Brag#622 by Furst Media

ISSUE NO. 622 JULY 22, 2015

FREE Now picked up at over 1,600 places across Sydney and surrounds. thebrag.com

MUSIC, FILM, THEATRE + MORE

INSIDE This Week

MĂ&#x2DC;

Scandinavian electropop has its newest star.

DUCK TA IL S

Matt Mondanile on his prolific Real Estate side project.

NOR T HL A NE

A new-look lineup brings political ammunition.

R ATATAT

Hours spent surfing YouTube paid inspirational dividends.

Plus

JIN J A S A FA R I PL AY W R I T E IMMIGR A N T UNION

RIDERS ON THE STORM

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BRAG :: 622 :: 22:07:15 :: 3

rock music news

the BRAG presents

welcome to the frontline: what’s goin’ on around town... with Gloria Brancatisano, Sam Caldwell and Chris Martin MARMOZETS

speed date WITH

Best Gig Ever It was just recently 3. actually, supporting Adalita at the

Your Profile Three (sometimes 1. more) living beings with loud instruments and amps. We like dogs, dirt, wind energy and picking at deceased estates. We dislike the current political system and the so-called ‘leaders’ in Australia, inequality and coal mining. Our music tries to sound like a chimpanzee shouting homonyms at flying drones. Or at least something does. Probably sounds more like psych-grungepop though. Do you agree? Are you reading this? Wanna hang

out? Wanna start a riot? If so, come to a show and have a dance! Keeping Busy We’ve just released a 2. six-track EP called Creatures with Anna Laverty (who also produced it) at Sing Sing – it’ll be available as a ten-inch on orange transparent vinyl, if it ever arrives! We’re currently in the middle of touring the EP up the east coast and we’re playing with some amazing bands, including Bec and Ben in Sydney. But once the

Gasometer in Collingwood. It was our first gig as full band since we finished recording the EP and we had a guest viola player, Ceci Dowling (who also features on the release). It felt good – there was a really nice crowd there; we just played the same ol’ set that we usually play, but there was something about it. Current Playlist Right now I am listening 4. to Lia Mice, Grimes and Blonde Redhead while working. They’re all bands/artists that make good thinking music to help me get through the working day. There are also so many local bands that are kicking goals too – Warmth Crashes In, Howl At The Moon,

Mangelwuzrel, Jess Ribeiro, Twin Beasts, Kinder, East Brunswick All Girls Choir, Palm Springs, Rich Davies, Tempura Nights, Darts, ScotDrakula, Immigrant Union, Bec and Ben, Dunes, Hayley Couper – they’re all rad and they all play amazing live shows.

AZEALIA BANKS Metro Theatre Friday July 24

WOLF ALICE Oxford Art Factory Friday July 24

Your Ultimate Rider I’d really like a beach, a 5. bunch of dogs, some cocktails, nice salty snacks and a hammock, but you know, that ain’t going to happen! So we usually just take what we’re given (read: a few tinnies each and maybe a free meal, which is always the best) and appreciate it. What: Creatures out now independently With: Bec and Ben Where: Frankie’s Pizza When: Wednesday July 29

YEARS & YEARS Oxford Art Factory Sunday July 26

ALITHIA The Factory Floor Friday August 28

Years & Years photo by Mike Massaro / Wolf Alice photo by Jordan Hughes

tour is over, we’re going to have a break for a while. A long while.

ALI E

Newtown Social Club Thursday July 23

A LITTLE MORE MAY

To celebrate their upcoming debut album, For The Company, Little May have announced they will head off on an Australian tour this September. The album is due out on Friday October 9, and was produced by The National’s Aaron Dessner. During April and May, Annie Hamilton, Liz Drummond and Hannah Field, along with their band, made their way to Hudson in Upstate New York and began recording the record with Dessner at Future Past Studios, a converted 19th century church, with the remainder of the album completed in Dessner’s garage in Brooklyn. Little May will take over Oxford Art Factory on Friday September 18.

The National

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: Gloria Brancatisano, James Di Fabrizio, Elias Kwiet, Bridget Lutherborrow, Vanessa Papastavros, Jade Smith ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: Katrina Clarke, Ashley Mar 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 Bryant, Elias Kwiet, Bridget Lutherborrow, Vanessa Papastavros, Jade Smith - gigguide@ thebrag.com (rock); clubguide@thebrag.com (dance, hip hop & parties) AWESOME INTERNS: Vanessa Papastavros, Elias Kwiet, Jade Smith, Bridget Lutherborrow REGULAR CONTRIBUTORS: Nat Amat, Prudence Clark, Tom Clift, Keiron Costello, Christie Eliezer, Fergus Halliday, Cameron James, Tegan Jones, Lachlan Kanoniuk, Emily Meller, David Molloy, Annie Murney, Adam Norris, Daniel Prior, Kate Robertson, Natalie Rogers, Erin Rooney, Spencer Scott, Natalie Salvo, Leonardo Silvestrini, Lucy Watson, Rod Whitfield, Harry Windsor, Tyson Wray, Stephanie Yip, David James Young Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 fax - (02) 9319 2227 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG. ACCOUNTS RECEIVABLE: Luke Forrester: accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121

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BLUESFEST’S FIRST BATCH

Bluesfest has unveiled the earliest lineup announcement in the history of the festival, dropping its first round of artists for next year’s event. The 15 artists making up the announcement are also the first of up to eight artist announcements that will arrive over coming months. Leading the lineup in a festival exclusive performance are The National, being joined by the likes of City And Colour, reggae legends UB40 Featuring Ali Campbell, Astro And Mickey Virtue, blues rock maestro Joe Bonamassa and Grammy Award-winning group Tedeschi Trucks Band. Other artists include The Cat Empire, Lukas Nelson and Promise Of The Real, The Word, Rhiannon Giddens, Janiva Magness, St Paul and The Broken Bones, Allen Stone, The Selecter, Shakey Graves and Songhoy Blues. Bluesfest 2016 will take place from Thursday March 24 – Monday March 28 at Tyagarah Tea Tree Farm, just north of Byron Bay.

JOSH GROBAN GOES ORCHESTRAL

Multi-platinum singer Josh Groban will join forces with the Sydney Symphony Orchestra for two shows at the Sydney Opera House next year. Groban’s latest album, Stages, landed in April, and was the first new music from the Californian pop performer since 2013’s All That Echoes. Stages features Groban’s interpretations of history’s most famous musical theatre songs, and they’ll be taken to another level entirely when he’s joined by the SSO on the Sydney stage. Groban will play the Concert Hall, Sydney Opera House on Tuesday April 19 and Wednesday April 20.

EARTHLESS AND ELDER

The US bands Elder and Earthless are touring Down Under together this October. Marking the respective rockers’ first time sharing a stage, fans will bathe in the psychedelic guitar riffs of Earthless, while celebrating with Elder the release of their latest album, Lore. It all goes down at Newtown Social Club on Saturday October 24.

Boyz II Men have announced their longawaited return to Australian shores this October. The four-time Grammy Award winners will perform all their mega hits alongside their a cappella covers and spontaneous onstage jam sessions. The trio – the best-selling R&B group of all time with 64 million albums sold worldwide – will play eight Australian shows. One of those is at the Big Top, Luna Park on Saturday October 10.

OUT ON THE WEEKEND

After kicking things off in Melbourne last year, the organisers behind Out On The Weekend have announced a Sydney date for the festival in 2015. The Americana music festival will expand to Sydney this October, taking over Bella Vista Farm. Happening west of the Sydney CBD, Out On The Weekend will sit among the 200-year-old buildings and great local flora of Bella Vista, all the while celebrating a hand-picked lineup of Americana artists, great food and fine booze. The full artist lineup, as well as food and beverage offerings, will be announced on Tuesday August 4. For now, lock in the festival for Saturday October 24.

THAT’S GOLD, PURE GOLD

In exciting news for rockers, rollers and everyone in between, the golden oldie connoisseurs at WSFM have announced the second incarnation of Pure Gold Live after the sell-out success of last year. A celebration of the best Aussie rock from the ’70s, ’80s and ’90s – that’s right; the ’90s count as classic now – the night promises 12 killer acts and a myriad of retro hits that will keep you singing along to every word. Along with a mystery guest, the event will host the likes of the father of coolness Ross Wilson, pub rockers Choirboys, yesterday’s hero John Paul Young, Angry’s very own Rose Tattoo, Dragon from over the ditch, The Badloves, 1927, Pseudo Echo, Steve Kilbey of The Church fame, Deborah Conway, Wa Wa Nee and Sharon O’Neill. See this rare lineup from a very different time in music at the Hordern Pavilion on Saturday October 31.

The Paper Kites

PAPER KITES WILL FLY

The Paper Kites have announced an extensive national tour to celebrate the release of their latest album Twelvefour, kicking off this October. The album is based around a theory that an artist’s creative peak is between the hours of midnight and 4am. So for two months the band’s vocalist Sam Bentley spent four hours each night writing, penning a total of 30 songs in his home studio. The band then travelled to Seattle to record with Grammynominated producer Phil Ek (Father John Misty, Manchester Orchestra, Fleet Foxes). Catch The Paper Kites at the Metro Theatre on Friday November 6.

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The National photo by Dierdre O’Callaghan

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BOYZ II MEN AGAIN

BRAG :: 622 :: 22:07:15 :: 5

live & local

free stuff

welcome to the frontline: what’s goin’ on around town... with Jade Smith, Chris Martin and Vanessa Papastavros

speed date WITH

head to: thebrag.com/freeshit Holy Holy

TOM BLOOMFIELD FROM WAAX written a bunch of new songs, and booked a tonne of festival and tour dates that will take us to the end of the year. It’s been the best! Best Gig Ever I think our Bigsound set 3. last year is still my favourite; we were on a bill with some amazing artists like Eves, Little May and Client Liaison. But we all feel like we’ll top that show soon! Current Playlist On the international scale, 4. the new Everything Everything,

Your Profile I think we sound sort of like 1. a natural disaster occurring, but

the Valley on a weekend night… or any night.

in a good way, I hope. It’s loud, very loud. We like to see live music – you can probably find us without a lot of effort if you are in

Keeping Busy So busy… no time off, none 2. of that shit. We have recorded an EP, released a single and a video,

Wolf Alice and Kendrick albums are amazing. We’re also really excited for the Fidlar stuff – oh, and we found this crazy group, Prayers; they are pioneering a new genre called ‘cholo goth’. It’s like super intense, hyperaggressive lyrics and vocals with really cool gothic techno beats. They released a new album last month I think and it’s sick. Locally we are loving the new Born Lion record, The Creases’ new song

Ron Sexsmith

Lowtide

is great, The Jungle Giants’ new stuff – I could go on [laughs]. Your Ultimate Rider Well, we really, really, really 5. like beer and also scotch. And to be fair, we get that now, but way more of it would be good. Once we start getting served plates of cold cuts we’ll know we’ve made it, but then who wouldn’t want some baller-as rapper rider with cases of liquor and chocolate fountains and that? The weirdest thing in our rider was actually a joke our manager slipped into it – he requested that Norah Jones be present backstage at each of our shows with a baby grand to entertain us with sweet background music. Pretty weird… anyway, needless to say we were pretty confused when Norah Jones was backstage at every single show we played. Where: Waywards When: Friday July 24

HOLY HOLY

Somewhere between international gigs and sold-out headline shows, Holy Holy have managed to put together an album. With bloggers and journalists buzzing and triple j giving their single ‘Impossible Like You’ a good spin, it’s almost hard to believe that When The Storms Would Come is the band’s first album. Having cemented their dynamic and direction, Holy Holy are apparently not taking much of a break, already working on their next record – but in the meantime, When The Storms Would Come lands this Friday July 24. Just in time for the album’s release, we’ve got ten CD copies to give away. For the chance to win, click to thebrag.com/ freeshit.

