulates the piece completely. “Beautiful lake,” one of her characters says, while staring into the abyss of the stage floor. “Man-made,” another responds. “Still,” says another, unflinching. “It’s beautiful.” This simple conversation is a reference to human life – to delivering a child into this world. Whether it’s naturally or artificially, it’s still beautiful. And it’s exactly what all four of this play’s characters strive for: a child of their own. Built on a cast of four, a simple set, and an easily digestible script, Every Second pares back theatrics to focus on the struggles and changing dynamics of two couples (friends), both desperately trying to conceive. The younger, Tim and Meg, are trying naturally and pull on all possible resources (monitoring menstrual cycles, taking Chinese herbs, lubricating with egg white) to achieve this. Bill and Jen are older. Having pushed aside family to favour career, they’ve

to register children in his presence. And Jen battles with the embarrassment of having her vagina stretched, uterus dyed, and buttocks injected on a nightclub floor (don’t ask, just watch).

decided to turn to IVF to conceive, and are beginning the long, clinical process of tests and injections. But as each pair meets their own setbacks, disappointment and desperation settles in, and relationships are stretched.

Every Second is a fascinating insight into modern human life, and one that director Shannon Murphy has done an exceptional job with. Her minimalist approach highlights his characters’ plights, while her direction creates fluid, yet believable, conversation between its characters. Glenn Hazeldine (Bill) is a particular standout, bringing warmth, charm, humour (wait till you see his ballet moves) and chemistry with Georgina Symes (Jen) that’s never forced, and simply put, is the envy of all lovers.

What’s refreshing here is the democratic stance this piece takes towards each character’s actions, rendering them all merely victims of incompliant sexual organs. Tim becomes incapable of ejaculation, sex having transformed from fun and romantic to mechanical and mandatory. Meg, being home alone day-long, begins to fixate on trivial things like craft-making and watching a loitering taxi outside her home. Bill takes comfort in long, late-night walks and develops an inability

Stephanie Yip

I MAG I N E BE I NG MAD E TO

Harriet McInerney

See thebrag.com for more arts reviews

Arts Exposed What's in our diary...

Big Dance

FEEL L IKE CRAP JUST FOR

Sydney Opera House, Sunday July 13 The Sydney Opera Big Dance House’s Northern Boardwalk will this weekend host quite the display: Big Dance, the international event founded by the Mayor of London in 2006. Sydney and Glasgow join the UK capital in taking part this year, with Sydney Dance Company artistic director Rafael Bonachela having choreographed a new large-scale dance routine for the local participants. The event aims to celebrate all styles of dance, so expect everything from the jive to the waltz and the shimmy. Perhaps the sprinkler and the shopping cart will be involved as well – or that may just be wishful thinking. The program commences from 8am; for more details visit sydneydancecompany.com. thebrag.com

BEING

LEFT

H A N D E D.

Okay, that’s hard to imagine? But being gay, lesbian, bi, trans or intersex is no different to being born left handed, it’s just who you are. So stop and think because the things we say are likely to cause depression and anxiety. And that really is pretty crap. GO TO LEFTHAND.ORG.AU TO WATCH THE VIDEO

STOP t THINK t RESPECT BRAG :: 570 :: 09:07:14 :: 19

BARS SMALL

(02) 9247 2229 Mon – Sun 10.30am-midnight A Work In Progress 50 King St, Sydney CBD (02) 9240 3000 Mon – Fri noon-late; Sat 5pm-2am Ash St Cellar 1 Ash St, Sydney CBD (02) 9240 3000 Mon – Fri 8.30am-11pm Assembly 488 Kent St, Sydney CBD (02) 9283 8808 Mon – Fri noonmidnight; Sat 5pm-midnight The Australian Heritage Hotel 100 Cumberland St, The Rocks

BAR100 100 George St, The Rocks (02) 8070 9311 Mon – Thu noon-late; Fri – Sat noon-3am; Sun noon-midnight Bar Eleven Lvl 11, 161 Sussex St, Sydney CBD (02) 9290 4712 Thu 4-10pm; Fri 4-11pm; Sat 3-11pm The Barber Shop 89 York St, Sydney CBD (02) 9299 9699 Mon – Fri 2pm-midnight; Sat 4pm-midnight The Baxter Inn Basement 152-156

Clarence St, Sydney CBD Mon – Sat 4pm-1am Bulletin Place First Floor, 10-14 Bulletin Place, Circular Quay Mon – Fri 4pm-midnight; Sat 5pm-midnight deVine 32 Market St, Sydney CBD (02) 9262 6906 Mon – Fri 11.30am-11.30pm; Sat 5.30-11.30pm Frankie’s Pizza 50 Hunter St, Sydney CBD Mon – Sun 4pm-4am Gilt Lounge 49 Market St, Sydney CBD

(02) 8262 0000 Tue – Wed 6pm-midnight; Thu & Sat 6pm-2am; Fri 5pm-2am The Glenmore 96 Cumberland St, The Rocks (02) 9247 4794 Mon – Thu, Sun 11am-midnight; Fri – Sat 11am-1am Goodgod Small Club 53-55 Liverpool St, Sydney CBD (02) 8084 0587 Wed 5pm-1am; Thu 5pm-2am; Fri 5pm-5am; Sat 6pm-5am Grain Bar 199 George St, Sydney CBD

Grandma’s Basement 275 Clarence St, Sydney CBD (02) 9264 3004 Mon – Fri 3pm-late; Sat 5pm-late The Fox Hole 68A Erskine St, Sydney CBD (02) 9279 4369 Tue – Fri 5pm-midnight The Grasshopper 1 Temperance Ln, Sydney CBD (02) 9947 9025 Mon – Wed & Sat 4pm-late; Thu – Fri noon-late The Lobo Plantation Basement Lot 1, 209 Clarence St, Sydney CBD 0415 554 908 Mon – Thu 4pm-midnight; Fri 2pm-midnight; Sat 4pm-midnight Mojo Record Bar Basement 73 York St, Sydney CBD (02) 9262 4999 Mon – Fri 4pm-midnight; p g ;

BROOKLYN SOCIAL

OF

ADDRESS: 17 RANDLE ST, SURRY HILLS OPENING HOURS: MIDDAY – 2AM

bar TH

EK

B R A G ’ S G U I D E T O S Y D N E Y ’ S B E S T W AT E R I N G H O L E S

(02) 9250 3118 Mon – Fri 4pm-1am; Sat noon-1am; Sun noonmidnight

E E W

Sat 5pm-midnight

midday-10pm

The Morrison 225 George St, Sydney CBD (02) 9247 6744 Mon – Wed 7.30am-midnight; Thu 7.30-1am; Fri 7.302am; Sat 11.30-2am; Sun11.30am-10pm

Bloodwood 416 King St, Newtown (02) 9557 7699 Mon, Wed –Thu 5pm-late; Fri – Sat noon-late; Sun noon10pm

Palmer & Co. Abercrombie Ln, Sydney CBD (02) 9240 3172 Mon – Wed 5pm-late; Thu – Fri noon-late; Sat – Sun 5pm-late Papa Gede’s Bar Laneway at the end of 348 Kent St, Sydney CBD Mon – Sat 5pm-12am Ramblin’ Rascal Tavern 199 Elizabeth St, Sydney CBD Mon – Sat 4pm-midnight; Sun 4pm-10pm Rockpool Bar & Grill 66 Hunter St, Sydney CBD (02) 8078 1900 Mon – Sat lunch & dinner The Rook Level 7, 56-58 York St, Sydney CBD (02) 9262 2505 Mon – Fri 4pm-late; Sat 4pm-late Shirt Bar 7 Sussex Ln, Sydney CBD (02) 8068 8222 Mon –Wed 8am-6pm; Thu – Fri 8am-10pm Since I Left You 338 Kent St, Sydney CBD (02) 9262 4986 Mon – Wed 5pm-10pm; Thu – Fri 5pm-midnight; Sat 6pm-midnight Small Bar 48 Erskine St, Sydney CBD (02) 9279 0782 Mon – Fri noonmidnight; Sat 5pm-midnight The Spice Cellar Basement 58 Elizabeth St, Sydney CBD (02) 9223 5585 Mon – Sun 4pm-late Spooning Goats 32 York St, Sydney CBD 0402 813 035 Mon – Sat 4pm-midnight

Brooklyn Social Tell us about your bar. Brooklyn Social is Surry Hills’ new neighbourhood dive bar and diner serving fast food, liquor and music from midday till late. This new locals’ hangout pays homage to the great Brooklyn dive bars and rock’n’roll scene of New York circa mid-’60s/’70s. Make your way through the roller door and black vinyl sheeting masking the entrance and you’ll find leather banquettes, ’70s punk rock black and white, neon signs, revealing poster graphics, stripped-back timber benches, and tartan fabric-covered walls. A vintage ’70s feel that will no doubt appeal to your inner rock star. What’s on the menu? You must try the 1/4 pounder and the mac ’n’ cheese balls. When it comes to food, Brooklyn Social is a modern take on the classic American diner. The food is fast, tasty and fun. Think beef ribs with house-made BBQ

sauce and DIY sauce brush; big-arse beef, chicken and vego burgers and dogs; hot cinnamon donuts with DIY chocolate, strawberry or caramel syringe, and more. Latenight revellers with the munchies are catered for till 2am. Care for a drink? Brooklyn Social dives into the world of gin and features more than 40 gins on the menu, including offering Hendrick’s as the house pour. The selection ranges from jenevers to bathtub gins, with an emphasis on locally crafted spirits. It’s also the only joint in Sydney where you’ll find Brooklyn Lager on tap all year round. Special attention is paid to cocktails at Brooklyn Social, with a list that’s heavily influenced by classic New York libations and designed in a way that pays tribute to NYC and its classic boroughs. Wines have had the special treatment too; the team got Master Sommelier Sebastian Crowther to consult on the project and he has created an expansive list compiled of both old and new world styles.

Highlights: Fast food, liquor and music. It’s the kind of place where you end up dancing on the tables till 2am. The bill comes to: 1/4 pounder and a cocktail, under $30. Website: facebook.com/brooklynsocialsydney

20 :: BRAG :: 570 :: 09:07:14

Tapavino 6 Bulletin Place, Circular Quay (02) 9247 3221 Mon – Fri 11am-11.30pm Uncle Ming’s 55 York St, Sydney CBD Mon – Fri 11am-midnight; Sat 5pm-midnight York Lane York Lane, Sydney CBD (02) 9299 1676 Mon – Wed 6.30am-10pm; Thu – Fri 6.30pm-midnight; Sat 6pm-midnight

Bar-racuda 105 Enmore Rd, Newtown (02) 9519 1121 Mon – Sat 6-midnight Blacksheep 256 King St, Newtown (02) 8033 3455 Mon – Fri 3pm-midnight; Sat midday-midnight; Sun

Corridor 153A King St, Newtown 0422 873 879 Tue – Fri 3pm-midnight; Sat 1pm-midnight; Sun 1-10pm Cottage Bar & Kitchen 342 Darling St, Balmain (02) 8084 8185 Mon – Wed 5pm-midnight; Thu – Sat noon-midnight; Sun noon-10pm Different Drummer 185 Glebe Point Rd, Glebe (02) 9552 3406 Mon – Sat 4.30pm-late Earl’s Juke Joint 407 King St, Newtown Mon – Sat 4pm-midnight; Sun 4-10pm Freda’s 107-109 Regent St, Chippendale (02) 8971 7336 Mon – Thu 4pm-midnight; Fri noon-midnight; Sat 4pm-midnight; Sun 4-10pm The Green Room Lounge 156 Enmore Rd, Enmore (02) 8021 8451 Wed 5pm-late; Thu 5pm-midnight; Fri – Sat 5pm-1am; Sun 5-10pm Hive Bar 93 Erskineville Rd, Erskineville (02) 9519 9911 Mon – Fri noonmidnight; Sat 10am-midnight; Sun 10am-10pm Kelly’s On King 285 King St, Newtown (02) 9565 2288 Mon – Fri 10am-3am; Sat 10am-4am; Sun 10am-midnight Kuleto’s 157 King St, Newtown (02) 9519 6369 Mon – Wed 4pm-late; Thu – Sat 4pm-3am; Sun 4pm-midnight The Little Guy 87 Glebe Point Rd, Glebe (02) 9200 0000 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3-10pm Mary’s 6 Mary St, Newtown Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm The Midnight Special 44 Enmore Road, Newtown (02) 9516 2345 Mon – Sat 5pm-midnight; Sun 4-10pm

