ISSUE NO. 611 MAY 6, 2015
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INSIDE
F E AT UR ING
PA L M A V IOL E T S
The British guitar rockers aren’t afraid of writing pop choruses.
VIVID SYDNEY 2015
This Week
TV ON THE RADIO
C OL IN H AY
An iconic songwriter shares his stories for Sydney Comedy Festival.
S A MM Y J & R A NDY
A friendly rivalry keeps the laughs coming for these two.
T HE N A K ED M A GICI A NS
Because real magicians don’t need sleeves. Or pants.
Plus
JUST A GENT DOV SIMENS OCEAN ALLEY
WITH
THE PUBLIC OPINION A FRO ORCHE S TR A , BL ACK VA NILL A , ELEFA N T TR A KS, MUSIF Y + G A MIF Y A ND MORE
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rock music news
the BRAG presents
welcome to the frontline: what’s goin’ on around town... with Gloria Brancatisano, Ayla Dhyani and Lauren Gill
VOYAGER Factory Floor Saturday May 23
speed date WITH DAN
MOJO JUJU
PARSONS
Best Gig Ever It would have to be the 3. launch for my last album at The
1.
Your Profile I’d like to think my sound encapsulates the best parts of the 1970s, balancing on the sharper edge of ’90s pop sensibility. I like writing songs, honesty (no oversharing, though), bizarre senses of humour, and two-forone meal specials anywhere and everywhere. A fan just has to be
a fan. Artists don’t get to choose their audience and that’s a great thing. We need them a lot more than they need us.
2.
Keeping Busy I’ve been super busy mixing my new album for the last few months with the man who recorded and co-produced it – Mr. Robin
Old Bar in Fitzroy, Victoria. By their very nature, launches are great candidates for being special, but this particular night the band and I felt as if we couldn’t put a foot wrong, seemingly. It was a great crowd and was, personally, the culmination of a lot of hard work that I felt initially may have been too overwhelming to achieve on my own.
Current Playlist I just bought Father John 4. Misty’s new album I Love You, Honeybear. I’m loving it. Sonically, it’s lush and ornate, while lyrically it’s sardonic, brutally honest and even hateful at times. It is a classic paradox that never fails to reel me in. Full of lines that cut to the quick.
MARMOZETS
Your Ultimate Rider My ultimate rider would 5. consist of – but wouldn’t be limited
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Newtown Social Club Thursday July 23
Metro Theatre Friday July 24
to – a platter of Reese’s Pieces, a bottle of Bushmill’s, a bottle of cola (any kind is fine), some sunflower seeds and some high-quality Biltong. Really, I just get what I’m given and am happy if they give me enough to get a bit blurry.
WOLF ALICE Oxford Art Factory Friday July 24
With: Steve Grady Where: The Junkyard, Maitland / Live ’n’ Lounging, Sydney When: Thursday May 7 / Friday May 8
YEARS & YEARS Oxford Art Factory Sunday July 26
Years & Years photo by Mike Massaro / Wolf Alice photo by Jordan Hughes
Waters. In between shows and sessions, I’ve been playing some lead guitar for the incredible Tracy McNeil and some pedal steel/guitar for the resplendent Marlon Williams. In May I’ll be hitting the road with my old friend and fellow troubadour, Steve Grady, for a run of shows up and down the east coast in support of my new single ‘I’ll Live And I’ll Die’ and Steve’s new EP A Year’s Gone By, which I was lucky enough to coproduce, record and play on.
Newtown Social Club Saturday June 20
ELTON JOHN DOWN UNDER
MANAGING EDITOR: Chris Martin chris@thebrag.com 02 9212 4322 ONLINE EDITOR: Tyson Wray SUB-EDITOR: Sam Caldwell STAFF WRITERS: Adam Norris, Augustus Welby NEWS: Sarah Basford, Kelsey Berry, Gloria Brancatisano, Lauren Gill, Meggan Turner ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: Katrina Clarke, 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 GIG & CLUB GUIDE COORDINATORS: Sarah Basford, Sam Caldwell, Ayla Dhyani, Meggan Turner - gigguide@thebrag.com (rock); clubguide@ thebrag.com (dance, hip hop & parties) AWESOME INTERNS: Meggan Turner, Ayla Dhyani, Sarah Basford
Sir Elton John and his band will return to Australian shores later this year. It’s been over 40 years since the iconic musician first toured Down Under in 1971, and he’s since performed 179 concerts across the country to over 1.5 million people. On his upcoming tour he will perform a series of arena and winery shows. “Australia has been one of my favourite countries to tour in ever since my first visit there at the start of my world-wide career in 1971 (it is incredible to think that my drummer on that tour, Nigel Olsson, is still with me today),” said John. Catch him on Saturday December 5 at Hope Estate in the Hunter Valley and on Saturday December 19, when he’ll play the final Qantas Credit Union Arena show before its scheduled closure.
CHISEL FAREWELL THE ENT CENT
Legendary Aussie pub rockers Cold Chisel will return to Qantas Credit Union Arena (formerly Sydney Entertainment Centre) to mark the venue’s closure at the end of 2015. The gig will make Chisel the last Australian band to perform at the CBD’s home of big-name concerts, just one day before Elton (see above) arrives to play its final show. It’s a fitting one for Barnesy, Mossy and co., as it was at the Ent Cent in
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Joan Baez
JOAN BAEZ AT THE OPERA HOUSE
Legendary American folk singer and activist Joan Baez has announced an Australian tour for 2015, after a worldwide jaunt spanning across four continents. Baez’s music represents the fundamental foundation of the folk genre, incorporating her political and social values into her music. This year marks the anniversary of the walk from Montgomery to Selma, in which Baez took part to aid the American Voting Rights Movement. This May, she’ll receive the Ambassador for Conscience Award for 2015 from Amnesty International in recognition of her consistent fight for human rights. She’s also be performing at the Concert Hall, Sydney Opera House on Sunday September 20.
Due out on Friday July 3, the crowd-funded album is the band’s first release since 2011’s Requiem. They’ll play Newtown Social Club on Friday May 15 and Saturday May 16. Yob
To support the release of their new EP, Anchor, Birds Of Tokyo have announced a national tour, heading to Sydney in June. The six-show tour will start in Darwin and include dates in all major cities. Anchor’s four tracks were recorded last year, when Birds Of Tokyo based themselves in America, taking their music overseas for the first time. Since returning to Australia a few months ago, the band now has more than 30 new tracks in various stages of completion, and is aiming to have a new album out next year. Birds Of Tokyo will play the Metro Theatre on Queen’s Birthday Eve, Sunday June 7.
ART VS. SCIENCE VS. AUSTRALIA
Art vs. Science have announced a small run of club shows in support of their new single ‘In This Together’, kicking off this June. The single is taken from the band’s forthcoming album, to be road-tested on stages in Melbourne, Sydney and Brisbane. Art vs. Science will play at The Basement on Saturday June 13.
THEY DIDN’T GET AWAY
Four years since their last release, The Getaway Plan will put out a new album this July, accompanied by an extensive national tour. The alt-rock four-piece will play a slew of capital city shows leading up to the release of their third LP, Dark Horses, followed by a run of regional dates.
OH BOY, IT’S YOB
After finding great success with their 2014 album Clearing The Path To Ascend, Oregon doom metal trio Yob have announced they’ll be heading Down Under this August. Founded by Mike Scheidt way back in ’96, Yob have earned a reputation for a furious and powerful live show. They’ll be at Manning Bar on Saturday August 22. xxx
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Dead Letter Circus have announced a run of intimate shows around the country this July in support of their forthcoming single, ‘While You Wait’. The track is the lead single from their yet-to-be-announced third album, expected for a late winter release. The band will play five shows around the country, with an average of 300 tickets available for each city, making this run of shows their most intimate full band tour since the early days. They’ll be at Newtown Social Club on Thursday July 16.
BIRDS OF TOKYO TAKE FLIGHT
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DEAD LETTER’S INTIMATE CIRCUS
1983 where Chisel played their original Last Stand farewell dates. They’ll appear on Friday December 18. The building will be demolished and replaced by a new venue nearby as part of the Darling Harbour redevelopment project.
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DEE DEE IRVIN
BRIDGEWATER MAYFIELD
AND THE
CITY RECITAL HALL PRESENTS
NEW ORLEANS JAZZ ORCHESTRA For one night only, straight from the USA, jazz giant Dee Dee Bridgewater, the New Orleans Jazz Orchestra will transform City Recital Hall into the heart of New Orleans with their incredible tunes in an evening of sublime big-band sounds.
6 June 2015, 8.00pm City Recital Hall Tickets $49-$125* Book cityrecitalhall.com or 02 8256 2222
*Additional fees may apply.
Images: Mark Higashino and Greg Miles
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live & local
free stuff
welcome to the frontline: what’s goin’ on around town... with Lauren Gill, Meggan Turner and Ayla Dhyani
head to: thebrag.com/freeshit
speed date WITH
2.
Keeping Busy I’ve been recording a bit and recorded the single, ‘Why Don’t You Stay’, just in March and shot the music video for it the following week. It was all pretty intense. We had the WAM Song of the Year awards here too, and I ended up getting two of those, which was awesome. We were also invited to open main stage at the West Coast Blues ’N’ Roots Festival – insane!
Best Gig Ever The best and most 3. memorable gig I ever played was supporting Cold Chisel
at Sandalford Winery when I was 17 and there were around 11,000 people there – I was so scared! I played it solo with a guitar, a harmonica and stomp box as a one-man band set-up, which is what I was doing back then. They introduced me and I walked out nearly weeing myself [laughs] but as soon as I started playing, all that nervousness went away. It was just insane to be able to play to that many people and to have such a great response. Current Playlist I’m listening to all kinds of 4. stuff – a lot of Alabama Shakes
was absolutely insane – one of the best shows I have ever seen and they played for around threeand-a-half hours. Mind-blowing. Your Ultimate Rider Mmm, we are probably the 5. least picky band for riders. I just
We’ve got a double pass to give away for Voyager and Klone at the Factory Floor on Saturday May 23. To enter the draw, visit thebrag.com/freeshit.
drink tea before shows and if I’m going to drink later it’s whisky on the rocks, but the rest of the band just drink beer, cider or wine – pretty normal, nothing out of the blue. I think an ultimate rider for me would be different teas and sushi (my favourite food).
at the moment because I’ve just seen them over at Bluesfest and they blew me away. I’m also listening to a lot of American hip hop, and always Stevie Wonder, Bill Withers and Donny Hathaway. Not too long ago I went to the Eagles with my old man and it
Voyager
Where: Frankie’s Pizza When: Thursday May 14 And: Also appearing at the Lass O’Gowrie, Newcastle on Saturday May 9; The Junkyard, Maitland on Friday May 15; and Sydney Blues & Roots Festival, Windsor on Saturday May 16
Xxxx
1.
Fans of Australia’s buzzing metal scene will be stoked to hear that Perth progressive metal outfit Voyager are heading out on a national tour. In celebration of the release of their new video for ‘Seasons Of Age’, taken from the acclaimed album, V, they’re bringing along their French buddies, Klone, who have just released their fifth full-length album, Here Comes The Sun (read our review on p.29 this week).
MORGAN BAIN
harmonica, Adam Springhetti, who plays double bass and electric, Andy Pearson on drums and Teischa Jones on keys and vocals. We sound like dark, moody, cinematic soul, a bit of trip hop and rock’n’roll and some blues in there too.
Your Profile My band is made up of me on vocals, guitar, keys and
VOYAGER
xxx
Low Lux
Batpiss
A PIECE OF BATPISS
GOOD LUCK LOW LUX
Sydney five-piece Low Lux have released their debut single, ‘Rivers Roll’. Low Lux are a product of homemade production, with their arrangements recorded in a bedroom. Their pieces have evolved as their abilities to produce from home have developed. ‘Rivers Roll’ draws on dark pop and electronics to become an intimate track that is strengthened by singer Daisy Dowd’s vocals. The band will launch ‘Rivers Roll’ at Newtown Social Club on Sunday June 21.
Patrick James
SURVIVAL INSTINCT
Circa Survive are returning to Australia. The Philadelphia rock outfit will hit our shores for the first time since 2013, when they toured the country with Coheed And Cambria. This time around, they’ll showcase songs from across their ten-year catalogue, including their 2005 debut Juturna and last year’s Descensus. They’ll be joined by PVRIS, who have been enjoying the success of their 2014 album, White Noise. The show’s at the Metro Theatre on Saturday September 19.
Melbourne trio Batpiss have announced the release of their latest LP, Biomass, and to celebrate they will be heading off around the country, beginning this July. The record follows their 2013 release Nuclear Winter, and was recorded over five days at Melbourne’s Cellar Studios. The tour will begin in Canberra, taking in 11 stops and finishing things up at Melbourne’s Poison City Weekender. Batpiss will take over Frankie’s Pizza on Friday July 6.
GAY PARIS ARE BACK
Sydney rockers Gay Paris have locked in a national tour in support of their new single, ’The Sackcloth Saint Of The Cornfield’. Taken from Gay Paris’ forthcoming third album, the single sees the band return to its
roots, with pounding rhythms and huge guitar solos. They’ll debut it live across the country when they head out for an eight-date tour, hitting capital cities from Brisbane to Perth. Catch ’em on Saturday June 13 at the Metro Theatre.
MARLON’S THE MAN
PATRICK JAMES
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GO ON, GORMAN
Fraser A. Gorman has locked in a tour to celebrate the release of his debut album, Slow Gum. Since popping onto the scene in 2012 with several singles and an EP, Gorman has become a core member of Courtney Barnett’s Milk! Records label and has collaborated with the likes of King Gizzard & The Lizard Wizard, Davey Lane, Barnett and more. Gorman’s penchant for rock with a hint of country can be heard on his album’s lead single, ‘Book Of Love’ and its followup, ‘Broken Hands’. See him perform both tracks and more material from Slow Gum on Friday July 10 at Newtown Social Club.
The Rocksteady Ratpack
ROCK’N’ROLL MAY MARKETS
This month’s edition of the Sydney Rock ’N’ Roll and Alternative Market will feature a ska versus rockabilly music lineup. The event combines something of a festival and market mentality, with a vast selection of food and vintage stalls, together with bars and live music. The May lineup of ska and rockabilly acts includes The Rocksteady Ratpack, The Detonators, Backy Skank and The Cruisin’ Deuces, plus DJs and rockabilly dancing lessons. The market will take place on Sunday May 17 at Sydney University’s Manning House.
thebrag.com
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Sydney-via-Port-Macquarie songwriter Patrick James is hitting the road once again to launch his new single, ‘California Song’, and preview songs from a forthcoming debut album. James released the excellent Broken Lines EP last year, itself coming on the heels of his 2013 debut EP All About To Change, and toured the country for 29 dates with fellow Sydneysiders Boy & Bear. Since making Sydney his home, James fashioned himself into a regular on the city’s busking scene, but his talent is made for the stage – and that’s where you can catch him on Saturday June 27 at Newtown Social Club.
Marlon Williams, the man of the moment, has announced a run of tour dates in support of his critically acclaimed self-titled debut album. The 24-year-old Kiwi will play nine shows across Australia with his band The Yarra Benders and special guest Laura Jean, performing songs from his debut, including the huge lead single ‘Dark Child’. The tour comes in the middle of a big year for Williams, who knocked out huge performances at Bluesfest, Port Fairy Folk Festival and Queenscliff, as well as tours with First Aid Kit and Justin Townes Earle. He’ll play The Basement on Saturday July 4.
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BRAG :: 611 :: 06:05:15 :: 11
Industrial Strength Music Industry News with Christie Eliezer
THINGS WE HEAR * Which security guard at a venue is up on charges of possessing over $1.2 million worth of methylamphetamine and cocaine, and unlicensed weapons? * Which agent asking for funds for a sick muso was told bluntly by a band manager: “If you’d paid us for that gig six months ago we’d have donated”? * When Groovin The Moo’s Bunbury show in Western Australia sold out (capacity
20,000), scalpers were asking for three times the ticket price. 50 patrons were charged with drug possession and eight for intent to sell. A scam “rented” out Bunbury houses for patrons, with their owners only realising when folks lobbed at their doorstep. * During their GTM set, The Delta Riggs set up a tiki bar side of stage serving cocktails to other bands. * New York band Brand New were midway through a show in New Mexico when singer Jesse Lacey forgot the words to their 2006 song ‘Millstone’. He asked someone in the front row, “Do
STUDY: COMMERCIAL RADIO LISTENERS ARE HIGH-TECH Australian commercial radio listeners are high-tech, connected, and heavy mobile and online users, according to a new study into their buying habits. The Consumer Insights Report (Unleashing The Power Of Radio) was compiled by research company Nielsen in collaboration with Commercial Radio Australia. 83% of radio listeners access the internet once a day (up from 59% from 2012) and 62% multiple times. In the 30 days before the survey, 58% of listeners had searched online for information on a product, and 34% on a brand. 60% compare prices online, 45% plan their shopping, and 59% buy online. The top three purchases are clothing (23%), airline tickets (20%) and accommodation (17%). They are also avid mobile users – 94% own mobiles and 75% of those have a smartphone (up from 65% two years ago). The study shows brands that radio is a good place to advertise to reach consumers before they buy products.
MORE ADDED TO ‘UPTOWN FUNK’ CREDITS Five more songwriters have been given writing credits on Mark Ronson’s ‘Uptown Funk’. They were the writers behind Gap Band’s 1979 R&B anthem ‘Oops Up Side Your Head’.
you have the lyrics on your phone?” * With all the heavy touring Chet Faker did behind Built On Glass, the follow-up will be “a lot of movement, a lot of rhythm, groove-based stuff … heavily performance-based with high energy,” he told Vulture. He’s working in his home studio in Brooklyn with a lot of “real players to get that human groove that you can’t manufacture”. One is Ruban Nielson of Unknown Mortal Orchestra: a shot of the two flashing V signs was up on Instagram. * With The Black Keys out of
They join Ronson, Bruno Mars, producer Jeff Bhasker and The Smeezingtons’ Philip Lawrence, as well as two writers of Trinidad James’ ‘All Gold Everything’, which was sampled on the chart-topping track.
COOKING VINYL AUSTRALIA TEAMS WITH RUN FOR COVER Cooking Vinyl Australia now represents Boston’s Run For Cover Records in Australia and New Zealand. Upcoming releases are by Virginia’s Turnover (their Peripheral Vision is out this week), recent tourists Citizen, Pity Sex and Basement, who played to full houses here last year. CVA co-director Stu Harvey said, “Run For Cover have released some of my favourite albums of the last few years.”
WHICH AUSSIE ACTS ARE PIRATED THE MOST? In a submission to the Australian Government’s plans for online piracy, Music Rights Australia has put together a list of the 14 most pirated Australian acts on illegal torrent sites. They include INXS, Keith Urban, Nick Cave and The Bad Seeds and Hillsong United. MRA represents 70,000 songwriters, composers, publishers and labels.
action due to Patrick Carney’s shoulder injury, Dan Auerbach is working on a solo album (as The Arc), which is “extra weird”. The music is inspired by boxing (which he does daily in his garage) and The Grateful Dead. * Peking Duk will headline the pre-match entertainment for the Hyundai A-League Grand Final on Sunday May 17. * Dallas Frasca was so excited when Love Army came into the ARIA chart at number 29 that she spent the next 29 minutes ringing 29 ardent fans (one from the US), thanking them for their support. This month she plays across the country.
NO MORE BIG DAY OUT? Big Day Out might not return. Last week, promoter AJ Maddah tweeted to ABC reporter Stephanie Corsetti it wouldn’t be back until 2017. A day later he told The Music Network editor Poppy Reid, “There is no guarantee it will ever come back.” He blamed “the pissweak state of the AUD$ and general availability of bankable headliners” via Twitter.