Jack Ladder and The Dreamlanders

THE TIDE IS LOW

Following on from last year’s debut album, Lowtide have announced its follow-up release, their ‘Julia/ Spring’ seven-inch, as well as a trio of Australian shows to support it. Recorded in Melbourne by Matthew Hosking (VHS Dream), ‘Julia’ was originally written and recorded in 1988 by French band Asylum Party. ‘Spring’ was produced by Gareth Parton (The Go! Team, Foals) during recording sessions for the band’s selftitled debut. Lowtide will play Newtown Social Club on Sunday August 30.

LET’S TALK ABOUT SEXSMITH

Canadian singer-songwriter Ron Sexsmith – he of the golden voice – is making the journey to our shores for the first time in six years. Sexsmith has earned the seal of approval from the one and only Elton John, as well as collaborated with Elvis Costello, been covered by Rod Stewart and co-written with Feist. He’s on his way to Australia for the Mullum and Queenscliff music festivals, but while he’s at it he’ll do Newtown Social Club on Saturday November 21 and The Basement on Monday November 23.

BEC SANDRIDGE LAUNCH

BATCH SESSIONS

This idea has been fermenting for a while, but it’s finally come to fruition. Batch Brewing Co. is launching a monthly event called Batch Sessions, where you can expect a fusion of 6 :: BRAG :: 622 :: 22:07:15

It’s an action-packed week ahead at Bondi’s Beach Road Hotel, with the lineup of live music featuring some great Aussie talent. First up on Wednesday July 22 are I Know Leopard – the triple j Unearthed winners of a slot on the Sydney Laneway bill this year – with support from DJ Ember. The regular Friday night Filth party this Friday July 24 features the all-star Jack Ladder and The Dreamlanders on headline duties, showing off their most recent record Playmates. Finally, the latest triple j hitmakers High-Tails will roll into the room on Saturday July 25, playing guitar pop with a dose of psych. Mm-hmm.

The Snowdroppers

NEW-LOOK PERCH CREEK

Formerly known as The Perch Creek Family Jugband, the five-piece Perch Creek have returned with a revitalised sound to show off on their new single, ‘Mama Sings’. Comprising four siblings and one partner, Perch Creek have been on a performing hiatus for the first part of 2015 to focus on writing for their upcoming album. Produced by Greg J. Walker (Machine Translations, Paul Kelly, C.W. Stoneking), the single was recorded at his converted bakery studio in country Victoria. Perch Creek will perform at Newtown Social Club on Friday September 11.

WHAT’S ON THE JUKES BOX Oxford Art Factory will play host to Millar Jukes and The Bandits next month as they launch their EP, Chase The Sun. With a sound that’s been mysteriously described as “new vintage”, the Scottish-born Jukes has readily found his scene in Melbourne. Jukes and his onstage family, The Bandits, have already launched the title single on their own stomping ground to sweaty enthusiasm and are heading to Sydney in late August to send the whole four-track EP off with a bang. Special guests will be along for the ride too, but are yet to be announced. Catch Jukes and The Bandits at OAF on Thursday August 27.

TAKING CARE OF BUSINESS

Sydney’s own doyens of blues rock and a damn good time, The Snowdroppers, have roared back onto the scene with their new single, ‘Love Letters’. It’s the first sample of their forthcoming record, Business, due for release on Friday September 4. The four-piece will take care of business on a 13-date launch tour, kicking off the same day as the album lands, and marking the band’s first national run in 18 months. Food Court will join The Snowdroppers when they play Newcastle’s Wickham Park Hotel on Saturday September 5 and Newtown Social Club on Friday September 25.

thebrag.com

Lowtide photo by Callum Thomson

Glasgow expat and Sydney resident Bec Sandridge is set to showcase her new material for a standalone show in Sydney before embarking on a national tour. The product of busking all around America and Europe, Sandridge’s new EP In The Fog is set to be the fourth release from the well-travelled singersongwriter. Demonstrating a move away from her folk roots, In The Fog and its single ‘In The Fog, In The Flame’ are driven by Sandridge’s distinctive vocals and ’80s-inspired synths and percussion. The track launches this week, with Sandridge taking to the Newtown Social Club on Saturday August 22 to show off the EP.

hand-picked live and local music with locally crafted and brewed beers. The inaugural Batch Sessions will feature music by Blueberry Circuit and Dominic Youdan, along with a great lineup of Batch beers from pale ales to stouts, all made in-house. With Marrickville’s Batch warehouse and beer stills as the backdrop, great live tunes and flowing craft beer will make this monthly gig an Inner West must. The maiden jam will be going down this Wednesday July 22.

BIG UPS TO BEACH ROAD

When The Storms Would Come

Featuring History You Cannot Call For Love Like A Dog Sentimental and Monday DEBUT ALBUM OUT JULY 24 holyholymusic.com BRAG :: 622 :: 22:07:15 :: 7

Industrial Strength Music Industry News with Christie Eliezer

THINGS WE HEAR * What questions are being asked about a council that trademarked the name of a festival without telling the promoter? * After closing its last Australian store in 2010, is HMV planning a return to this country? * Is Apple Music to be investigated for charging an extra 30 per cent on apps by rivals and refusing to advise customers that they can buy these elsewhere or from the rivals’ websites? * Nervo are in talks with Simon Cowell to appear on his Ultimate DJ TV show launching early 2016, but have not yet decided in what capacity. * Towards the end of Johnny

Marr’s four-song encore at the Powerstation in Auckland, the city’s favourite musical son Neil Finn strolled on. The two worked on Finn’s 7 Worlds Collide project, and Marr called him one of the best songwriters around. Finn played guitar on ‘I Fought The Law’ and took lead vocals on The Smiths’ ‘There Is A Light That Never Goes Out’, almost drowned out by the crowd sing-along. * On their current North American tour, Foo Fighters have pissed off some members of the media by demanding that photographers must hand over ownership of their images to the band following their initial publication. The Washington City Paper deemed it “exploitative” and refused to cover the show, while the Quebec newspaper Le Soleil got around it by sending a cartoonist.

PPCA DEADLINE APPROACHING The Phonographic Performance Company Of Australia (PPCA)’s deadline for current distribution is Monday August 31. If you are an Australian recording artist whose music is being broadcast or publicly performed, or you hold the copyright in recordings being played, you may be eligible to share in license fees collected by the PPCA from over 70,000 businesses across the country. Last year, the PPCA collected almost $33 million for registered artists and labels. If you are already PPCA-registered, you must advise which releases are eligible to claim on (this is not the record company’s responsibility). For more info, see ppca. com.au.

AUSSIE RADIO PIRATE PROSECUTED A man from Portland in Victoria has been fined and his equipment confiscated after being prosecuted for running a pirate radio station. He broadcasted classic Australian rock on the 101.3FM frequency and faced Portland Magistrates Court.

APRA’S $120K PROFESSIONAL DEVELOPMENT AWARDS The Australasian Performing Right Association (APRA)’s Professional Development Awards are back. Eight winners will receive $15,000 worth of career support each. Sponsor Audio-Technica is also offering a microphone and headphone pack. The eight winners will be chosen from six categories – popular contemporary, country, jazz, classical, film and television, and Aboriginal and Torres Strait Islander. This year, the Smugglers Of Light

* Court papers allege that Birdman and Young Thug conspired to kill Lil Wayne when the rapper’s tour bus was shot up in April. Wayne and Birdman are beefing because Wayne wants out of his deal with Cash Money Records and refuses the release of his album The Carter V until it is sorted out. Little wonder that the two clashed at a Miami club. Wayne was performing onstage when Birdman and his entourage allegedly threw drinks at him, causing the club to close early. * Tumbleweed guitarist Lenny Curley, who does the band’s CD covers, posters, merch and comics artwork, is holding his first solo art exhibition based on his sketch drawings. It’s at the Beach Burrito Company in Wollongong, with the opening night on Friday July 31. * Slipknot have long been pissed off with Axl Rose

Foundation – set up after the violent death of composer Nigel Westlake’s 21-year-old son Eli – has created the Indigenous Music And Media award, worth $12,000. Applications close 5pm on Tuesday August 25. More info is available at apraamcos.com.au/pda.

JEFF MARTIN OPENS BYRON BAY STUDIO Jeff Martin, leader of Canada’s four-millionselling The Tea Party, has set up the new Riverhouse Studios in a 100-acre rainforest outside Byron Bay to produce artists and bands. In 1992, the one-time child prodigy became the youngest producer of an EMI record (The Tea Party’s Splendor Solis). Aside from digital and analogue gear in the studio, multi-instrumentalist Martin offers an array of exotic instruments to use, including saz, cumbus, oud, sitar, sarod, hurdy gurdy, esraj, harmonium and a 1916 Gibson harp guitar. For all production and recording interest, contact Melissa Barrett at melissa@ hummingbirdpr.com.au.

DUNE RATS LAUNCH LABEL, SIGN BYRON ACT Brisbane garage stoners Dune Rats have set up their own label, Ratbag Records, distributed through Warner Music. They declared that the label is “the Dunies’ way of giving the bands they love a leg up. They want to pull the bands they love out of bedrooms or pubs, take them on the road and show them to the world”. The first signing is their one-time surf buddies, Byron Bay trio Skegss, because “They love doing the same shit that we do,” and “the dudes are real as fuck.” Skegss, who’ve been touring North America this year and were picked by triple j Unearthed to

dissing his audiences by making them wait for up to three hours. Corey Taylor recalls that when Slipknot were with Guns N’ Roses at a European festival, he got revenge by sneaking into the backstage area and playing on Rose’s piano… with his penis. * Aussie musician Arundel is relocating to Germany this month. Since 2010, his records have had airplay in Europe. * Maroon 5’s shows in Beijing and Shanghai in September have been axed after Chinese authorities discovered they tweeted a happy birthday message to the Dalai Lama. * Just days before 50 Cent declared himself bankrupt because he lost a multi-milliondollar sex tape case, he was seen celebrating his birthday at a club with wads of $100 notes amounting to US$5,000 peeking out of his pockets.

play Splendour, have a single ‘Fun’ out from upcoming EP 50 Push Ups For A Dollar.

COACHELLA GROSSES RECORDBREAKING US$84 MIL California’s Coachella Valley Music and Arts Festival is officially the world’s highestgrossing festival. Figures just released show that Coachella has set a record for earnings over two weekends (April 10-12 and April 17-19 this year, with the same lineups on each weekend) – a staggering $US84,264,264. 198,000 tickets were sold, priced between $375 and $899.

RELENTLESS RESISTANCE Sydney hardcore band Relentless have joined Newtown-based label Resist, and are ready to release their latest album Price Of Pain on Friday September 18. Formed in 2007, Relentless have played around the world, and singer Trent Baldock started Dogfight Records to release albums by Hand Of Mercy and Shinto Katana.

EVES SIGNS TO ISLAND As Eves The Behavior’s self-titled EP hits this week through Dew Process/UMA, she has in the meantime signed a UK deal with Island Records. Its roster includes Mumford & Sons, Hozier, Disclosure, PJ Harvey and Florence + The Machine.