Newtown Social Club 387 King St, Newtown (02) 9550 3974 Mon – Sat noonmidnight; Sun noon10pm The Oxford Tavern 1 New Canterbury Rd, Petersham (02) 8019 9351 Mon – Thu middaymidnight; Fri – Sat midday-3am; Sun midday-10pm The Record Crate 34 Glebe Point Rd, Glebe (02) 9660 1075 Tue – Wed 11am-10pm; Thu – Fri 11am-midnight; Sat 10am-midnight; Sun 11am-10pm The Royal 156 Norton St, Leichhardt (02) 9569 2638 Mon – Thu 10am-1am; Fri – Sat 10am-3am; Sun 10am-midnight Timbah 375 Glebe Point Rd, Glebe (02) 9571 7005 Tue – Thu 4-9pm; Fri 4pm-midnight; Sat 2pm-midnight; Sun 2-8pm The Workers Lvl 1, 292 Darling St, Balmain (02) 9555 8410 Wed – Thu 5pm-midnight; Fri – Sat 5pm-3am; Sun 2-10pm ZanziBar 323 King St, Newtown (02) 9519 1511 Mon – Thu 10am-4am; Fri 10am-6am; Sat 10am-5am; Sun 10am-12am

121BC 4/50 Holt St, Surry Hills (02) 9699 1582 Tue – Thu 5-11pm; Fri – Sat 5pm-midnight Absinthe Salon 87 Albion St, Surry Hills (02) 9211 6632 Wed – Sat 4-10pm Backroom 2A Roslyn St, Potts Point (02) 9361 5000 Bar H 80 Campbell St, Surry Hills (02) 9280 1980 Tue – Sat 6pm-late The Beresford 354 Bourke St, Surry Hills (02) 8313 5000 Mon – Sun noon-1am Black Penny 648 Bourke St, Redfern (02) 9319 5061 Tue – Sat noonmidnight; Sun noon11pm Brooklyn Social 14 Randle St, Surry Hills 0451 972 057 Mon – Sun 12pm-2am

Miss Peaches 201 Missenden Rd, Newtown (02) 9557 7280 Wed – Sun 5pm-midnight

Button Bar 65 Foveaux St, Surry Hills (02) 9211 1544 Mon – Sat 4pm-midnight

The Moose Newtown 530 King St, Newtown (02) 9557 0072 Wed – Sat 5pm-midnight; Sun 5-10pm

Café Lounge 277 Goulburn St, Surry Hills (02) 9016 3951 Mon – Thu 5pm-midnight; Fri – Sat 4pm-midnight; Sunday 4-10pm

Mr Falcon’s 92 Glebe Point Rd, Glebe (02) 9029 6626 Mon – Thu

The Carlisle 2 Kellett St, Kings Cross thebrag.com

Brooklyn Social photos by Alana Dimou

Sounds? Brooklyn Social’s rocking jukebox, filled with everything from The Doors, The Ramones and Velvet Underground, keeps the vibe going till after dinner when DJs take over on Wednesday, Thursday, Friday and Saturday nights and dancing on tables becomes highly likely.

Stitch Bar 61 York St, Sydney CBD (02) 9279 0380 Mon –Wed 4pm-midnight; Thu – Fri noon-2am; Sat 4pm-2am

Cornerstone Bar & Food 245 Wilson St, Eveleigh (02) 8571 9004 Sun – Wed 10am-5pm; Thu – Sat 10am-late

4pm-midnight; Fri – Sat noon-midnight; Sun 2-10pm

COCKTAIL OF THE WEEK Pour it in your mouth-hole... (responsibly).

235 Victoria St, Darlinghurst (02) 8084 6100 Mon – Sat 5pmmidnight Li’l Darlin Surry Hills 420 Elizabeth St, Surry Hills (02) 9698 5488 Mon – Thu noon-3pm & 5-11pm; Fri – Sun noon11pm Lo-Fi 2/383 Bourke St, Darlinghurst (02) 9318 1547 Wed – Sat 6pm-late The Local Tap House 122 Flinders St, Surry Hills (02) 9360 0088 Mon – Wed noon-2am; Thu – Sat noon-1am; Sun noon-11pm Love, Tilly Devine 91 Crown Ln, Darlinghurst (02) 9326 9297 Mon – Sat 5pm-midnight; Sun 4-10pm Low 302 302 Crown St, Surry Hills (02) 9368 1548 Tue – Sat 5pm-2am; Sun 6pm-2am

DRUNK IN LOVE @ CRANE BAR 32 BAYSWATER ROAD, POTTS POINT Origins: Drunk In Love comes from bar manager Michael Finelli’s extensive experience in some of Europe’s hottest bars. It fits the vibe and character of Crane Bar perfectly and was named by one of our favourite regulars. Ingredients: 1800 Coconut Tequila, Malibu, lemon, sugar, hibiscus syrup, cranberry, egg white. Method: Shake and double strain. Glass: Martini glass. Garnish: Strawberry and grenadine. Best drunk with: Old friends, new friends, lovers and future ex-lovers. During: An amazing night out with amazing people. Winter, summer and everything in between. While wearing: Something ridiculously sexy. And listening to: Smooth house beats. More: cranebar.com.au

(02) 9331 0065 Thu – Sun 6pm-late The Carrington 565 Bourke St, Surry Hills (02) 9360 4714 Mon – Sun noonmidnight; Sun noon10pm Ching-a-Lings 1/133 Oxford St, Darlinghurst (02) 9360 3333 Tue – Wed 6pm-11pm; Thu 6pm-midnight; Fri 5pm-midnight; Sat 6pm-midnight; Sun 4pm-10pm The Cliff Dive 16-18 Oxford Square, Darlinghurst Wed – Sun 6pm-4am The Commons 32 Burton St, Darlinghurst (02) 9358 1487 Tue – Sun noon-late Darlo Bar 306 Liverpool St, Darlinghurst (02) 9331 3672 Mon – Sun 10am-midnight Darlie Laundromatic 304 Palmer St, Darlinghurst (02) 8095 0129 thebrag.com

Wed – Sun 5-11pm Eau De Vie 229 Darlinghurst Rd, Darlinghurst 0422 263 226 Mon – Sat 6pm-1am; Sun 6pm-midnight The Flinders 63-65 Flinders St, Surry Hills (02) 9356 3622 Tue – Thu 5pm-3am; Fri – Sat 5pm-5am The Forresters 336 Riley St, Surry Hills (02) 9212 3035 Mon – Wed noonmidnight; Thu – Sat noon-1am; Sun noon10pm Foley Lane 371-373 Bourke St, Darlinghurst Mon, Wed – Fri 5pm-midnight; Sat 10am-3pm & 5pm-midnight; Sun 10am-10pm Gazebo 2 Elizabeth Bay Rd, Elizabeth Bay (02) 9357 5333 Mon – Thu 3pm-midnight; Fri – Sun noon-midnight The Hazy Rose 1/83 Stanley St, Darlinghurst

(02) 9357 5036 Tue 3-11pm; Wed – Sat 3pm-midnight; Sun 3-10pm Hello Sailor 96 Oxford St, Darlinghurst (02) 9332 2442 Tue – Sun 5pm-1am Hinky Dinks 185 Darlinghurst Rd, Darlinghurst (02) 8084 6379 Mon – Thu 5pm-midnight; Fri 4pm-midnight; Sat 3pm-midnight; Sun 1-10pm Hollywood Hotel 2 Foster St, Surry Hills (02) 9281 2765 Mon – Wed 10am-midnight; Thu – Sat 10am-3am Hustle & Flow Bar 105 Regent St, Redfern (02) 9310 5593 Tue – Sat 5pm-midnight Jekyll & Hyde 332 Victoria St, Darlinghurst (02) 9360 5568 Wed – Fri 4pm-late; Sat 8.30am-late; Sun 8.30am-evening Li’l Darlin Darlinghurst

Mr Fox 557 Crown St, Surry Hills 0414 691 811 Mon –Sat 5pm-midnight; Sun noon-10pm The Norfolk 305 Cleveland St, Surry Hills (02) 9699 3177 Mon – Wed noonmidnight; Thu – Sat noon-1am; Sun noon10pm

noon-midnight Tio’s Cerveceria 4/14 Foster St, Surry Hills Mon – Sat 4pm-midnight; Sun 4-10pm Unicorn Cellar Basement, 106 Oxford St, Paddington (02) 9360 7994 Tue – Thu 4pm-midnight; Fri – Sat noon-midnight; Sun noon-10pm Vasco 421 Cleveland St, Redfern 0406 775 436 Tue – Sat 5pm-midnight; Sun 5-10pm The Victoria Room Lvl 1, 235 Victoria St, Darlinghurst (02) 9357 4488 Tue – Fri 6pm-midnight; Sat noon-2am; Sun noon-midnight The Wild Rover 75 Campbell St, Surry Hills (02) 9280 2235 Mon – Sat 4pm-midnight; Sun noon-10pm The Winery 285A Crown St, Surry Hills (02) 9331 0833 Mon – Sun noonmidnight

Anchor Bar 8 Campbell Pde, Bondi (02) 8084 3145 Tue – Fri 4.30pm-late; Sat – Sun 12.30pm-late Bondi Hardware 39 Hall St, Bondi (02) 9365 7176

Mon – Wed 5-11pm; Thu 5pm-midnight; Sat 10am-midnight; Sun 10am-10pm The Bucket List Shop 1, Bondi Pavilion, Queen Elizabeth Drive (02) 9365 4122 Mon – Sun 11am-late

28 Falcon St, Crows Nest Tue – Sat 5pm-3am; Sun 5-10pm Harlem On Central Shop 4,9-15 Central Ave, Manly (02) 9976 6737 Tue – Sun 5pm-midnight

The Corner House 281 Bondi Rd, Bondi (02) 8020 6698 Tue – Sat 5pm-midnight; Sun 3-10pm

Hemingway’s 48 North Steyne, Manly (02) 9976 3030 Mon – Sat 8am-midnight; Sun 8am-10pm

Flying Squirrel 249 Bondi Rd, Bondi (02) 9130 1033 Mon – Fri 6pm-late; Sat 4pm-late; Sun 4-10pm

Honey Rider 230 Military Rd, Neutral Bay (02) 9953 8880 Tue – Sat 4pm-midnight; Sun 4-10pm

The Rum Diaries 288 Bondi Rd, Bondi (02) 9300 0440 Tue – Sat 6pm-midnight; Sun 6-10pm

In Situ 1/18 Sydney Rd, Manly (02) 9977 0669 Mon 9am-6pm; Wed – Sun 9am-midnight

Speakeasy 83 Curlewis St, Bondi (02) 9130 2020 Mon – Fri 3pm-late; Sat – Sun noon-late

The Hunter 5 Myahgah Rd, Mosman Mon – Tue 5pm-midnight; Wed – Sat noon-midnight; Sun noon-10pm

Stuffed Beaver 271 Bondi Rd, Bondi (02) 9130 3002 Mon – Sat noonmidnight; Sun noon10pm

The Bay Jam Bar 2A Waters Rd, Neutral Bay 0407 454 0815 Tue – Fri 11am-midnight; Sat – Sun 7am-midnight Firefly 24 Young St, Neutral Bay (02) 9909 0193 Mon – Wed 5-10pm; Thu 4-11pm; Fri – Sat noon11pm; Sun noon-9.30pm The Foxtrot