NAMES FOR BONDI WAVE This year’s Bondi Wave conference (Friday May 15, Bondi Pavilion) provides a free guide on the music industry. Speakers are Dom Alessio (triple j), Dan Mac (Art vs. Science), Greg Carey (Umbrella), Pam Thornback (Inertia), Philip Mortlock (Alberts/Origin Music), writer and producer Jean-Paul Fung, Katie Stewart (Laneway), Dean Ormston (APRA) and Lynne Small (ARIA).
NOMINATIONS OPEN FOR INDIGENOUS NIMAS Nominations are open until June 20 for the National Indigenous Music Awards (NIMAs). They’re held in Darwin, and this year’s applications are expected to break last year’s record. Performers at the event currently include Frank Yamma, Tiwi Island’s B2M and The Painted Ladies. The latter is a project by Queensland’s Luke Peacock, who’s assembled new and old indigenous musos to re-record Vic Simms’ ‘lost’ 1973 album The Loner. Recorded in the Bathurst jail, it was Australia’s first black protest record. In a rare performance, Simms will also join The Medics at the NIMAs.
VANCE JOY LEADS AUSSIE WINS IN GLOBAL COMP
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In a first time for the US-based International Songwriting Competition, an Australian has won the 2014 Grand Prize. Vance Joy’s ‘Riptide’ was awarded a perfect score. Aussie-based artists dominated in eight categories, including Kimbra (two wins), Paul Mac, Thundamentals, San Cisco, Apes, Lucy Mason and Wons Phreely.
ASIAN COMPANY SCAMMED OVER PHARRELL SHOW
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A US man conned South Korean steel firm Dosko out of US$375,000 by convincing them he represented a Japanese talent agency which could book Pharrell Williams for a function. Sigismond Segbefia was nabbed at his home in Maryland by the FBI. Authorities allege he also scammed hundreds of thousands of dollars from women, saying his medical equipment business was in financial difficulty.
THY ARTWORK IS MURDER Sydney deathcore band Thy Art Is Murder have run into problems with the cover art of their third album Holy War due out next month. To match the lyrical themes (“our most confronting release to date”, said guitarist Andy Marsh), it depicted a small child in a hood splattered with blood and a bomb strapped to its body. But global retailers and distributors were nervous it could be seen as a pro-war statement and cause a backlash, so they swapped it for an inner shot of the child’s obscured face, and used the original inside.
INSTAGRAM LAUNCHES MUSIC ACCOUNT Instagram has launched the @music account, dedicated to visually exploring music, its creators and its community. It is published on the Instagram platform under the handle @music. Instagram has 300 million users, and a quarter of its most popular accounts come from musicians.
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Lifelines Born: Cat Power said on Instagram she’s had a baby, but gave no details. Marrying: Aussie country performer Catherine Britt and her businessman boyfriend will get hitched in October. She’s currently touring behind Boneshaker. Hospitalised: Daddy Cool guitarist Ross Hannaford for surgery for a recurring illness. Recovering: Wollongongbased Graham Wilson, ex-Four Kinsmen, has played two shows since brain surgery three weeks ago. He continues chemotherapy. Recovered: Motörhead’s Lemmy Kilmister from bad gastro in Sao Paulo, Brazil, which forced them to bow out of the Monsters Of Rock festival. Arrested: an Ariana Grande stalker after he turned up at a Connecticut concert demanding to see her. He’d been warned off by cops for sending her numerous gifts last year, including a 42.5pound pumpkin, and turning up at a meeting at her record label dressed as Santa Claus. In Court: Kanye West has been given court permission to sue ex-YouTube CEO Chad Hurley for uploading leaked footage of his high-profile marriage proposal to Kim Kardashian. In Court: Jimmy Bakolias, 45, a security guard at Geelong’s Home House nightclub, was found guilty of two assault charges after an incident last July. The court did not register a conviction but placed him on a six-month adjourned undertaking. He had to pay a total of $1,680. In Court: police dropped an assault charge against singer Jon Stevens. He was placed under an apprehended violence order for allegedly attacking his fashion designer fiancé Jodhi Meares at their home in Sydney. The police case fell over after Meares refused to testify against Stevens, who had many solo gigs cancelled by venues because of the charge. Sued: Courtney Love by her ghostwriter Anthony Bozza, who says he presented her with a 123,375-word manuscript but she hasn’t paid him the balance of US$300,000 after a year. She says she rejected his portrayal of her life. Died: US soul singer Ben E King, 76, best known for ‘Stand By Me’ and also for singing lead on The Drifters’ ‘Save The Last Dance For Me’. Died: US songwriter Sid Tepper, 96. He co-wrote hundreds of songs, 40 of which were recorded by Elvis Presley. His other hits included ‘Puppet On A String’, ‘The Young Ones’, ‘Red Roses For A Blue Lady’ and ‘All That I Am’. Died: guitarist Alan Wass, 33, collaborator of The Libertines’ Pete Doherty and leader of his own band The Lipstick Melodies, after suffering a heart attack. Died: Jack Ely, 71, co-founder and singer of US band The Kingsmen’s three-chord garage anthem ‘Louie Louie’, after a long illness. Died: legendary Adelaide DJ and hellraiser David ‘Daisy’ Day, 63, after long-term health issues. Aside from dominating the airwaves for 40 years, he was more recently CEO of the SA Music Hall of Fame and headed the SA chapter of Support Act Ltd. He published his very funny memoirs Rock Jock.
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2015
vivid LIVE
The Freedom Of Imagination By Adam Norris
T
he operator tells us she is sorry to interrupt the conversation, but we’re out of time. That may be so, but I doubt her sincerity; her voice is far too friendly for remorse. Tunde Adebimpe isn’t having a bar of it either, and so the interview with the TV On The Radio frontman wheels on for another 30 minutes, spanning his not-quite-prodigious childhood, the heroes that still inspire him, through to long-forgotten songs in longsealed cardboard boxes. The ridiculously talented indie rock quartet is returning to Sydney for Vivid LIVE, which is rather apt; a city full of shifting colours and surreal sights seems an ideal fit. “I might not have been a prodigy,” Adebimpe laughs, thinking back to his early days growing up in Hampton near Pittsburgh. “But I’ve been told that I was imaginative, almost to a fault. If anything seemed in the tiniest bit boring, then it just wasn’t going to happen. I actually spent a lot of time not talking. I could just sit there and draw all day. I remember as soon as I realised I could disappear that way, it was all I wanted to do. To this day I’m still a compulsive doodler, I’m always drawing. But it always seemed like the best way to
make sense of the world was to imagine it was otherwise.” He chuckles under his breath. “I think it might have been J.G. Ballard who said that reality was neither sufficient nor real. I definitely agree with that – it’s something that has been true across a lot of my life.”
greater insights into a band. We are an audience so bombarded with added content and celebrity secrets that scrutiny of an artist’s private life is now de rigueur, even at the expense of losing that sense of mystery and intimacy that can make music so essential in the first place.
Stumbling across something that forever alters your perception of the world is, arguably, one of the key distinctions between the experience of great art and everyday entertainment (though both are of equal importance). The English novelist Ballard’s work is one such instance; to read him is to challenge the world through stranger eyes. Adebimpe’s influences are many and varied, and discussing them turns out to take some time. He is a man who does not hurry his responses, and has no qualms in letting silence swell while he assembles his thoughts.
“That ruins it for me,” says Adebimpe. “You need space to have interpretation. You need to leave a space for someone to enter the music and make their own meaning without being told, ‘OK, to listen to this song you first need to put on this jacket and these pants and have this haircut. We’re going to keep you in this very comfortable state of telling you exactly what I want you to know.’
“There really are a lot. It’s hard. James Baldwin is a strong influence. As far as thinking of influences who are like, ‘You can do this, you can find a space for yourself by creating the things that you want to see in the world, the things you want to hear,’ a lot of who you hear as a teenager is going to be important. For me it was a lot of punk rock. Bad Brains, Minor Threat. Bands that made me realise you don’t have to be quote unquote ‘cool’, and in fact it’s probably going to turn out to be a huge asset if you’re not. You just have to make the things you need to make. “But you’re influenced differently now. Most of my favourite bands, I knew nothing about them while I was growing up. And I mean, nothing. But even the interviews I did see as a teenager didn’t really give much insight into anything other than they were sitting in a café and talking about a lot of things that didn’t have much to do with music.”
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Adebimpe has recently packed up and shifted coastlines from New York to LA. Given he has called NYC home for 22 years, it’s no stretch to suppose the city has played a vital role in TV On The Radio’s development, and it’s likely we can anticipate LA having a similar effect. One of the procrastinating upsides of moving, of course, is the chance to pore over old memories stuffed away in forgotten corners, and for Adebimpe it was no different. “I opened one box and here are all these four-tracks. I ended up finding demos for TV On The Radio songs that sound so different from the way they ended up, all these songs I’d written and completely forgotten about. In one way it feels like, it’s
It leads us, somewhat inevitably, to talk of legacy; how Adebimpe’s past self has shaped the man he is today, and what kind of memory of him might be assembled from the work once he has gone. “I’ve left instructions with certain friends to burn everything,” he deadpans, then laughs. “It’s definitely not going to matter to me what’s left. I think you’re going to leave behind what you leave behind, and hopefully you’ve left something which is useful to something else. But the planet is going to fly into the sun someday, anyhow. I mean…” He trails off again – for so long I almost fear the operator has made good on her promise and cut us off after all. “If you can keep going,” he suddenly continues, “if you can keep going with a creative endeavour, it’s one of the most terrifying things, because you can pick up a thing that you did a long time ago, and just stare at it … I mean terrifying because sometimes you’re embarrassed by it, but it can also be terrifying because you don’t recognise it at all. You like it, but you don’t know it. You see your handwriting, you hear your voice, but you have no idea who that person was. Not remembering them at all. But I think that can be a great feeling. You’re making a time capsule for your future self.” What: Seeds out now through Harvest/EMI Where: Concert Hall, Sydney Opera House When: Monday June 8 and Tuesday June 9 xxx
While the demand for information has always existed, the digital age has certainly exaggerated the appetite for greater and
“The stuff I like the best are the songs that have a strong structure, but there’s a lot of room for me to interpret things in my own way. I remember some musician talking a long while ago about music videos and how they were a kind of evil visual. They made the song attached to one image; people would remember the video before they would remember the song. I still feel slightly the same with interviews. It’s nice to find out a little about someone, but in the context of the work or where it came from … I don’t really like to know.”
strange to go back and not recognise that person, but in another way it’s also really nice in some fashion to be able to see a lot of the steps that brought you where you are now. And on some level, also you realise that in another ten years you’re not going to know anything about this person here today at all, either.”
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SATURDAY, MAY 23
THE FACTORY FLOOR
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2015
vivid LIVE
Jayteehazard
Elefant Traks
Studio To Stage By Augustus Welby
A
my vivid LIVE top five By Ben Marshall Curator, Vivid LIVE Music is an art form that has real meaning for people, and it’s been an enormously important part of my life since I was a teenager. Of all the art forms, I found music sent me somewhere the furthest, the fastest. So I am genuinely honoured to be presenting my first Vivid LIVE – a contemporary music takeover of the Sydney Opera House. I’m proud of the lineup that’s been assembled and I hope it plays a part in expanding the reach, range and vitality of great music in my home city.
1. SUFJAN STEVENS
Concert Hall, Friday May 22 – Monday May 25 I can say now that these will go down as some of, if not the, concerts of the year. Sufjan’s raw, piercing, occasionally phantasmagorical 21st century explorations of modern folklore are one of the great musical finds of the last ten-plus years, but even with all that, his hauntingly personal new album Carrie & Lowell still knocks the breath out of you. It’s a genuine masterpiece. Grizzled festival bookers and cynical agents overseas are telling me they had tears pouring down their faces (as has Sufjan) during his current concerts. You will want to say you were there.
2. THE PREATURES
side from the basic format, Australian hip hop doesn’t greatly resemble the style of music conceived in The Bronx in the late 1970s. However, much like it was for the genre’s American founders, Aussie hip hop’s rise to prominence has been hard fought. Without the do-it-yourself determination of this country’s early hip hop practitioners, the scene couldn’t have become the massive movement it is today. The genre’s ongoing expansion is largely indebted to support from a bunch of local independent labels, such as Obese Records, founded by MC Pegz, and Elefant Traks, which is co-run by Tim Levinson, AKA Urthboy of The Herd. “A label like Elefant Traks has a following because of the artists that are on there,” says Sydney DJ/producer Joyride. “So when they put the spotlight on a new artist, people instinctively are drawn to it. The fact that they back different or otherwise unheard acts not only gives the artists a chance to be heard, but fans a chance to listen to some cool shit. You look at the Jane Tyrrell album, which is one of my favourite albums in recent memory – fi ve, ten years ago, if you said an album like that was going to come out on Elefant
3. BILL CALLAHAN
Joan Sutherland Theatre, Thursday May 28 and Friday May 29 I chose Bill Callahan because he, along with Will Oldham and Chan Marshall, brought a quieter, folk/Americana aesthetic into the realm of independent rock. Before them, indie rock was mainly the preserve of loud distorted guitar acts like Sonic Youth and now the genre heavily references folk and Americana – see Sufjan Stevens, Fleet Foxes, Bon Iver. Secondly, I chose him because almost uniquely amongst his peers, he seems to be hitting his creative peak nearly 25 years after he first broke through.
You might recognise Joyride as Spit Syndicate’s DJ and oneseventh of the all-star hip hop collective One Day. Or perhaps you’re familiar with him as the host of FBi’s hip hop program The Drop. However, when Joyride first came into contact with Levinson, his career achievements weren’t yet so impressive. “It was Horrorshow’s first gig,” he remembers. “Adit didn’t want to DJ for Horrorshow so I was DJing. We were playing at the Bald Faced Stag and Tim was there and we had a bit of a chat. I was… I don’t want to say starstruck, because he’ll read it and get his tires pumped up, but it was something similar to being star-struck. I was like, ‘Oh fuck, Urthboy’s here watching us play. That’s crazy.’”
Perhaps it’s true, for Levinson has chosen Joyride to appear at Elefant Traks’ forthcoming Vivid LIVE showcase at the Sydney Opera House. Clearly a man of many talents, Joyride will take this opportunity to showcase his lesser-known solo material.
4.
TV ON THE RADIO
“I’m going to be singing and maybe playing some instruments and stuff like that,” he says. “I’ve got a few new ones ready to go as well, which will be good. I’ve been working on my first album, which is exciting. So I’ll have some tracks to play off that as well. I’m just going to try to bring the party vibes. Hopefully we’ll get some people dancing.”
Concert Hall, Monday June 8 and Tuesday June 9 I’ve wanted to work with TV On The Radio ever since the label head at the indie distributor I worked at in 2003 burst into a meeting declaring the Young Liars EP on Touch & Go was incredible. I remember thinking it sounded composed of individual sonic elements I was familiar with – electronic music, indie rock, gospel, doo-wop, post-punk – but smashed into tiny pieces then reassembled in a manner I’d never heard before. I was obsessed with that EP and have followed them closely since as they’ve been amassing their genuinely impressive body of work, right up to last year’s Seeds. They are proper art rock royalty, capable of searing, visceral live performances and the perfect way to close out this year’s Vivid LIVE.
5. REPRESSED RECORDS/ROYAL HEADACHE
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“I think Hermitude have a bit to do with that, and even The Herd, Urthboy and Horrorshow as well. None of the artists are particularly bound to a true kind of hip hop sound. There’s always experimentation going on, which means that other artists are willing to take chances as well.”
This meeting happened eight years ago and not only has Joyride’s career since progressed, but his relationship with Levinson has continued to grow. “You know what?” he says. “I think the tables have turned. I think he gets star-struck around me now.”
Joan Sutherland Theatre, Wednesday May 27 It’s always thrilling for Vivid LIVE to celebrate a Sydney band hitting their stride, and the last 12 months have been an absolutely banner year for The Preatures. Listening to them is like viewing rock’n’roll through a prism and hearing back a fresh, refracted take on it all. Izzi Manfredi is one of our most compelling lead singers and I could not be happier that the band agreed to this victorious homecoming performance at the Opera House to cap off their incredible world-lapping run.
Joan Sutherland Theatre, Saturday May 23 It’s important to me that the Opera House gives a platform to the outfits making Sydney a more interesting place to be a music-lover and music-maker. I’m thrilled Repressed Records have put together an evening of phenomenal Australian sounds. We couldn’t be prouder to welcome the magnificent Royal Headache to the Opera House – their debut album is a stone-cold classic and I cannot wait to hear their new material in here. Repressed have completely over-delivered on the lineup in the best possible way – Blank Realm, Exhaustion & Kris Wanders, Superstar, Snake & Friends plus Monica Brooks is an amazing collection of artists who all have something to say, and it’s going to be an incredible evening.
Traks, people would probably laugh at you. The fact that there’s an openness to this other stuff, it’s super exciting.
Along with Joyride, the lineup features Adit from Horrorshow, DJs MK-1, DGGZ, and Elefant Traks’ latest signing, electronic producer Jayteehazard. Jaytee’s debut EP for the label, Red Shift, came out in March, and the longtime DJ is still fine-tuning his performance approach. Joyride
“I was always at odds thinking, ‘I can’t just DJ, I have to do
something,’ but I managed to pull the tracks back a bit, so there are elements left out that I trigger,” Jaytee says. “It is a bit more of a DJ set, but it’s all my own music. It was something I’ve really been worried about, because I’m so used to being like, ‘I’m losing the crowd, I better put this track on.’ You can’t really do that when it’s your own original music. But these last few shows supporting One Day, the crowds have been so good and people are starting to know the music a little bit more.” While Jayteehazard joined the Elefant Traks roster just recently, the producer is also one-third of hip hop project The Last Kinection, who’ve been signed to the label for the last five years. He reflects on his first encounter with Levinson. “I was in a group called Local Knowledge, which was the precursor to Last Kinection, and we did a gig with Urthboy. Then there was just lots of gigs every now and then that we’d be on the same bill, so we just crossed paths a lot. Tim was really interested in what we were doing with Last Kinection and we supported The Herd on tour in 2008.” Undoubtedly, Elefant Traks’ stamp of approval has given both projects an invaluable boost. “The Last Kinection already had a pretty strong indigenous following,” says Jaytee, “but when we came over to Elefant Traks, it helped us tap into a crowd we didn’t really have before. For my own stuff, it’s huge. I just DJ in nightclubs and do production on the side for other acts, but [Jayteehazard] is relatively unknown, so to have them behind me, it’s exposed me to so many people.” What: Elefant Traks feat. Joyride, Jayteehazard, DJ MK-1, Adit, DGGZ Where: Studio, Sydney Opera House When: Sunday May 31
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2 2 MAY - 8 JU N E T H E A R GY L E R O C K S .C O M . AU
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Black Vanilla Musical Inclusion By Augustus Welby ‘Heaps gay’ is the sort of expression annoying 13-year-olds use to describe algebra. Heaps Gay is also the name of one of Sydney’s most poppin’ party nights, which bears no apparent semblance to maths class. Over the last couple of years, the alternative-minded all-inclusive parties have taken place in various venues around town. Heaps Gay’s popularity has now reached the point that it’s hosting a blockbuster event at the Factory Theatre during Vivid Sydney. Heaps Gay’s Vivid debut will feature DJ sets from Kim (The Presets) and local R&B trio Black Vanilla, as well as a stack of performance artists and sound and light shows. Black Vanilla – made up of Marcus Whale (Collarbones), Jarred Beeler (Marseilles) and Lavurn Lee (Guerre) – have long been outward supporters of social
2015
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[MUSIC]
justice and sexual liberation, so their appearance at Heaps Gay is perfectly apt. “I did a Heaps Gay party with my DJ duo Tennis Boys, which is with my boyfriend,” says Whale. “It was incredible. The crowd at Heaps Gay is not dominated by sweaty men and it’s super friendly, really welcoming, very diverse. I don’t think I’ve had a more pleasurable DJ set.” Sydney is widely renowned for fostering a queer-friendly culture, as symbolised by the annual Gay And Lesbian Mardi Gras, plus the Oxford Street hub for gay bars. However, as Whale points out, these outlets don’t cater for everyone who identifies as queer. “Sydney’s LGBTQI community is, on a social level, very centralised and focused around gay men’s culture in a kind of archaic way that’s not welcoming for any other member of that community,” Whale says. “It’s also quite white, generally,” adds Lee. Whale continues: “Heaps Gay strikes that nice medium between being inclusive for people of different backgrounds and also being safe for people who generally feel more oppressed in mainstream
environments. I see all kinds of people at those parties – people that I’ve never seen together at the same place before – and everyone is having a great time.” Black Vanilla’s most recent live performances were part of their Out tour back in March. The run of dates around the country was somewhat unique in that it wasn’t attached to a specific release. This move is typical of the band, which started as an exclusively live, performanceoriented act. While Black Vanilla have since compromised on this aim, they’re still dedicated to live performance first and foremost. “We’ve been working on our second mixtape,” Whale says. “When we do a mixtape, it’s very related to what we do live, so it has to be immediate, in the moment, the tracks that we’re happy with performing. So you might even see us perform a headline show before we release anything else.” “We don’t feel any pressure to release anything until we’re completely satisfied with the product,” Beeler says. “I think we’re still trying to work out what our recorded sound is.”
their DJing exploits still represent the project’s artistic identity. “I think our DJ sets showcase our influences,” says Beeler, “so it might contextualise Black Vanilla a bit in the larger dance music scene. Also I think our DJ sets are refreshing for us to do, because we don’t demand as much audience participation, which allows us to enjoy ourselves without the audience having to be fully present.”