NEW AUSSIE PLATFORM ACTCESS TO LAUNCH ACT-cess is a new online music community database set up in Adelaide, which “will include individuals, bands, groups and industry. It will be an easy to use, up to date

Lifelines Dating: New Zealand model Stella Maxwell, 24, has confirmed she and Miley Cyrus are an item. Ill: Billy Zoom, 67, of US punk vets X will start chemo treatment for bladder cancer. He was treated for prostate cancer five years ago. Fans responded to a US$50,000 crowdfunding campaign for his expenses by throwing in $67,000. Ill: George Michael has denied “highly inaccurate” reports by a family member that he went to rehab for crack cocaine addiction. Arrested: a 26-year-old Boston heavy metal fan after he panicked passengers on a bus when he entered wearing metal garb. They thought his fake bullet belt was real and telephoned police saying he had a gun, which he didn’t. Jailed: AC/DC’s Phil Rudd is behind bars just weeks after being ordered to eight months of home detention, possibly because of a breach of the sentence. In Court: Goulburn Local Court ordered a 29-year-old local to 100 hours of community service for punching a security officer at Flamingo’s Nite Club when he tried to re-enter after being thrown out. In Court: The X Factor host Luke Jacobz was disqualified from driving for 12 months and fined $700 after being convicted of drink driving. He blew 0.116 when pulled over in Moore Park in May. Jailed: DMX for six months for not paying US$400,000 worth of child support. Investigated: the IRS has asked a Detroit court to demand that Shaggy 2 Dope of Insane Clown Posse provide income details for 2011 and 2012. Investigated: a coroner found that B.B. King was not poisoned to death, as claimed by some family members, but died as a result of Alzheimer’s disease and other physical conditions. Sued: Kendrick Lamar by New York photographer Giordano Cipriani for using his photo of a mother breastfeeding two babies on the cover of his ‘The Blacker The Berry’ single, allegedly without permission. Died: Kylie Greenlees, co-founder of MGM Distribution with husband Sebastian Chase (and an avid supporter of independent acts and events), after a battle with cancer. Died: the body of one-time Angels road crew member turned youth worker Rodney Trigger, 64, was found by fire crews at his Newcastle home after smoke was seen billowing from inside.

service that will benefit communication, connectivity, awareness, accessibility, networking and in some cases, act autonomy within the music community and to its reach.” Before its October launch, it has launched a fundraising campaign at pozible.com/ project/193598. Those wanting to register to list their profile for free can email their name to act-cess@bandtogetherinc.com.au.

DOC NEESON FAMILY WINS COURT BATTLE SPOTIFY UNVEILS MUSICAL MAP OF THE WORLD Spotify has unveiled its Musical Map: Cities Of The World, an interactive visual guide of how people listen to music in different cities around the globe. It features 1,000 city-specific playlists that reflect their unique musical preferences; that is, songs listened to a lot in one city but not in others. Sydney loves producer Golden Features’ ‘No One’ (featuring Thelma Plum); Brunswick in Melbourne is flipping over Hermitude; while Drapht is the bomb in Adelaide, Hobart and Perth. Local act Conrad Sewell in going off in Brisbane and Safia are doing the same in their hometown, Canberra. Urban and EDM seems to be most streamed genre, and often in artists’ own locale. In New York, it’s The Chainsmokers; in Berlin it is MIA; MC Nego do Borel rules in Rio de Janeiro; while London and Brooklyn dig remixer Jamie xx. The map analyses 20 billion tracks streamed by Spotify users and will be updated every two weeks.

8 :: BRAG :: 622 :: 22:07:15

A year after Doc Neeson’s death, his family has won a court battle for promoter Mark Filby to return loans totalling $70,500. Neeson’s son Kieran made a promise to Doc on his deathbed to retrieve the money. The Downing Centre Magistrates Court ordered Filby to pay $100,000 (to include interest and legal costs) to the family within 56 days, calling him “evasive”, “unreliable” and “unbelievable”.

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went and found John Bonham’s grave,” he says excitedly. “We were going through the UK and decided that we had to take a detour – it was almost like a Spinal Tap moment. It was near Birmingham, in the countryside. When we found the grave, we saw that all of these other musicians had been there before us. The whole thing is surrounded by cymbals and drumsticks all left from fans all over the world. It felt like we’d become a part of this huge music nerd pilgrimage.”

song can come to you at any time. You could be in the valley of Brisbane or in the bustle of East Stockholm – whatever your surrounds, it could just happen to be environment that your song needs. Holy Holy are an act that have learned this all too well in their time together – after all, it was a matter of geographical circumstance that drew the duo to one another in the first place. “I try to do it as a habit,” says Oscar Dawson, the guitar-playing and composing half of the band, when broaching the topic of songwriting. “You’re not always going to do great things, but if you make it a habit, things start to happen. Certain times and certain places have been better for us, I think. Tim [Carroll, vocals] started writing some of these songs a few years ago. He was living in Stockholm and I was in Germany. It was actually quite serendipitous – I travelled up to Stockholm for some work with another band, and Tim popped up on Facebook. I don’t think we’d spoken for years at that point, but we got in touch and we ended up recording a demo for a song that ended up on the album.” Given the in-transit nature of the band, Holy Holy have never identified with a single city as their base or hometown area. Dawson admits it may look like he and Carroll are in some sort of long-distance relationship. He is, however, adamant that their set-up works for them.

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It was in Brisbane with Redlich where Holy Holy were finally able to finish their debut LP, When The Storms Would Come. Recorded to tape, it’s about as authentic a folk rock record as you’re likely to hear in 2015, regardless of nationality. It’s a refined, sharp album that is wholly reflective of the songwriting strengths of both Carroll and Dawson – which makes sense, considering that an entirely different record was ultimately scrapped by the band prior to making this one. “We did have a version of an album a few years ago,” says Dawson. “Things just changed really quickly – we started writing new songs, the older ones got wedged out, we released an EP [2014’s The Pacifi c], we got rid of even more songs in the making of that. The songs were definitely honest representations of us at that time, but we’ve developed a lot since then. Some of the songs started out as a part of a solo project for Tim, and the newer songs

that we were writing sounded a lot more like a band, if that makes any sense.” Momentum has been picking up for Holy Holy even prior to the release of When The Storms Would Come. Last year, they were picked to open for Boy & Bear at the Sydney Opera House, and as the national support for The Preatures on their album tour. Subsequently, the Holy Holy collective has expanded out to a five-piece in the live environment. According to Dawson, the team they have assembled is about as great as they could ever hope for. “We’ve got Graham [Ritchie, bass] and Ryan [Strathie, drums] playing with us at the moment, as well as Matt playing keys. Graham played on quite a few tracks on the album, and he’s really slid right into the pocket – we’re at a point now where we probably couldn’t do this without him. As for Ryan, what can you say? Anyone who’s seen him play knows he’s a beast – he’s an absolute monster behind the kit. He plays with feel but also with this absolute precision. We’re both big Zeppelin fans, and he’s the closest I’ve ever heard to John Bonham.”

Along with the recording and production of the album, Holy Holy also spent part of 2015’s first half touring abroad. It was an experience that, although potentially risky, worked out far greater than anyone in the band could have anticipated. “I know there’s a real notion that Aussie bands will tour internationally just to play to rooms full of Aussies, but that surprisingly wasn’t the case when we were in Europe,” says Dawson with a laugh. “It was a real testing ground sort of tour – we did a few festivals where most hadn’t heard us before. The people that did stop by to check out what we were doing ended up really enjoying it, which was really great. It made us feel as though we made the right choice in heading over. Besides everything else, they treat you really well when you tour through Europe. You get a meal at every gig that you play – or, if they don’t have a bistro, they give you money to go get a meal in the area! You’d never get that in Australia.” When queried on a tour highlight, Dawson immediately picks a moment from neither a show nor a festival. It was instead a fan-boy experience for both him and Strathie. “We actually

Before undertaking an extensive national tour in support of the album, the band is gearing up for an appearance at Splendour In The Grass this weekend. Spirits are high in the Holy Holy camp – for them, this is the perfect way to properly launch When The Storms Would Come into the ether. “Getting a spot on Splendour is always a big deal for bands here in Australia,” says Dawson. “There’s a lot of vying for position, so we’re really excited that we were selected. It’s going to be a pretty incredible weekend – like, apart from playing, there’s so many incredible acts playing across each day. I’m really looking forward to seeing Blur, especially after what happened when they were supposed to come out last time. It looks as though it’s finally happening this time!” What: When The Storms Would Come out Friday July 24 through Sony With: Fractures, Methyl Ethel, Violet Swells Where: Lizotte’s, Newcastle / Oxford Art Factory When: Saturday September 12 / Saturday September 19 And: Also appearing alongside Blur, Florence + The Machine, Mark Ronson and many more at Splendour In The Grass 2015, North Byron Parklands, Friday July 24 – Sunday July 26

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“The distance thing has always been a part of this band,” Dawson says. “After we recorded that demo, I started coming back to Stockholm a lot. It’s actually quite easy to travel around Europe – if you’re lucky, you can grab a flight for one euro. Even when we both moved back to Australia, he went to Brisbane and I went to Melbourne. We’ve always recorded in Brisbane, though – our producer [Matt Redlich] is there, and it’s a really positive

space for us. I think it works for me in particular, given that it’s away from my normal life – I’m able to produce and work properly when it’s all that I’m focusing on.”

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We May Never Meet Again The Music Of Amy Winehouse By Natalie Rogers

lthough her life was cut painfully short, Amy Winehouse left behind an undeniably impressive musical legacy. Her songs have been covered by Prince and Arctic Monkeys, Jay Z has paid tribute to her with a remix of ‘Rehab’, and Ghostface Killah was so impressed by the lyrics of ‘You Know I’m No Good’ that he featured the track on his album More Fish. Four years on from the British soul singer’s untimely death, Melbourne jazz band Movement 9 are offering a unique insight into her talent as a songwriter and lyricist with a reimagining of her music in a show lovingly titled We May Never Meet Again.

of big band singing, so I knew she had that power in her voice that we needed. Anyway, we met over coffee and it turns out she’s a huge Amy Winehouse fan, so she was keen to do it, and I’m so glad because now I can’t think of anyone doing it as well as she does – she’s amazing.”

“This has been such an incredible experience for us,” McEvilly says. “We’ve had a lot of fun and there’s been lots of quality band bonding time. We would like to take the show nationally, but taking ten people and all our instruments on tour is a pretty big call!” he laughs.

Despite Winehouse’s tabloid lifestyle, We May Never Meet Again is all about the music. “There’s already so much discussion about her personal life, her addiction and the tragedy of it all. We want to highlight another part of her story that often gets overlooked: her ability as a songwriter. She told her story through the music – she had such a strong voice. One of the newest songs we do is ‘Help Yourself’ – it’s such an anthem of empowerment. Our arrangement is inspired by the music of Tower Of Power, the funk/soul group. Elly belts out the lyrics about standing up for yourself and having power in your relationship – it’s so much fun to play.

Elly Poletti, a two-time winner at the prestigious Bruce Awards for musical theatre, has taken on the difficult task of fronting the nine-piece band, and while her role is not to impersonate Winehouse, she captures the tone and essence of the iconic performer throughout. “Elly was the person I immediately went to when I was first considering this project,” says McEvilly. “I didn’t even know her very well at that stage, but I’d played with her a few times. She does a lot

“We also do ‘Back To Black’, ‘Valerie’, ‘You Know I’m No Good’ and ‘Tears Dry On Their Own’. We do a version

of ‘In My Bed’ that has a Radiohead influence – I know it sounds strange but it really works. In ‘October Song’ she talks about Sarah Vaughn, and her love of jazz shines through … Her music was so honest, it’s like a window into her soul.”