Jah Ba Shop 7, 9-15 Central Ave, Manly (02) 9977 4449 Tue – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm The Local Bar 8 Young Ln, Neutral Bay (02) 9953 0027 Mon 5-10pm; Tue – Wed 8am-10pm; Thu – Sat 8am-midnight; Sun 8am-10pm Manly Wine 8-13 South Steyne, Manly (02) 8966 9000 Mon – Sun 7am-late The Mayor 400 Military Rd,

Cremorne (02) 8969 6060 Tue – Fri 10am-late; Sat 8am-late; Sun 8am-10pm Miss Marley’s Tequila Bar 32 Belgrave St, Manly (02) 8065 4805 Mon – Sat 5pm-midnight; Sun 5-10pm Moonshine Lvl 2, Hotel Steyne, 75 The Corso, Manly (02) 9977 4977 Thu – Sat 5pm-midnight; Sun 3-11pm The Pickled Possum 254 Military Rd, Neutral Bay (02) 9909 2091 Thu – Sat 9pm-1am SoCal 1 Young St, Neutral Bay (02) 9904 5691 Mon – Tue 4pm-midnight: Wed – Thu midday-1am; Fri – Sat midday- 2am; Sun midday-midnight The Stoned Crow 39 Willoughby Rd, Crows Nest (02) 9439 5477 Mon – Sun noon-late White Hart 19-21 Grosvenor St, Neutral Bay (02) 8021 2115 Tue – Thu 5pm-late; Fri 4pm-late; Sat 2pm-late; Sun noon-8pm

Your bar’s not here? Email: chris@thebrag. com

The Passage 231A Victoria St, Darlinghurst (02) 9358 6116 Mon – Thu 5pm-late; Fri – Sun noon-late Play Bar 72 Campbell St, Surry Hills (02) 9280 0885 Wed – Sat 4pm-midnight; Sun 3-10pm Pocket Bar 13 Burton St, Darlinghurst (02) 9380 7002 Mon – Thu 4pm-midnight; Fri – Sat 4pm-1am; Sun 4pm-midnight Queenie’s Upstairs Forresters Cnr Foveaux and Riley St, Surry Hills (02) 9212 3035 Tue – Sat 6pm-late Roosevelt 32 Orwell St, Potts Point 0423 203 119 Tue – Sat 5pm-midnight Santa Barbara 1 Bayswater Rd, Kings Cross (02) 9357 7882 Wed 6pm-1am; Thu & Sat 6pm-2am; Fri noon2am Shady Pines Saloon Shop 4, 256 Crown St, Darlinghurst Mon – Sun 4pm-midnight The Soda Factory 16 Wentworth Ave, Surry Hills (02) 8096 9120 Mon – Wed 5pm-late; Thu 5pm-2am; Fri – Sat 5pm-5am Sweethearts Rooftop 33/37Darlinghurst Rd, Potts Point (02) 9368 7333 Mon – Thu 4pm-midnight; Fri – Sun BRAG :: 570 :: 09:07:14 :: 21

Album Reviews What's been crossing our ears this week...

ALBUM OF THE WEEK ANNA CALVI

rising in unison, their lyrics read like poetry: “Cut in white lines / Black matter / I see them shining / Through your drunken eyes…” In the context of the EP, Byrne’s presence adds refreshing variety.

Strange Weather is closer to an artistic revelry than a traditional EP release. English songwriter Anna Calvi’s latest work contains an elusive but rich sound palette that drifts to and fro, but for those who immerse themselves in it, it is a rewarding experience. The EP lacks the contrived flourishes of a record aiming for mass appeal.

Each song becomes its own universe, with ‘Papi Pacify’ placing Calvi in a dark, smoky room before storming into the spotlight. ‘Ghost Rider’ is a manic chase, with discordant guitar licks and frantic vocals desperately spilling out.

Strange Weather Domino/EMI

SLOW CLUB Complete Surrender Caroline UK duo Slow Club’s latest release, Complete Surrender, takes its cues from ’70s pop hits and combines them with slick production values. What stands out is the simplicity of this record. Not exactly stripped back, it’s still dramatic and voluptuous – but the vocals of Rebecca Taylor and Charles Watson take centre stage. Compared to their previous albums Paradise and Yeah So, there’s far less going on instrumentally, but they’ve still managed to create full, cohesive sounds. Vocally, Taylor is without a doubt the stronger of the two, and this record showcases her versatility instead of hiding it away in the beautiful yet bland harmonies heard in the past. Her delivery is emotive and she has an expansive range that lends warmth and sensuality to tracks like ‘Complete Surrender’ and ‘Not Mine To Love’. ‘Paraguay And Panama’ is an acoustic, bare-all track with only Watson’s falsetto for accompaniment. It’s very Slow Club circa Paradise, but despite the vulnerability it displays, it’s not quite as affecting as past tracks ‘Gold Mountain’ or ‘Hackney Marsh’. This album, despite all its oldschool sensibilities, is far from just being a nod to the past. Instead of trying to emulate a sound, Slow Club have tried to create something more enduring than nostalgic.

The title track conjures an aura of mystery with a solitary guitar, but that is before guest David Byrne (Talking Heads) begins to sing ever so delicately. As he and Calvi perform, voices

BRIAN ENO AND KARL HYDE High Life Warp/Inertia It hasn’t been long between drinks, but British electronic power couple Brian Eno and Karl Hyde are back. Though only two months have passed since their debut album together, High Life isn’t just a collection of leftovers and B-sides from round one – nor does it reek of the self-indulgence that you’d expect from such a quick turnaround. They’ve opted to skip promotional mode and get right into expanding on the ideas brought up in Someday World. The result is quite simply a joy to listen to. There is a quirkiness to High Life that stems from the African influences prevalent throughout. The nine-minute opening track, appropriately titled ‘Return’, offers a welcome slow build into the album’s melting pot of sounds. Guitar loops oscillate from a vigorous jazz infusion in ‘DBF’, while ‘Time To Waste It’ delivers deep funk with vocals that hint at the psychedelic. The later half of High Life gets somewhat confused with its identity as it enters atmospheric territory while simultaneously trying to bring itself back down to earth. Eno and Hyde seem to be having a little bit more fun this time around, and High Life is laced in warm, fuzzy feelings.

Liam Apter

360

LANA DEL REY

JACK ON FIRE

Utopia Forthwrite/EMI

Ultraviolence Interscope/Universal

I Am Animal Independent/Bandcamp

Nice guys and rap music – it’s a combination that rarely works. Nevertheless, much like nasty film villains, rhyme-spitting deviants still attract plenty of affectionate followers. In recent years Melbourne pop-hopper Matt Colwell (AKA 360) has managed to strike the balance between ugly and much-loved to chart-topping effect. Utopia, his third LP, is rife with braggadocio and middle fingers to naysayers. But redemption comes from the fact he sounds like a daggy, average dude.

Lana Del Rey’s second album, Ultraviolence, sees Lizzy Grant’s character coming full circle. While generally well received, her 2012 debut Born To Die struggled to balance the establishment of the persona she was trying to project with earning her a viable place as a contemporary pop singer. The concept of fictionalising one’s name, background, values and identity is as old as any form of entertainment, yet Del Rey still poses a challenge to many about her place in music.

One of the great casualties of the digital distribution boom is the weakening of the once revered album cover. It’s a massive loss. Especially when you come across such a striking, memorable image as the cover for Jack On Fire’s latest record, I Am Animal – the follow-up to the Melbourne quintet’s debut LP, Stranger Cain. Created by artist Alyce Brandner, it is an excellent evocation of the Australian Gothic, oozing mystery and menace.

The record’s thematic scope is tediously thin. Colwell offers first person details of thwarting personal struggles (a career in rap, addiction). While simplified self-help mantras such as “If you’re not behind me / Stay the fuck out my way,” will speak to a broad listenership, Colwell really doesn’t take it any further. Essentially, after overcoming his demons and adversaries, the best he has to offer is a dull, gloating account of the fact he’s done so.

Ultraviolence runs with her trademarks of lost love, abuse and the romanticism of death through a filter of cynicism and regret. With the playful nature of previous singles ‘Off To The Races’ and ‘Video Games’ forgone, a refined, sombre mood carries the album as her most defining and realised work to date. The frankly awkward hip hop vibe that came through on parts of Born To Die has wisely been left behind. In the landscape of not only pop music, but the noirish nostalgia-ridden universe she has developed, Del Rey sits alone in her own world.

Thankfully, it’s a premise that’s confirmed in the sprawling desert psych of album opener and title track ‘I Am Animal’. Amid swirling tambourines and pounding drums, Jack On Fire build steadily on a droning, hypnotic riff. Ben Blakeney’s vocals swim in a tidal wash of reverb. It’s loose, unhinged, spooky, and resoundingly stoned. Unfortunately, though, the quality isn’t quite sustained throughout what is a relatively short album. Perhaps it’s a matter of the songs feeling constricted, lacking in depth, when measured against the spaciousness of the opener.

With no real competitors or rivals, the Lana Del Rey concept of a starlet surviving alone in a world of romanticised violence and abuse is as convincing, and ultimately entertaining, as any.

I Am Animal still offers a number of genuinely disquieting moments, like ‘Suzanne’ and ‘Old Love’. Still, it’s not quite enough to elevate the record beyond the potential the band clearly possesses.

Radio-ready production prevents the record from being completely unpleasant (and ensures TV syncs aplenty), but it doesn’t suit Colwell’s ungraceful vocals. With a bit of fire behind him, perhaps the rapping could’ve gathered potency. Instead, Utopia struggles even to be offensive. Yep, worse than being horrible, Utopia is just plain boring.

Amie Mulhearn Sharon Ye

Joe Hansen Augustus Welby

INDIE ALBUM OF THE WEEK Melbourne rap dude Allday is here to announce a new phase in Australian hip hop. Statements of superiority are nothing new in this genre, but Allday’s debut LP is particularly impressive because it’s actually fairly convincing.

ALLDAY Startup Cult Onetwo

22 :: BRAG :: 570 :: 09:07:14

At 15 tracks long, Startup Cult could’ve used some editing, but thanks to consistent production quality, the record’s stylistic diversity isn’t a disruption. We’re given boom-bap beats and edgy street sounds resembling the current Top Dawg-led West Coast resurgence. And the album’s second half even dips into the world of neosoul and R&B. Except for a few cringeworthy instances (i.e. ‘Wolves’ and ‘Hometown Pride’), frequent guest vocal hooks are smoothly

xxx

Anna Xxxx Calvi’s new release includes some star guests, but rewards complete immersion.

The only fault of this EP is the lack of cohesion between the songs, which stand better alone. Otherwise, Strange Weather reaffirms Calvi as an artist on top and in control of her game.

implemented. The record’s leading attribute, however, is the rhyme work. With padlock-tight flow, Allday covers personal topics, such as drinking through frustration, partying too hard and missing home, without forcing specific experiences down your throat. Ultimately it comes across as a relaying of committed self-belief. Startup Cult is basically summed up in its opening crusade, ‘Got It’. The track focuses on how our narrator has “got it”. Why should we care? Well, aside from the fact that “bitches love [him]” it’s because “this shit’s all from the heart, eh”.

Wayne Marshall

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week...

ATOMS FOR PEACE - Amok BALL PARK MUSIC - Happiness... A SUNNY DAY IN GLASGOW - Sea When Absent

SOMETHING FOR KATE - Echolalia JUNGLE - Jungle

Augustus Welby thebrag.com

TEN BEST ALBUMS OF 2014 SO FAR

By Augustus Welby

THE

July is upon us, and while it’s not awards season yet, there have been some great releases in the first half of 2014. The BRAG has narrowed them down to ten candidates – plus a few honourable mentions – for the best albums of 2014 so far. KING GIZZARD AND THE LIZARD WIZARD Oddments

ANGEL OLSEN

Burn Your Fire For No Witness With Burn Your Fire For No Witness, Angel Olsen explores solitude and exposes the transience of contentment. Olsen draws from subjective highs and lows to depict feelings that affect us all. Her songs’ tactile emotional force effectively provides a comforting ally to one’s own thoughts and fears. This record – Olsen’s third – has its fair share of acoustically strummed sombre moments, but it also shows off the songwriter’s perky, electrified side.