Although Black Vanilla aren’t performing live at Heaps Gay,
“It’s a different means to a similar end,” Whale adds, “with different
social dynamics going on. Our live shows are about getting wild, having an amazing time on the dancefloor. The DJ set is similar, but it’s facilitating rather than forcefeeding.” What: Heaps Gay With: Kim, Black Vanilla, TEES, Catlips, Divine Knights, The Magda Szubanskis and more Where: Factory Theatre When: Sunday June 7
The Public Opinion Afro Orchestra Beyond The Groove By Jody Macgregor a jazz musician. Some of his best friends played in Fela’s band in the ’60s. They would be staying with us, talking about that music, playing that music to us. It was very much around me as a kid. It wasn’t a discovery, if that makes sense. I think in Australia it certainly has been a discovery – it’s probably only five years old, the revelation of Afrobeat in this country.”
T
here are several essential ingredients for Afrobeat music. For starters, you need a big band. Melbourne collective The Public Opinion Afro Orchestra are, in their largest format, a 17-piece group. In their smallest they’re a six-piece, and the touring version hovers in between at 12 (this is the version that will be appearing at the Soul Of Sydney event as part of Vivid Sydney 2015). The other essential ingredients of
Afrobeat are polyrhythms and politics. Talking about the original Afrobeat – Fela Kuti’s late-1960s blend of traditional music from Nigeria and Ghana with James Brown funk – The Public Opinion Afro Orchestra’s Zvi Belling says: “That music was all about political voice and a party at the same time. It’s music made for dancing, maybe even a very deep form of dancing; a very meditative and very trance-like, induced type of
dancing. The songs can go well past ten minutes each – they generally sit tonally in the same place for a long time and they’re designed to create a trance-like effect.” This is the music Belling grew up with in Africa, and which has only in recent years started to gain traction here in Australia. “That was the music that was around me. I come from a musical family. My father’s
The BRAG’s Vivid Music Top Five Vivid Sydney just keeps getting bigger and brighter. This year’s festival is set to attract some of the most daring and renowned acts in the music biz to our sprawling harbour city. They reflect the ideals of Vivid: to push boundaries and offer a vibrant experience. Here are five of the top tickets in town for this year’s Vivid Music program.
1.
MODULATIONS: GRACE JONES
Carriageworks, Sunday May 31 and Monday June 1 The iconic Grace Jones will be performing an electric show at Carriageworks, offering her own personal brand of experimental disco-go-punk. Jones has influenced countless contemporary artists as diverse as Rihanna, Santigold and Basement Jaxx. Credited as a major icon of the ’80s cross-dressing scene, Jones’ eclectic performance is sure to be a hit at the festival.
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2.
NEW WAVE SOUND: MUSIC FOR DOUBLE BASS
Seymour Centre, Thursday May 28 Double bassist Elsen Price and composer Andrew Batt-Rawden will be performing pieces on their instrument of choice at the Seymour Centre during its Vivid program this year. Price’s feature piece ‘Red Planet’ took just ten hours to complete, including composition, recording, editing and mastering. It’s a double bass
opus that attempts to craft the sounds of the last days on Earth. Meanwhile, Batt-Rawden’s work is an exploration of time and rhythm that utilises a variety of instruments.
3.
HOODOO GURUS
Powerhouse Museum, Friday May 22 Australia’s rocking sweethearts, the Hoodoo Gurus, will be performing with all past and current members in a one-off event at Vivid. Fans will hear six songs with the Gurus’ original
There’s a common experience among music fans – that alienating feeling of meeting people who like the same kind of music you do and then realising you have nothing else in common. That’s something Afrobeat fans don’t suffer from, explains Belling. “Afrobeat particularly, and I think different from other types of music, Afrobeat has a politics attached to it, and so there is some sort of – how can I put it? – like-mindedness, maybe, on a social, political, maybe on a human rights or some sort of other level. If you subscribe to Afrobeat, you subscribe to a whole bunch of other ideas too, which isn’t the same for most types of music. “Fela Kuti, the originator of that music, he was a champion of the underdog and I think that idea travels with the music. Whoever plays that music, some of those ideas, general ideas, go with it. And so that way, if you’re a fan of it you’re also a fan of those ideas. You have to be.”
lineup (which was without bass guitar), before Dave Faulkner and co. progress to their Stoneage Romeos lineup, which lasted roughly one year in 1984, and on to their current lineup. All those lineup changes, and one thing remains constant: the Gurus are an Aussie rock staple.
4.
ODD WAVES: NEW WAVE ODDBALLS AND SYNTH WEIRDOS
Freda’s, Friday June 5 Does the idea of a sonic journey into the weird and wonderful icons of underground new wave tickle your fancy self? Graphic designer and DJ Steele Bonus is presenting a night of odd sounds from the most peculiar of the forgotten scene. He will be bringing along a few mates like Noise In My Head to help him
But as Belling says, it’s about the party as well as the politics. A live performance from The Public Opinion Afro Orchestra is an energetic affair, with their vocalists doubling as dancers, flipping and leaping and twerking across the stage. “They wouldn’t like to be called back-up singers,” Belling says. “They’re our singers and the frontline; they’re the dancers, they’re our fire to the performance.” The Public Opinion Afro Orchestra’s first album, Do Anything Go Anywhere, was nominated for an ARIA, and they’re currently finishing up work on their second. While they split the recording of their debut between studios in Africa and Australia, this time they settled down to record the whole thing here. “The new album, we did it all in one place, all the gear’s beautiful old analogue gear, we managed to recreate that sound of the ’60s,” says Belling. “I think we’ve got it, I think we’ve nailed it a bit better this time.” What: Soul Of Sydney With: Meem, Mike Who, Stephen Ferris, Phil Toke, JR Dynamite and more Where: Secret Funk Oasis When: Sunday May 24
work the decks and Elliot Shields to provide some visual stimulation. This is a night sure to figuratively explode your mind.
5. JANE TYRRELL
The Basement, Friday June 5
Jane Tyrrell is a name you likely have heard before, probably in conjunction with the Australian hip hop scene. It’s true that she’s known for singing with the likes of The Herd and Urthboy, but last year, she released a hot little debut album, Echoes In The Aviary. Tyrrell is taking the stage at The Basement for Vivid in a show that’s certain to feature her refreshing aural imagery alongside an explosion of visual aesthetics. Sarah Basford
thebrag.com
ABSTRACT ENTERTAINMENT PRESENTS Possibly the first band to blend rock and jazz into a genre crossing sound, the iconic
BLOOD, SWEAT & TEARS
are touring with their classic hits in tow. Spinning Wheel, You Made Me So Very Happy, And When I Die… and more besides
SUNDAY SEPT 6
Wests Newcastle
SATURDAY SEPT 12 Enmore Theatre
SUNDAY SEPT 13 Rooty Hill RSL
“Fastidiously authentic’ - The Daily Telegraph , London
“Sheer technical perfection” - The Evening Standard
Friday May 22 Enmore Theatre Sunday May 24 Revesby Workers Club
Relive the 80’s courtesy of that decade’s best loved music icons
bringing you the hits of yesteryear… Wherever I Lay My Hat, We Close Our Eyes, (I Just) Died In Your Arms, Wouldn’t It Be Good… to name but a few…
FRIDAY SEPT 11 Rooty Hill RSL SATURDAY SEPT 19 Enmore Theatre SUNDAY SEPT 20 Wests Newcastle BRAG :: 611 :: 06:05:15 :: 19
2015
vivid SYDNEY
[MUSIC/IDEAS]
my vivid ideas top five By Jess Scully Festival Director, Vivid Ideas
Musify + Gamify V
ivid Sydney is known as being a celebration of innovation and original thought. The Seymour Centre has regularly held flagship programs as part of the festival, aligning with these goals. Its latest endeavor, Musify + Gamify, is a perfect example of this, combining music and play in a way that provides a contemporary perspective and experience of both. We chatted to program curator Ollie Bown about the project and what he hopes it will achieve. “I’m interested in digital music and how it can be made in more flexible, dynamic ways – how you can turn musical compositions into interactive experiences,” explains Bown. “The most obvious place where that is happening frequently is in video games. The music is following you; it’s changing, preempting actions and all kinds of things. Video game composers are engaged in this interesting challenge of making all of the interactive decisions but also doing it in a seamless, musical way.”
Talent, ambition, drive: they’re all important factors in your career as a musician, artist, filmmaker, or any kind of worker in the creative sector. But they’re definitely not the only factors at play. Creative people have got to hone their craft, build their skill set and expand their networks. Vivid Ideas is the thinking part of Vivid Sydney: it’s our annual chance to get together to talk about the business, strategy and skills you need to survive and thrive in the creative economy. There are over 150 great events on from May 22 – June 8, so there’s something for you whether you’re a maker or a lover of creative content. Here are my picks for a music-loving audience.
CONVERSATION: GREAT 1. INAUSTRALIAN SONGWRITERS
Studios 301, Tuesday June 2 This is your chance to hear from, and talk to, some of Australia’s finest songwriters over the past 20 years, sharing the process and art behind crafting a song. Megan Washington, Dave Faulkner from the Hoodoo Gurus, Mick Harvey from The Birthday Party and Bad Seeds, Davey Lane from You Am I: they’re a diverse and interesting bunch, and I know moderator Zan Rowe from triple j will get them to spill their secrets!
Learning To Play Along By Tegan Jones
Of course, as technology evolves, interactivity between music and play isn’t just restricted to video games themselves. “You’ve got these examples of people releasing their music in interactive formats, like Radiohead’s PolyFauna app. In addition to that, there are people building interactive experiences in the built environment – a classic example is the piano staircase right next to an escalator, so people are encouraged to walk up the staircase instead.” Bown continues, “For me, [Musify + Gamify] is all of those things combined into this really big overview of how music and
Musify + Gamify gameplay, in the broadest possible sense, interact.”
something that weird and cuttingedge.
In addition to the two concerts that will be part of the program, Musify + Gamify will also showcase an exhibition that epitomises this strive for interactivity. One piece on show will be a playable pinball machine for children that also involves thrash metal music.
“There is one other piece involving audience interaction, and the details of that are still emerging. It’s a composition by Steffan Ianigro for Ensemble Offspring, which involves an online environment that he’s building that people can influence before the concert.”
“Most of the interactive stuff is in the exhibition, but there are a couple of elements in the concerts as well,” says Bown. “Of particular interest is the artist from Brisbane, 7bit Hero, who actually incorporates audience engagement by playing games through their phones as he’s performing. That’s another area I see as being emergent – devicebased audience interaction. It’s also really great to have someone in Australia doing
Weirdness is definitely something that Musify + Gamify is striving for, showing that there is far more to music than what people hear on the radio or Spotify if they’ll just let themselves experience it. “We have a really diverse program and Sydney is a really lively city for experimental music. Some of the other pieces that are part of the program, such as Alon Ilsars’ AirSticks, are more representative of that.
Vivid Light
Goodgod Small Club, Wednesday June 3 I’m sold on the basis of the name alone! But there’s depth to the flattery here: STEP is a relaxed and engaging way to learn from other people in the music industry, to share practical knowledge and perspectives on the way the industry works now, and could or should work in the future. The hour-long talkfest is followed by a couple of live performances.
3. THE FUTURE OF MUSIC?
Freda’s, Tuesday June 2 / Tuesday May 26 I’m sneaking in two events here as they’re both part of the special program that Freda’s is presenting for us this year: one is an exploration of the art of the music video, transforming one sense into another, with artists of different types collaborating to create surprising outcomes. The other discussion is a bit more serious, but vital: what impact have the lockout laws had on Sydney’s nightlife, music culture and economy? Definitely a conversation we need to have.
5. GAME | ON
Australian Technology Park, Friday May 22 – Sunday May 24 This is going to be a hands-on, thrilling weekend, playing with the latest in interactive technology, games and e-sports and more. There’s also a big component drawing together some of the stars of the online video world, people who have managed to build original content and enormous communities of fans through their channels. 20 :: BRAG :: 611 :: 06:05:15
Time To Ignite By Annie Murney
T
he annual Vivid festival brings out the best in Sydney. Each year, it invites locals and visitors to swim in a sea of dazzling technicolour light, alongside a wider program bursting with thought-provoking seminars, sharp beats and interactive art. Now in its sixth year, the evervisible Vivid Light program continues to pull in a whole range of local and international artists. The Vivid concept has even been borrowed by other cities. “It has become the biggest festival in Australia and, in fact, Australian history,” says creative director Ignatius Jones. “It’s gone from 100,000 people to 1.43 million last year.” In addition to the glittering central hub at Circular Quay, this year will see three new precincts added to Vivid Light: Chatswood,
Pyrmont and Central Park. The latter will feature work from street artists Reko Rennie and Beastman, projected onto the heritage-listed brewery facade. According to Jones, spreading out has been a democratic process. “Vivid is not very tightly curated,” he says. “In many ways, it’s like a big collaboration or a crowd-sourced festival. It’s more about sifting through the people who want to be associated with it. The city will create the core and then the precincts create their own contributions.” One of the festival’s strengths has also been shining a light on earlyto-mid-career artists. “We get fantastic works from established artists but we also get fabulous stuff from students and universities, some of which have Vivid as part of their curriculum.” Focusing on boundary-pushers and game-changers, one of this year’s most ambitious light
works will be projected onto the Museum of Contemporary Art. “We always choose an internationally acclaimed artist to work with an artist from the MCA’s collection,” says Jones. “This year we’re working with Rebecca Baumann, who is quite extraordinary. She doesn’t use the normal tools – she works in things like coloured smoke, streamers and confetti. Interpreting her work has been a challenge for Danny Rose, the Italian-French collective who are animating it and composing a soundscape.” Although there are three distinct programs, Vivid’s overall philosophy has always been inter-disciplinary. “We call Light, Music and Ideas the three pillars but they do cross-pollinate,” says Jones. “Most of the light installations have some kind of sound component that has been specifically composed. A lot of our light artists speak at Vivid Ideas and we tend to program
Aside from being an audiovisual feast, Vivid is also a laboratory for developing cutting-edge technology and illustrating scientific precepts. For instance, artist collective Amigo and Amigo has created a large installation for Circular Quay that replicates the inner workings of the brain. Arclight is another project that looks to the future of innovation, set to exhibit at The Rocks. Using complex geometry and experimental techniques, a group of architects and engineers have designed a lightweight, futuristic structure. “Vivid is where art meets science and technology. It helps the public understand the arts better,” says Jones. “We take the art off the walls and put it on the street. For us, art isn’t something that lives in museums with the other dead things, it’s something that is alive and can be touched and experienced. For us, that’s really important – making art accessible to everyone and not acting as a gatekeeper but as a facilitator.” What: Vivid Light as part of Vivid Sydney 2015 When: Friday May 22 – Monday June 8
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Vivid Light photo: Transcendence by Joseph Crossley. Render by Ample Projects
4.
What: Musify + Gamify Where: Seymour Centre When: Wednesday May 27 – Saturday June 6, with concerts on Friday May 29 and Saturday May 30
While some commentators have flagged concerns about the environmental impact of Vivid, Jones quickly sums up the festival’s sustainability ethos. “All of our installations use LEDs,” he says. “When we have an installation, we turn off the street lights, which are incandescent in most cases. So we’re actually saving about 90 per cent of the power that would be used to light the city.”
2.
AURAL VISUAL: THE ART OF THE MUSIC VIDEO and LOCKED OUT
“Come with an open mind, be prepared for a lot of diversity and quite a bit of weirdness.”
musicians who have a visual aesthetic to their work. We are not an arts festival as such; we call it a creative industries festival.”
SOCIETY OF TASTEMAKERS & ELEGANT PEOPLE (STEP)
Seymour Centre, Tuesday May 26 Spotify, SoundCloud, Bandcamp, Rdio, iTunes, Tidal… yes, we’ve all heard the conversations about how we access and pay for music today. Yes, these platforms and our new habits as music lovers are changing the nature of the music business. But have we had the conversation about how these platforms have changed the nature of music itself? Have our expectations of how we interact with music and musicians also changed fundamentally as well? This is a great event that brings together musicians and digital designers as part of a whole program at the Seymour Centre.
“I really hope that audiences come to this with a really open mind, because we defi nitely have a range of musical styles and people are quite often fi xed in their musical preferences. So it’s the kind of event that you really have to put in the category of ‘experimental’ in the broadest sense. I think people will fi nd it quite thought-provoking and fi nd moments of magic in what they see.
[VIVID VENUES]
If you’re looking for somewhere to grab a drink, a bite to eat and avoid the crowds on Circular Quay during Vivid Sydney – or merely need to rest your legs after checking out all the lights – make your way towards The Rocks. Not only do these venues serve up some tasty treats, they’ll be hosting special events throughout Vivid this year. We asked the people behind The Argyle and Cruise Bar to tell us all about their offerings.
NOW IN ITS 24TH YEAR,
WAVERLEY COUNCIL PRESENTS
5 1 0 2 E TH
E V A W I D BON USTRY
D E N I C C N I E S R MU CONFE
The Argyle What is there to see and do at The Argyle during Vivid Sydney 2015?
ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS
It’s called Fractured Fantasies: magical mayhem is coming to The Argyle for Vivid 2015. 18 incredible nights where science fiction, fairytale favourites and futuristic flavours collide – with a dark twist.
Opening weekend Friday May 22 – Sunday May 24 Discovery: Futuristic music entertainment collides with psychedelic light displays at the grand opening of Argyle Vivid. Transcend out of the everyday into a landscape of illuminated street performers and electrifying entertainment in the form of Discovery, when Daft Punk tribute DJs take over The Argyle. Lose yourself to dance in the midst of stateof-the-art lighting and music productions and a spectrum of surprises.