What: We May Never Meet Again: The Music Of Amy Winehouse Where: Foundry616 When: Saturday July 25

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Movement 9’s musical director and saxophonist Joe McEvilly is the man behind the fresh approach to the Winehouse catalogue. “We are so pleased about how this show has been received so far,” he says. “Amy’s music is so revered, and we really wanted to honour her memory, so we couldn’t be happier.”

On the back of six sold-out shows at Melbourne’s Paris Cat Jazz Club, and armed with a freshly pressed EP of some standout arrangements, McEvilly and Movement 9 are taking their show on the road. We May Never Meet Again will have its Sydney premiere at Foundry616 this weekend.

Immigrant Union Anyway You Want It By Giuliano Ferla undercurrent. Harrow and Lubulwa cite Spiritualized as a big point of reference. But tone and genre aside, they maintain it’s all about the song. “You listen to Nirvana or The Beatles,” says Harrow. “It’s always Kurt [Cobain] or John Lennon sitting at the piano or on a guitar. I’m not comparing ourselves to them, but we start our songs in the same way. Like, your girlfriend just broke up with you, instead of kicking the wall in you’re going to write a song. Shit like that.” Case in point is the song ‘Alison’, one of the standout tracks on the new album. When asked what the song’s about, Lubulwa whispers, “About a girl.”

mmigrant Union’s Bob Harrow and Pete ‘Gamma’ Lubulwa sit upstairs at the Gasometer Hotel in Collingwood, chain-smoking and explaining how their latest album Anyway came about. “We all went to Benalla, to my parents’ place where I grew up, and that’s where we really started jamming,” says Harrow. He’s the band’s co-lead singer and guitarist, while Lubulwa plays keys.

Lubulwa goes on, “I think we ended up recording 14 or 15…” “16,” Harrow interjects. “16 songs.” That batch of 16 songs was cut down to ten to make up the band’s sophomore album. For Immigrant Union, good songwriting is paramount. In comparison to their self-titled debut, Anyway has more of a psychedelic

“About a girlfriend,” Harrow laughs. “It’s a fairly sort of literal song saying, like, ‘Fuck.’ With the lyrics of ‘Alison’, I sat there and wrote it like I was writing a creative piece for English. Like, ‘I’m going to write a story here and it’s got to be concise.’” Immigrant Union’s songwriting approach has been the same since their first EP. In fact, that’s

how Harrow and Brent DeBoer (of The Dandy Warhols fame) started the band. They met at Melbourne’s Cherry Bar while DeBoer was in town on the film tour for the documentary Dig! The pair got chatting and DeBoer invited Harrow to come away with him for a weekend, where they spent a lot of their time passing a guitar back and forth, swapping songs. Their relationship grew, and when DeBoer eventually moved to Australia, Lubulwa jumped on board. The lineup has constantly changed since their inception, at one point ballooning out to a nine-piece. They have now pared things back to a core five, which has had an effect on the music. “The kernel of the song always stays the same,” Lubulwa says. “The songwriting hasn’t changed, it’s just what’s done to the song that’s changed.” “Yeah,” Harrow agrees. “Instead of the fiddle, now we’ll have Gamma do like a fucking synth ‘wahwahwahwahwahwah’, and instead of a shuffle [he starts drumming in the air] it’s just a straight beat.” Since establishing their current

lineup – rounded out by bassist Ben Street and drummer Paddy McGrath-Lester – Immigrant Union have come into their own as a live act. Their original lineup included Courtney Barnett, Dave Mudie and Bones Sloane, who left when Barnett’s solo career picked up pace. There’s some hesitation to talk about her success – not in a sour way, more in a ‘we’re sick of talking about it’ way. “Everything’s always about Courtney, which is awesome,” says Harrow. “They were awesome, but we’re really stoked with the live thing at the moment because of [Street and McGrath-Lester]. It’s like, you read shit and you’re sitting with them and you think, ‘Are you guys even in the band? Because you’re not mentioned here at all.’” What: Anyway out now independently Where: Oxford Art Factory When: Saturday August 15 And: Also appearing at The Lass O’Gowrie Hotel, Newcastle on Friday August 14 and The Junkyard, Maitland on Sunday August 16

Playwrite A Second Home By Adam Norris

ome of the most exciting music in years has been emerging over the last six months, and few acts are quite so promising are Melbourne indie-folk five-piece, Playwrite. No, really. Just check out their latest single ‘Animals Housed’ and tell me I’m lying. These guys are incredible, and with their debut album only months away, they’re about to get a whole lot more noticed. Though as guitarist Patrick Holcombe explains, this isn’t going to stop them from hitting a house party near you. “We have the single launch in Melbourne, Bondi, then Canberra,” Holcombe says. “But in between, we’re going to do a few house concerts. Sometimes a traditional venue isn’t the best solution, so having 40 people in someone’s lounge room can be pretty great. It makes a huge difference, especially when you’re trying to build a crowd in areas that you can’t get to very often.

Saturday bushfires. I started playing with this band almost immediately after that. That was a huge part of everyone in the band. A lot of us knew people up there [in regional Victoria]. That was where I grew up, so I had a huge connection to the forest there, the landscape.

Though Playwrite are in a strong position to move on to great things, it hasn’t all been wine and roses. A deep tragedy lies at the heart of Holcombe’s writing, and while there is great seriousness behind his words, his experiences playing with the band have brought a fellowship and celebration to the songs that is hard to rival.

“There was the huge house my dad built that burned down, and my folks and our family dog – there was just so much stuff that I needed to say that I didn’t have another outlet for. And that provided a really safe place. Not all of the songs are that direct, though. So there are ways of hiding in a song. It’s also incredibly heavy material to drop on a room of people who want to have a good time.”

“It’s easy to hide in a song,” he considers, “and in a lot of ways that’s the point of songwriting. A lot of it is allowing people to get whatever they want from a song. At the same time, most of my content… in 2009, my parents passed away in the Black

He chuckles. Holcombe comes across as an incredibly resilient man, and the fact he has found a means of growth and expression in the face of such sadness is extraordinary.

“There’s emotion still attached to them all, but there’s also so much joy that has become attached along the way. We’ve played a lot of these songs now in the freakin’ Opera House [supporting Elbow last year], and the joy that we’ve had as a band has made them a whole other family that I have now. When we’re playing a rock show, I don’t talk about that stuff, it’s about the energy. But at really intimate, acoustic shows it’s really important

to talk about the songs, and it allows people to connect much deeper. I enjoy that process, but I gauge it show by show. If I don’t feel like it’s the right place for a song, I certainly won’t. I need to feel like it’s right.” What: The Filth Where: Beach Road Hotel When: Friday July 31

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“It means instead of playing at a pub where you might get to say hi to some fans after, you’re actually in their house, sitting around and having a drink with them. That’s kind of why we do it. It makes more sense to try and make friends as well as make fans.”

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Jinja Safari A Way To Go By Adam Norris with the realities of everyday life and relationships. “I’m in a pretty transitory time at the moment,” Azon admits. “I broke up with my long-term partner a little while ago, so I’ve moved out of my place and back to Tasmania. I’m between there and one of our drummer’s couches, and it’s been working really well. We’ve done about eight rehearsals in the last two weeks, so we’re really working harder than we ever have before getting ready for our live shows. We kind of feel like that’s the bit we have control over, that live side. That’s where my head is now.

inja Safari were very nearly that cautionary tale. You know the one; young band storms onto the live music scene, gets picked up by a label, releases an album, ricochets across the world for exhaustive touring, starts to form cracks, and explodes in a blaze of debauchery and disillusionment. It makes for a great movie, but a terrible life, and for that reason we rest easy that the Central Coast groovers were able to put the brakes on burning out. Instead, they’ve taken the last 18 months to focus on the things that matter most: writing songs, playing music and not chasing the fame game.

“After our album came out and didn’t perform the way that the record company or managers had hoped, we felt a little burned out by the process,” says co-frontman Marcus Azon. “Not only recording the album, but touring pretty heavily as well. During those summer festivals there were definitely conversations where the thought of another album, of going through that same process all over again, just wasn’t on the cards. It wasn’t interesting or inspiring to us in any way. “Around then we parted ways with our management, who were wonderful dudes but we just had a creative split. From there we all

started to get a bit busy with other things. It didn’t stop the writing, though. We’ve been writing nonstop. But it’s given us 18 months to really focus on what kind of group we want to be and what kind of music we want to be releasing.” Two years have passed since Jinja Safari last released a single, and it seems fitting that the track to finally break the drought is titled ‘Find My Way’. It has been a see-sawing couple of years for the jungle rockers, with solo projects gaining traction and collaborations with other musicians taking root (in particular, Azon’s own work with troubadour Josh Pyke), all balanced

“But even though this has been an awful experience,” he continues, “writing is possibly the most cathartic process I’ve found in my life, except maybe for performing. You can get out every thought, every phrase that you wouldn’t want to say to someone out loud. I’ve found with writing that hours and hours can just slip away at the moment. And it’s not all remorseful, woe-is-me love songs. I don’t have a ‘Somebody That I Used To Know’ cooking in the background. I mean, goddammit, I wish there was! [But] writing gives you a whole extra head space. It opens all this extra room in your mind, because all of a sudden everything that was normal in your life has been ripped away. “You can be an insular, selfish musician, which is actually important at this point in my career. Getting caught up in wanting a secure income and a steady relationship and a dog and a house and kids … I desire those things a lot, but right now, I feel like it’s very important to get these jams out there.” While you get the impression Azon is still putting the fi nal touches on

the artist he is turning into, it’s not hard to believe he’s on the right track. He’s a funny, engaged guy who seems content at where this unlikely musical journey has led him, and the lessons that Jinja Safari have encountered over the years – understanding what kind of musicians they wish to be, fi nding inspiration in the music rather than success – suggest that there are still depths to the band that have yet to revealed. There remains, however, a streak of uncertainty and cynicism that Azon fi nds himself contending with every day. “It’s an important part of being in a band. There’s the business side of things and the artistic side. But there’s also just being in a group. You need to take into account their lives, their dreams, the different personalities. You have to breathe and find the positives. See, constantly in my mind – even now, talking to you – I’m thinking, ‘How is this guy going to misinterpret what I’m saying, how is he going to take things out of context? How much should I be saying?’ And that’s a lifelong battle, because I don’t want to be so negative. “My parents have this saying for me: ‘Kill the cynic.’ It’s not how I want to live. I don’t want to go to bed thinking about all the problems in the world, in my life, how dark and draconian our government is, how messed up and political our music industry can be. I want to keep open eyes and meet new people, experience new situations. And you can’t if you have your head down all the time, focused on the problems that may arise. That’s no way to live.” With: Sea Legs Where: Oxford Art Factory When: Friday July 31

Ducktails Saints And Sinners By Adam Norris

-d-danger lurks behind you? There’s a stranger out to fi nd you? What to do? Just grab onto some… Ahem. Sorry, couldn’t quite help myself there. While many of us have fond memories of the animated antics of Donald Duck and friends, the musical variety of Ducktails are all set to carve a nostalgic niche of their own. With a fifth album, St. Catherine, due out this Friday, Matt Mondanile – also the guitarist in Real Estate – has seen the shape of his music twist and turn quite considerably since his then-solo project’s 2009 debut. From unencumbered lo-fi recordings to the crisp sound we hear today, Mondanile is painting across a huge canvas, inspired less by changing audience attitudes than his own musical curiosities. “My sound changing doesn’t necessarily have much to do with my fan base changing at all. It has more to do with just getting older, experiencing more music and learning what you want out of a recording. For example, I really wanted this record to sound a little more…” Mondanile trails away. These pauses become a hallmark of our conversation, although talk never slides into awkwardness or boredom; rather, he takes time to properly examine his thoughts and motivations. “…Maybe to sound more impressively clear, while having the quality of the song and the arrangements be more complex and engaging for the listener. Something that makes you focus to what’s going

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on, to focus on lyrics. I like to be relatable to an audience, that was important to me. But in a way, having a raw sound or a produced sound, there are many grey areas in there. I’ve been wanting to keep things pretty simple and concise and clear. Even if I’m making a pretty abstract song, the meaning should all be there somewhere for the listener. If I can listen to my music over and over again in my car, then I know that I like it, I know what I’m doing is fun. I do that a lot of times with Duck – it’s almost like a test I need to pass.” While Ducktails’ earlier releases are in no ways cryptic or obtuse, there is certainly a greater accessibility to St. Catherine. It is the kind of release that is sure to satisfy his established fans and pick up a swathe of new listeners, yet Mondanile is still resigned to people misinterpreting or criticising just what he is trying to say. “On my last record I have this song, ‘Under Cover’, and people thought it sounded like Daft Punk’s ‘Get Lucky’. And I was like, ‘What?’ The comments on the YouTube video are people saying all of this about it being so close to Daft Punk, and that really came out of nowhere for me. Some people have weird ideas about lyrics. They think lyrics reference something that doesn’t seem to have anything to do with the song at all. It always surprises me. Looking at [social media] can bum you out, so you have to be mentally prepared. But then I feel like, whenever I see something mean, even as basic as ‘This sucks’ or ‘Why would you call your band Ducktails?’, I’ll look at some super famous person’s Twitter or something and see the stuff people are saying about them.”