SUN KIL MOON

DAVIDGE

Benji is unlikely to surprise folks already acquainted with the work of shadowy San Francisco songwriter Mark Kozelek, AKA Sun Kil Moon. As is his custom, Kozelek offers a buffet of figurative storytelling, sung in an emotive vocal drone and accompanied by fingerpicked classical guitar. Nonetheless, it makes for a gripping record – distinguished by Kozelek’s tangible narrative voice and forlorn melodic shapes.

The debut solo record from former Massive Attack member Neil Davidge comprises vividly sensual electronics and lives up to the standard of his earlier career achievements. Each track on Slo Light features a guest vocalist, ranging from up-and-comers Stephonik Youth (Living Days), EMI Green and Cate Le Bon to a surprising cameo from ’60s pop singer Sandie Shaw. Not only is there a journey from one track to the next, every track is an engrossing journey in itself.

Benji

Slo Light

Say Yes To Love

Throughout Say Yes To Love, Perfect Pussy frontwoman Meredith Graves screams at rapid pace and gives a Kim Gordon-like impression of disaffection, but she’s sure-as-shit fi ghting for something. Graves’ intensity is matched by an unrelenting guitar/bass/drums section, while one deviant guitar devotes its attention to disquieting feedback noise. At Say Yes To Love’s 23-minute conclusion you’re left feeling both physically and mentally confused, which means it’s time for constructive action.

Best Of Times

The Nihilist

The Nihilist suggests a more imaginative standard for the ‘pop song’. Liam Finn’s third solo LP is an accomplished journey through playful, baroque psychedelics. Finn’s keen ear for melody is used to emphasise Magical Mystery Tourlike eccentricity, rather than dish out a batch of sing-alongs. While melodic effortlessness reigns supreme, intricate textural detail (never-ending layers of guitar, group backing vocals, discordant electronics) provides plenty of surprises on return listens.

DAMON ALBARN

PARQUET COURTS

TOTAL CONTROL

Blur frontman Damon Albarn’s first official solo album is his most cohesive work in over a decade. This in itself isn’t a meritable feat, but Everyday Robots is also a work of consistent quality. The record’s more modest scope than the explicitly ambitious Gorillaz albums allows lucid sentiment and relatable melancholy to spill forth. Albarn is known for being a humdrum character, but Everyday Robots isn’t loaded with downcast details. What’s more, the moments of uplift are refreshingly free from artifice.

The follow-up to 2013’s Light Up Gold is loaded with more of the minimal punk drive, lyrical irreverence and immersive instrumentals that made that record one of last year’s standouts. Sunbathing Animal’s increased breathing space and intellect shows that more patience went into its construction. Even though the songwriting still prompts comparisons to the likes of The Modern Lovers and The Feelies, this record is evidence of the NY four-piece confidently carving out its own sound.

Total Control’s influences might be easy to pick (Wire, Devo, Joy Division), but a tribute act they ain’t. On Typical System the Melbourne collective utilises a familiar voice to document its own maligned experience. At times a pointillistic colouring of synths, drum programming and horns fills the landscape. Yet amid all of the disciplined decoration, frontman Daniel Stewart unfurls a grim picture of truncated autonomy. His curt baritone precludes any new wave mawkishness, but he’s not averse to melody.

Sunbathing Animal

PERFECT PUSSY

MY SAD CAPTAINS

LIAM FINN

Everyday Robots

Australia’s most prolific seven-piece garage rock band King Gizzard And The Lizard Wizard return with another successful costume change – Oddments. The songcraft is more concise and subdued than the jammy hypnosis of last year’s Float Along – Fill Your Lungs, but it’s still centred in psychedelic territory. This time around the band dons an absurdist and erratic demeanour, calling to mind everyone from Unknown Mortal Orchestra and White Fence to The Kinks and Herman’s Hermits.

There’s no soaring peak on Best Of Times, nor is there an overwhelming emotional swell. The record’s strength lies in its subtleties. My Sad Captains use hushed vocals and unhurried instrumentation to generate a pleasant, sometimes hazy, sometimes melancholic sensation. The warmly textured record also possesses plenty of rhythmic ebb and fl ow, thus ensuring a forward pulse and easily prompting repeated listens.

Typical System

Notable mentions: The War On Drugs – Lost In The Dream

St. Vincent – St. Vincent

Beck – Morning Phase

Lykke Li – I Never Learn

The Men – Tomorrow’s Hits ScHoolboy Q – Oxymoron

Lower Plenty – Life/ Thrills Sharon Van Etten –

Are We There Thunderegg – C’Mon Thunder Mac DeMarco – Salad Days Cloud Nothings – Here And Nowhere Else

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craw daddy club

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up all night out all week . . .

bell x1 + the phoncurves

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04:07:14 :: Upstairs at the Bank Hotel :: 324 King St Newtown 8568 1900

05:07:14 :: The Hi-Fi :: 122 Lang Rd Moore Park 1300THEHIFI

The Hi-Fi Saturday July 5

In Ireland, Bell X1 are kind of a big deal – they get the most radio airplay in their home country besides U2. In Australia, if you’ve heard of them it’s probably thanks to The O.C., which featured ‘Eve, The Apple Of My Eye’ (it played when Marissa first kissed Alex). Named after the first aircraft to break the sound barrier, Bell X1’s first-ever Sydney show was equal parts uplifting and sentimental, but not quite supersonic. The Phoncurves opened the night, taking a little while to warm up onstage. Quirky charm is one thing, but at times they felt a little awkward. Thankfully, they hit their groove with a cover of M.I.A.’s ‘Paper Planes’, replacing guitars with a looping station and nerves with genuine smiles. ‘Heartstrings’ showcased Abbie Roberts’ gorgeous voice while Naomi Burrell came off sultry and confident during ‘Lover’. Bell X1 came to the stage before a packed-out Hi-Fi, with singer Paul Noonan sheepishly admitting they weren’t sure if anyone would show up. The crowd – which seemed about 70 per cent Irish – knew every word, and was not shy about singing along. Noonan’s stage presence is captivating. Whether he was grabbing the mic stand or

dancing convulsively, he had us in the palm of his hand from start to finish. Somehow, he could belt “I’m not over you / Can I get back under?” without coming off as sleazy. His overall delivery fell between hopelessly romantic and deeply cynical, delivering break-up songs with a wry smile. Rock anthems like ‘The Great Defector’ were well balanced against slower, more intimate tracks and gave guitarist David Geraghty the chance to tear through some frenetic progressions and a blazing solo. While the more upbeat, heavier numbers had people moving, Bell X1’s strength is in the melancholy of songs like ‘Careful What You Wish For’ and ‘Bad Skin Day’. The acoustic version of ‘Built To Last’ saw guitarists Geraghty and Dominic Phillips join Noonan on vocals while the crowd chanted along. While Bell X1 were sometimes a little cheesy, particularly on newer tracks like ‘Reacharound’, the energy of the crowd and undeniable musicianship on display mostly made up for it. They saved ‘Eve, The Apple Of My Eye’ for the encore, and Noonan pulled off its raw, jaded-lover vibe perfectly, but that might be the O.C. nostalgia talking. Bell X1 know how to charm a crowd – going back to the recorded version is almost a let-down. Emily Meller

doc holliday takes the shotgun PICS :: AM

BELL X1, THE PHONCURVES

06:07:14 :: Frankie's Pizza :: 50 Hunter St Sydney OUR LOVELY PHOTOGRAPHER

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S :: JAMES AMBROSE :: FROM

THE PIT :: ASHLEY MAR ::

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snap sn ap live reviews up all night out all week . . .

What we've been out to see...

SOSUEME 7TH BIRTHDAY Beach Road Hotel Wednesday July 2 What’s the only thing better than live music? Free live music. SOSUEME took over Beach Road for its birthday event with a lineup including some of Australia’s best current talent, and it’s no wonder the place was packed out with Sydney’s youngest, hippest and most questionably attired. The Delta Riggs kicked things off as lead singer Elliott Hammond showcased his impressive rock-star swagger. ‘America’ was shamelessly attention-grabbing, with Michael Tramonte tearing up the bassline. Simon McConnell was equally impressive on drums, killing a thumping solo that got the crowd moving. Each band member’s talent made for a tight and energetic live show, save for Hammond’s bizarre half-time “true story” featuring Jennifer Lopez. But their latest track, ‘Supersonic Casualties’, showcased The Delta Riggs’ new, hip hop-infused sound – an exciting preview of their forthcoming album Dipz Zebazios. ‘Rah Rah Radio’ was the song of the set; the kind of rock that is made to be played live. The crowd was more than a little excited when the DMA’s took to the stage. In contrast to The Delta Riggs, they don’t look much like rock stars, sporting baseball caps and plain

shirts. But it only took their opener, ‘Feels Like 37’, for Tommy O’Dell’s gritty voice to make it clear that they are rock through and through. Having just come off a national tour that proved they could back up their muchhyped EP onstage, it seems like DMA’s have hit their groove. The three-piece – O’Dell, Matt Mason and Johnny Took – expands to a six-strong live band. None of them are new to performing live, and their experience makes them confident and captivating. New tune ‘Lay Down’ points toward the quality tracks not yet released, but which can be expected on a full-length album. They made the bold decision to play ‘Delete’ second last, and after the crowd was done singing along, they finished off with ‘Play It Out’. But the set’s standout was still clear. Touch Sensitive, AKA Michael Di Francesco, delivered a late-night set, managing to expertly loop while shredding bass guitar with nimble finger work. The knee-wobbling ‘Slowments’ set the tone, but the complexity of the tracks meant Di Francesco spent most of the performance looking at his loop station, making interaction with the crowd a little unnatural. But for those happy just to get down, ‘Pizza Guy’ was exactly the level of funkiness required. Emily Meller

jmc academy alumni awards

sosueme 7th birthday

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27:06:14 :: JMC Academy :: 561 Harris St, Ultimo 8241 8899

02:07:14 :: Beach Road Hotel :: 71 Beach Rd Bondi Beach 9130 7247

02:07:14 :: The Basement :: 7 Macquarie Pl, Sydney 9251 2797

party profile

joan as policewoman

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wasted years It’s called: Wasted Years

It sounds like: A buck wild house party, with everything from hip hop and ’90s jams to HC and pop-punk. Acts: Saturday July 12 is Perspectives, Surre nder, Dear Seattle, Fresh Nelson and Vitals; The Dirt painting live and local DJs. Three songs you’ll hear on the night: ScHo olboy Q – ‘Collard Greens’; Title Fight – ‘27’; Violent Soho – ‘Covered In Chrome’. And one you definitely won’t: Anything by Swedish House Mafia. Sell it to us: We’re about fun hooch, live art, stellar lineups, good times with pals – oh, and we have an indoor mini ramp. The bit we’ll remember in the AM: That’s what Sam Whiteside is here for. Our photo albums are a ride. Crowd specs: Skaters, hip hop heads, crucia l dudes, hula hooping babes, pop-punk legends, kids in bands and everyone in between. Wallet damage: $15 entry ($10 with memb ership), plus extensive $6 booze menu. Where: Q Bar, 44 Oxford St, Darlinghurst When: Every. Damn. Saturday.

OUR LOV

ASHLEY MAR :: S AMBROSE :: FROM THE PIT :: ELY PHOTOGRAPHERS :: JAME

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live reviews

up all night out all week . . .

What we've been out to see...

PHOTOGRAPHER :: ASHLEY MAR

Newtown Social Club Wednesday July 3

It’s not often that a pub crowd is told they are the quietest audience a band has ever played to. But I guess it’s not very often that gig-goers sit cross-legged on the floor for an entire show. The newly christened live music space at Newtown Social Club was possibly the perfect venue to see the intricate melodies of Tiny Ruins played out onstage. Aldous Harding and Shining Bird kept both the stage and the crowd warm with gentle, rolling sounds. Shining Bird drew the audience in with their rainforest-flavoured symphony of sounds, combining spokenword samples with sun-drenched echoes and spaced-out rhythms. The experimental South Coast musos left the stage with swirls of single ‘Distant Dreaming’ still pleasantly circling in everyone’s ears. The pre-act chatter that followed soon diminished to a whisper when everyone realised the headlining New Zealand threepiece – unassuming and quaintly dressed – had already appeared onstage and were quietly playing their instruments.