Second weekend May 25-31 Welcome To Wonderland: Step through the looking glass as The Argyle transforms into a topsyturvy Wonderland for the second week of Vivid. Spend your days in our cobblestone courtyard as it plays host to the Queen of Hearts’ favourite games, with giant chess matches and croquet to pass your time. As the sun sets each night, fall down the rabbit hole into a kaleidoscopic world of eye-popping performances, otherworldly characters and an eclectic collision of psychedelic lights and music.
Closing weekend June 1-7 Star Wars: Celebrate the fi nal weekend of Vivid Festival in the ultimate Star Wars-themed extravaganza! Create a disturbance in the force and enter a portal to an illuminated, futuristic world fi lled with alien characters and state-of-the-art lighting displays. Release your inner Jedi for this fi nal Vivid send-off celebration with Star Wars characters on the DJ decks and UV, fire and light performers roaming around to light up your weekend.
FRIDAY 15 MAY 10AM–4PM High Tide Room, Bondi Pavilion, Bondi Beach
Register at www.eventbrite.com.au or call 8362 3434 (Tues–Thurs) www.waverley.nsw.gov.au/music
What’s the fuel like – how do we keep ourselves hydrated? Special Vivid, wonderland and intergalactic themed cocktails.
How much will it cost to get in? We suggest getting in early before the crowd for free entry. Where: The Argyle When: Friday May 22 – Sunday June 7
JAMES SMITH THURSDAY 28 MAY FROM 7:30PM
SUPPORT: SAM BOWRING
Cruise Bar It’s called: Tanqueray Pop-Up Lounge at Cruise Bar For our ears: House and funk DJs until late. The fuel: Pan-Asian cuisine and fresh botanical cocktails. thebrag.com
Getting in the Vivid spirit: Experience front-row Opera House views in the thick of Vivid Festival at Circular Quay. Cost: No entry fee.
SUPPORT: KATIE BURCH
HOST: MIKEY ROBINS
Enjoy $5 Tooheys New and Hahn Super Dry, house wines and selected spirits. 5pm – midnight. Food till late. Where: Level 1-3, Overseas Passenger Terminal, Circular Quay West, The Rocks When: Friday May 22 – Monday June 8
LEVEL 1, 80 PYRMONT STREET, PYRMONT STAR.COM.AU/ROCKLILY
/ROCKLILY.LIVE
The Star practises the responsible service of alcohol. Guests must be over 18. Think! About your choices. Call Gambling Help 1800 858 858 www.gamblinghelp.nsw.gov.au
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Palma Violets Into The Danger Zone By Augustus Welby alma Violets’ debut album 180 was created when the band members were all either 19 or 20 years old. The record came out in early 2013 via legendary indie label Rough Trade Records, and in the leadup to its release, the typically hyper UK music press elevated Palma Violets to ‘next big thing’ status. Not surprisingly, all of this commotion had an impact on the fresh-faced foursome.
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“We didn’t have a lot of time to write it,” says guitarist/vocalist Sam Fryer. “We had all that hype and chaos surrounding the band, we didn’t know really what was going on. We just had to ride it and come through it, and then we still had to write five songs after we were signed in order to fill an album. That was really tough.” Fryer shares creative responsibilities in the band with bassist Chilli Jesson. In spite of the hype surrounding 180, the pair managed to cook up an LP of relatively unhinged rock’n’roll numbers. While it’s futile to scrutinise whether 180 satisfied media expectations, Palma Violets basically haven’t stopped touring since its release. However, they did take some time
away last year to work on album number two, Danger In The Club. The fact this release is already upon us suggests the band didn’t suffer from second-album anxiety. Before making Danger In The Club, though, some friendship restoration was required. “We knew that all we needed to do as a band together was to just go out into the wilderness, find a place and learn how to be friends again,” Fryer says. “On tour – it happens to any band – you lose the connection that you once had. We went out into the wilderness in Wales. I think the most important part was laying down the foundations out there.” After reconnecting on a personal level, the creative juices began to flow. Danger In The Club upholds the boisterous character of 180 while displaying an even greater knack for rabblerousing chorus hooks. Evidently, the group felt no urge to attempt a stylistic reinvention. “We never talked about any directions that we were going to go in,” Fryer says. “The whole Palma Violets thing at the beginning was based on something that was unspoken. The rock’n’roll feeling was in all of us, all we needed to do was play together and it would come out. That’s exactly how we did this album. The only thing we spoke about, really, was making the record sound youthful. We knew naturally that we’d come on as musicians and players, but we just wanted to keep it young and dumb.” Danger In The Club is packed full of punchy UK pub rock, which guarantees a few mass sing-alongs when Palma Violets show up at this year’s Splendour In The Grass. Still, in spite of the band’s unspoken aesthetic agreement, the creative process wasn’t entirely devoid of stress. “There was pressure, but that was pressure we built within ourselves – pressure that I put on Chilli and Chilli puts on me,” Fryer says. “Chilli will show me a song of his and I’ll show a song myself, and at that moment where you’re showing each other, that feeling of, ‘Oh fuck, what happens if this is rubbish?’ never goes away. We’ve got to be honest with each other, otherwise we’re not going to get anywhere. When we’d written about ten or 15 songs, there was a sense of trying to get one up on each other. That was actually a very good feeling – Chilli would write two songs and then I’d write another two.” 180 was produced by Pulp bass player Steve Mackey and named after the band’s South London rehearsal studio. The recording approach was really quite simple. “The sound that we were getting in Studio 180, that’s all he wanted to capture,” Fryer says. Danger In The Club was also created with a big-name producer, John Leckie. Leckie has otherwise been inactive of late, but his career successes include The Stone Roses’ debut LP, Radiohead’s The Bends and a trio of records with The Fall. “We knew what he’d done before and we’d been fans of what he’d done before, so it was quite daunting meeting him for the first time,” Fryer says. “He hadn’t done a rock’n’roll record in such a long time and you could see he really wanted to get back into just doing rock’n’roll and keeping things exciting. For him to even come down and say, ‘I really want to make a record with you guys,’ was a huge buzz for us.” There’s no denying that Palma Violets have a penchant for big, memorable choruses. On Danger In The Club, Leckie’s experienced touch has further amplified this side of the band’s personality. Oddly enough, Fryer says he doesn’t consciously “strive for big choruses or anything like that”, but he has no reservations whenever they emerge. “Sometimes songs are a bit too dark and we scrap it because of that, but never because it’s been too poppy or too pretty. Maybe sometimes we’ll take out a few lyrics that might be a bit too cheesy, but when you listen to our band, it doesn’t matter how atmospheric or beautiful it gets, it’s still got a rough tinge to it. I don’t think any producer could ever make it sound truly pop. That’s just the way I play guitar, it’s the way Chilli plays bass and the way Will [Doyle] hits the drums.” What: Splendour In The Grass 2015 With: Blur, Florence + The Machine, Mark Ronson, Of Monsters And Men and many more Where: North Byron Parklands When: Friday July 24 – Sunday July 26 And: Also supporting The Vaccines at the Metro Theatre on Tuesday July 28 More: Danger In The Club out now through Rough Trade/Remote Control
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Ocean Alley Psychedelic Space Goats By Natalie Rogers
T
he hazy days of summer may be behind us, but before you lock yourself away to ride out the wintry weather, check out the hottest sound coming out of Sydney’s Northern Beaches at the moment.
Paying homage to their heroes Jimi Hendrix, Led Zeppelin and Bradley Nowell through a fusion of psychedelic rock and reggae, Ocean Alley embody the spirit and soul of their hometown. They haven’t gone unnoticed, amassing a large and loyal fan base around the country. “We just got back from playing a few gigs in Perth for the first time – it was an amazing experience,” smiles bassist Nic Blom. “We spent the whole summer on the road and we loved it!” Not content to let the grass grow under their feet, Ocean Alley have loaded up their faithful tour van once again to celebrate the release of ‘Space Goat’, the second single from their upcoming EP. “We’ve gotten pretty good at living on the road – we just get a trailer for all our instruments and hook it up to the van,” says Blom. “Can you believe that we manage to squeeze everyone in the back together? There are seven of us now – it’s always an experience.” Way back when, the boys were a group of best mates growing up like any other. Blom says forming a band was the natural next step after realising they could all play instruments. So from humble beginnings in the backyard shed, Ocean Alley were born. “When we were younger, a few of us were into heavy metal, hardcore stuff, and we’d go to the local underage club – this little venue. They’d always have cool bands there, so we thought, ‘Hey, we could do that!’ That’s also why we like to play all-ages shows as much as we can, too.”
Blom says he and the guys are looking forward to their all-ages gig at Sydney’s Metro Lair, and from all accounts the intimate, stripped-back venue will be the ideal backdrop to hear their raw new sounds. “I can’t wait, because there are six tracks on the new EP and we’re planning to play three or four. There are a couple of heavier sections in these tracks – these songs are a bit grungier.” But for Ocean Alley fans who can’t wait to get their hands on the new
release, Blom says a little more patience will be required. “We’ve recorded all of it, except one song. We just need a chance to go back in, but because we’ve been so busy lately we haven’t had time. We’re hoping to put it out just after this tour. “We’ve got some horns on this EP as well. We got a couple of friends to play on a couple of tracks – Jakob Keysell and Nate Porter from The Dinlows. I can tell you, it was a lot of fun!”
From the sound of it, Ocean Alley have found kindred spirits in Blueberry Circuit – another gang of cool customers from the Illawarra. “We’ve played a couple of shows with them and we’ve always got along well, so we thought they’d be a pretty good fit to be on the road with us – they have a similar sort of vibe. We never had that connection with a band on tour before.” Much like their tour mates, a natural laid-back approach to live performance and onstage chemistry are two of the things that set Ocean Alley apart from
their contemporaries. “Each of the boys is pretty easy-going – we never have any arguments,” says Blom. “It’s all about sarcasm for us and making each other laugh.” With: Blueberry Circuit Where: The Lair, Metro Theatre (afternoon) / Brighton Up Bar (evening) When: Saturday May 16 And: Also appearing at Moonshine, Manly on Friday May 15
Colin Hay No End In Sight By Adam Norris
A
ll of our lives move in phases, with times of great hardship tempered by times of reward and joy, humour and love… and then the wheel keeps turning, and hits us again with the Stick of Woe. There aren’t too many singers out there whose career has waxed and waned quite as uniquely as Colin Hay’s. The former frontman of iconic Aussie band Men At Work found himself skating periods of true uncertainty between the band’s demise and his own attempts at a solo career. It was a journey that took the better part of two decades, and suggests a level of faith and tenacity you can’t help but admire.
“I don’t know, and it’s a question that I really do ask myself,” Hay explains in his Scottish-Australian accent. “When we came through, we were a classic radio and MTV band. Classic pop success. But eventually we broke up, went our ways, and the audience wasn’t a secure audience. They’re driving to work listening to the radio and, well, there’s always somebody else on the radio once you’re gone. We didn’t have that foundation, so when the wind came through it blew it all away. The moment I realised I was having to start it all over again was when I went out on the road and nobody came to any shows. There was very little overlap between Men At Work and Colin Hay, so finding somebody who liked my solo work, or who was interested in me from the time with the band, was quite a big thing. So it’s grown from that point. I can’t say if I ever really wanted it, if it was a drive to perform. I just couldn’t think of anything else to do.”
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“I’ll tell you the one thing that keeps coming back to me. The live audiences over the last 25 years have been very, very fulfilling for me, because for a long time I didn’t have a record deal, I didn’t have an agent, no booker. I was just stumbling around trying to figure it all out. And the one constant was when I’d turn up and play, there would be someone there who really loved the show, and that really kept me going.” He sighs, and starts several different sentences before finding the right words. “It was pretty soul-destroying to traipse around the country. That shouldn’t be a complaint – I’ve never been really hungry, I’ve never been really poor. It wasn’t like I ever had to scratch around to find my next meal or anything. But the whole legging it around, taking flights, checking in somewhere, getting across to the venue, setting up, and there turns out to be 15 people there – you’re left thinking, ‘What the fuck? Is this actually worth it?’ “But you have to really think to yourself, ‘What else can I do? What else do I want to do?’ I sing. I couldn’t really come up with anything else I’d do better. So I kept doing what I was doing. You’d have moments when you’d catch yourself thinking, ‘Is this
all just habit, or do I actually like this?’ I like being in the studio, I like writing songs. I like messing around on the guitar, that’s my favourite part of it. But the performing thing has good days and bad. It’s more uneven. But I think I have to do it to keep from going crazy.” His latest album, Next Year People, contains some beautiful tracks, and like the best of Hay’s songwriting (‘I Just Don’t Think I’ll Ever Get Over You’ or ‘Waiting For My Real Life To Begin’, for instance) there is a pervading, striking darkness at its heart. Yet even though his sentiment can at times be quite despairing, there’s always something worth moving towards or celebrating in his lyrics. At the risk of overstating his intentions, you feel this is a balance at the heart of Hay himself. “I think about this Woody Allen documentary where he was talking of the first moment when you realise you’ll eventually die, where you just think, ‘Oh, fuck! This has to end at some point!’ I was just thinking the other day, that’s really the bedrock of despair. We never want to talk about it, we never want to deal with it. But it’s always there, somewhere in the depths of your psyche, that knowledge: ‘One day I’m not going to be here anymore.’ And so, from that, there and then, is the celebration of where you are. Thinking, ‘Fuck it, I can’t be thinking about that all the time. I have to be here. I have to enjoy myself.’ That’s the fate we all suffer in the end – that there is an end. But we live anyway.” What: Next Year People out now through Compass/MGM Where: Enmore Theatre (as part of Sydney Comedy Festival 2015) When: Saturday May 9 Xxx
He laughs genuinely at the thought. There are undoubtedly countless performers scattered across the world who enjoyed early success and who have since faded from the public,
their names worn away by the endless appearance of new acts and new audiences. It’s a tough gig, being a pop star who never quite hit the self-sustaining big time, and conjures thoughts of legacy, of the mortality of your art. While Hay has experienced his share of doubt, at the end of every resurgent gig there was always someone there who connected with his words, and from there, his audiences swelled.
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BRAGâ&#x20AC;&#x2122;s guide to film, theatre, comedy and art about town
arts in focus nothing to hide with...
the naked magicians also inside:
DOV SIMENS FOR ISA FOCUS / SAMMY J & RANDY / ARTS NEWS / ARTS GIVEAWAY / REVIEWS thebrag.com
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arts in focus arts news...what's goin' on around town... with Meggan Turner and Sarah Basford
five minutes WITH
SPARROW-FOLK
we went on to win for the ACT. From that point we were stuck together and people kept asking for more, so it’s a bit of a life sentence now. Our first hit, ‘Ruin Your Day’ (a cheeky song about breastfeeding in public) went viral around the world so I guess that means we have no choice but to remain friends.
H
Your new album and show, SuBIRDia, says it’s “bringing sexy back to suburban Australia”. What’s so sexy
Do you find music festival or comedy festival audiences more receptive to what you do? We’ve been lucky enough to draw a crowd at both, which is possibly a result of us being as focused on creating music as we are comedy. Tim Minchin once said, “I’m a good musician for a comedian and I’m a good comedian for a musician,” and this is something we can relate to as Sparrow-Folk.
BINDJAREB PINJARRA
The Harold Park Hotel in Glebe will be home to the Laugh Stand again this month, with new and established comedy talent taking the stage every Tuesday. Warm yourself up with two-forone meal deals and $5 beer specials, then go and give your stomach muscles a workout with a fantastic lineup of comedians. Headliners include Mathew Wakefield (Tuesday May 12), Dave Williams (Tuesday May 19) and Cam Knight (Tuesday May 26), with plenty of other supporting acts that will make your cheeks sore.
THEATRE FOR ONE
Griffin Theatre is offering audience members the chance to get up and close with its actors for a special event on Circular Quay this month. Griffin’s Really Intimate Show will consist of one audience member and one actor in a popup theatre for five minutes at a time. The idea came about as a way of celebrating how much the support of Griffin’s audiences mean to the company, and will allow audience members to engage with actors in an extremely intimate setting. Look for the pop-up theatre (built for two!) on East Circular Quay in front of the Quay Grand Hotel on Saturday May 9.
2014 IndyCar champion Will Power is really good at driving fast. Will’s brother, Damien Power, is really good at making people laugh. Here at the BRAG, we don’t really go in for fast cars, but we can offer you the chance to have some fast laughs with Damien Power at his latest show, I Can’t Believe I Cared. Known for his social and political commentary, he’s already been nominated for Best Newcomer and Best Show at the Melbourne International Comedy Festival and Best Comedy Show at the Sydney Fringe Festival. Power’s feisty new show promises to take on all things political. Power is playing at the Enmore Theatre from Thursday May 7 – Sunday May 10, and we’ve got three double passes to give away to the Sunday show. To be in the running, head to thebrag.com/freeshit. Damien Power
Where: Factory Theatre (as part of Sydney Comedy Festival 2015) When: Tuesday May 12 – Saturday May 16
Comedy has a unique ability to deal with serious matters in a way that other media do not. It often forces us to laugh at serious issues, and then step back and ask serious questions about them. Bindjareb Pinjarra is an improvised comedy about a harrowing piece of Australian history: the Pinjarra Massacre of 1834. The event saw the conflict between mounted police and members of the local Nyoongar tribe end in the death of up to 150 people. Only one fatality was on the police’s side. The massacre of this indigenous community has been retold by the Nyoongar people for generations. Bindjareb Pinjarra is far from a history lesson, however – it is a live, oral retelling of a shared history. With no recorded script, the play grows and changes with each new audience’s interpretation of events. The format of the play places emphasis on the way history can be distorted in its retelling. This ever-changing performance premiered in Perth in 1994 and is celebrating its 21st anniversary this year. One of the original creators, Kelton Pell, is returning to the stage for this season. Bindjareb Pinjarra will play at the Studio, Sydney Opera House from Saturday June 27 – Sunday June 28.
THE LAUGH STAND MAY LINEUP
DAMIEN POWER
SUPANOVA LINEUP GROWS Supanova has revealed more ‘supa-star’ celebrities for its 2015 Sydney lineup. Australia’s most beloved pop culture expo is where fans come to adore the stars of their favourite TV shows and movies, and the creators of their favourite franchises. Additions to the schedule
include Gotham’s Camren Bicondova, Elizabeth Henstridge, Arrow’s Willa Holland, Harry Potter’s Bonnie Wright, Susan Olsen, Christopher Knight, Mike Lookinland (The Brady Bunch), John DiMaggio, Cassandra Morris and Cherami Leigh. Supanova will be at the Sydney Showground from Friday June 19 – Sunday June 21.
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Bindjareb Pinjarra
All your track names are interesting in their own way, but what’s the idea behind ‘Accidental Genital Attention’ in particular? Most of our songs have been inspired by our real-life experiences, and unfortunately this track is no exception. One of us had a rather embarrassing accidental interaction with a popular radio presenter and the song was created as a form
of therapy. ‘Accidental Genital Attention’ is all about “bumping bits” unintentionally – think crowded lifts, turning suddenly without looking, grabbing for what you thought was your phone…
head to: thebrag.com/freeshit
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ow did Sparrow-Folk come together? We were thrown together in an improvised musical show and started creating outrageous songs together on the side. Then a friend challenged us to enter the ABC Exhumed competition and
How would you describe Sparrow-Folk to those who aren’t familiar with your sound? We are essentially the lovechild of Doug Anthony All Stars and Madonna. Think Kath & Kim satire, mixed with Jewel’s sound and Lady Gaga’s costumes.
about the suburbs? People can be so disparaging about suburban life when in reality it’s the chosen lifestyle of the majority – so why can’t it be sexy? We wanted to turn this sort of thinking on its head, creating songs that celebrate and add spice to the everyday, and comedy is the perfect platform for this.
free stuff
SYDNEY CONTEMPORARY 2015 EXHIBITORS
Carriageworks will be transformed once again by the Sydney Contemporary event in September this year, featuring works from over 75 galleries from around the globe. Set to exhibit works from 11 different countries outside Australia as well as national galleries, the festival will be a part of the greater Sydney Art Week, which will host art-related events in Carriageworks and around the city. Event details will be unveiled over the winter period but are planned to include an ‘art-and-dine’ program as well as free public events and performances. For now, the full list of participating galleries is available at sydneycontemporary.com.au. The 2015 event takes place from Thursday September 10 – Sunday September 13.