“If you’re extremely famous, or even just more famous than me, which a lot of musicians are,” he laughs, “you get a lot more hate mail, and a lot more judgement from the audience. When you’re a certain small size, which is where I like to be, it’s almost always positive stuff, because the people writing about you are people who went out searching for you to begin with. They’re excited to hear you.” One of the pitfalls you come up against when trying to explain a musician’s sound is deciding on the approach. You could try the comparison angle – “Ducktails is a kind of The Mountain Goats meets… The Moody Blues meets… Belle & Sebastian” – which really gets you nowhere. But assigning genres is also tricky, with

Mondanile’s style being heralded as horizontal West Coast (what?), hypnagogic pop, and straight-up psychedelic. Yet squabbling over labels may well be symptomatic of a deeper disconnect. “I don’t like genre names,” says Mondanile. “They’re kind of useless, though I get that things need to be called something. I think whatever I do might be hard to classify. It’s a lot of different things. It’s not necessarily easy to name. I like the idea that people think my music is pop, since there’s so many different kinds, it’s meaningless. It’s just being covered in different kinds of – shit, I don’t know, layers of mist. Really, it might just be an excuse not to discuss the lyrics or engage with what the song is really about, and

just focus on the production instead. “I think a lot of the times people talk to me about the production and about being a certain genre... maybe in the past, songs have been more lyrically abstract and not as easy to talk about, but each song here has a meaning and says something, and most people don’t seem to want to talk about what the song is about, if there’s a point to anything. I think it’s hard to discuss the actual themes somehow.” “That said,” he laughs, “I think ‘hypnagogic pop’ sounds pretty cool, right?” What: St. Catherine out Friday July 24 through Domino/EMI

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Northlane Burning The Midnight Oil By David James Young

fter quickly ascending to the top of the food chain in Australian hardcore with their exceptional second album, 2013’s Singularity, things came to a screeching halt for Sydney’s Northlane when vocalist Adrian Fitipaldes abruptly announced his departure from the band in the second half of 2014. This could well have spelled the end for Northlane, who at the time were reeling in rave reviews, enviable chart positions and international recognition. A mere matter of months later, they bounced back – and, according to one of the band’s surviving members, such a fate was almost predetermined.

“Anyone who’s been through any hardship in their life will tell you that the only way through adversity is to see opportunity in the worst things that happen to you,” says Josh Smith, one of the band’s two guitarists as well as its primary lyricist. “We weren’t ready to give this up – not in the slightest. We wanted to continue on. We weren’t going to let what happened slow us down. It ended up being a great opportunity for us. We matched up where we all wanted to take the music next with the voice that would help us get there. We scoured the globe looking for that voice, and we found it in Marcus.”

for a band that found itself without its figurehead and spokesperson not one year ago. Smith has been suitably impressed at the way Bridge has handled entering the role – especially considering it was not one he was eased into gently. “It was a huge challenge for him at first,” he says. “The first tour he did was 23 dates straight. He didn’t lose his voice once, even though he got really sick toward the end. The dude’s a pro. He knows how to use his voice as well as maintain it. I think he’s risen to the challenge, just as we all have.” So, after several lineup changes over the years, does Smith believe that Northlane are set in stone from here on in? “Absolutely. I think what he can do with his voice – as well as what we can do with his voice – can only get better as we develop from here. We’re all absolutely certain about the choices we’ve made – not only in continuing this band, but in choosing Marcus to join us. There’s no going back now.” What: Node out Friday July 24 through UNFD

“We’re all absolutely certain about the choices we’ve made – not only in continuing this band, but in choosing Marcus to join us.” The Marcus being alluded to is Bridge, the former lead singer of Sydney band Sound Of Seasons, who uploaded a video of himself singing Northlane’s song ‘Dream Awake’ to YouTube and was ultimately chosen out of literally thousands of applicants to become the band’s new vocalist. Northlane recently completed their first album with Bridge – and their third overall – entitled Node. Along with Bridge’s debut, Node marks the first time the lyrics have been handled entirely by Smith, who formerly shared the role with Fitipaldes. Rather than buckle under pressure, Smith took the challenge head on – just as he has done with everything thrown in Northlane’s direction. “It definitely has a more outward view,” he says of Node’s lyrics. “I wanted the lyrics to be more easily relatable to people and to cover a broader range of topics. It’s a narrative of how I see the world, but it’s also got an overwhelming message of self-empowerment. It’s something that I think is so important – the reassurance that you as a person can make change a possibility. Often we feel really insignificant when it comes to the bigger issues, as if nothing we do can make a difference. I’m of the belief that one person can change things. People need to realise that they have that power within themselves.” Three songs have been released from the album thus far, the most recent of which is the call to arms, ‘Leech’. It’s a song that makes no bones about its targets – as well as the things that it is trying to shield. “Growing up, I never really cared in environmental preservation,” Smith begins. “Perhaps ‘cared’ isn’t the right word – I guess I just wasn’t really aware of what was going on for a long time. That changed a few years back – I feel like right now, in Australia, the importance of preserving our natural resources is becoming a backseat issue for our politicians. People are having to make a difference independent of our government, and I can’t stress the importance of it.” In the song’s lyrics, one will find the line, “You feel asleep while your bed burned,” which alludes to Midnight Oil’s momentous single ‘Beds Are Burning’. Smith adds that while the reference was intentional, it was not to flatter the man who once sang those words. “Obviously, the original song is about a very different topic, but I decided to kind of flip it to acknowledge just how disappointed I am in Peter Garrett. His initial stances when he was in that band were so progressive and so bold … just look at him now. Where are his values? The worst part is that he’s not the only one. Politics is a game that can corrupt minds. It’s systemic. It drags people away from the real problems at hand.” Node is set to do very big things for Northlane, and a sizable Australian tour is on the verge of being announced. It’s all moved incredibly fast thebrag.com

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arts in focus

free stuff head to: thebrag.com/freeshit

arts news...what's goin' on around town... with Vanessa Papastavros, Jade Smith and Elias Kwiet

five minutes WITH

AARON DRAPLIN, DESIGNER FROM DRAPLIN DESIGN CO. years back and those logos are all over the nation! But you gotta come to the States to see ’em.

ou’re visiting JMC Academy to share some knowledge about design with Sydneysiders. For those who aren’t familiar with your work, where might we have seen it? For the most part, it’s stuff in the States. If you hit a record store, snowboard shop, men’s boutique, there’s a good chance you’ll see a record cover or logo I worked on. Our Field Notes are everywhere. And even the highway – I did a logo for President Obama a couple

You’re also known for taking ‘logo challenges’ and giving logo tutorials. Is there a number one rule for a good logo? Legibility reigns supreme! I always try to make the logo work at the size of a dime, and the size of a golf ball. The app and social media world dictates that stuff needs to work at small sizes. Rule of thumb: as long as it works in your iPhone app dimension, or Twitter avatar, things will be good. Want to see who’s got their act together? Check out their logo in Twitter. If you can’t make the thing out, that’s a problem. Just how vast is the influence of design on the modern world? I like how good design helps

A DEATHLY CALL

Some plays maintain their relevance because certain horrors never go away. This is not the first time Sydney Theatre Company and Melbourne Theatre Company have collaborated on Death And The Maiden – in 1992, after winning the Olivier Award for Best New Play, came the psychological thriller’s Australian premiere and national tour. It now returns with Susie Porter, Eugene Gilfedder and Steve Mouzakis to retell a story of political brutality and elusive guilt. Death And The Maiden was written in the wake of the Pinochet regime in Chile, and rests in the capable hands of director Leticia Càceres. The extended season will run from Friday August 28 – Saturday October 17 at Wharf 1, Sydney Theatre Company.

DANGER AHEAD

The Sydney Opera House’s annual Festival Of Dangerous Ideas has revealed a massive lineup for 2015. In its seventh year, this September’s FODI will feature a keynote address from economist and New York Times columnist Paul Krugman. Also on the schedule for the weekend are climate change commentator Naomi Klein, political thinker Tariq Ali, developmental neuroscientist Marc Lewis, and international editor of The Economist Dr. Helen Joyce, who’ll be giving a sure-to-be-controversial talk about the right to die. Altogether, this year’s FODI will include 22 solo sessions and ten panels. It takes place on Saturday September 5 and Sunday September 6.

Singin’ In The Rain

How has the role of the designer changed over the duration of your own career? I’m seeing a lot more of the ‘one man band’ thing out there, which is what I’m privy to – one person doing the job of many, just on a smaller scale. Things seem be refining more and more, and the old days of big budgets and bloated processes seem to be changing day by day. And I dig it. Lean and

mean, out of extra rooms and basements! Have you made any mistakes in your career that you’d encourage young designers to avoid? I’d say the basic stuff like not estimating my taxes properly, letting clients push me around and working a little too much for my own good. But hell, I’m always trying to make things better. I’ve got a solid accountant watching over me, am always getting better keeping the clients in line and making plans to slow down. I’ve been racing for years so slowing down should be able to help all my woes. Or maybe not.

Turtles might not be the first thing you think of when watching a play about Gallipoli, but Justin Fleming’s latest, Shellshock, is an exception. With the story brought to life by shadow puppets and some nifty lighting, Shellshock explores the love between 14-year-old Tom and his pet turtle, Herman, who may be the oldest living survivor of the Gallipoli campaign. Starring the young Benson Jack Anthony, Shellshock is exclusive to Riverside Theatres, playing from Thursday July 30 – Saturday August 8. We have two double passes to give away to the Friday July 31 performance. To be in with a chance, go to thebrag.com/freeshit. Benson Jack Anthony

What: Aaron Draplin Workshop Where: JMC Academy When: Saturday August 1

SYDNEY FRINGE FULL PROGRAM

Festival of Dangerous Ideas by Prudence Upton 113

Death And The Maiden

everyday people. We just went to Berlin, and to see people filling out German customs forms, they seemed to breeze through it pretty easily. That was impressive, considering that people are coming from all over the world. It’s the smallest stuff that’ll blow me away. And frustrate the hell out of me. I see lazy little shortcomings and am blown away how many things get overlooked.