KISHI BASHI, SWIMWEAR Newtown Social Club Tuesday July 1

Have you ever heard the saying “dance like nobody’s watching”? Swimwear – AKA Dappled Cities frontman Tim Derricourt – lives by it. He warned the seated crowd before a single beat was played that his style of camp, electro-tinged indie-pop might be “a bit loud” for the audience, but ultimately he needn’t have worried. His charm was undeniable from the moment he arrived onstage, creating his own vibe and casting a myriad of smiles among the quickly assembling crowd. Derricourt performed using a series of backing tracks from his iPhone, occasionally accompanying himself on lead guitar. It was when he was free from the six-string, however, that he truly thrived as a performer: his shamelessly cheesy dance moves – a mix of ’90s boy bands and your uncle at a wedding reception – were the icing on the already delicious cake that was his selection of super-fun and irrepressibly catchy tunes. By the time Kaoru Ishibashi – better known as Kishi Bashi – finally arrived onstage some 30 minutes after Swimwear’s departure, anticipation was

Tiny Ruins played the first four songs from their new album, Brightly Painted One, in order, before a mix of delicately woven old and new tunes. Listening to the group on record, it’s easy to forget that the beautiful harmonies and sounds they produce are in fact the work of humans. Although onstage every “ooh” was perfectly poised and no note was out of place, actually watching Tiny Ruins perform in the flesh – seeing singer Hollie Fullbrook and bassist Cass Basil’s faces contort as their voices reached dizzying heights – made their music that bit more real and relatable. Fullbrook has a very endearing sense of humour; she told the audience the peculiar story behind ‘The Ballad Of The Hanging Parcel’ (involving an adventurous 10-yearold, a not-so-mysterious rock and string, and a well-kept secret), and she was sure to clear up any doubts about the real sentiment behind ‘Reasonable Man’: “It’s tongue-in-cheek,” she frankly explained. They closed with the wonderfully crafted ‘She’ll Be Coming Round’, after which everyone had to stand up and come round to the very physical presence of pins and needles. It was well worth it. Katie Davern

extremely high inside the well and truly sold-out room. This naturally transferred over to the man himself, who flubbed the set-up of his loops for opener ‘Hahaha Pt. 1’ and had to apologise before starting over. It’s a pretty big deal when you can say something as blissfully innocent as that marked the single worst thing that happened all night. It was all smiles, all laughs and all pure, unadulterated joy. Ishibashi was as happy to be in Australia for his first-ever headlining show as the audience was to have him here. He was even kind enough to invite some of the smaller members of the audience who were having trouble seeing to form a semi-circle around him onstage. Ishibashi showcased tracks from both of his studio albums using only his violin, his loop station and a surprisingly impressive set of beatboxing skills. Watching the songs in this re-imagined and precisely crafted manner added a whole new layer to how one perceived them, and it was a delightful thing to behold. The night ended with a hearty sing-along to ‘Manchester’, which features a lyric that perhaps summed up the evening better than anything else could: “I haven’t felt this alive in a long time”. David James Young

brighton up bar’s 2nd birthday PICS :: AM

TINY RUINS, SHINING BIRD, ALDOUS HARDING

05:07:14 :: Brighton Up Bar :: 1/77 Oxford St Darlinghurst 9361 3379 OUR LOVELY PHOTOGRAPHER

26 :: BRAG :: 570 :: 09:07:14

S :: JAMES AMBROSE :: FROM

THE PIT :: ASHLEY MAR ::

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g g guide gig g send your listings to : gigguide@thebrag.com

pick of the week Something For Kate

SATURDAY JULY 12

Enmore Theatre

Something For Kate 7:30pm. $72.10. WEDNESDAY JULY 9 ACOUSTIC, COUNTRY, BLUES & FOLK Mitch Anderson & His Organic Orchestra Coopers Hotel, Newtown. 8:45pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Andy Mammers Duo Maloney’s Hotel, Sydney. 9pm. free. David Agius Duo Coogee Bay Hotel, Coogee. 9:30pm. free. Fat Bubba’s Chicken Wednesdays Soda Factory, Surry Hills. 5pm. free. Gemma Observer Hotel, The Rocks. 8:30pm. free. Matt Jones Trio Rock Lily, Pyrmont. 8pm. free. The Strums + Cafeine Frankie’s Pizza, Sydney. 9pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

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THURSDAY JULY 10 ACOUSTIC, COUNTRY, BLUES & FOLK

Dexter Moore Nag’s Head Hotel, Glebe. 8:15pm. free. Juke Baritone + Evan & The Brave Moonshine Cider & Rum Bar, Manly. 9pm. free. Live Music Thursdays Bar100, The Rocks. 5pm. free. Solid Air - A Tribute To Nick Drake - feat: Michael Azzopardi + Floyd Vincent + Shane Flew + Matt Tonks + Cassandra Smiles + Emad Younan + Rosie McDonald + Lynette Smith + Night Wing + Alan Watters + Veronica Wagner + Dirty Fez + Russell Neal Camelot Lounge, Marrickville. 8pm. $22.70. Songsonstage Forest Lodge Hotel, Forest Lodge. 7:30pm. free. Songsonstage - feat: Chris Raicevich Ruby L’otel, Rozelle. 7:30pm. free.

The Folk Informal - feat: Kay Proudlove + Dylan Orsborn + Ainsley Farrell + Tom Stephens FBi Social, Kings Cross. 8pm. $10.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Cole Soul And Emotion feat: Lionel Cole The White Horse, Surry Hills. 8pm. free. Free The Beats Venue 505, Surry Hills. 8:30pm. free. Live Latin Sessions - feat: Latin Kaos Jam Gallery, Bondi Junction. 6:30pm. $5.

INDIE, ROCK, POP,

10 O’Clock Rock Frankie’s Pizza, Sydney. 10pm. free. A Team Duo Crows Nest Hotel, Crows Nest. 9pm. free. Alex Hopkins Open Mic Night Wenty Leagues Club, Wentworthville. 9pm. free. Alkemie Night Spring Street Social, Bondi. 9:30pm. free. Anthems Of Oz Orient Hotel, The Rocks. 9:30pm. free. Bandsonstage - feat: Andrew Denniston Hampshire Hotel, Camperdown. 7:30pm. free. Black Diamond Hearts Soda Factory, Surry Hills. 10pm. free. Blake Tailor Northies Cronulla Hotel, Cronulla. 8pm. free. Carl Fidler Open Mic Night Observer Hotel, The Rocks. 4pm. free. Dave White Duo Maloney’s Hotel, Sydney. 9:30pm. free. David Agius Dee Why Hotel, Dee Why. 7pm. free. Delayed Happiness Syndrome + Two Dark Eyes + Fret Hotel Hollywood, Surry Hills. 8pm. free. Greg Agar Scruffy Murphy’s Hotel, Sydney. 7:30pm. free. Jamie Lindsay Hillside Hotel, Castle Hill. 8pm. free. Jess Dunbar Northies Cronulla Hotel, Cronulla. 7:30pm. free. Kid Fiction + Lovely Head + Hollow States + Setec The Forresters, Surry Hills. 8:30pm. free. No Dice Paradise - feat: The Indians + Blood Brothers + Luxxembourg + Wisconsin + Sophie Hanlon Oxford Art Factory, Darlinghurst. 8pm. $10. Oxford And Co. + Emma Swift Brass Monkey, Cronulla. 7pm. $12. Sweet Jumps Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. The Late Night Soda Social Soda Factory, Surry Hills. 5pm. free. The Peppercorn Queens Et The Fat Lambs + Terry Serio’s Half Truth + Sahara Beck Brighton Up Bar, Darlinghurst. 7pm. $12. The White Brothers New Brighton Hotel, Manly. 10pm. free. These New South Whales + The Knits + Okay Cocaine Lansdowne Hotel, Chippendale. 8pm. free. Thumpers Newtown Social Club, Newtown. 7:30pm. $36. Two Dark Eyes & Fret Hotel Hollywood, Sydney. 8pm. free. Violent Soho + The Smith Street Band + Totally Unicorn Manning Bar, Camperdown.

Violent Soho

Dan Sultan

8pm. $34.70. Zoltan Castle Hill RSL, Castle Hill. 9:30pm. free.

FRIDAY JULY 11 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Dave Jackson Quartet The Sound Lounge, Sydney. 8:30pm. $20. Jazz Hip-Hop Freestyle Sessions Foundry616, Ultimo. 11:30pm. free. Waiting For Guinness Venue 505, Surry Hills. 8:30pm. $15.

ACOUSTIC, COUNTRY, BLUES & FOLK

Aaron Oswald Barenz, Camden. 7:30pm. free. Katie Noonan + Jack Carty Brass Monkey, Cronulla. 7pm. $39.80. Songjam - feat: Trudy Newell + Premonition Rosehill Hotel, Clyde. 7:30pm. free. Songsonstage - feat: Stuart Jammin + Guests PJ Gallagher’s, Sydney. 8:30pm. free. The Unxpected Collingwood Hotel, Liverpool. 4:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

3 Way Split Moorebank Sports Club, Sydney. 9:30pm. free. Alex Hopkins Wenty Leagues Club, Wentworthville. 9pm. free. Bandsonstage - feat: Tommy Pickett + Starr Witness + Our Friend Barbra + The Moving Stills Ruby L’otel, Rozelle. 8pm. free. Black Diamond Hearts Crows Nest Hotel, Crows Nest. 10:30pm. free. Black Zeros + The Nuclear Family + B.L.T + The Pinheads FBi Social, Kings Cross. 8pm. $10. Caitlin Park + Molly Contogeorge + Joyride The Vanguard, Newtown. 7pm. $15.80. Carl Fidler Observer Hotel, The Rocks. 6pm. free. Dan Sultan + Stonefield + Way Of The Eagle Metro Theatre, Sydney. 8pm. $39.80. David Agius

Harbord Beach Hotel, Harbord. 7pm. free. Domino Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. Evie Dean Northies Cronulla Hotel, Cronulla. 5:30pm. free. Gary Johns Duo Hillside Hotel, Castle Hill. 8pm. free. Handpicked Time & Tide Hotel, Dee Why. 7:30pm. free. Heath Burdell Clovelly Hotel, Clovelly. 8pm. free. Jamie Lindsay Cyren Restaurant , Darling Harbour. 6pm. free. Joe Echo Duo PJ Gallagher’s, Leichhardt. 10pm. free. Keith Armitage Castle Hill RSL, Castle Hill. 9pm. free. Live Music At The Royal The Royal, Leichhardt. 9:30pm. free. Lorde + Safia Hordern Pavilion, Moore Park. 7pm. $75. Luke Dolanhenty Duo Kings Cross Hotel, Kings Cross. 10:30pm. free. Mandi Jarry Duo Kirribilli Hotel, Milsons Point. 8pm. free. Marty Simpson Northies Cronulla Hotel, Cronulla. 9pm. free. Masterpiece Castle Hill RSL, Castle Hill. 10:30pm. free. Matt Jones The Grand Hotel, Rockdale. 5:30pm. free. Matt Price Crows Nest Hotel, Crows Nest. 7pm. free. Michael McGlynn Ettalong Bowling Club, Ettalong. 7pm. free. Mickey Pye Mona Vale Hotel, Mona Vale. 9pm. free. Mickey Pye Brewhouse Marayong, Kings Park. 8pm. free. Pat O’Grady Duo Vineyard Hotel, Vineyard. 9:30pm. free. Ruined Fortune + Holy Balm Newtown Social Club, Newtown. 8pm. $10. Sam Newton Chatswood RSL, Chatswood. 5pm. free. Spank Campbelltown Catholic Club, Campbelltown. 9:30pm. free. Stellar Bull & Bush Hotel, Baulkham Hills. 9:30pm. free. Tankard The Hi-Fi, Moore Park. 8pm. $62.50. The Morrisons + Lucky Luke & His Shooting Stars Lansdowne Hotel, Chippendale. 8pm. free. The Superheavy Weights Spring Street Social, Bondi.