Hometown by Heath Franco
The Beekeeper
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HUMAN RIGHTS FILM FEST
The Human Rights Arts & Film Festival is returning to Sydney as a part of its national tour. Opening with Mano Khalil’s The Beekeeper, the festival will run over five days at the Dendy Cinema in Newtown and include a range of films that span a vast amount of regions. Khalil’s film is a beautifully shot portrait of a Kurdish beekeeper who relocates to the Swiss Alps and finds solace in the one constant in his life, his bees. The films to follow will take you to a mountain village in Colombia fighting to maintain its 500-year-old traditions from Western corporate greed, and introduce a Sydney woman as she seeks justice through the labyrinth of the Kenyan justice system. It’s a festival that is sure to incite passion and renewed activism. You can catch The Beekeeper on the opening night of the festival at Dendy Newtown on Tuesday May 26. The festival continues until Saturday May 30.
SYDNEY FILM FESTIVAL GETS CONTEMPORARY
In collaboration with the 62nd Sydney Film Festival, Sydney Contemporary will be introducing a new initiative this June. Featuring the works of 12 video artists from across the globe, the Sydney Contemporary Video Exhibition will set out to offer a different approach to the medium of fi lm. Ranging from cinematic views to more abstract explorations of video art, the exhibit will feature artists such as Allison Schulnik, Heath Franco and Juan Pablo Langlois, as well as a range of other domestic and international talents. Catch the Sydney Contemporary Video Exhibition at the Sydney Town Hall Festival Hub from Thursday June 4 – Sunday June 14. Xxx
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The Naked Magicians [COMEDY] What’s Up Their Sleeves? By Tegan Jones
“W
e have a saying in the show,” says Mike Tyler. “Good magicians don’t need sleeves and good magicians don’t need pants.” The Naked Magicians, made up of Tyler and Christopher Wayne, will be whipping out their wands this week as part of the Sydney Comedy Festival and conjuring their own special brand of magic. They’re subverting the tradition of magic shows to deliver something very different and hilarious – though apparently, there will still be a rabbit. “Chris and myself have been making our livings as magicians for some time,” says Tyler, “but we felt that there needed to be something else that attracted an audience that wouldn’t otherwise go and see a regular magic show. So we sat down and created a show together, and as the name suggests, we literally strip away the top hats, the capes, the magic wands – all that cheesy, classic kind of magic stuff – to deliver the funniest, cheekiest and naughtiest magic show you’ll ever see.
“It’s like nothing you’ve ever seen before and it’s quite a simple concept, really. No-one has ever done a naughty magic show. Our first performance was on Valentine’s Day last year, which was purely coincidental! Chris and I are just friends.”
as part of our carry-on luggage. Instead of making doves appear we have a fake dove. And we obviously don’t put our hats on our head.”
Speaking of romantic relationships, Tyler continues: “Originally I took up magic to pick up girls, but I’m still single for now and have to take my clothes off to do it,” he laughs. “But I do want to point out that we’re not strippers! We’re primarily magicians and have been working professionally for several years.”
I wonder whether the whole sansclothes thing goes a bit deeper than the name alone suggests, particularly in regards to literally stripping back traditional magic. “There is that metaphorical side, but we do promise three things in the show,” says Tyler. “We promise that it will be one of the funniest shows you’ll ever see. We promise that it will have incredible magic in it. And we promise that it will have full-frontal nudity. There are no gimmicks about pretending to get naked – we get it all out.”
Since The Naked Magicians are somewhat of a parody of traditional magic shows, I ask if we’ll see some subverted tropes of the genre. “It is a bit of a piss-take of regular, cliché magic. Instead of having a beautiful female assistant onstage we have a blow-up doll, and her name is Ursula. Instead of real rabbits appearing, we have a toy rabbit named Snuggles. He’s our loyal companion and travels around
Not that head, anyway. “Yes, exactly,” he laughs.
Still, just because Tyler and Wayne are a little risqué doesn’t mean that they’re easy magicians. They don’t start the show balls-out – metaphorically or physically. “We start the show clothed and we slowly get naked throughout. We like
to make the audience work for it a bit, kind of like a date. A first Tinder date, if you will, but we guarantee a happy ending.” Those poor cleaners at The Concourse.
Where: The Concourse, Chatswood (as part of Sydney Comedy Festival 2015) When: Thursday May 7 – Saturday May 9
Dov Simens [FILM] Focus On The Business By Tegan Jones
T
he Hollywood Film Institute’s Dov Simens will be bringing his internationally acclaimed twoday film school to Sydney this month. Presented as part of ISA Focus – the International Screen Academy’s new seminar program – the workshop aims to teach students how to write, direct, edit and produce their own feature films. Now, this may all sound a little too good to be true, but as we discover, Simens isn’t one for indulging in empty rhetoric. He’s honest about the industry and about himself, particularly when he’s been described as a mentor to big-name Hollywood directors like Quentin Tarantino. “It sounds like I really took them by the hand … but that would be misrepresentation,” he says. “They took the course for two days and they probably realised that they know what they’re doing and that it was time to shit or get off the pot. I just lovingly gave them a kick in the rear and said, ‘Just go do it. You have the two things I can’t teach – one is talent, and the other is work ethic.’”
Of course, the film industry is a cold, tough place. Talent and drive will only get you so far, and this is where Simens and his short course come in – to teach the reality of filmmaking and how to get your foot in the door. “I’m coming to show how we in America, with no government funding whatsoever, make micro-budget and often rotten feature films that seem to go global and make good money,” he says. “Everybody wants the nuts and bolts.” After spending the Saturday morning of the course guiding students on how to make a feature film in terms of script length, shoot times, camera set-ups and general logistics, Simens gets down to the nitty-gritty – money. “I tell people to write down a number, and to be proud of how small they make it – that’s their budget for a feature film. Then I teach how to go through every line item and squeeze that amount of money into it in the best way possible.
“Now that you know how to make a film cost-effectively and have your 90-page, one-location stage play, you find out how much festivals cost and how to create a route,” he says. “There’s no guarantee that you’ll get in, but if you do, I’ll teach you how to make sure the acquisition execs come to your screening, because that’s imperative.” If you haven’t caught on already, Simens’ course isn’t about idealism or being caught up in the magic of making movies. The film industry is, at its heart, a business. Simens won’t only help attendees to realise that fact, but how to work within it to sell their movie. “On Sunday afternoon I’ll teach financing and how to get a group of investors, how to set up a limited liability company, and how to put on a dog and pony show. In Australia you have so many very wealthy people who would like to play with this business. “Once you have your script and the budget is low enough that it’s realistic, partner with an actor, cinematographer,
camera operator and director of photography. Then raise $100,000 by selling ten units at $10,000 each, offering 50 percent of profits, if any, with no guarantee. “Rent a movie theatre in Sydney or go to Fox Studios and rent their screening room … and bring the real estate investors in. That’s the sizzle. Everyone always says to sell the sizzle, not the steak. Everyone in Australia wants to talk steak, steak, steak. We’re a
marketing industry, not a filmmaking industry. Sizzle, sizzle, sizzle – that’s how you make money. I have the audacity to ask for it, not apply.” What: Dov Simens’ 2-Day Film School Where: International Screen Academy, Waterloo When: Saturday May 16 – Sunday May 17
Sammy J & Randy [COMEDY] A Perfect Pair By Liza Dezfouli and some silly songs – an hour of songs, smut and shenanigans. “There’s no narrative. There’s a bit of audience participation where we get in people’s faces, making people uncomfortable.”
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he BRAG’s got a soft spot for Sammy J & Randy. Pure immaturity doesn’t get much better than a show from the skinny guy and the rude purple puppet. Their Sydney Comedy Festival show, An Evening with Sammy J & Randy, promises more stupid tunes and silliness.
thebrag.com
Sammy J & Randy are just finishing up filming their new TV series, which has been three years in the making, and are looking forward to letting loose onstage in Sydney. “We’ve written this whole new show,” says Sammy. “We’re back to our filthy, smutty selves. It’s just us, with the keyboard segment
The pair plays around with ideas in the same way you do when you’re stoned – like what if Randy commits a crime and is arrested and allowed his one phone call, and rings Sammy and then realises he could keep his one phone call going on and on and on for several days? There’s a song called ‘Whoa Nellie’ – that one’s about nicking a miniature pony from a kids’ petting zoo. There’s also a special New Year’s Eve song about making New Year’s resolutions that get a bit lost at the Opera House celebrations on actual NYE. Sammy reckons there might even be some crowd-surfing on his part, if not Randy’s. “The setlist has a certain order but the rest is looseish,” he says. “If an incident takes off with audience responses we’ll go
with that, make it a priority. In Perth a few weeks ago a woman walked past the door during the show, so we dragged her in and interviewed her onstage. We sang a song about her – it took a good 15 minutes. Sammy might be the human face of the duo, but he admits he often gets a little jealous of his purple companion. “He gets to sit there the whole show. He rides on my coattails. He has a delightful existence coasting on my comedy career. He’s got it pretty sweet.” He certainly has. Sammy J & Randy have collected several awards over the years, including the Melbourne International Comedy Festival’s Barry Award in 2010, and they were nominated for the Best Comedy Release ARIA in 2013. But is there anything Sammy would like to explore beyond what he’s doing now? “I’d like to own a private jet,” he says. “I have fl own a plane once – I went on a joy fl ight and it was thrilling and exhilarating and fucking terrifying!
“I’ll never do it again. I don’t have the constitution. It’s fi ne when it was smooth but when it got windy… wind is your enemy. Most musical comics have written a few songs about fl ying, cause we spend so much time on planes. I’d like to write a book, a musical, a play. It depends how successful our show is – we’ll see if there’s any interest in us in the wider population, see if any more people want to get on the Stinky and Pinky train.” Sammy says he and Randy (Heath McIvor) are very much stuck together. “We each do our own thing; he’s in Adelaide at the moment doing his own show, so that’s why it works so well, cause we’ve always got other outlets. We’ll keep doing Sammy J & Randy for decades to come.” What: An Evening With Sammy J & Randy as part of Sydney Comedy Festival 2015 Where: Enmore Theatre When: Friday May 15
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Comedy & Theatre Reviews xx
Hits and misses on the bareboards around town
■ Comedy
■ Comedy
NOEL FIELDING
STEPHEN K AMOS
Reviewed at the State Theatre on Wednesday April 22 as part of Sydney Comedy Festival 2015
Reviewed at the Enmore Theatre on Thursday April 23 as part of Sydney Comedy Festival 2015
When you are The Moon, you can pretty much guarantee you’re going to sell out a room. From the moment you amble past the splendid trimmings of the State Theatre to your seat (I swear, the statuary changes shape while no-one is looking), that ‘alabaster retard’ himself is hovering above stage, amping our anticipation for the surreal and placing us firmly in the landscape of The Mighty Boosh. We will also be introduced to his snarling Dark Side, and while I love the stuttered musings of The Moon as much as the next person, part of me was hoping to see Noel Fielding expand his peculiar universe with some fresh inventions. While the show was consistently hilarious, there were clear troughs and ridges. As Fielding lurched from one side of stage to the other like a kangaroo wearing snowshoes, he was at his best when improvising, dropping bizarre asides and creating an impromptu mythology from certain audience members. There were several characters he cycled through in the course of the night, but this is the Fielding I enjoyed the most – the little boy conjuring
Stephen K Amos’ first Sydney show for his Welcome To My World Tour was a loose and casual affair from a man who sounds like he should be wearing a cravat. You got the sense that this suave and trendy Englishman enjoyed being personal and revelled in the fact that everyone – at least for the most part – seemed to get on board and laugh at his observational and conversational comedy. Noel Fielding stories with his imaginary menagerie, amazed that he is still allowed to be building things of nonsense at the age of 41. Speaking of, the guy sure doesn’t look his age. I had the opportunity to catch him up close as he spotted the charming (if about to be mortified) newspaper reviewer beside me. Leaping from the stage, he dashed over to try and prise the notebook from her, only to be met with the kind of protectiveness usually reserved for expectant tigers. There were multiple expeditions into the audience, and though he leaves a trail of embarrassment in his wake, such is the good-natured banter and clear pleasure of his romp that you can’t help but be endeared.
In its way, reviewing comedy is a tricky thing. You don’t want to ruin any of the surprises, but certainly there are standout moments to look forward to. His perplexingly believable transformation into an adventurous teabag; the arrival of the Chicken Man; and the animated, plasticine world that kind-of-sort-of functions as the show’s plot. Sure, there were duds that still bewilder me with their heavy-handed inclusion. The appearances of Antonio Banderas (played by Tom Meeten) fell flat, and the second half of the show was strikingly better than the first. But trust me – this is an experience that will have you chuckling for days.
Adam Norris
Amos is particularly good at doing funny accents. He started the show by speaking like an Aussie bogan and saying, “I love youse.” At other points in the gig he talked about his mother and father in a thick African drawl, before returning to the Queen’s English, which made stories like shopping at Target and worrying that he’d need a bodyguard in order to go to Chatswood quite funny. At the outset, Amos introduced his show as being “all about the laughs”, and not
for those expecting “deep and meaningful pathos”. For the most part he delivered with some funny observations about Sydney’s recent torrential rain and Tony Abbott (a man Amos describes as being able to outgaffe good ol’ Prince Philip, who has turned putting your foot in your mouth into an art form). Some tired airline jokes were also on the menu. This is territory that has been mined to death, but Amos at least won a laugh with his “stewards with attitude” material and a story about what it was like to have his bag lost. Elsewhere, he was very interactive with the audience, playing a matchmaker to an Officeworks staff member named Stevie and a pharmacist and only child called Melissa. He drank beer with some Irish lads in the front row and chatted with a family. When he added some extra time at the end, you got the sense that this wasn’t a tightly scripted or polished show – but this didn’t matter and seemed to suit his casual delivery and overall demeanour. A very pleasant and enjoyable evening at the theatre, darling.
Natalie Salvo
■ Theatre
Antigone
ANTIGONE Played at PACT Theatre until Saturday May 2 During the dying days of Nazi fascism, French playwright Jean Anouilh wrote Antigone, his own version of Sophocles’ fifth century tragedy. The play has become one of the more enduring metaphors for the Nazi regime, depicting a revolt against rigid power structures and immovable policies. However, the script is also imbued with the existential debates of Modernism, revolving around a rebel protagonist who is thoroughly disillusioned with life. This rarely performed play was being staged at PACT’s performance space in Erskineville. Presented by Théâtre Excentrique, it was directed by Anna Jahjah and performed by a cast of new and experienced actors.
Anouilh retained elements of traditional Greek theatre, such as the chorus, which was played here by students from Blacktown Girls High. While Anouilh’s dialogue sometimes felt a bit stilted, the performances were generally quite thoughtful (Modra and Williams were particularly solid). On the whole, Jahjah created a dynamic reinvigoration of a classic moral brain-teaser.
Annie Murney xxx
Following the banishment of King Oedipus, his brother Creon (Neil Modra) reigns over Thebes. A daughter of the former king, Antigone is a modern adolescent trapped in an ancient city. She is betrothed to Haemon (Philippe Klaus), the son of Creon, but cannot foresee any future happiness. Played with cool intelligence by Ellen Williams, Antigone has a contemporary edge that sets her apart from the rest of the cast. Her fatal action is her determination to bury her brother’s body after he was deemed an enemy of the state. However, this move is likely a tactic to achieve her real goal, which is to commit suicide.
The heart of the play is a confrontation between Creon and Antigone. He speaks of the “sordid business” of governance while she fights to escape state power; this highlights a clash between obligation and liberty. It seems as if this scene has also been steered to evoke an unresolvable rift between generations. There is real empathy on both sides, debunking the protagonist/antagonist divide.
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Arts Exposed What's in our diary...
Sydney Film Festival 2015 Program Launch Customs House Library, Wednesday May 6
Sydney Film Festival
The 62nd Sydney Film Festival is sure to excite film buffs and indie film lovers alike with its vibrant selection of thoughtprovoking, warm-hearted and sometimes even downright ridiculous inclusions. The festival’s director, Nashen Moodley, will showcase the full program of around 200 films this week at Circular Quay’s Customs House Library. The opening and closing night features will be announced, as will the Official Competition selection. Last year’s Sydney Film Prize winner was the French favourite, Two Days, One Night, starring Marion Cotillard, which went on to win a spade of other prestigious international awards. The launch night takes place from 6pm. For more information about the launch and the festival in general, check out sff.org.au.
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Album Reviews
What's been crossing our ears this week... What's been crossing our ears this week...
ALBUM OF THE WEEK CD OF THE WEEK BLUR
searching for something but not really knowing where to look.
The Magic Whip Parlophone/Warner
The Magic Whip is Blur’s surprise reunion record – the biggest surprise of which is how effortlessly it maintains the band’s essence while pushing its sound into uncharted territory.
An unexpected reunion record becomes an unforeseen career highlight.
BUILT TO SPILL Untethered Moon Warner
Built To Spill have returned after six years, doing what they do best: creating epic indie guitar odysseys. A lot of the press concerning Untethered Moon has been critical about Built To Spill sounding too much like Built To Spill, but I fail to see this as a bad thing. While all their peers from their ’90s heyday are either defunct or flirting with the mainstream, BTS continue to create indie rock with scope – and are one of the only bands doing so. As always, the swarm of guitars that Doug Martsch and co. have brought to this album is something to behold. Witness the tempo changes of ‘Living Zoo’, the wonky coda to ‘On The Way’ and the career-making jam at the end of ‘So’. Meanwhile, ‘When I’m Blind’ is basically a six-minute guitar solo from one of the best guitarists going. If that doesn’t sound like your thing, this album probably isn’t for you. So yes, Built To Spill have made an album that sounds like Built To Spill. It was great in the mid-’90s, and it’s great now. And if they don’t make this type of music, who will?
With a few exceptions – the playful ‘Ong Ong’, the 1994 time warp ‘Lonesome Street’ – the album is a moody affair, capturing the bristling tension of later Blur albums. But instead of being directed within the band, it’s at the world at large. ‘New World Towers’, ‘My Terracotta Heart’, ‘Pyongyang’; these are all songs
There are a number of reference points from Blur and Damon Albarn’s career to give you an idea of what sounds they’re mining: a relaxed 13, Think Tank with good arrangements, Everyday Robots fleshed out. Really, none do it justice – The Magic Whip is a new phase. No more is this evident than on album highlight ‘Thought I Was A Spaceman’, a sprawling, ever-evolving track that takes cues from Blur’s last few albums (Albarn and Graham Coxon trading verses, a heavy reliance on ambience) and brings them into new areas of dream-pop and neo-psychedelia. There are a few things that lifelong fans will nitpick over – Coxon’s otherworldly guitar is
NOSAJ THING
MIAMI HORROR
MARLON WILLIAMS
Monterey Anti-/Warner
Fated Innovative Leisure/Inertia
All Possible Futures Remote Control
Marlon Williams Caroline
I was once told it takes three listens to properly digest a record. Upon the third eavesdrop, Monterey relics an easy-on-the ears variant of ’70s-era softly homespun folk, balancing an obvious reverence for The Milk Carton Kids’ sonic forebears whilst managing to feel natural and unforced.