SHELLSHOCK

What’s life like on the fringe? Here’s your chance to find out. The Sydney Fringe Festival, taking place for the duration of September, has revealed the full program for its 2015 edition. In what Fringe organisers are calling their “most ambitious program yet”, the sixth Sydney Fringe will present for the first time a Festival Village in the booming creative hub that is Erskineville. Alongside the usual host of performances, pop-ups and talks, the Festival Village will be home to transformed shopfronts and street activations. The 2015 Fringe will also stretch across four more precincts, including Newtown, Marrickville, Redfern and Surry Hills. More than 300 productions at 50 venues make up the full program, with festival mascot and Berlin performance artist Peter Baecker bringing his dance/DJing/performance/multimedia skills to audiences around town. Other highlights include the Silent Dinner Party at Marrickville Town Hall on Saturday September 26, and of course the massive opening night party on Saturday September 5, with the Fringe Ignite program of shopfront and venue performances along Erskineville Road. Sydney Fringe 2015 runs from Tuesday September 1 – Wednesday September 30. For the full program, visit sydneyfringe.com.

MEYE WORLD PHOTO COMP

The Macular Disease Foundation Australia’s fifth annual mEYE World Photographic Competition has returned with the theme ‘See My World’. As macular disease is the leading cause of blindness and severe vision loss in Australia, the aptly titled theme for this year’s competition is an excellent way to highlight the sheer value of sight in daily life through an exploration of artistic individual world view. As well as over $13,000 worth of prizes to be won, the competition is a reminder that eye tests and macular checks are of vital importance. To enter, just submit a photograph online that represents the theme, as well as a brief description. Entries for the mEYE World Photographic Competition close on Tuesday September 8. Enter at meyephotocomp.com.au.

ARAB FILM FESTIVAL

The 12th annual Arab Film Festival Australia is coming to Sydney this August. With films dealing with subjects like disability in a small town setting, the West Bank’s first all-female street car racing team, and the forgotten 1991 Iraqi uprising, the Arab Film Festival offers stories of the Arab world that are nuanced and unique, despite the still dominant representations of instability and conflict in the region. Titles include Theeb, From A To

Charles Waterstreet by Nigel Milsom

ARCHIBALD PRIZE 2015

Nigel Milsom’s otherworldly rendering of author, filmmaker and barrister Charles Waterstreet has taken out this year’s prestigious Archibald Prize, with Milsom explaining he wanted Watershed to appear as a giant. The personal relationship between the pair dates back 40 years to when Milsom’s father would sell Waterstreet’s father fresh fish, but was cemented in more recent years when Watershed represented Milsom as his barrister. This is the third time the Newcastle artist has been a finalist in the competition and his first win, taking out a neat $100,000 for his troubles. The winners of the Wynne Prize and the Sulman Prize were also announced – Natasha Bieniek and Jason Phu. The Archibald, Wynne and Sulman exhibits run until Sunday September 27

B, Speed Sisters, Ghadi, Cairo Time and In The Sands Of Babylon, as well as a number of short films. Following its Sydney opening, the festival will

also travel to Canberra and Melbourne. The Arab Film Festival is showing at Riverside Theatres from Thursday August 13 – Sunday August 16.

RAIN WON’T GO AWAY

The ever-popular West End production Singin’ In The Rain is returning to Sydney in 2016, and so is Adam Garcia. The Australian leg, produced by Lunchbox Theatrical Productions, David Atkins Enterprises, Michael Cassel Group and Dainty Group International, will feature an all-Australian cast including Garcia, who’s been absent from the stage for almost 20 years. Directed by Jonathan Church, Garcia will star in the lead role of Don Lockwood to tell the story of Hollywood’s first musical of 1927. This production uses 12,000 litres of recycled water to imitate real rain and has so far enjoyed four Olivier Award nominations and a sell-out West End season. Singin’ In The Rain opens Thursday July 7 next year at the Sydney Lyric Theatre. Tickets are on sale now. xxx

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thebrag.com

Plague [FILM] Dead Serious By Tom Clift

hen it comes to scary movies, zombies just refuse to stay dead. A staple of the genre ever since they first shambled across the frame in George A. Romero’s iconic fright flick Night Of The Living Dead, very few supernatural threats have been as ubiquitous on the silver screen – although vampires could probably give them a run for their money. The latest directors to tackle the undead hordes are Swinburne University graduates Kosta Ouzas and Nick Kozakis. And with their debut film Plague stealing top spot on the iTunes horror charts, it would appear that there’s plenty of life in the cemetery yet. “Nick’s a huge horror fan – I came from more of a drama background,” admits Ouzas when quizzed on which of the two of them is the bigger gore-hound. “Of course, the horror genre allows the stakes to be a lot higher. So when you’re writing a script with a limited amount of resources, if you can make the stakes life or death it makes for a far more interesting story. So it was a really good way to merge the two genres and tell a story that we both really enjoyed doing.” For Ouzas, the attraction of an outback zombie story was not the scenes of flesh-eating carnage, but rather the potential for social allegory. “One of the ideas explored in the film is the idea of the social contract,” he says. “The way we treat each other – is that an innate thing, or is that something that’s constructed by society? And what was interesting was getting rid of society and then seeing how people act towards one another.” Of course, technically speaking, the creatures in Ouzas’ script aren’t zombies, but rather infected humans

in the vein of a film like 28 Days Later. “We felt that the traditional, slow-walking Romero zombies were really a reflection of the culture at the time, which was a sort of mass consumerism, with this foreboding presence lurking in the background,” says Ouzas. “But nowadays the political climate is a lot more chaotic and unpredictable, so we thought we’d reflect that by making faster zombies. It’s much more in your face.” So too did the speed of the infected fit the pace of the movie’s production. After putting the finishing touches on the screenplay, Ouzas and Kozakis shot the entire film in just 15 days out near Mansfield in country Victoria. “It was pretty stressful, but we managed,” says Ouzas with a laugh. “We were just paying as we were going. We didn’t end up on the street, which is good.” To help keep things moving, the pair split the directorial duties based on experience. “I come from a more visual perspective,” says Kozakis, “and Kosta comes from the writing side of things. So we made a plan that he would direct and communicate with the actors, while I would be communicating with the crew and making sure all the shots were perfect. Once I was happy with a shot and Kosta was happy with a performance, we could just move on to the next one … it was the only way we could have done it in such a short time.” “The roles were really clearly defined,” agrees Ouzas. “We both had confidence in where our strengths were. Then it was just a matter of having a discussion in between takes. I don’t think we ever got into any conflict – we all wanted to make the best film we could, and to not allow our egos to get in the way.”

Whatever their methods, it obviously paid off. Less than 48 hours after it debuted on iTunes, Plague had shot to first place on the platform’s list of most popular horror flicks – an achievement that both directors see as a validation of their decision to forgo a traditional theatrical run and instead release the film straight to the web. “Our interest always lay in doing an online release,” says Ouzas. “It’s unfortunate, but unless you have a big name and a big marketing budget, you’re really going to get overlooked. So we thought [we] should just focus on doing an online thing, because that’ll enable us to keep making [films], rather than relying on an old

antiquated model where you have to make all your money back at the box office or that’s it.”

Bay’s list of most torrented films but struggled to make back its budget in actual sales.

“And that’s the other thing,” adds Kozakis. “The whole world is going digital, and Australia is catching up. With things like Netflix, everyone wants to be in the comfort of their own home. So we thought we’d try and head in that direction before we ever tried a conventional theatrical route.”

“We knew it would be a big risk that as soon as it was released on iTunes there would be the potential for other people to rip it and put it out there,” says Kozakis. “But at the end of the day, it’s more exposure. People still discuss the film. Piracy is piracy, and it’s always going to exist. But as long as the feedback is positive, you’re going to find people to support the film.”

Naturally, the danger of releasing the film online first is that it exposes you to piracy – as we saw when another recent Australian zombie movie, Wyrmwood: Road Of The Dead, hit the top of The Pirate

What: Plague (dir. Kosta Ouzas and Nick Kozakis) Where: Available digitally now

You’re not a true Bowie fan if you haven’t read this... ENCHANTING DAVID BOWIE SPACE | TIME | BODY | MEMORY Toija Cinque, Christopher Moore & Sean Redmond ‘Enchanting David Bowie – itself a standout work – not only illuminates but also construes “Bowie” or versions of Bowie that are at once compelling and fascinating.’— Constantine Verevis, Associate Professor of Film & Screen Studies, Monash University, Australia

Also available The oﬀicial companion to the V&A’s exhibition David Bowie IS currently showing at the Australian Centre of Moving Image (ACMI) from July 16 to November 1

Order your copy of Enchanting David Bowie at www.bloomsbury.com thebrag.com

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Film Reviews Hits and misses on the silver screen around town xxx

Self/Less

■ Film

Insidious: Chapter 3

INSIDIOUS: CHAPTER 3

I Am Big Bird ■ Film

■ Film

SELF/LESS

I AM BIG BIRD: THE CAROLL SPINNEY STORY

In cinemas Thursday July 23 Science fiction has one clear and present danger – it puts ideas first and foremost. What great science fiction does is takes high concepts and explores the ramifications of our relationship with them, be they focused on technology, discovery, or the universe we are yet to understand. Bad sci-fi uses said high concepts to lure intelligent audiences into watching poorly fleshed-out action flicks. Guess which of these relates to Self/Less? Damien Hale (Ben Kingsley) is the king of New York development, a billionaire living in absolute extravagance, but secretly rotting from an aggressive cancer. After seeking out reclusive scientist Albright (Matthew Goode), he is given the opportunity to ‘shed’ – to place himself in a new, labgrown donor body to elongate his life – and becomes Edward (Ryan Reynolds). But as Edward experiences increasingly frequent hallucinations, he begins to understand that his new body is not as new as he thought. The base concept is rife with possibility, filled with dire potential consequences for the man seeking immortality at any cost. The greater comment the film could make about class and exploitation is both pertinent and engaging, if not entirely new, and there’s enormous potential for visually arresting representations of the shedding procedure.

While the action sequences suffice, and the concept entices, the highest compliment that can be mustered for the end product is that it’s a competent commercial. This brain needs a new body. David Molloy

Sesame Street’s Big Bird and Oscar the Grouch are both iconic characters and crucial parts of childhood for anyone born in the last 50 years. Less recognisable is Caroll Spinney, the buoyant, rakish man behind both of them – often literally, acting as puppeteer. I Am Big Bird is an adoring portrait of Spinney, and though the fi lm shows that all of Spinney’s creations are based on facets of his personality, the title suggests which of his creations is closest to his heart. Largely a dutiful, illustrated-Wikipedia chronicle of this neglected fi gure in the entertainment industry, it nonetheless provides a number of heartrending moments over its runtime; namely the bond between Spinney and Lisa Ouyang, the child actor he met during the shooting of Big Bird In China, and especially footage of Spinney singing in character as Big Bird at Jim Henson’s funeral. Most fascinating, at least for those unfamiliar with the craft of puppetry, are the physical demands placed upon Spinney under the suit, and the exhausting skill and coordination required to operate such a benign character. At its best, the fi lm is such an infectious portrait of an (apparently) uncomplicatedly sweet, dedicated and talented artist that it’s easy to forgive how uninspired – and frequently sloppy – it is as a documentary (less easy to forgive is that it features perhaps the most irritatingly cloying music score in a recent documentary). Spinney’s experience during Big Bird’s NASAsponsored trip into space is ripe with absurdity, but it’s depicted with incongruous earnestness, while an episode involving a murder on Spinney’s estate is too dark for the fi lm to know what to do with, beyond being awkwardly shoehorned in near the end. Nonetheless, demanding critical distance from a documentary on this particular subject would be churlish – it’s altogether pleasant and good-natured enough that pointing out its evident shortcomings makes you feel like an arsehole.