BRAG :: 570 :: 09:07:14 :: 27

xxx

Amy Rose Venue 505, Surry Hills.

8:30pm. $10. Lionel Cole Imperial Hotel, Paddington. 8pm. free.

METAL, PUNK & COVERS

g g guide g send your listings to : gigguide@thebrag.com

Stonefield

Xxx

10:30pm. free. Thunderstruck (ACDC Show) Bull & Bush Hotel, Baulkham Hills. 10pm. free. Tim Conlon Parramatta RSL, Parramatta. 5pm. free. Tony Williams Mona Vale Hotel, Mona Vale. 5:30pm. free. Victoria Avenue Adria, Sydney. 5pm. free. Violent Soho + The Smith Street Band + Totally Unicorn Manning Bar, Camperdown. 8pm. $34.70. Witter Van Ell Crown Hotel, Camden. 8pm. free. Zoltan Adria, Sydney. 4pm. free. Zoltan Australian Hotel And Brewery, Rouse Hill. 10pm. free.

SATURDAY JULY 12 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Emma Pask Venue 505, Surry Hills. 8:30pm. $25. Stormcellar Shady Pines, Sydney. 6pm. free. The Catholics The Sound Lounge, Sydney. 8:30pm. $20.

ACOUSTIC, COUNTRY, BLUES & FOLK

Cape Town + Elstow + Bad Vibes + Dr Spaceman FBi Social, Kings Cross. 8pm. $10. Extension Chords Spring Street Social, Bondi. 10:30pm. free. Jono Lee Jones Gladstone Hotel, Chippendale. 7pm. free. Katie Noonan + Jack Carty Lizotte’s, Dee Why. 7pm. $50. Mark Wilkinson Conservatorium Of Music, Sydney. 8pm. $35. Paul Hayward And Friends Town & Country Hotel, St Peters. 4pm. free. Songsonstage - feat: Stuart Jammin + Guests Petersham Bowling Club, Petersham. 8pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS 2 Way Split Town Hall Hotel, Balmain. 10pm. free. Alkira Valve Bar, Agincourt Hotel, Ultimo. 8pm. free. Andy Mammers Woolloomooloo Bay Hotel, Woolloomooloo. 9pm. free. Angie Dean Castle Hill RSL, Castle Hill. 6:30pm. free. Anthems Of Oz

28 :: BRAG :: 570 :: 09:07:14

South Hurstville RSL Club, South Hurstville. 9pm. free. Bandsonstage - feat: Tommy Pickett + Starr Witness + Green Manalishi Hampshire Hotel, Camperdown. 7:30pm. free. Benn Gunn Coogee Bay Hotel, Coogee. 9pm. free. Black Cherry (Johnny Cash Tribute) Factory Theatre, Marrickville. 8pm. $25. Black Diamond Hearts PJ’s Irish Pub, Parramatta. 10pm. free. Blaming Vegas Crown Hotel, Camden. 9pm. free. Brad Johns Observer Hotel, The Rocks. 4pm. free. Brothers In Harmony - The William Bros Campsie RSL, Campsie. 7pm. free. By The Horns Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. Cara Kavanagh Duo PJ Gallagher’s, Leichhardt. 10pm. free. Cascade Revesby Workers Club, Revesby. 8:30pm. free. Cash For Gold + The Upskirts Beach Road Hotel, Bondi Beach. 8pm. free. Cath & Him Manly Leagues Club, Brookvale. 9pm. free. Dan Sultan + Stonefield + Way Of The Eagle (DJ Set) Cambridge Hotel, Newcastle. 8pm. $39.80. Dave Phillips Harbord Beach Hotel, Harbord. 7pm. free. Di Bird Red Hot & Blue Penrith RSL, Penrith. 2pm. free. Funk Machine Penrith RSL, Penrith. 9pm. free. Gerard Masters Kirribilli Hotel, Milsons Point. 8pm. free. Guess Who Duo Brighton RSL, Brighton Le Sands. 8pm. free. Harbour Master Fortune Of War, The Rocks. 8pm. free. Heath Burdell Time & Tide Hotel, Dee Why. 7:30pm. free. Hell City Glamours Oxford Art Factory, Darlinghurst. 8pm. $23.60. Hypnagog + Griff Manning Bar, Camperdown. 8pm. $15. Ignition Crows Nest Hotel, Crows Nest. 10:30pm. free. James Englund New Brighton Hotel, Manly. 10pm. free. Jamie Lindsay PJ Gallagher’s, Moore Park. 7:30pm. free. Kye Brown Huskisson Hotel, Huskisson. 8pm. free. Leon Fallon Le Pub, Sydney. 8:30pm. free. Lorde Hordern Pavilion, Moore Park. 7pm. $75. Luke Dixon Duo

Coogee Bay Hotel, Coogee. 12am. free. Mandi Jarry Crows Nest Hotel, Crows Nest. 7pm. free. Matt Jones Duo The Mean Fiddler, Rouse Hill. 6pm. free. Mesa Groove Oatley Hotel, Oatley. 8:30pm. free. Monique Brumby Oxford Art Factory, Darlinghurst. 8pm. $23.60. Olympic Ayres Goodgod Small Club, Sydney. 8pm. $11. Peppermint Jam Ramsgate RSL, Sans Souci. 8pm. free. Reckless Northies Cronulla Hotel, Cronulla. 9pm. free. Renae Stone Sir Joseph Banks Hotel, Botany. 7pm. free. Replika Duo Greystanes Inn, Greystanes Inn. 8pm. free. Rob Henry Observer Hotel, The Rocks. 5:30pm. free. Sammy Baker Cock & Bull, Bondi. 5pm. free. Something For Kate Enmore Theatre, Newtown. 7:30pm. $72.10. Something To Talk About Panthers, Penrith. 9pm. free. Sound City Ettamogah Hotel, Kelly Ridge. 7pm. free. Steely Dan & The Best Of The West Coast + The Kites Brass Monkey, Cronulla. 7pm. $17. The Mondays The Mean Fiddler, Rouse Hill. 9pm. free. The Outside Agency Hermann’s Bar, Sydney. 9pm. $40. Tim Pringle Panthers, Penrith. 5:30pm. free.

Cambo Observer Hotel, The Rocks. 5pm. free. Eric Lewis Panthers, Penrith. 2pm. free. Girls That Gamble The Vanguard, Newtown. 6:30pm. $18.80. Heath Burdell Coogee Bay Hotel, Coogee. 8:30pm. free. Jackie Dee + Brad Cole Brass Monkey, Cronulla. 7pm. $15.30. Jamie Lindsay Trio Time & Tide Hotel, Dee Why. 1pm. free. Jess Dunbar Harbord Beach Hotel, Harbord. 6pm. free. Joe Echo Duo The Mean Fiddler, Rouse Hill. 1:30pm. free. Justin Heazlewood The Newsagency, Marrickville. 8pm. $21.50. Lance Link Ramsgate RSL, Sans Souci. 2pm. free. Los Hombres Del Diablo Frankie’s Pizza, Sydney. 4pm. free. Lucky 13 Valve Bar, Agincourt Hotel, Ultimo. 8pm. free. Matt Jones Duo Northies Cronulla Hotel, Cronulla. 6pm. free. Matt Price Woolloomooloo Bay Hotel, Woolloomooloo. 3pm. free. Matt Ross Band Botany View Hotel, Newtown. 7pm. free. Mickey Pye Family Inn Hotel, Rydalmere. 6pm. free. Recharge Campsie RSL, Campsie. 2pm. free. Rob Henry Observer Hotel, The Rocks.

8pm. free. Swinging Sixties Penrith RSL, Penrith. 2pm. free. The Fallon Bros Ettamogah Hotel, Kelly Ridge. 1pm. free. Three Wise Men Observer Hotel, The Rocks. 4pm. free. Tom Fredricks Oatley Hotel, Oatley. 1pm. free.

MONDAY JULY 14 ACOUSTIC, COUNTRY, BLUES & FOLK Songsonstage - feat: Stuart Jammin + Massimo Presti + Rick Taylor Kelly’s On King, Newtown. 7:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Latin & Jazz Jam Open Mic Night World Bar, Kings Cross. 7pm. free. Mambo Mondays Bar100, The Rocks. 5:30pm. free. Motown Mondays - feat: Soulgroove The White Horse, Surry Hills. 8pm. free. Reggae Monday Civic Underground, Sydney. 10pm. free.

INDIE, ROCK, POP, METAL, PUNK &

COVERS

Bernie Observer Hotel, The Rocks. 8:30pm. free. Cath & Him St George Leagues Club, Kogarah. 7pm. free. Jess Dunbar Duo Opera Bar, Sydney. 7:30pm. free.

TUESDAY JULY 15 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Swingtime Tuesdays The Basement, Circular Quay. 7pm. $9.

ACOUSTIC, COUNTRY, BLUES & FOLK

The Man In Black (The Johnny Cash Story) - feat: Tex Perkins Sydney Opera House, Sydney. 8pm. $79.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Cath & Him St George Leagues Club, Kogarah. 7pm. free. Declan Kelly + Andrew Humphries + Elbury Folk Band + David Wallace Bar 34 Bondi, Bondi Beach. 8pm. free. Sarah Humphreys + Kelly Menhennett The Vanguard, Newtown. 7pm. $18.80.

SUNDAY JULY 13 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Yuki & John Cronulla RSL, Cronulla. 12:30pm. free.

ACOUSTIC, COUNTRY, BLUES & FOLK

Chill Out Sundays Scubar, Sydney. 7:30pm. free. Country At The Bowlo Marrickville Bowling Club, Marrickville. 4:30pm. free. Finn And Friends Town Hall Hotel, Balmain. 6:30pm. free. Intimate Sessions Paragon Hotel, Sydney. 6pm. free. Katie Noonan + Jack Carty Lizotte’s, Newcastle. 7pm. $50. Live Music Sundays Bar100, The Rocks. 1pm. free. Menagerie - feat: Ollie Brown + Dominic Youdan + Peasant Moon The Welcome Hotel, Rozelle. 4pm. free. Songsonstage - feat: Peach Montgomery + Guests Garry Owen Hotel, Rozelle. 2pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Alex Hopkins Woolwich Pier Hotel, Woolwich. 2pm. free. Andy Mammers Duo Orient Hotel, The Rocks. 4:30pm. free. Blake Tailor Pritchards Hotel, Mount Pritchard. 1pm. free.

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gig picks up all night out all week...

The Strums

WEDNESDAY JULY 9 The Strums + Cafeine Frankie’s Pizza, Sydney. 9pm. Free.

THURSDAY JULY 10

Hordern Pavilion, Moore Park. 7pm. $75. Ruined Fortune + Holy Balm Newtown Social Club, Newtown. 8pm. $10. Tankard The Hi-Fi, Moore Park. 8pm. $62.50.

No Dice Paradise - feat: The Indians + Blood Brothers + Luxxembourg + Wisconsin + Sophie Hanlon Oxford Art Factory, Darlinghurst. 8pm. $10.

The Morrisons + Lucky Luke & His Shooting Stars Lansdowne Hotel, Chippendale. 8pm. Free.

The Peppercorn Queens Et The Fat Lambs + Terry Serio’s Half Truth + Sahara Beck Brighton Up Bar, Darlinghurst. 7pm. $12.

SATURDAY JULY 12

Thumpers Newtown Social Club, Newtown. 7:30pm. $36. Violent Soho + The Smith Street Band + Totally Unicorn Manning Bar, Camperdown. 8pm. $34.70.