Listening to Fated can at times sound like a space odyssey and at others like a journey under the sea. Nosaj Thing’s syrupy, lethargic tracks use synth melodies and eclectic tonal patterns to create an album that is adventurous and engaging. It is less atmospheric than the LA producer’s previous effort, but equally as thoughtful.
This record took me a second listen to appreciate. It’s been five years since Miami Horror’s last album, Illumination, and I don’t know why it’s taken them so long to come back with All Possible Futures.
Described as the love child of Elvis, Roy Orbison and Townes Van Zandt, Marlon Williams does nothing more on his self-titled debut than perpetuate this flattering comparison. Williams is, however, more than just another alt-country rip-off of your favourite Southern singers – he also has genuine intrigue.
It’s a touch limper than anything to previously fall from the duo’s branches, though its most valuable asset remains its vocals. With little more than a six-string on their shoulders, Kenneth Pattengale and Joey Ryan acoustically weave fluid melodies with an intuitive brotherly blend, reflecting on both the political and personal ground we’ve all covered. However, Monterey isn’t their most impressive feat to date. It whirls in mediocrity, devoid of anything as memorable as on its predecessor The Ash & Clay. Interestingly, this latest offering was not conceived in the ordinary confines of a musical workspace, but on stages – sweeping the dense echoes unearthed in toured concert halls, churches and theatres.
Chopped-up vocals cry out for attention and simple chords draw you in as Nosaj Thing experiments with a wider palette of sounds to pepper his songs. ‘Light #5’ sees high-pitched tones rippling forth across a dark soundscape, while ‘Sci’ sets the tone for the album with gurgling harmonies and a fading electronic loop reminiscent of a wind-up toy. The true gem of the album is the soulful ‘Cold Stares’ (feat. Chance The Rapper and Maceo Haymes). Its perfect balance of drawn-out synths and vocal harmonies provide a rich texture. Haymes’ voice is overlaid until it sounds like a baby’s cry, and Chance’s verse leads beautifully into the climax of the song, where it abruptly ends. The effect is staggering.
As Martsch sings, “Rock’n’roll will be here forever”. Here’s hoping Built To Spill are too.
Monterey inherently conveys a sense of rawness in capturing a bygone sound, peeling back the aid of studio embellishments.
Leonardo Silvestrini
Kiera Thanos
James Ross
INDIE ALBUM OF THE WEEK I am a massive fan of this unique French outfit’s last two albums. Here Comes The Sun is a very different beast, however, and Klone have mellowed out significantly. While that is somewhat of a disappointment after the doomy progressiveness of those previous two releases, when viewed in isolation, this album is still a fine achievement and a highly enjoyable listen.
Here Comes The Sun DooLoad
thebrag.com
Leonardo Silvestrini
THE MILK CARTON KIDS
Unfortunately, ‘Cold Stares’ shows up the rest of the album. Nosaj Thing is undoubtedly talented, but by giving us a taste of his potential brilliance we are left wanting that little bit more.
KLONE
underutilised, and knees-up Parklife diehards might have a hard time – but overall this is one of the best bands of its generation adding an essential chapter to its storied career.
The ambience inherent in this record comes as a real surprise, but after allowing the melodies to take hold and grow on you, it becomes a beautiful listening experience. The first three tracks provide the greatest contrast. Opener ‘Immersion’ grows into something quite grandiose over
the course of its five minutes, while ‘Fog’ is a dreamy wash for half its running time, but builds nicely to a rather satisfying climax. ‘Gone Up In Flames’ is almost bluesy, and features some subtle sax.
Considering the time away, the record doesn’t sound especially new or exciting, and it’s one that some people will understandably dislike – but it’s quite nice to listen to. It’s very chilled-out synthpop that doesn’t seem to try too hard. All Possible Futures needs a second listen because it doesn’t immediately live up to expectations. Miami Horror’s previous music has always made feet feel like dancing, but All Possible Futures doesn’t inspire the same enthusiasm. It’s an album for lazy days by the pool, not for anything that requires energy. Expectations aside, though, it’s a dreamy, hazy record that definitely showcases the group’s production talents. ‘Love Like Mine’ is a standout track, clearly tapping into a lot of different musical influences and conjuring up images from the ’80s. All Possible Futures is an album for long summer days followed by warm summer nights. Meggan Turner
The album kicks off with a couple of banging rockabilly tunes, followed by a slew of slowed-down ballads. The chilling single ‘Dark Child’, on which Williams broodingly sings lyrics such as “I always hoped I’d never have to bury a child”, demonstrates a gloomy sound that diverges from the formulaic offerings of his peers. He really appears to be in his element when he’s recreating the classic sound (Billy Fury cover ‘I’m Lost Without You’), but tracks like ‘Lonely Side Of Her’ show off a more honest and raw side that sees him shed the showman act. The back end of the album fuses together so effortlessly, it actually ends up feeling like a drone of heartache and misery. Luckily, Williams’ voice comes as a beacon of hope. A fairly impressive debut with enough variation that it won’t quite leave you feeling like you’ve been holed up for hours in a small country pub in outback Australia. Sarah Basford
OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... BEST COAST - California Nights TV ON THE RADIO - Seeds MEN AT WORK - Cargo
You kind of expect the album to lift a notch at some stage, but it never really does. And that’s perfectly OK. This record is more about the mood and the atmosphere than it is about pounding heaviness. Once you get past the fact that it is not a heavy record, you can let its unique delights wash over you, and you will find that Here Comes The Sun really starts to shine.
ARCADE FIRE - The Suburbs HUSKY - Ruckers Hill
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live reviews
up all night out all week . . .
What we've been out to see...
THE PEEP TEMPEL, SUPER BEST FRIENDS, WHITE DOG Newtown Social Club Saturday May 2 A packed house of all kinds filed into Newtown Social Club for a healthy dose of ’70s-style Oz punk, courtesy of The Peep Tempel. A few months have passed since the great album Tales was released, and Saturday’s gig was a chance for the band to get the warm reception the makers of that album deserve. Opening the show were White Dog, a fairly nascent group playing fairly standard hardcore. But like most good hardcore, the set was life-affirming, and they incorporated enough interesting elements (in particular the noise-inspired guitar lines) to show promise. Following them were Canberra’s Super Best Friends. Kindred spirits with The Smith Street Band, they trade in fast-paced low-end rock that recalls mid-’90s triple j, particularly Frenzal Rhomb and Jebediah. At the tail end of their tour for debut album Status Updates, the tight-knit three-piece delivered songs with pointed slacker social commentary and catchy melodies sung in proud Australian accents that weave their way into your brain. Their set was nothing but a winner. As expected, The Peep Tempel thankfully present a no-pretence, no-bullshit approach to their live show. Just vocals, guitar, bass, drums, a bunch of energy and an intention to blow through as many songs as possible. An early broken string,
the kind of thing that normally derails the momentum of a punk gig, turned into an early set highlight when bassist Stewart Rayner and drummer Steven Carter locked into a punk groove while frontman Blake Scott ranted and raved into the mic while he changed the string. Quite an achievement. Put it down to the music they play recalling Radio Birdman and The Saints, or the fact that the average age of the band must be something close to 40, but The Peep Tempel attract a much older audience than the average band on its second album. Thanks to the glorious ‘Carol’ becoming a hit on triple j, they attract a ton of rowdy drunks in their early 20s too, which leads to the singular joy of witnessing blokes in their mid-50s slam-dancing along with the youth, who were set on crowd-surfing the entire time. ‘Big Fish’, ‘Dark Beach’ and the aforementioned ‘Carol’ were the highlights of the set, falling right in the sweet spot between fun and menacing. But judging from the crowd’s reaction, the band could have played whatever it wanted and it would have been greeted with cheers.
SAM SMITH, EMMA LOUISE Hordern Pavilion Monday April 27 A sea of smartphones and screaming girls welcome a slightly chubby, openly gay 22-year-old man to the stage. This is live pop music in 2015, and a talented Sam Smith is deservedly cashing in on a personal album on the universal theme of unrequited love. In The Lonely Hour has just hit number one on the ARIA charts. It’s not hard to see why the songs have struck a chord with a wide demographic, particularly with an Adeleshaped hole in the market; Smith has a good voice and he’s been working hard off the back of a couple of radio hits. Even so, the fervour with which lines like “Leave your lover / Leave him for me” are received is slightly mystifying. With only an hour’s worth of mostly ballads to pull from, the show’s producers might’ve been tempted to go over the top, but a solid band and simple but striking staging – the five players and three backing singers dressed in black suits, standing on high
platforms – was just right. The songs were largely left as per the record, some heavy reverb here (‘Life Support’), an extended a cappella there (‘Lay Me Down’). Smith has been earnestly peddling the stories behind the songs since the album’s release last year, yet the audience lapped up the ‘I’ve Told You Now’ tales of drunk dialling and gratitude-with-hindsight to the unobtainable object of his affections. Indeed, upon exiting the arena, one girl could be overheard telling how she cried when Smith said that, unlike some of his support staff, he isn’t making music just to make money (introducing ‘Money On My Mind’). With support act Emma Louise going slow on her Flight Facilities collaboration ‘Two Bodies’, and Smith’s rendition of ‘Latch’ lacking Disclosure’s shuffling beats, more dancing opportunities wouldn’t have gone amiss, yet this was a professional and politely entertaining show by one of pop’s unlikely stars. David Wild
At the end of the gig, after The Peep Tempel had given the crowd all they had and Scott had given crowd-surfing a go himself, the crowd begged and received that rarest of events in modern gig culture; a legitimate encore, which before it was an expected custom used to be the mark of a well received gig. It absolutely was here. Leonardo Silvestrini
PHOTOGRAPHER :: ASHLEY MAR
LEPERS & CROOKS, THE MOUNTAINS, KHNZ, RAINDROP Oxford Art Factory Saturday May 2 After their national tour, Lepers & Crooks are coming back down to earth. Their performances, regularly filled with charisma and bravado, have earned them loyal fans and friends along the way. As they return home to Sydney for a final show, they’ve reconnected with their mates and packed the lineup with local acts. Surprise addition Raindrop open with a psychedelic guitar melody that matches the lead singer’s shirt. It’s a sprawling display topped off with an impressive falsetto. Frontman Miles Devine noodles away on his Vox Phantom, jamming with his band while they sing about perceptions of reality.
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Things heat up as KHNZ whip their audience into a frenzy with their electronic rock anthem, ‘Wolves’. “Let’s get weird,” incites frontman Themba Thompson, and the crowd roars the chorus to ‘Lost Control’. It’s a performance filled with wolf howls and infectious drum beats, but is laced with a bittersweetness that Thompson brings to the songs about love and friendship. Next The Mountains get analogue with their mix of country and surf rock. Alternating between bluegrass picking and the strumming of alternative rock, the trio delivers an easygoing set that is
equal parts Earl Scruggs and Beach Boys. After they leave, the curtains draw closed and the fans wait in anticipation for the returning champs. Amidst a flurry of lights, smoke and cheers, Lepers & Crooks are here. They’re exuberant and grandiose, but they’ve toned down the signature cockiness so you can see how happy they are to be home. Sam Baker, their lead vocalist, occasionally catches the eye of someone he knows and breaks out in an unabashed grin. “You guys are fucking beautiful,” Baker cries, and they launch into new single, ‘Her Kiss’. The punters are loving it, and the band relishes the chance to shred through the sounds they’ve been influenced by. A cover of ‘Territorial Pissings’ goes off, and a bloke without a shirt runs onto the stage. Guitarist Pat Reuter-Town steps in front of the security guard to protect his semi-naked fan from ejection, and is met with cheers. As they churn through the night, Lepers & Crooks pay the price for their initially strong set and their songs begin to blend together, but a funk rock finale brings things to a riotous close. It’s rock music for those who like their rock classic, and it’s part of why Lepers & Crooks have garnered a reputation for hard work. Their effort shows – they love the tropes and they’ll fight hard to protect them. James Ross
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snap sn ap up all night out all week . . .
inherent imbalance; aces like ‘C.O.T.E.’ were used early, while poorer tracks like ‘Sewn And Silent’ and ‘Synops’ inevitably had an airing.
Metro Theatre Saturday May 2 The Metro on Saturday night was the third stop of Karnivool’s 17-gig tour around Australia in support of the ten-year anniversary of their debut album, Themata. It’s a bit lazy to structure a tour around an old album, but in fairness, it’s a tough life being an Australian band, let alone an Australian metal band, let alone an Australian progressive metal band. So, let them have it. Every little bit counts. Bang on time, the Perth rockers rolled out onto the stage at 10pm, and after a quick word from frontman Ian Kenny along the lines of, “Ten years ago we released an album, and it started an amazing journey,” the band jumped straight into the pounding riff of ‘C.O.T.E.’. Part of the magic of a live show is the setlist – will there be a blitz of their best songs? Will they meld two distinct tracks together? Will they shoehorn any covers into the show or even into their songs (à la Faith No More)? – but that magic is indelibly missing in a tour celebrating an album; of course Karnivool were going to play Themata from start to finish. After ‘C.O.T.E.’, there was ‘Themata’, ‘Shutterspeed’ and so on, until ‘Change (Part 1)’. While Themata is a solid album and was a very impressive debut, it goes in several directions that Karnivool haven’t followed up as they’ve matured (and genres like nu-metal have fallen out of favour). Playing the album from start to finish also meant there was an
That, however, didn’t matter to the crowd. Every strum, slap of the floor tom, change of time signature and spaced-out sway of Kenny’s arms was met rapturously by the rabid punters. Every time Kenny offered the mic to the crowd, the lyrics were returned perfectly, bringing genuine delight to the singer’s face. Even the announcement and performance of a new song (‘Aozora’) was eagerly lapped up by the gangbustingly enthusiastic audience. (Along with four other songs from more recent releases, ‘Aozora’ was stuck on the end of the setlist after the Themata playthrough.) A lot of talk is emanating from the Karnivool camp that their next release will break the band’s standard four-year album cycle. And that, in a way, tells the whole story; it’s a bit disjointed to have a ten-year anniversary tour when, apart from the debut album, the band has only released about 20 other songs in a decade. It’s a very hard thing to say about a progressive band, considering almost every Karnivool track is spring-loaded with calculated experimentation, but the slow movement from the Western Australians in the last ten years has meant that Themata isn’t as much of a distant memory as a decade might suggest. Whilst the performance was absolutely sublime, the familiarity with Themata and live renditions of its songs meant that the gig felt too familiar. Nicholas Hartman
charli xcx
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KARNIVOOL
29:04:15 :: Metro Theatre :: 624 George St Sydney 9550 3666
ELANA STONE, JODY, GEORGIA MOONEY Newtown Social Club Sunday May 3
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The Newtown Social Club band room is many things. It’s spacious, comes with a bar, and has one of the best sound systems in Sydney. It also, turns out, transforms into a Louisianan swamp when the moon is full. Many made the mistake of taking a seat on the carpeted ground only to discover the sodden mess they were now committed to, and throughout the night terrifying smells would seep up from the depths like pioneering explorers, invading noses and planting tiny flags on behalf of their king. Yet not even that could compromise the night’s entertainment. Georgia Mooney opened the evening, swinging between piano and mandolin (not literally, though that would be incredible). Her songs are delicate, not in the sense they are fragile but in that there is such intricacy and immersion here. The contemplative lyrics of ‘Darling Come Home’ are beautifully bittersweet, while ‘Birthday Song’ leaves you simply reeling. Though there was the occasional amusing stumble, Mooney’s humour is so gregarious that I suspect the audience would have forgiven her almost anything, even big crimes like arson, or throwing cats at the Pope.
Perhaps most outstanding was the strength of Mooney’s voice, which was a hallmark of each performer tonight. Jody were the entertaining odd ones out, with their set of energetic pop-rock numbers and chimeric influences; at times, it seemed they were channelling Faith No More, only to suddenly head into Good Charlotte via The Velvet Underground. Lead singer Dom O’Connor has one of those voices whose strength is in its imperfection – a voice that cracks and tears – and the force behind his delivery was impressive. Though you get the impression they’ve yet to fully find their form, Jody are certainly ones to keep an eye on. I’ve caught Elana Stone several times now, and each gig confounds you afresh; she really is that outstanding. From opening song ‘Panic Attack’ you are riveted by the hurricane of her voice. Her vocals have such extraordinary strength and colour, and the songs themselves are wonderfully crafted landscapes, each a vivid set piece in a story just for you. The crowd-favourite cover of Mariah Carey’s ‘Emotions’ and ‘Gravity’ were highlights of anyone’s night, though for my money ‘Sleep Doesn’t Come’ is so good someone should erect a statue of it. Stone’s voice is matched only by her personality, and this combined with great drums and keys/synth made for a wildly entertaining show. Adam Norris
03:05:15 :: Metro Theatre :: 624 George St Sydney 9550 3666 thebrag.com
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g g guide gig g send your listings to : gigguide@thebrag.com
pick of the week Courtney Barnett
+ Ami Clark Live’n’Lounging, Sydney. 8pm. $10. The Western Distributors The Gasoline Pony, Marrickville. 7pm. $5.
JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Brazilian Journey - feat: Bateria 61 + DJ Paulo + Jerry Gutierrez + Gino Marchione Play Bar, Surry Hills. 6pm. Free. Sugar Bowl Hokum Coogee Diggers, Coogee. 8pm. Free. The Double Shadows + Twin Caverns + Midnight Tea Party + Ears The Sly Fox, Enmore. 8:30pm. Free.
THURSDAY MAY 7
FRIDAY MAY 8
Metro Theatre
Courtney Barnett + Teeth & Tongue $28.70. 8pm. WEDNESDAY MAY 6 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Hammerhead Lazybones Lounge, Marrickville. 8:30pm. Free. Video Game Jazz - feat: The Consouls Play Bar, Surry Hills. 8pm. Free.
ACOUSTIC, COUNTRY, BLUES & FOLK Elle May Harris Soda Factory, Surry Hills. 7pm. Free.
Xxx
INDIE, ROCK, POP, METAL, PUNK & COVERS
Bootleg Rascal Newtown Social Club, Newtown. 7pm. $17. Evie Dean Hillside Hotel, Castle Hill. 7:30pm. Free. Flower Drums Beach Road Hotel, Bondi Beach. 7pm. Free. Mark Travers Orient Hotel, The Rocks. 9pm. Free. Muso’s Club Jam Night Bald Faced Stag Hotel, Leichhardt. 8pm. Free. Silverstein Manning Bar, Camperdown. 8pm. $38.80. Steve-Fest - feat: The
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Dawsons + Cosmic Flanders + Wart Gun + Lionel Valve Bar, Agincourt Hotel, Ultimo. 7pm. $10. You Me At Six + Luca Brasi Metro Theatre, Sydney. 7:30pm. $50.45.
THURSDAY MAY 7 ACOUSTIC, COUNTRY, BLUES & FOLK Matt Ross + Arlo Sim + Rex Mereweather Lazybones Lounge, Marrickville. 8pm. $10. Mogadishu Family Band Coogee Diggers, Coogee. 7pm. Free. Oh Willy Dear The Annandale Hotel, Annandale. 8pm. Free. Songsonstage - feat: Mick Hambly + Chris Brookes + John O’Brien Ruby L’otel, Rozelle. 7:30pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Andy Mammers Band Orient Hotel, The Rocks. 9pm. Free. Courtney Barnett + Teeth & Tongue Metro Theatre, Sydney. 8pm. $28.70. Hardcore Victim - feat: Mob 47 + Unknown To God + Ether Rag + Obat Batuk Valve Bar, Agincourt Hotel,
Ultimo. 8pm. $10. Montgomery + Jordan F Goodgod Small Club, Sydney. 8pm. $15. Muso’s Club Jam Night Carousel Inn Hotel, Rooty Hill. 8pm. Free. Rob Eastwood Fortune Of War, The Rocks. 7pm. Free. Rock The World (Bar) - feat: Into The Wild + Euphorium + Walk With Lions + Stormbird + The Lightning Experience + Pretty Alright The World Bar, Kings Cross. 8pm. $15. The Gloomchasers + Fenton The Band The Gasoline Pony, Marrickville. 7pm. $5. The Ruminaters + Mylee Grace & The Milk Shakes + King Colour + The Dolphin Show Oxford Art Factory, Darlinghurst. 8pm. $5.70.