Ian Barr

See www.thebrag.com for more arts reviews

Arts Exposed

Years before the haunting of the Lambert family, we meet Quinn Brenner (Stefanie Scott), a teenager with big dreams desperate to contact her dead mother. She seeks out psychic Elise Rainier (Lin Shaye), but when Elise is unable to fulfil her services, Quinn tries to make contact on her own, unwittingly drawing the attention of something other than her mother. Wan and Whannell have better to offer – as the masterminds behind the original Saw, and with a plethora of horror credits under their belts, they have a habit of starting franchises and moving on, leaving the

IP to the whims of production studios. Something about Insidious has kept them in its clutches, and it’s clear why from this film – Whannell is deeply in love with his own creation. That in itself is not an issue; in fact, it’s even admirable. What’s not to like about The Man Who Can’t Breathe (Michael Reid MacKay), Chapter 3’s haunting antagonist? Less admirable is Whannell’s insertion of his own recurring character, Specs, seemingly just to gasp at his own creations and openly congratulate himself on naming The Further (the dark realm beyond ours). It feels less forced to see Wan’s brief appearance, though his cameo offers little. Other familiar faces are more welcome. Shaye is endearing as Elise, even when her

ridiculous character arc sees her literally shoving the spirits of the dead out of her way. Angus Sampson’s bumbling Tucker has some solid moments, and newcomer Scott is a fitting lead for this straightforward venture. Her father Sean (Dermot Mulroney), however, is less convincing, opting for the hard-arse dad approach with too much affect to be enjoyable. With little true dread, the film is reliant on stock-standard Blumhouse jump scare tactics, but has enough giggles and spooks to sustain for its runtime. Whannell’s competent direction shows promise, if little original thought on this occasion. Enjoy the sight of this horse as it is, before the whip falls again. David Molloy

Arts Giveaway What's been on our TV screens this week Head to: thebrag.com/freeshit

S AY W EA IV G

What disappoints most is that none of these possibilities are met by a director who should be more than capable of doing so. Tarsem Singh’s filmography is a smorgasbord of daring concepts met with awe-inspiring design, and to this he has added a flat, lifeless action flick lensed with about as much edge as the Apple products it works so hard to promote. He’s not the only one phoning it in, either. Sir Ben Kingsley’s 15 minutes of screentime are far from his best, particularly considering his uneven accent. Reynolds is, of course, Reynolds – the majority of his training as an actor was done at the gym – but he carries the film well enough. His companions on the run have almost no development: Madeline (Natalie Martinez) is mostly given cues for tears, and child actor Jaynee-Lynne Kinchen is used in typical fashion to tease out empathy.

In cinemas Thursday July 30

In cinemas now The Blumhouse Productions logo that spins into view at the beginning of Insidious: Chapter 3 is, somewhat ironically, a mess of their most heavily used tropes and clichés, though perhaps a more apt logo would simply be a man flogging a dead horse into pulp. The latest in the Insidious saga from producer James Wan and writer/director Leigh Whannell has entertaining moments, but remains indicative of the lessthan-stellar output of this moneymaking machine.

ENCHANTING DAVID BOWIE! NEW BOOK! WIN A COPY!

ome things are meant to be ambiguous – to be read back to front, or intermittently, or many ways at once. This might be argued of David Bowie, whose artistic practice is full of intricacies and misdirections. In any case, it’s definitely true of the new book Enchanting David Bowie by Toija Cinque, Christopher Moore and Sean Redmond, which has launched in conjunction with Melbourne’s David Bowie Is exhibition. The book explores the idea of Bowie’s art as something more than a linear discography, interrogating his intersection with a wide range of art spaces and themes.

WIN!

What's in our diary...

Blonde Poison Old Fitz Theatre, Tuesday July 28 – Saturday August 15 Timeless themes of betrayal, duplicity and self-preservation tangle together in Gail Louw’s powerful play Blonde Poison. What’s more, it’s a true story, and one that will have you on the edge of your seat. Stella Goldschlag was living illegally in war-torn Berlin when she herself was betrayed and tortured. When given the chance to save herself from the death camps, she agreed to be a ‘greifer’ for the Gestapo and inform on Jews in hiding. She was given the name ‘Blonde Poison’ by the Gestapo for her success in treachery. Decades after the war, the play sees Stella agree to be interviewed by a wellrespected journalist and take a final shot at redemption. Blonde Poison 18 :: BRAG :: 622 :: 22:07:15

If in-depth analyses of the Thin White Duke seem up your alley, you could be in luck. We have three copies of Enchanting David Bowie to give away. To enter the draw, head on over to thebrag.com/ freeshit. Left: Striped bodysuit for Aladdin Sane tour, 1973. Design by Kansai Yamamoto, photograph by Masayoshi Sukita © Sukita The David Bowie Archive 2012

Tickets are $40 ($35 concession), visit oldfitztheatre.com to book. thebrag.com

bread&thread Food & Fashion News...with Bridget Lutherborrow, Jade Smith and Elias Kwiet

PADDINGTON VILLAGE GETS AN INN

‘Colonial style’ might not be the most desirable attribute in many things, but it does OK for a building, particularly if that building has been fashioned into a pub. This is the case for recently opened bar The Village Inn, which has transformed a heritage structure on Paddington’s Glenmore Road into a cosy watering hole. Along with ample beverages, The Village Inn is serving up classic pub food, supplemented by meat plates, salads and a selection of ‘burwiches’. The menu reflects the overall vibe of the place, offering something cool and new while retaining an old-world warmth. The Village Inn

STUCK IN THE MIDDLE WITH YOU

The former Lo-Fi site in Taylor Square is being given a fresh guise as the stripped-back gin and jive Love To Eat

spot, Middlebar. With a focus on music and gin-based cocktails, the space has been reimagined to provide a small bar feel, while still leaving enough room to bust a move. To pull it off, the venue has enlisted Lee Potter Cavanagh of The Rum Diaries and The Victoria Room, along with The Baxter Inn bar manager David ‘Rizza’

Sydney Tea Festival

xxxx

LOVE TO EAT BURGER BANQUET

Herbivores, avert your eyes. Hashtag Burgers and Bar Luca are teaming up on Saturday August 1 for Love To Eat, a gastronomic banquet of five courses, all involving bacon. There will be burgers, but expect something a hell of a lot fancier than your usual slider. On the menu are the Duck Duck Goose – two forms of duck meat (one of them bacon) with goose liver aioli – and the Ay Papi, involving candied bacon, chilli chocolate and salted caramel fudge. An optional accompaniment of specially selected cocktails is on offer as well.

EVELEIGH FESTIVITEAS

If there’s a festival of anything that could be enough to lure you out of bed on a winter’s Sunday, it’s a festival of tea. Sydney Tea Festival is back at Carriageworks on Sunday August 16, with food and beverage stalls to feed the hungry and workshops for those with a thirst for knowledge. Plenty of beloved local providores will provide nourishment on the day, including tea stalls from Sticky Chai and The Vegan Teahouse, and fare from the Tsuru and Agape Organic food trucks. Workshops range from tea ceremonies to tips on how to blend your own chai.

THE ROCKS AROMA FESTIVAL

The Rocks Aroma Festival has launched into its 18th year in true caffeinated style, with The Rocks in full flow for all things coffee for the entirety of this month so far. Coffee lovers have already had the chance to check out more than 50 coffee and gourmet food stallholders, vintage and specialty

coffee carts, pop-up bars and cafés, as well as a variety of workshops on coffee appreciation and latte art curated by the Australian Speciality Coffee Association. But it doesn’t end there: the festival culminates in Aroma Festival Day this Sunday July 26, an extravaganza of all things coffee and more, from chocolate and food to other, less spectacular beverages. For the full program, visit therocks.com.

Rozarior, who will take the reigns in the bar and tunes departments respectively. With its warm timber interior and delicious, unpretentious drinks, Middlebar comes right in time for that sweet transition from winter to gin. Middlebar is open to the public from this Friday July 24.

YOU CAN’T TEACH EXPERIENCE

The Coffee Experience, the festival celebrating everything coffee, is coming to Sydney this September. Coffee lovers will be treated to three days of competitions, technology, industry talks and more than 80 Australian coffee and tea exhibitors. Show director Simon Coburn said, “Melbourne had its turn in March, now it’s Sydney’s chance to show the industry what it’s made of. Australia’s coffee community is incredibly tight and we want The Coffee Experience to celebrate how vibrant, leading and exciting it is.” Get down to the The Royal Hall of Industries in Moore Park from Saturday October 3 – Monday October 5.

Drake Eatery

Meat Fair

DRAKE MAKES A BONDI SPLASH

When Ian Oakes named his first restaurant, he was probably thinking of the animal, not the rapper. Nevertheless, Drake Eatery is now open in Bondi. Focusing on local seasonal produce, Oakes has designed a menu to encourage customers to eat how they like, whether that means guarding your order from food-envious friends or happily picking at shared plates. The menu will change with availability of ingredients, but at the moment they’re serving up some glorious winter treats including thyme gnocchi with golden raisins, hazelnuts and Pecora blue; pan-roasted blue-eye cod with celeriac, walnuts and faro; and ricotta doughnuts served with crème fraiche and lemon curd. Drake Eatery is open seven days, and while it’s only serving lunch and dinner at the moment, its opening time will be changing from midday to 7am sometime soon for breakfast.

NEWTOWN MEAT FAIR

Cooked meats, craft beer and live music – what more could you want? Featuring the best local producers and craft beer breweries from across the country, the Newtown Hotel’s delicious Meat Fair will be sure to tantalise any carnivore. This year’s lineup will feature over ten different meats including The Animal’s own coal-roasted lamb, pork from the spit, kangaroo steaks, homemade veal balls and Southern fried hot wings. To wash that down will be an array of Australia’s best craft beer brands, among them Young Henrys, Lazy Yak and Ruby Tuesday, to name a few. Topping all of that off will be live music from Whiskey A Go Go. The Meat Fair at Newtown Hotel will take place from 12-5pm on Saturday August 8.

LOX STOCK AND BARREL

restaurant profile

140 GLENAYR AVE, BONDI BEACH 7AM-3:30PM SEVEN DAYS; 6PM-LATE WED-SAT Who’s the cook/bartender? Kurt Menghetti Eye candy: The fit-out was designed by one of Lox’s owners, Josh Wermut, and German designer Jonas Ruff. Flavours: Eastern Europe meets Bondi. Slow-cooked, cured, pickled, preserved and smoked flavours. Something to start with: Duck and cabbage rolls with mushroom consommé. It’s like the love child of a Russian supermodel and a Chinese yum cha master. The main course: Lamb kofta, Moroccan tagine, sour cherries and sheep’s milk yoghurt. Yeah, we know, more mince… but it’s winter, and who doesn’t love big juicy balls?

thebrag.com

Care for a drink? Cold-pressed single origin coconut-infused kale juice, or a glass of wine if you’re not from Bondi. Our current favourite is the Eloquesta Mudgee Shiraz from local boy Stuart Olsen. Room for dessert: Chocolate marmalade tart, torched chamomile marshmallows and fresh raspberries. Make us drool: The guys in the kitchen are cooking some authentic, delicious food from scratch. The service is genuinely friendly and knowledgeable and you can have a cup of chicken soup for $4. The bill comes to: For the meal above, $60 or so. Website: loxstockandbarrel.com.au

Lox Stock And Barrel

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

ALBUM OF THE WEEK xxx

BLACK STONE FROM THE SUN

headbang-inducing mania. This stuff reeks of seminal ’90s grunge such as Mudhoney and Nirvana in the best possible way – just with a little added thrash.