FRIDAY JULY 11 Caitlin Park + Molly Contogeorge + Joyride The Vanguard, Newtown. 7pm. $15.80. Dan Sultan + Stonefield + Way Of The Eagle Metro Theatre, Sydney. 8pm. $39.80.

Black Cherry (Johnny Cash Tribute) Factory Theatre, Marrickville. 8pm. $25. Hell City Glamours Oxford Art Factory, Darlinghurst. 8pm. $23.60. Hypnagog + Griff Manning Bar, Camperdown. 8pm. $15. Katie Noonan + Jack Carty Lizotte’s, Dee Why. 7pm. $50. Mark Wilkinson Conservatorium Of Music, Sydney. 8pm. $35. The Outside Agency Hermann’s Bar, Sydney. 9pm. $40.

Lorde + Safia Lorde

SUNDAY JULY 13 Girls That Gamble The Vanguard, Newtown. 6:30pm. $18.80. Justin Heazlewood The Newsagency, Marrickville. 8pm. $21.50. Los Hombres Del Diablo Frankie’s Pizza, Sydney. 4pm. Free.

TUESDAY JULY 15 The Man In Black (The Johnny Cash Story) - feat: Tex Perkins Sydney Opera House, Sydney. 8pm. $79. Sarah Humphreys + Kelly Menhennett The Vanguard, Newtown. 7pm. $18.80. The Morrisons

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BRAG :: 570 :: 09:07:14 :: 29

brag beats

BRAG’s guide to dance, hip hop and club culture

dance music news club, dance and hip hop in brief... with Nic Liney and Chris Martin

five things WITH

MY DIGITAL ENEMY

The Pete Tong and Danny Howard-approved My Digital Enemy – the Brighton duo of Serg and Kieron – bring their beats to Sydney this weekend. They climbed to the top ten of the Beatport house tracks fi ve separate times in 2013, with ‘Wrong’ winning plenty of fans in their native UK and overseas. ‘Shamen’ is their new cut, so expect to hear that and plenty more at Goldfi sh this Saturday July 12.

One Day

JASON LEMA

Peanut Butter Wolf

A WOLF LIKE ME ONE DAY HIT THE MAINLINE

Growing Up My main inspiration in music comes 1. from my mother. My mother raised us in a household where Latin music was played very loud, and we frequently danced with friends and family. I’ve always felt my mother was her own DJ to her friends and they always looked for the most current tunes from her. Her fearlessness music selection has sculpted my confi dence when choosing crates. Inspirations Kool & The Gang, Queen, Michael 2. Jackson, Oscar D’León, Pink Floyd, The Beatles – all these groups are on rotation in my head’s radio station. Experiences in my life inspire me. Your Crew My crew is my wife, parents, 3. brother and friend Sol Shafer. I work with a variety of talent that comes through Marquee Las Vegas so I’m blessed to share the stage with Armin [van Buuren], Gareth Emery and Kaskade on a frequent basis.

4.

The Music You Make And Play Right now I have my first release coming out, ‘Magnetic Nights’ feat. Christina Novelli. My live sets are a combination of vocal progressive house mixed with bouncy electro chuggers. Expect high energy from start to fi nish.

enough originality. I think artists are going to start producing more music to satisfy themselves versus creating what they think may be a hit. Orjan Nilsen is one of the DJs that most recently inspired me with his relentless energetic sets. What: Belvedere Winter Ball Where: Marquee When: Saturday July 19

30 :: BRAG :: 570 :: 09:07:14

TRUE VIBES ACROSS THE NATION

Sydney’s genre-bending hip hop trio True Vibenation are set to release their second album, On, and are hitting Newtown Social Club on a national album tour in August. Since releasing their debut The Sunshower Phenomenon through Big Village, True Vibenation have been going from strength to strength. Known for their live shows, the eclectic fellas blend elements of Afrobeat, dubstep, soul and electronic music to create a genre-defying sound, along with tight and hilarious lyrics and a healthy dose of brass. They play Newtown Social Club on Friday August 8.

EMBER + MINX

Marquee throws a double headline party this Saturday July 12, with Ember and Minx spinning discs. Ministry of Sound artist and festival regular Ember is an ever-present force on the Sydney clubbing scene, and his partystarting skills have seen him sharing stages with the likes of Snoop Dogg, Public Enemy, Missy Elliott, Kid Cudi, Justice, Calvin Harris, Armand van Helden and more.

Peking Duk

PURE TRANCE

The Pure Trance tour, featuring Solarstone, Giuseppe Ottaviani and Sneijder, arrives at Home Nightclub next Friday July 18. As the event name suggests, host Solarstone – AKA Richard Mowatt – is a pioneer and champion of the genre, who continued on his merry way after the departure of Solarstone collaborator Andy Bury. His Pure Trance concept welcomes Ottaviani on the road this time around – an Italian producer who made his name with Andrea Ribeca as Nu NRG. Sneijder, meanwhile, isn’t the Dutch football star of the same name – it’s Irish DJ Andrew Liggett, who’s hotly tipped at the apex of trance’s future.

MATT WEIR AT SPICE

Sydney personality Matt Weir, whom dancers will be familiar with for his beloved S.A.S.H parties, headlines his other regular haunt, The Spice Cellar, this Saturday July 12. Also on board are Marc Jarvin and Michelle Owen, with the latter primed to keep you up all night and into the morning with her Spice After Hours slot.

PEKING DUK

After a non-stop start to the year which included sets at Big Day Out, Miami Music Week and SXSW, Peking Duk are returning to Australia for a slew of tour dates this August – and tickets are moving fast. Their chart-topping single ‘High’ has just hit double platinum status and marks the duo’s third consecutive ARIA Club Chart number one. Their new single, ‘Take Me Over’, a collaboration with Ben Woolner-Kirkham, is set to drop next month. Peking Duk play Oxford Art Factory on Wednesday August 6 – the other Sydney show has already sold out.

thebrag.com

Peanut Butter Wolf photo by Jake Green

Music, Right Here, Right Now There is a lot of electronic music 5. out at the moment and I feel there isn’t

Are those Sunday hangovers stopping you from getting down to the Vic On The Park to catch the One Day gigs? No sweat: the inner west’s favourite hip hop collective is coming straight to the comfort of your home via debut album Mainline, set to drop Friday August 1. With the release of their first single ‘Love Me Less’ making waves, the crew comprising the members of Horrorshow, Spit Syndicate, Jackie Onassis and Joyride have announced their full record and a national tour for early spring. This is no supergroup – on top of its individual successes, the crew has been steadily ensuring that its local neighbourhood is seen as a breeding ground for the sharpest producers and MCs in Aussie hip hop. Catch them at the Enmore Theatre on Friday September 19.

Heads up, hip hop afi cionados: Stones Throw Records head honcho Peanut Butter Wolf is gracing the decks at Goodgod Small Club next week as part of the Red Bull Music Academy’s monthly Club Night series. The discerning ear of cuttingedge hip hop and assorted left-fi eld curiosities for the last 15 years, PBW has introduced the likes of Aloe Blacc, Mayer Hawthorne, Madlib, J Dilla, J Rocc and more over the course of 200 releases, along with his own seminal productions, including My Vinyl Weighs A Ton. Melbourne producer Kirkis will be throwing down in support. RSVP for free entry is essential, on a first come, first served basis. It all goes down Thursday July 17, alongside Peanut Butter Wolf’s appearance on the RBMA stage at Splendour In The Grass this month.

Guerre Picking Fruit By Alex Griffin

C

onsidering the gauzy, deep freeze of his productions, it’s not hard to imagine Guerre, AKA Lavurn Lee, living inside a smoke machine in a Berlin nightclub, only occasionally venturing out to brood menacingly on the dancefloor. However, when we speak on the phone, he’s calling from a farm in deep rural New South Wales, where the Canadian expat has been working due to visa requirements. There’s not much sunshine in his music, but he’s been getting a lot of Vitamin D recently. “I’m on a working holiday visa right now, the second one I’ve had,” he says. “To acquire that, the government needs you to do three months of farm work in a rural area.” Though Lee has been enjoying the rural environment, it hasn’t all been rosy, with the prospect of having to pack up his life in Australia hanging over him constantly, as well as a few queries over the government’s policy. “At first I thought it was good because I was getting a new experience and learning more about the country, but it’s a strange way for people to stay in the country. I mean, sure, there are lots of backpackers who can do it, but what if you’re disabled or can’t work? It’s been a draining experience, because if I can’t stay it feels like the end of a lot of things for me. “I came here when I was 17, so I’m literally losing a huge part of my life.” Despite the visa limbo, Lee has something to crow about, with his debut full-length, Ex Nihilo, finally reaching the public. “I feel really relieved,” he says. “It’s been done for a year, so the songs have been sitting there for ages. It’s been mostly laziness though, in trying to get the artwork done and figuring out who to release it with.” International heavyweights Remote Control ended up stepping in, through the work of Matt Blanchard at the Yes Please label, who released Guerre’s earliest works (it’s also the home of Oliver Tank). Ex Nihilo is another crowning moment in the recent parade of Sydney-based electro producers, providing a darker counterpoint to the work

of Lee’s contemporaries like Chet Faker and Collarbones. Lee, however, doesn’t feel like there’s such a scene going on, despite their proximity to one another. “I don’t necessarily think that geography means community; the music press here in Sydney really likes to group people together in terms of that because it’s easier and benefits everyone. I don’t necessarily feel like a part of anything with the bigger names, but within my circle of friends making music, there’s a similar attitude in the way we approach writing.” Guerre’s distinctive visual style – equal parts David Lynch and American Apparel ads – draws out the qualities of his music in a pretty alluring fashion, something that Lee is keenly aware of, having originally come to Australia to study fine art and drawing. “The drawings, the artwork, they should not detract from the music. The visual side has to inform what the vibe is, that’s the most important thing.” That vibe is shadowy as hell, which makes Ex Nihilo (Latin for ‘from nothing’) a pretty appropriate title. “I like the idea of looking at my music as if it’s coming out of nothing, which is a bit of a cop-out!” Lee laughs. “Because, of course, there’s a source to everything. But working with digital equipment, it does feel like there’s a certain level of disconnect with the machine because you’re not producing these sounds yourself; like, with a guitar there’s an element of physical extraction. With digital equipment, there’s more randomness – instead, you’re choosing these sounds and seeing where they go.” While Ex Nihilo embraces that limitlessness, Lee remains locked in a struggle to stay in the country where he’s made a distinctive contribution to the dance music scene. If it’s up to Lee, it’ll just be his music that travels far from here. What: Ex Nihilo out now through Yes Please/Remote Control

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TIX $15 BRAG :: 570 :: 09:07:14 :: 31

club guide g send your listings to : clubguide@thebrag.com

club pick of the week Kilter

FRIDAY JULY 11 Oxford O f Art Factory

Kilter

Lansdowne Hotel, Chippendale. 8pm. free. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 10pm. free. El’ Circo - feat: Resident Circus Act Performers Slide Lounge, Darlinghurst. 7pm. $109. Ember + Minx Marquee, Pyrmont. 10pm. $28.60. FBi Hands Up! - feat: DJ Clockwerk + Special Friends With Benefits FBi Social, Kings Cross. 11:30pm. free. Levins + Ariane + Horne Dogg Goodgod Small Club, Sydney. 11pm. $11. Masif Saturdays Space, Sydney. 10pm. $25. My Place Saturdays Bar100, The Rocks. 8pm. free. Pacha Sydney - feat: Henry Fong + Reece Low + Glover + Matt Nugent + Ben Morris + Spenda C + Finers + Devola + Just1 + Danny Lang + Sushi + Jace Disgrace + Mike Hyper + Dylan Sanders + Heke + Stu Turner Ivy Bar/Lounge, Sydney. 9pm.

$32. Sienna Saturdays - feat: Resident DJs The Establishment, Sydney. 9pm. free. Soda Saturdays - feat: Resident DJs Playing Disco And Funk Soda Factory, Surry Hills. 5pm. free. Spice 12.07 - feat: Matt Weir + Marc Jarvin The Spice Cellar, Sydney. 9pm. $25.