FRIDAY MAY 8 ACOUSTIC, COUNTRY, BLUES & FOLK Kaurna Cronin Hibernian House, Surry Hills. 7pm. Free. Songsmiths Lentil On The Rocks, Newtown. 8pm. Free. Songsonstage - feat: CJ Fairleight Lewisham Hotel, Lewisham. 8pm. Free. Steve Grady + Dan Parsons
INDIE, ROCK, POP, METAL, PUNK & COVERS
2 Way Split Kings Park Tavern, Kings Park. 7pm. Free. Bandsonstage - feat: Andrew Deniston + The Kcm Trio + Midstrip + The Set Ruby L’otel, Rozelle. 8pm. Free. Brad Johns Colonial Hotel, Werrington. 8:30pm. Free. Cambo The Oriental Hotel, Springwood. 8pm. Free. Chunder Downunder - feat: Batfoot + Skinpin + Eager 13 + Colytons + Speedball + Catches + Halves + Killamedics + The What Sorry’s + The Unhinged Valve Bar, Agincourt Hotel, Ultimo. 9pm. $10. Courtney Barnett + Teeth & Tongue Metro Theatre, Sydney. 8pm. $28.70. Dee Donavan Rooty Hill RSL Club, Rooty Hill. 10:30am. Free. Donna Campbell Rooty Hill RSL Club, Rooty Hill. 10:30am. Free. Evie Dean Town Hall Hotel, Balmain. 5pm. Free. Grooveworks Rooty Hill RSL Club, Rooty Hill. 10:30am. Free. Jack Horner PJ Gallagher’s, Enfield, Enfield. 9pm. Free. Jalapeno Deluxe Revesby Workers Club, Revesby. 8:30pm. Free. James Thomson + Bek-Jean Stewart + De’May + Grant Shannahan Stag And Hunter, Newcastle. 7:30pm. Free. Kelly Clarkson The Star Event Centre, Pyrmont. 8pm. $91.65. Le Pie + Eleanor Dunlop + Lisa Caruso Brighton Up Bar, Darlinghurst. 8pm. $12.25. Max Power Duo Vineyard Hotel, Vineyard. 9:30pm. Free. Melody Rhymes Orient Hotel, The Rocks. 4:30pm. Free. Mr James Band Penrith RSL, Penrith. 9pm. Free. Paul Mccann As Oh Boy “The Buddy Holly” Rooty Hill RSL Club, Rooty Hill. 10:30am. Free. Peace Oxford Art Factory, Darlinghurst. 8pm. $45. Peaches Max Watt’s, Moore Park. 8pm. $51. Pirra + Little Coyote + Cranky Alice Oxford Art Factory, Darlinghurst. 8:15pm. $2. Reckless Orient Hotel, The Rocks. 9:30pm. Free.
Renegade Armada + Drowning Atlantis + Signs Of Escape + The World In Cinematic Spectrum, Darlinghurst. 8pm. $10. Rob Eastwood Castle Hill RSL, Castle Hill. 6:30pm. Free. Sam Newton Chatswood RSL, Chatswood. 9pm. Free. Skyskraper Crown Hotel, Sydney. 8pm. Free. Steve Crocker Fortune Of War, The Rocks. 8pm. Free. Suffocation + Decapitated Manning Bar, Camperdown. 8pm. $66. The Bloody Mummers + Hiaground + Oscar & The Grouches + Balko Valve Bar, Agincourt Hotel, Ultimo. 8pm. $5. The Loveless + The MisMade + Dirty Earth Town Hall Hotel, Newtown. 7pm. Free. The Secret City + Skyscraper Stan The Annandale Hotel, Annandale. 8pm. Free. Twerps - feat: Holy Balm + Destiny 3000 Newtown Social Club, Newtown. 8pm. $18. Vanessa Heinitz Manly Wharf Hotel, Manly. 9:30pm. Free. White Bros Quakers Inn, Quakers Hill. 8pm. Free.
SATURDAY MAY 9 ACOUSTIC, COUNTRY, BLUES & FOLK
Colin Hay Enmore Theatre, Newtown. 9:30pm. $51. Paul Hayward Town & Country Hotel, St Peters. 4pm. Free. Songsonstage - feat: Andrew Denniston + Warren Munce Petersham Inn, Petersham. 7:30pm. Free. The Rare Grooves Lazybones Lounge, Marrickville. 9pm. $15. The Saloon Daddies + Taelor-Jane The Gasoline Pony, Marrickville. 3pm. $5.
JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Chich & The Soul Messengers Vic On The Park, Enmore. 9pm. Free. Travelaz The Annandale Hotel, Annandale. 8pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Asylum Fest - feat: Tensions Arise + Acid Nymph + Not Another Sequel Just Another Prequel + Internal Nightmare + Exist Within + Diminish The Gods + Shatter The Crown + Dco Valve Bar, Agincourt Hotel, Ultimo. 5pm. $15. Backstreet Boys Allphones Arena, Sydney Olympic Park. 7:30pm. $91.65. Blake Tailor Club Rivers, Riverwood. 6pm. Free. Cath & Him Manly Leagues Club, Brookvale. 9pm. Free. Craig Thommo The Belvedere Hotel, Sydney. 7pm. Free. Diesel Newtown Social Club,
Newtown. 8pm. $45. Evie Dean Novotel, Rooty Hill. 6:30pm. Free. Flower Drums Oxford Art Factory, Darlinghurst. 7pm. Free. Gerard Masters Trio Penrith RSL, Penrith. 2pm. Free. Get Rocked Coogee Diggers, Coogee. 8pm. Free. Groovin The Moo 2015 - feat: A$AP Ferg + Ball Park Music + Broods + Carmada + Charli XCX + The Delta Riggs + DMAs + Flight Facilities + Hermitude + Hilltop Hoods + Hot Dub Time Machine + Meg Mac + Northlane + One Day + Peace + Peaches + The Preatures + Rl Grime + San Cisco + Saskwatch + Sticky Fingers + Tkay Maidza + Wolfmother + You Me At Six Maitland Showground, Maitland. 10:30am. $108. Hello Cleveland Kings Park Tavern, Kings Park. 7pm. Free. Horror My Friend Brighton Up Bar, Darlinghurst. 8pm. Free. Jack Horner Plough & Harrow, Camden. 8pm. Free. Jellybean Jam Revesby Workers Club, Revesby. 11am. Free. Jimmy Bear Orient Hotel, The Rocks. 4:30pm. Free. Kaurna Cronin + Jacob Pearson + Direwolf The Gaelic Club, Sydney. 8pm. $12.40. Matt Lyon Kelly’s On King, Newtown. 9:30pm. Free. Morgan Bain The Lass O’Gowrie Hotel, Newcastle. 8pm. Free. Rebecca Johnson Band Town Hall Hotel (Balmain), Balmain. 9:30pm. Free. Reckless Orient Hotel, The Rocks. 9:30pm. Free. Renegade Armada + Scars Have Faded + Eat Your Heart Out Hamilton Station Hotel, Newcastle. 8pm. $10. Ryse Fest - feat: Ryse + Canyonero + The Gunn Show + New Alias + Flaccid Mohawk + Lonely Empire + Kite + Glab + The London Keys + Armistice Valve Bar, Agincourt Hotel, Ultimo. 4pm. $20. Sloppy Kiss Soiree + Hoon + Wolf Cola + Bowl Cut Lansdowne Hotel, Chippendale. 8pm. Free. Smackdown + Locksmith Oxford Art Factory, Darlinghurst. 9pm. $23.80. Sons Of Mercury Macarthur Tavern, Campbelltown. 9pm. Free. Soul Tattoo West Tradies, Dharruk. 8:30pm. Free. Soundproofed St George Leagues Club, Kogarah. 7pm. Free. Suite Az Penrith RSL, Penrith. 9pm. Free. The Kamis Revesby Workers Club, Revesby. 8:30pm. Free. The Noxs Club Cronulla, Cronulla. 8pm. Free. The Sphinxes Crown Hotel, Sydney. 8pm. Free. Thunder Fox + Whippet + Jester + DJ Losty Standard Bowl, Surry Hills. 6pm. Free. Total Control Rock Carousel Inn Hotel, Rooty Hill. 8pm. Free. Vanessa Heinitz Picton Hotel, Picton. 8pm. Free. Zeahorse + Meat Cake +
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g g guide gig g send your listings to : gigguide@thebrag.com White Dog + The Loveless The Chippendale Hotel, Chippendale. 8pm. $10.
SUNDAY MAY 10 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC
Human Nature The Star Event Centre, Pyrmont. 7pm. $90. Yuki Kumagai + John Mackie + Paul Furniss + Tony Burkys + Bob Gillespie Cronulla RSL, Cronulla. 12:30pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Becky & The Pussycats Lazybones Lounge, Marrickville. 6:30pm. Free. Ben Fox Trio Orient Hotel, The Rocks. 8:30pm. Free. Chris Stretton Kings Park Tavern, Kings Park. 3pm. Free. Clive Hay Penrith RSL, Penrith. 2pm. Free. Dave Debs Macarthur Tavern, Campbelltown. 2pm. Free. Dave Ireland The Mill Hotel, Milperra. 11:30am. Free. Everclear Metro Theatre, Sydney. 7pm. $65.15. Glenn Esmond Manly Leagues Club, Brookvale. 4pm. Free. Jack Horner
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Pendle Inn, Pendle Hill. 7:30pm. Free. Kurt Williams Riverstone Sportsmans Hotel, Riverstone. 1pm. Free. LJ Picton Hotel, Picton. 1pm. Free. Magic America Frankie’s Pizza, Sydney. 8pm. Free. Matt Lyon Plough & Harrow, Camden. 3pm. Free. Paloma Faith Sydney Opera House, Sydney. 8pm. $110.40. Pat O’Grady Kings Park Tavern, Kings Park. 12pm. Free. Penny Lane Novotel, Rooty Hill. 12:30pm. Free. Rebecca Moore Chatswood RSL, Chatswood. 12pm. Free. Riley Beech Ingleburn Hotel, Ingleburn. 5:30pm. Free. Ryan Enright Collingwood Hotel, Liverpool. 4pm. Free. Seedy Sunday - feat: Mike Crane + Tucker Tuff N Tasty + Jengiz Huseyin + Alexis Martin + We Take The Night + Hand Held Human + Tinsmith + Trash Jacket Valve Bar, Agincourt Hotel, Ultimo. 3pm. $10. Sunday Courtyard Sessions - feat: Shaun Flew The Annandale Hotel, Annandale. 3pm. Free. Swinging Sixties Penrith RSL, Penrith. 2pm. Free. Vanessa Heinitz Panania Diggers, Panania. 12pm. Free. Vanessa Heinitz Fortune Of War, The Rocks.
studio profile WITH
T
ell us about the history and recent happenings at The Grove Studios. The Grove was once known as Mangrove Music Studios, originally built by INXS’ bassist Garry ‘Gary’ Beers. Its idyllic, world-class facilities are nestled away on an elevated 25 acres of secluded bushland, only a five-minute drive out of the major rural centre of Gosford. Historically Silverchair recorded Neon Ballroom and Diorama; Delta Goodrem created much of Innocent Eyes; Eskimo Joe made Black Fingernails, Red Wine; Something For Kate moulded Echolalia. After taking over The Grove Studios just over 12 months ago, we have had a productive time expanding the studios and now have four studios and a dedicated world-class studio for our new education program. We have built an incredible team of producers and engineers including Scott Horscroft, Burke Reid, Matt Lovell and Andy Mac. You’ve recently partnered with Hunter TAFE – RMI (Regional Music Institute) to introduce a Diploma of Sound Production. How
THE GROVE STUDIOS
did this partnership come about? The Hunter TAFE RMI partnership with The Grove Studios came about through a desire to provide the next generation of music industry talent a unique program that is focused on hands-on learning in a real world environment. Grant Walmsley – an RMI teacher, Screaming Jets founder and songwriter – recorded an album at the studios some years ago, as such the partnership began through this initial experience. Grant understood the level of quality and professionalism our facilities offered and knew it would be a perfect location to offer a unique learning model for students, reflecting the same high standard of teaching that Hunter TAFE RMI is so well known for. What can you tell us about the course itself? The course held at The Grove Studios is three days a week for approximately nine months. This qualification is for students who want to work in the creative arts – music, performing and entertainment industries – as sound engineers or sound designers. Successful
students may be selected to extend their learning after the course as part of The Groves’ intern program. What facilities will be available to students studying on site? Students will be based in the new Studio 2 for the majority of the course. Studio 2 is set up as a state-of-the-art classroom with access to the Harrison Desk and unique collection of amplifiers, keyboards and electronic toys that make the room a perfect space for experimentation and learning. Students will, as part of their course, have access to Studio 1, the premier studio at The Grove.
The Grove Studios is hosting an Open Day on Saturday May 16 – what can prospective students expect on the day? The Open Day will take guests and prospective students through the amazing facilities that will be at your fingertips as a student of the Sound Production Diploma. Meet teachers, ask questions and enjoy the amazing atmosphere this boutique campus has to offer. What: The Grove Studios Open Day Where: 286 Mangrove Rd, Somersby (just off Dog Trap Rd) When: Saturday May 16 More: thegrovestudios.com
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gig picks
g g guide gig g
up all night out all week...
send your listings to : gigguide@thebrag.com 6pm. Free. White Bros Orient Hotel, The Rocks. 4:30pm. Free.
ACOUSTIC, COUNTRY, BLUES & FOLK Andy Baylor + Oh Willy Dear The Gasoline Pony, Marrickville. 5pm. $5. Chucks Wagon Marrickville Bowling Club, Marrickville. 4:30pm. Free. Finn + Friends Town Hall Hotel, Newtown. 6:30pm. Free. From Street To Stage - feat: Joe Moore + Various Other Artists Soda Factory, Surry Hills. 6pm. Free. Patrick Lyons & The Band Of American Creek Petersham Bowling Club, Petersham. 7pm. Free. Songsonstage - feat: CJ Fairleight Harlequin Inn, Pyrmont. 3pm. Free.
MONDAY MAY 11 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Sonic Mayhem Orchestra Lazybones Lounge, Marrickville. 8:30pm. Free.
ACOUSTIC, COUNTRY, BLUES & FOLK Omega Ensemble + Kathryn Selby
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City Recital Hall, Sydney. 7:30pm. $29. Songsonstage - feat: Mick Hambly + Chris Brookes Kelly’s On King, Newtown. 8pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
Chris Cook Orient Hotel, The Rocks. 9pm. Free.
TUESDAY MAY 12 ACOUSTIC, COUNTRY, BLUES & FOLK Live & Originals @ Mr Falcons - feat: Nick Luke + Alex Guthrie + Bonny Kay & The Bonnafides + Andrew Kidd Mr Falcon’s, Glebe. 7:30pm. Free.
INDIE, ROCK, POP, METAL, PUNK & COVERS
WEDNESDAY MAY 6 Bootleg Rascal Newtown Social Club, Newtown. 7pm. $17. You Me At Six + Luca Brasi Metro Theatre, Sydney. 7:30pm. $50.45.
THURSDAY MAY 7 Montgomery + Jordan F Goodgod Small Club, Sydney. 8pm. $15. The Ruminaters + Mylee Grace & The Milk Shakes + King Colour + The Dolphin Show Oxford Art Factory, Darlinghurst. 8pm. $5.70.
FRIDAY MAY 8 Kelly Clarkson The Star Event Centre, Pyrmont. 8pm. $91.65.
Co Pilot Orient Hotel, The Rocks. 9pm. Free. Paloma Faith State Theatre, Sydney. 8pm. $99.90.
Le Pie + Eleanor Dunlop + Lisa Caruso Brighton Up Bar, Darlinghurst. 8pm. $12.25.
+ The Loveless The Chippendale Hotel, Chippendale. 8pm. $10.
Peaches Max Watt’s, Moore Park. 8pm. $51.
SUNDAY MAY 10
SATURDAY MAY 9
Chucks Wagon Marrickville Bowling Club, Marrickville. 4:30pm. Free.
Backstreet Boys Allphones Arena, Sydney Olympic Park. 7:30pm. $91.65. Colin Hay Enmore Theatre, Newtown. 9:30pm. $51. Diesel Newtown Social Club, Newtown. 8pm. $45. Smackdown + Locksmith Oxford Art Factory, Darlinghurst. 9pm. $23.80.
JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Acronym Orchestra Lazybones Lounge, Marrickville. 8:30pm. Free.
Backstreet Boys
Thunder Fox + Whippet + Jester + DJ Losty Standard Bowl, Surry Hills. 6pm. Free. Kelly Clarkson
Zeahorse + Meat Cake + White Dog
Everclear Metro Theatre, Sydney. 7pm. $65.15. Human Nature The Star Event Centre, Pyrmont. 7pm. $90. Magic America Frankie’s Pizza, Sydney. 8pm. Free. Paloma Faith Sydney Opera House, Sydney. 8pm. $110.40.
MONDAY MAY 11 Omega Ensemble + Kathryn Selby City Recital Hall, Sydney. 7:30pm. $29.
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BRAG’s guide to dance, hip hop and club culture
dance music news club, dance and hip hop in brief... with Chris Martin, Meggan Turner and Ayla Dhyani
five things
Thundamentals
WITH MASTER WOLF Your Crew Back in 1997 I became 3. friends with another boy who would become the Nikzman. We shared appreciation for graffiti art and the same favourite hip hop artists. A couple of years later I confessed to him that I had secretly been writing my own rhymes, and he confessed he had been doing the same. We formed our own group, Kryptamstik, and began recording what we had written using any means necessary. The Music You Make If people are feeling the 4. kind of stuff coming out from Big Village (Sydney) and guys like Thundamentals then they will definitely love my music. At live shows I may even have my band jamming along with me and the beats if the stage is big enough, or it may just be me delivering my lyrics with my DJ. There will be plenty of freestyling! Music, Right Here, Right Now 5. I have never considered
Growing Up My father is a 1. musician and has played
brother’s room got me into hip hop.
guitar and sung in various rock and country bands my whole life. My earliest memories involve running around and playing with other musicians’ children at huge jam nights/parties with lots of people and lots of alcohol. Many guitars were always around the house and I enjoyed playing with them. Hearing gangsta rap coming from my big
Inspirations The first time I heard 2. the Wu-Tang Clan I didn’t get it. A couple more listens and I was astonished by the various styles of lyricism, their dark, grimy and slightly mystical musical themes. I became a huge fan and wanted all of their solo albums and spinoff projects; it inspired me to begin a long journey in making hip hop music.
BOOM BOOM TISH
Who’s the best beatboxer in Sydney? Find out this weekend at Play Bar, where Beatbox Australia is launching its new Beatbox Royale battle series. Eight budding beatboxers will go head-to-head
myself an Aussie hip hop artist. I am a hip hop artist. Hip hop is a global culture. It is great that since I have been involved in making this type of music it has been accepted by the wider Australian music scene and gotten commercial radio play. Now I think the next step is for us to make music that speaks to the world. With: Skurge, Mars Madness Where: Hustle & Flow When: Saturday May 9
for the title of 2015 Sydney Beatbox Champion, with special performances from The Archive, Rob Le, Van Art, Shyhelm Assassins and the competition judges themselves. LC Beats hosts the festivities this Saturday May 9.