Cadell + Tom Kelly + Ocky Goldfish, Kings Cross. 4pm. free. Sunday Spice - feat: U-Khan + Steven Sullivan + Ghostly DJ’s + Lloyd James The Spice Cellar, Sydney. 9pm. $10. Sundays In The City - feat: Various DJs The Slip Inn, Sydney. 12pm. free.

MONDAY JULY 14

SUNDAY JULY 13

CLUB NIGHTS

CLUB NIGHTS

La Fiesta - feat: Samantha Fox + Agee Ortiz + Av El Cubano + Resident DJ Willie Sabor The Establishment, Sydney. 8pm. free. S.A.S.H (Flyover Closing Party) - feat: Gabby + Matt Weir + U-Khan + Jaded + Pippa Dalton + Gerrit Oliver Flyover Bar, Sydney. 2pm. $10. Sunday Sessions - feat:

Crab Racing Scubar, Sydney. 7pm. free.

TUESDAY JULY 15 CLUB NIGHTS

Chu World Bar, Kings Cross. 9pm. free.

send your listings to : clubguide@thebrag.com

Koan Sound

+ Hatch 8pm. $18.50. WEDNESDAY JULY 9 CLUB NIGHTS

DJ Tom Kelly Goldfish, Kings Cross. 9pm. free. The Wall - feat: Various Local And International Acts World Bar, Kings Cross. 9pm. $5. Whip It Wednesdays - feat: Various DJs Whaat Club, Kings Cross. 9pm. free.

THURSDAY JULY 10 CLUB NIGHTS

32 :: BRAG :: 570 : 09:07:14

FRIDAY JULY 11 HIP HOP & R&B

Jazz Hip-Hop Freestyle Sessions Foundry616, Ultimo. 11:30pm. $5.

CLUB NIGHTS

Argyle Fridays - feat: Resident DJs The Argyle, The Rocks. 6pm. free. Brooklyn Marquee, Pyrmont. 10pm. $18.40. Champain Lyf (Lifestyle Clinic 1.0) Goodgod Small Club, Sydney. 11pm. $5. DJ Huwston Lansdowne Hotel, Chippendale. 11pm. free. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 10pm. free. Factory Fridays - feat: Resident DJs Soda Factory, Surry Hills. 5pm. free. Feel Good Fridays

Bar100, The Rocks. 5pm. free. Frisky Fridays Scubar, Sydney. 5pm. free. Kilter + Hatch Oxford Art Factory, Darlinghurst. 8pm. $18.50. Koan Sound + Joe Barrs + K3V + Blackmale + Nemo + Big Deal + Gillespie + Chenzo Chinese Laundry, Sydney. 9pm. free. Loco Friday - feat: Various Live Bands And DJs The Slip Inn, Sydney. 5pm. free. Soft&Slow 11.07 - feat: Preacha + James Cripps + Pink Lloyd The Spice Cellar, Sydney. 9pm. $15. Voodoo Sydney Home Nightclub, Darling Harbour. 10pm. $25.

SATURDAY JULY 12

THURSDAY JULY 10

SATURDAY JULY 12

Beyoncé Dance Class Goodgod Small Club, Sydney. 7pm. $11.

Ember + Minx Marquee, Pyrmont. 10pm. $28.60.

Thursday Spice - feat: Ghostly DJs The Spice Cellar, Sydney. 9pm. Free.

Pacha Sydney - feat: Henry Fong + Reece Low + Glover + Matt Nugent + Ben Morris + Spenda C + Finers + Devola + Just1 + Danny Lang + Sushi + Jace Disgrace + Mike Hyper + Dylan Sanders + Heke + Stu Turner Ivy Bar/Lounge, Sydney. 9pm. $32.

Violent Soho DJs (Violent Soho After Party) Lansdowne Hotel, Chippendale. 11pm. Free.

CLUB NIGHTS

Anthony Pappa + Rollin Connection + Chris Arnott + Andrew Wowk + Visual Lies + Adam Zae + Vito Cavarretta + Fingers + DJ Skoob + DJ C-Bu Chinese Laundry, Sydney. 9pm. free. Bloods DJs Lansdowne Hotel, Chippendale. 11pm. free. Cakes - feat: 4 Rooms Of Live Music + DJs And International Guests World Bar, Kings Cross. 8pm. $10. DJ Mounties, Mount Pritchard. 8pm. free. Donny Benet + Post Paint

FRIDAY JULY 11 Brooklyn Marquee, Pyrmont. 10pm. $18.40. Koan Sound + Joe Barrs + K3V + Blackmale + Nemo + Big Deal + Gillespie + Chenzo Chinese Laundry, Sydney. 9pm. Free. Soft&Slow 11.07 - feat: Preacha + James Cripps + Pink Lloyd The Spice Cellar, Sydney. 9pm. $15. Voodoo Sydney Home Nightclub, Darling Harbour. 10pm. $25.

Spice 12.07 - feat: Matt Weir + Marc Jarvin The Spice Cellar, Sydney. 9pm. $25.

SUNDAY JULY 13 S.A.S.H (Flyover Closing Party) feat: Gabby + Matt Weir + U-Khan + Jaded + Pippa Dalton + Gerrit Oliver Flyover Bar, Sydney. 2pm. $10. Sunday Spice - feat: U-Khan + Steven Sullivan + Ghostly DJ’s + Lloyd James The Spice Cellar, Sydney. 9pm. $10.

thebrag.com

Koan Sound photo by Anna O’Driscoll

$5 Everything Scubar, Sydney. 5pm. free. Beyoncé Dance Class Goodgod Small Club, Sydney. 7pm. $11. Fear Of Dawn Goldfish, Kings Cross. 8pm. free. Goldfish And Friends - feat: Regular Rotating Residents Goldfish, Kings Cross. 10pm. free. Hot Damn Spectrum, Darlinghurst. 9pm. $10. Kicks World Bar, Kings Cross. 9pm. free. Lights Out Ivy Bar/Lounge, Sydney. 8pm. free. Loopy - feat: Drty Csh + Daschwood + Generous Greed + Guest DJs The Backroom, Potts Point. 10pm. $12.

Pool Club Thursdays - feat: Resident DJs Ivy Bar/Lounge, Sydney. 5pm. free. The World Bar Thursdays World Bar, Kings Cross. 9pm. free. Thursday Spice - feat: Ghostly DJs The Spice Cellar, Sydney. 9pm. free. Violent Soho DJs (Violent Soho After Party) Lansdowne Hotel, Chippendale. 11pm. free.

Off The Record Dance And Electronica with Tyson Wray

12.07.14

Margaret Dygas

2

1- and 22-year-old Scots Calum Macleod and Liam Robertson, AKA Clouds (not to be mistaken with the local outfit of the same name), have locked in their debut visit Down Under. Part of Turbo Recordings’ core of young ‘New Jack Techno’ artists, the duo has already garnered support from heavyweights such as Richie Hawtin, Marcel Dettmann and Michael Mayer. They’ll bring their eclectic mix of bass, techno and house to Chinese Laundry on Saturday August 9. For the first time ever, Jason Letkiewicz, better known as Steve Summers, will perform in Sydney. The New York-based selector has worked with seminal labels such as L.I.E.S., ESP Institute and PPU, and under a variety of monikers, including Two Dogs In A House (with Ron Morelli), Innergaze (with Aurora Halal) and Manhunter (with Ari Goldman from Beautiful Swimmers). He’ll hit Sydney on Friday July 18 with the Noise In My Head crew over at Club 77. He’ll also be performing at Splendour In The Grass if you’re heading to Byron. Already announced as a headline act for Victoria festival Strawberry Fields, Âme have added a Sydney date to their tour itinerary. The DJ/production duo of Kristian Beyer and Frank Wiedemann have been carving their niche on dancefloors for over a decade now with their delicate blend of deep techno, rolling house and spotted minimalism. Catch them on Saturday November 22 with the Finely Tuned collective, venue is TBA. One of the leading names in London’s burgeoning new breed of electronic, Alexis Raphael has locked in an Australian visit. First cutting his teeth on pirate radio in the late ’90s, Raphael went on to lock down residencies at legendary London clubs such as The Cross and Turnmills and has since released his amicable blend of house and techno of labels such as Jamie Jones and Lee Foss’ Hot Waves alongside Leftroom, Get Physical and Nervous. He’ll hit S.A.S.H – at its new venue – on Sunday August 31. Word on the grapevine is that Detroit stalwart Andrés will be returning to Sydney

next month. A regular on Moodymann’s seminal labels KDJ and Mahogani Music, he released arguably the most ubiquitous track of 2012 with his ‘New For U’ single on La Vida. Keep an eye out. It looks like Huerco S.’s upcoming Australian tour has been scrapped. Back in April the Kansas City producer posted on Facebook that he’d be debuting Down Under in July, but with no dates ever confirmed, plus the fact that he’s since edited the post to remove his Sydney performance, it looks like he ain’t coming. In a week of quality releases, Fabric and Berghain stalwart Margaret Dygas has dropped the absolute stormer In Wood / That on Perlon. Stroboscopic Artefacts have kicked another goal with Eomac’s Monad XVII, and over at Tasteful Nudes Royer’s Tough Questions is already looking like it’ll be a guaranteed staple in late-night sets this summer.

F R I E N D L E S S / B AY A Y T E K / S L O C L O / J O N AATT H A N T E R R I F I C D E C K H E A D / B R I Z Z / R AAVV E D O S S / H E R E ' S T R O U B L E BOUNCE CREW / NYXEN / DEE JAA VU

2 4 B AY S WAT WA T E R R D K I N G S C R O S S / T H E W O R L D B A R . C O M / FA C E B O O K . C O M / T H E W O R L D B A R

Local lad Lavurn Lee AKA Guerre dropped his debut album Ex Nihilo last week and it’s top notch. The record was produced with Marcus Whale of Collarbones, who also produces with Lee in the three-piece outfit Black Vanilla. Lead single ‘Deatheat’ comes alongside a killer clip, too. Don’t sleep on it.

RECOMMENDED SATURDAY JULY 19 Super Flu Club 77

SATURDAY AUGUST 2 Phil Smart The Imperial

Tuff Sherm (AKA Dro Carey) Marrickville Bowling Club

SATURDAY AUGUST 23 Seekae Metro Theatre

xxx

Andrés

Got any tip-offs, hate mail, praise or cat photos? Email hey@ tysonwray.com or contact me via carrier pigeon. thebrag.com

BRAG :: 570 :: 09:07:14 :: 33

snap up all night out all week . . .

It’s called: Voodoo Sydney It sounds like: Big room sound – progressive house, trance, techno, deep house and every thing in between.

Acts: We’ve had Ummet Ozcan, MarLo, Arty, Mat Zo, Paul van Dyk, Andrew Rayel, ATB, Simon Patterson and Markus Schulz – just to name a few. Three songs you’ll hear on the night: Armin van Buuren – ‘This Is What It Feels Like’ (W&W Remix); Dannic feat. Brigh t Lights – ‘Dear Life’; Cosmic Gate – ‘Falling Back’. And one you definitely won’t: Pitbull – ‘Timb er’. Sell it to us: Voodoo, set in Home Nightclub, is for your senses and your mind! With the larges an audible and visual delight t lighting production around, theatrics and special effects combined with crisp, clear and punchy sound, Voodoo is the perfect environment to exper ience and get up close and personal with the best local and internationa l touring artists. Voodoo is all about the experience, vibe and electricity on the dancefloor! The bit we’ll remember in the AM: The music , light show and vibe. Crowd specs: An average of 1,000 big room music fans weekly. Wallet damage: $25 Where: Home Nightclub, 101/1 Wheat Road, Darling Harbour When: Every Friday night.

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voodoo sydney

06:07:14 :: Flyover Bar :: 275 Kent St Sydney 9262 1988 34 :: BRAG :: 570 :: 09:07:14

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05:07:14 :: Marquee :: The Star Sydney Pyrmont 9657 7737

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