ALL ABOARD THE THUNDAJET
If you’re into Thundamentals and you’ve bought a ticket to Come Together Festival 2015, then this competition could put the icing on the cake. Five lucky festival attendees will have the chance to take a friend and go on a jet boat ride around Sydney Harbour on the weekend of the event. You and your friend will also be joined by one of the biggest acts in Aussie hip hop, Thundamentals. The boys will jump on board with the fans for half an hour of thrills on the harbour before they go and enjoy the day’s festivities. Winners will be selected randomly and contacted in the week before the event. To enter, all you have to do is buy a ticket to Come Together. The festival is taking place on Saturday June 6 and Sunday June 7. Thundamentals will be playing (and going for a ride) on the designated hip hop day, the Saturday.
STRANGE FRUIT SUPPORTS NEPAL
Remi
REMI CALLS IT WHAT YOU WANT Earl Sweatshirt
HIS NAME IS EARL
Firebrand US rapper Earl Sweatshirt has locked in details of his Splendour In The Grass sideshows this winter. The Odd Future MC and producer found fame with his solo material upon the release of his debut album, Doris, back in 2013. He followed it up this year with the acclaimed and wonderfully titled I Don’t Like Shit, I Don’t Go Outside, which has seen him heralded as one of the brainiest rappers on the scene – and all this at the humble age of 21. Sweatshirt rolls into Max Watt’s (formerly The Hi-Fi) on Saturday July 25.
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J. Phlip
In light of the recent earthquake in Nepal, Strange Fruit has announced a 16-hour fiesta as a means to come together and help provide essential aid to the survivors of the disaster. With all proceeds going directly to the NonResident Nepal Association of Australia, Strange Fruit is hosting the event in honour of the Nepalese culture, providing Nepalese street food and featuring a selection 15 local DJs. The DJs on the bill include Phil Smart, Simon Caldwell, Jimi Polar, Jamie Lloyd, Raffi Lovechild, Jordan Deck, Marcotix, MSG, Matt Aubusson, Kali, Alan Thomas, Whitecat, Nick Belshaw, Mesan and Vento Nocturno. The event will be held at the Bridge Hotel in Rozelle from 2pm on Saturday May 9.
The hottest property in Australian hip hop, Remi, has announced his return with a new mixtape and national tour. Remi’s debut album of last year, Raw X Infinity, saw him win a pile of awards including the Coopers AMP. Now he’s back with Call It What You Want, the seven-track sequel to his 2013 breakout release, F.Y.G. Act: 1, which featured the hits ‘Sangria’ and ‘Saggin’. Remi’s new tour dates kick off with an appearance at Come Together Festival on Saturday June 6 at Luna Park.
ON THE PHLIP SIDE
J. Phlip is an artist who knows how to chase her dreams. The Illinois-raised DJ and producer made the big move to Chicago, the home of house music, after winning a DJ competition, before heading to the West Coast of the US. After jumping from home to home, she found some friends at Dirtybird, where her releases launched her into festival bookings around the globe. Berlin came next, as it does for any self-respecting selector, but Phlip’s next stop is Chinese Laundry this Saturday May 9, where she’ll be joined by A-Tonez and the usual assortment of locals: Acaddamy, U-Khan, Circa87, DJ Just 1, Oscar De Lima, Husky, Adamwah, King Lee and Jade Le Flay.
GOODGOD’S CLUB WITHIN A CLUB
Goodgod Small Club has unveiled a brand new weekly club within the club. The small(er) club has made its home in the newly transformed front bar of Goodgod, providing a stage for some of Sydney’s most forwardthinking DJs and artists. Friday Lite is a specially curated evening with residents Cache One, Baby Face Thrilla and Victoria Kim joined by special guests from week to week. Do your Friday nite rite at Friday Lite, every week at Goodgod including this Friday May 8. BRAG :: 611 :: 06:05:15 :: 35
Just A Gent The Age Of Enlightenment By Tom Clift
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our 18th birthday is a pretty big deal. You can drink. You can vote. You can get a tattoo without your family’s permission. For up-and-coming electronic music producer Jacob Grant, however, there’s another big milestone worth celebrating. At long last, the man known as Just A Gent is legally allowed in the venues hosting his shows. “It’s so insane, right?!” Grant exclaims. “I was in the States a while ago, and we were hanging out with the people that ran a venue that had Skrillex playing live. And it’s like my dream to go and see Skrillex play. But yeah, they were like, ‘Aw sorry, you can’t really come.’
“Like seriously? I just played at the venue around the corner! It just drove me insane. But no more!” We’re speaking to Grant just one day before his birthday; one day before he’ll finally be able to stick around after his set and have a beer, or see his own favourite acts in the flesh, “instead of just watching them online”. It’s a day that’s been a long time coming for the young producer, given that he made his first foray into the electronic music world at an age when most of us were still playing with our Lego. Grant lay down his first track when he
was just eight years old, using software that came included in boxes of Nutri-Grain cereal. It’s an origin story he shares with electronic music star Flume, which seems like a pretty good omen. Iron Man food, indeed. Yet like a lot of musicians, Grant doesn’t particularly enjoy listening to his early stuff. “I was just making these really bad hip hop beats,” he says, laughing. “You know how you go through like childhood stages? Well that was one of mine. I can’t explain how bad it was. I didn’t know what I was doing. The things I put together aren’t even in key! I actually did an interview on triple j a while back, and they asked me to bring in one of the tracks, and they played it on air. It was pretty embarrassing.” Even so, Grant clearly had talent – or at the very least, perseverance – and with every passing year would step up his game. Eventually he invested in some better software, and slowly his remixes and original tracks caught the ears of some of the biggest names in the EDM community, including Skrillex, Diplo and Dillon Francis. Capitalising on his newfound success, last year Grant sold out his first Australian tour, and followed that up with a stint in the US. “It was so awesome,” says Grant of his American trip. “I mean, it was such an amazing experience just getting to go over there in general, but then the turnouts were much more than I expected. I had a great time over there.” As the spotlight on Grant continues to intensify, so too does his determination to keep getting better at what he does. “I’ve come so far in the last year,” he says. “Even just sitting in my studio, now that I’m not in school, I just learn so much every day … [I want to] keep getting better and evolving and discovering new things. I want to continue the Just A Gent thing for as long as I can, and just expand that into music that’s going to, I hope, one day change the electronic world.” Ambitious as he is, Grant does sometimes wish he got to have a more regular teenage experience. “I’ve definitely found that, even just
Off The Record Speaking of Subsonic, it’s announced the launch party for its 2015 festival. The night will feature performances from some of the best house and techno DJs Sydney has to offer, including Gabby, Matt Weir, Robbie Lowe, MSG, Marcotix, Felix Warmuth and Mike Witcombe plus a whole lot more. Oh, and you’ll also get to find out the lineup for this year’s incarnation of the festival. It goes down on Saturday May 16 at the Bridge Hotel. Get involved. Those champs over at Picnic are celebrating the fourth anniversary of their beloved One Night Stand parties, and they’ve selected one of Australia’s finest ever DJs and producers to take the reins with an eight-hour DJ set – the one and only Late Nite Tuff Guy AKA DJ HMC. Expect an evening of epic proportions when the dance legend takes The Spice Cellar dancefloor (remember, Spice is now held at the Imperial Hotel) on a journey through house, techno, disco and beyond. It goes down on Saturday May 16. Late Nite Tuff Guy
Y
’all can get ready for some high-calibre internationals to hit Sydney later this year. Victoria’s Strawberry Fields festival has announced a huge lineup, and you can bet your sweet bippy that they’ll also be making the journey north. So far the lineup includes Apparat, Bicep, Cobblestone Jazz, Glenn Astro & IMYRMIND, Lapalux, Lord Echo, Mathew Jonson, Max Cooper, Oddissee, Oliver Huntemann, Patrice Scott, Perfect Stranger, Peter Van Hoesen, Rodriguez Jr, Sorceress, Soul Clap and Tensnake. I’m willing to bet my first-born child that you’ll see a lot of these names on the Subsonic lineup when it drops. Stay tuned.
“But if you think about it long-term, there’s no way that I’d choose that over what I’m doing now,” he adds. “Like, I never expected to get to where I am at 18.” It also probably helps that his friends and family have been so encouraging. “My friends are big supporters, my family as well. My mum and dad used to come on tour with me a lot of the time, because I couldn’t actually get into the clubs without them. They’re actually kind of into the scene now. They like the music.” Having that kind of support helps alleviate the pressures of success. When asked about his creative process, Grant says it’s more about relaxing, hanging out and getting in the proper mood. “I’m a big movie guy, so I watch a lot of movies and get a lot of inspiration from there. I’m also a bit of a gamer, so when I’m bored I just hit up my friends and we end up going and playing games for ages – it’s definitely just about getting in the right headspace.” That said, he can also point to plenty of musical inspirations. “I’m a huge fan of a lot of ’80s music,” he says. “Then in the electronic world I love a guy named Seven Lions, who makes this really kind of melodic dubstep. So that’s influenced a lot of my sound. And Daft Punk, of course. I’m a huge Daft Punk fan.” What: Groovin The Moo 2015 With: A$AP Ferg, Flight Facilities, Hermitude, Carmada and many more Where: Maitland Showground When: Saturday May 9 And: Also appearing at Fusion, Cronulla on Friday May 15; The World Bar on Saturday May 16; King Street, Newcastle on Sunday May 17; and Beach Road Hotel, Bondi on Wednesday May 27
RECOMMENDED SATURDAY FRIDAY MAY 9 MAY 29
Dance and Electronica with Tyson Wray Apparat
spending time with festival stuff, it’s hard to fit it in,” he says, sounding a little bit forlorn. “All my friends are going on Schoolies this year, but I guess I really missed out on that whole side of life. And like, I missed out on all my friends’ high school parties, so that sucks.
It’s been a long-time coming, but Toddla T is finally coming to Australia. A regular host on BBC Radio 1, the Ninja Tune-signed DJ and producer has made a name for himself with his penchant for combining deep bass, acid house and synth-y techno. Catch him on Sunday June 7 at Spectrum.
AFFKT Burdekin Hotel
Carmada Oxford Art Factory
Polar Inertia Oxford Hotel
SATURDAY MAY 30
J. Phlip Chinese Laundry
Tour rumours: I’m 100 per cent certain that we’ll be seeing a tour from Jennifer Lee AKA TOKiMONSTA in June. Consider it confirmed. Oh, and acid master Tin Man? He’ll also hit Sydney that month.
SATURDAY MAY 16
Best releases this week: I am straight up losing my mind over just how good Zum Goldenen Schwarm’s Aufgang (on Forum) is. It’s also been a great week for collaborations, with Mark Fell and Gábor Lázár’s The Neurobiology Of Moral Decision Making (The Death Of Rave) record hitting the spot, as does Willie Burns and Torn Hawk’s Becoming Nice (Valcrond Video). Oh, and don’t skip on Aquarian Foundation’s Mind Miniatures (Going Good). Solid shit.
Flako Marrickville Bowling Club
Ø [Phase] Burdekin Hotel
Steve Bug Imperial Hotel
Basic Soul Unit Burdekin Hotel
SATURDAY JUNE 6 Andras Fox Imperial Hotel
SUNDAY
Subsonic Launch JUNE 7 Toddla T Party Spectrum Bridge Hotel Late Night Tuff Guy Imperial Hotel Edu Imbernon Chinese Laundry
FRIDAY JUNE 26 Kobosil TBA
SATURDAY SATURDAY AUGUST 22 Borrowed Identity MAY 23 Bridge Hotel Kyle Hall Imperial Hotel Kyle Hall
Got any tip-offs, hate mail, praise or cat photos? Email hey@tysonwray.com or contact me via carrier pigeon. 36 :: BRAG :: 611 :: 06:05:15
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club guide g send your listings to : clubguide@thebrag.com
club pick of the week Brodinski
Chinese Laundry, Sydney. 8pm. $22.60. Matt Watkins Marquee, Pyrmont. 10pm. $28.60. Nad And Sam Wall Manly Wharf Hotel, Manly. 6pm. Free. Pacha - feat: Audien + Helena + Glover + A-Tonez + I Am Wolfpack + Friendless + Ben Morris + Fingers + Deckhead + Nanna Does + Def Rok + Mike Hyper + Dle + Pro/ Gram + Zooky + Ellyk + Sushi Ivy Bar/Lounge, Sydney. 6:30pm. $38. Sienna Saturdays - feat: Resident DJs The Establishment, Sydney. 9pm. Free. The House Of Who - feat: Rotating DJs + Levins + The House Of Who + Nacho Pop + Katoâ&#x20AC;&#x2122;s Wig Shop Goodgod Small Club, Sydney. 8pm. Free. The Reunion - feat: Ro Sham Bo + Jaime Doom + Discopunx + Kato + Gregg Sandwich Goodgod Small Club, Sydney. 10pm. $15.
HIP HOP & R&B
2015 Beatbox Royale -
SATURDAY MAY 9
9pm. $45.85.
DJ Tom Kelly Goldfi sh, Kings Cross. 9pm. Free. The Wall The World Bar, Kings Cross. 9pm. $5.
THURSDAY MAY 7 CLUB NIGHTS
Pool Club Thursdays feat: Resident DJs Ivy Bar/Lounge, Sydney. 5pm. Free. The World Bar Thursdays The World Bar, Kings Cross. 9pm. Free.
HIP HOP & R&B
Master Wolf + Skurge + Mars Madness Hamilton Station Hotel, Newcastle. 8pm. Free.
FRIDAY MAY 8 HIP HOP & R&B
Friday Lite - feat: Victoria Kim + Strict Face + Ry4 Crew + Cache One + Baby Face Thrilla Goodgod Small Club,
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CLUB NIGHTS
Aden Mullens + Linda Jenssen Manly Wharf Hotel, Manly. 4pm. Free. Kate Monroe + Paris Groovescooter + + Guests The Spice Cellar, Erskineville. 7pm. Free. La Fiesta - feat: Samantha Fox + Agee Ortiz + Av El Cubano + Resident DJ Willie Sabor The Establishment, Sydney. 8pm. Free. Reggae Sundays Kings Cross Hotel, Kings Cross. 5pm. Free. Reign Sundays - feat: DJ Delicious + Sefu + Regz + Just 1 Marquee, Pyrmont. 10pm. $18.40. S.A.S.H Sundays Home Nightclub, Darling
MONDAY MAY 11 CLUB NIGHTS
Mashup Monday - feat: Resident DJs Side Bar, Sydney. 8pm. Free. Strobe Light Unicorns feat: Jonny Seymour + Paul Mac + Guests The Spice Cellar, Erskineville. 2pm. Free.
TUESDAY MAY 12 CLUB NIGHTS
Chu The World Bar, Kings Cross. 9pm. Free.
FRIDAY MAY 8
Brodinski CLUB NIGHTS
SUNDAY MAY 10
Harbour. 2pm. $10. Sunday Sessions - feat: Cadell + Tom Kelly + Ocky Goldfi sh, Kings Cross. 4pm. Free. Sundays In The City - feat: Various DJs The Slip Inn, Sydney. 12pm. Free.
up all night out all week...
Metro Theatre
WEDNESDAY MAY 6
feat: Various Artists Play Bar, Surry Hills. 6pm. $15. Master Wolf + Skurge + Mars Madness Hustle & Flow, Redfern. 8pm. Free.
Sydney. 10pm. Free. Hustler Fridays - feat: MC Shaba Hustle & Flow, Redfern. 7pm. Free.
CLUB NIGHTS
Aaron Manhattan + Amanda Louise + Guests The Spice Cellar, Erskineville. 7pm. Free. Argyle Fridays - feat: Resident DJs The Argyle, The Rocks. 6pm. Free. Bassic - feat: Willow Beats + Senor Roar + Deakhead + Blackmale + Astrix Little + Beatslingaz + Yng Bldz + Gradz Chinese Laundry, Sydney. 8pm. $17.50. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 10pm. Free. Factory Fridays - feat: Resident DJs Soda Factory, Surry Hills. 7pm. Free. Feel Good Fridays Bar100, The Rocks. 5pm. Free. Loco Friday - feat: Various Live Bands And DJs The Slip Inn, Sydney. 5pm. Free. Mashd N Kutcher Marquee, Pyrmont. 10pm. $13.40. Sam Wall Manly Wharf Hotel, Manly. 8pm. Free. Stryka D + Heartical Hi-Powa Goodgod Small Club, Sydney. 9pm. $5.
SATURDAY MAY 9 CLUB NIGHTS
AFFKT + Tech No More + Aaron Robins + Casting Out + Dave Stuart + Persian Rug + Nuendo + Aaiste Burdekin Hotel, Darlinghurst. 9pm. $20. Brodinski Metro Theatre, Sydney. 9pm. $45.85. Cakes - feat: 4 Rooms Of Live Music + DJs And International Guests The World Bar, Kings Cross. 8pm. $10. Dance For Nepal - feat: Phil Smart + Simon Caldwell + Jimi Polar + Jamie Lloyd + Raffi Lovechild + Jordan Deck + Marcotix + MSG + Matt Aubusson + Kali + Alan Thomas + Franch Brothers + Whitecat + Nick Belshaw + Mesan + Vento Nocturno Bridge Hotel, Rozelle. 2pm. $10. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 10pm. Free. Infamous Saturdays - feat: Live DJs Scubar, Sydney. 7pm. Free. Lndry - feat: J. Phlip + A-Tonez + Acaddamy + U-Khan + Aloschi + Circa87 + DJ Just 1 + Oscar De Lima + Husky + Adamwah + King Lee + Jade Le Flay
Friday Lite - feat: Victoria Kim + Strict Face + Ry4 Crew + Cache One + Baby Face Thrilla Goodgod Small Club, Sydney. 10pm. Free. Bassic - feat: Willow Beats + Senor Roar + Deakhead + Blackmale + Astrix Little + Beatslingaz + Yng Bldz + Gradz Chinese Laundry, Sydney. 8pm. $17.50. Stryka D + Heartical Hi-Powa Goodgod Small Club, Sydney. 9pm. $5. AFFKT
SATURDAY MAY 9 AFFKT + Tech No More + Aaron Robins + Casting Out + Dave Stuart + Persian Rug + Nuendo + Aaiste Burdekin Hotel, Darlinghurst. 9pm. $20. Dance For Nepal - feat: Phil Smart + Simon Caldwell + Jimi Polar + Jamie Lloyd + Raffi
Lovechild + Jordan Deck + Marcotix + MSG + Matt Aubusson + Kali + Alan Thomas + Franch Brothers + Whitecat + Nick Belshaw + Mesan + Vento Nocturno Bridge Hotel, Rozelle. 2pm. $10. Lndry - feat: J. Phlip + A-Tonez + Acaddamy + U-Khan + Aloschi + Circa87 + Dj Just 1 + Oscar De Lima + Husky Simon Caldwell
+ Adamwah + King Lee + Jade Le Flay Chinese Laundry, Sydney. 8pm. $22.60. Pacha - feat: Audien + Helena + Glover + A-Tonez + I Am Wolfpack + Friendless + Ben Morris + Fingers + Deckhead + Nanna Does + Def Rok + Mike Hyper + Dle + Pro/Gram + Zooky + Ellyk + Sushi Ivy Bar/Lounge, Sydney. 6:30pm. $38. Master Wolf + Skurge + Mars Madness Hustle & Flow, Redfern. 8pm. Free.
SUNDAY MAY 10 S.A.S.H Sundays Home Nightclub, Darling Harbour. 2pm. $10. Strobe Light Unicorns Feat: Jonny Seymour + Paul Mac + Guests The Spice Cellar, Erskineville. 2pm. Free.
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apply now at aim.edu.au
Australian Institute of Music For more information visit aim.edu.au or call Sydney: 02 9219 5444, Melbourne: 03 8610 4222 C C CR CRI COS S 00665 00665 6 5C C