Death Threats And Cigarettes Independent/Bandcamp

There must be something in the water over in Perth. And no, it’s not all used up by the likes of Tame Impala, as Sean Mackay and Jack Nelson of two-piece Black Stone From The Sun are definitely soaking it in – whatever ‘it’ is – and have channelled it into the rabid punk rock of their new EP. This leaves you wondering: how the hell can all this noise be made by just two people?

JOSS STONE

As their second release, Death Threats And Cigarettes is incredibly heavy and melodic, all the while dripping with sweat and

Lead single ‘Pastel Roses’ has been kicking around the airwaves a fair bit, showcasing beautifully chaotic tendencies complete with scuzzy guitar, hammering drums and vocals that sit in a happy medium between grungey spoken-word singing and sounding as if Mackay and Nelson are tearing out their own vocal chords. The rock-solid ‘Monkey’ rounds out the EP, an absolute highlight of epic sludge rock, and then the madness is over. Jade Smith

TUKA

VERUCA SALT

WARREN HAYNES

Life Death Time Eternal EMI/Universal

Ghost Notes Warner

Ashes And Dust Provogue/Mascot

Remember when Joss Stone was considered the coolest soul singer of her generation? No, me neither. The UK performer has always suffered something of a credibility problem, but now, more than a decade since her debut The Soul Sessions, perhaps it’s time to reassess.

Sydney-based MC Tuka has long established himself as a wordsmith to be reckoned with. As one-third of hip hop outfit Thundamentals and with two solo records already under his belt, Tuka emerges on this album as a hip hop emperor in new clothes.

Have you ever looked forward to catching up with someone you haven’t seen for a long time, only to find you have nothing to say to one another anymore?

Water For Your Soul opens with the sound of musicians plugging in and tuning up in a studio. It feels live and loose and immediate – for all of 30 seconds. Then we get some super slick guitar chords and a drum machine beat. Wait a minute – is this reggae? Good Lord, she’s gone and done a reggae album. And frankly, not a very good one.

Life Death Time Eternal marks a cornerstone in the career of this whip-fast rapper. All those cheeky, whimsy and poppy hooks you’ve come to know and love are still scattered throughout the record.

Warren Haynes is overworked and underrated. At the end of 2014, the renowned Allman Brothers Band guitarist ended his 20-plus-year tenure with the group, primarily to focus on touring his own band Gov’t Mule, building the label he has founded and releasing more solo records. Ashes And Dust is his third solo album – an Americana-infused outing with New Jersey newgrass band Railroad Earth on board, drawing heavily on country and roots music traditions.

Water For Your Soul Kobalt

All the usual reggae tropes are here: ‘Way Oh’ comes off like a parody piece, and there’s a song in ode of smoking weed called ‘Sensimilla’. Stone tries a cod Jamaican accent on ‘Clean Water’ while on ‘Harry’s Symphony’ she asks the subject, “Where’s your weed at? / Tell me you’re not a joker smoker”. Collaborations with Damian Marley and Dennis Bovell fail to save this record, which also features African flavours and saccharine ‘We Are The World’ sentiments. The whole thing feels as authentic as your mum in a Rasta hat and fake dreadlocks asking, “Where the wacky baccy at?”

‘Right By You’ is a lively, radioready gem that just doesn’t quit. Single ‘Nirvana’ is a languid shoegazer, gentle, and just goes to show how much Tuka has diversified himself. The aural palette Tuka dips into is bolder, darker and has matured considerably from past offerings. Check out sexy slow jam ‘Don’t Wait Up’ for a hip-grinding good time, while ‘Tattoo’ shows off the lyrical style Tuka has only continued to hone over the years. While he’s not completely abandoned the style that launched him to the forefront, and he’s taken cues from his contemporaries, Tuka’s new costume is certainly fitting for this rapper on the rise.

When Veruca Salt announced their original lineup was getting back together – the one responsible for ‘Seether’, ‘Volcano Girls’ et al. – it sparked excitement and interest from both those who were in the front row screaming along at their commercial peak as well as those in later generations who discovered the band later down the track.

The writing feels like the band members are stuck in a moment, trying to recapture a long-faded glory and refusing to accept they’re on the verge of 50.

Haynes has brought together some 30 years of material and whittled it down to an expansive 13 tracks. For the most part, the signature guitar jams are missing here, replaced with a more traditional song structure that tips its hat to America’s bluegrass heritage. That rich, heavy Gibson SG sound has been replaced with a more nuanced fingerpicking style on acoustic slide guitar, the shift complementing Haynes deep, earthy vocals. Songs like ‘Word On The Wind’ and ‘Is It Me Or You’ showcase Haynes’ songwriting touch and ability to recreate an evocative landscape.

Veruca Salt’s biggest hit dealt with how the titular Seether is neither one thing nor the other. The same can be said about Ghost Notes – it’s the sound of a band in creative and cultural limbo.

While Ashes And Dust is a considered album from a compelling guitarist and draws on a wonderfully rich period of American music, it does feel as though Haynes’ strengths haven’t yet been fully utilised.

David James Young

Tim Armitage

Ghost Notes, the outfit’s fifth LP overall and first with this lineup in 18 years, is heartbreaking in how plain and uninspired it feels. Both overlong and underwhelming, the highlights (‘The Gospel According To Saint Me’, ‘Laughing In The Sugar Bowl’) are few and far between.

THE CHEMICAL BROTHERS Born In The Echoes EMI/Universal With 20-plus years in the game, it’s nothing short of a miracle that The Chemical Brothers have not found themselves clutching at relevance or desperately diving into genre trends. In the world of electronica and dance music, many things have come and gone. The duo of Tom Rowlands and Ed Simons, however, have remained a constant, constantly refining what has become a sound uniquely theirs. This, their eighth LP overall, is a mix of robo-rave futurism (St. Vincent collab ‘Under Neon Lights’) and block-rocking wig-outs that recall the big-beat sound of ‘Let Forever Be’ (‘I’ll See You There’). It’s almost derailed entirely by a notably sub-par side B, including the hugely irritating ‘Taste Of Honey’. The best parts of Born In The Echoes, however, reside at the top and tail. Leading us in is ‘Sometimes I Feel So Deserted’, a momentous slow-burner that already feels like a classic. ‘Wide Open’, meanwhile, enlists the tender vocals of Beck for a rare moment of cloudy, hazed bliss. They haven’t raved to the grave just yet – in spite of some missteps, Born In The Echoes has plenty of momentum and energy within it. Long may they run.

Marissa Demetriou George Nott

INDIE ALBUM OF THE WEEK Fraser A. Gorman is an old soul, evident from the throwback Americana in which he trades and the world-weary wisdom he bestows. His debut Slow Gum is an easy listen that creates nostalgia for a time long gone.

FRASER A. GORMAN Slow Gum Milk!

20 :: BRAG :: 622 :: 22:07:15

The album gets off to a subtle start with ‘Big Old World’, a solo acoustic contemplation of life the world over, from the boy from North Melbourne to the girl from New York City. ‘My Old Man’ is the first taste of the roots style Gorman mines in. It’s a style that suits him, and one that sounds fresh thanks to its recent obscurity. With its casual beat and ever-present background violin, it recalls the

kings of roots rock, The Band. As lovely as Gorman’s roots leanings are, the best songs are the ones that use the genre as a jumping off point. ‘Book Of Love’, for instance, still has one foot steeped in roots rock, but with its lounge organ, melodic bass and understated vocal, it creates its own mood. ‘Blossom & Snow’ closes Slow Gum as quietly as it began, having successfully used the last 30 minutes to show Gorman as a gifted individual with a unique view of our big old world.

David James Young

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... DAVID BOWIE - Heroes #1 DADS - About Face THE NATIONAL - Trouble Will Find Me

THE RUBENS - The Rubens FRANK TURNER - Tape Deck Heart

Leonardo Silvestrini

thebrag.com

out & about Queer(ish) matters with Lucy Watson

y a d n u S y r e Ev

ou often hear people refer to their sexuality as just a small part of them; one aspect of their broader construction of self. It’s not really like that for me – being queer is my sexuality, my political identity, and now, my jobs, my hobbies, my clothing. Being queer is all of me. But so is not taking myself too seriously.

It can be tiring being queer – political organising, constant concern over when and where to be out, coping with oppression, and understanding and empathising with the social and political positions of others. There’s often a lot going on. But it’s important to step back sometimes and be able to enjoy it, to laugh. Because while fi ghting for recognition and equal rights is a serious matter, you really have to laugh at such arbitrarily assigned social systems as those we live in today. When you step out of them, it’s really just ridiculous that you can be afforded fewer rights simply because of whom you choose to fuck. But it’s not just the ridiculousness of it all that we can enjoy. When the #straightpride meme – “remember, you exist because your parents were straight” – was doing the rounds last week, a friend had a perfect response: “No – I exist because I have a community and visibility, which prevented my suicide.” A bleak message, but still – we can take pride, happiness and enjoyment from our community, the people we meet, the spaces we create, the performances we witness. Queer performance is a great place to laugh – it needn’t always be depressing. I recently attended a talk that pointed out that a lot of LGBT people don’t like to watch many LGBT films, because the characters always end up dead or depressed. This is particularly true for trans popular culture narratives. When Boy Meets Girl was screened at the Mardi Gras Film Festival this year, it was the first time I’d seen a trans character in a rom-com – sure, parts of the film were hard and sad, but in the end (spoiler

alert) she gets the guy and lives happily ever after. They laugh, they joke, it’s fun. Drag queens have long been around to show us the lighter side of queer existence by parodying camp culture and extreme femininity. Because masculinity and femininity are again such arbitrary markers, sometimes all you can do is laugh at their nonsensical power. When I was fi ve, I got a Polly Pocket castle from a friend for my birthday. The birthday card read, “We knew Lucy would prefer a cricket bat, but we thought this was more appropriate.” So, at fi ve years old, I was being denied what I really wanted to do, in favour of something more appropriately and arbitrarily feminine. Isn’t that ridiculous?! Of course, we can look at the sadness and problems in all these things, too. We can lament the very real issue of queer suicide in my friend’s response to #straightpride. We can look at my cricket bat story and feel sad for the child who was prevented from being their true self. But this denies us our power. For when I’m yelled at and abused on the street, yes, it’s frightening, but to me, it’s empowering to be able to laugh (not in their face, I’m too scared for that) at how sad that person’s life is that they feel the need to abuse others on the street. Laugh at the man who’s so insecure about his masculinity he can’t bear the sight of a man in a skirt. Laugh at the kid who looks you up and down and says, “But what is it?!” because our society is so fucked that even children are socialised into categorising people into male or female.

2PM – 3AM HOME TERRACE 101/1-5 WHEAT ROAD, DARLING HARBOUR WWW.SASH.NET.AU

We have to be able to laugh, because otherwise it’s just too overwhelming.

this week…

wed

thu

July

(9:00PM - 12:00AM)

fri

Annabelle Gaspar

(9:00PM - 12:00AM)

(4:30PM - 7:30PM)

24 July

One of my favourite queer parties (with a community that knows how to laugh at itself), Bad Dog, is hosting Bad Dog’s Unnatural Acts this Saturday July 25 at Marrickville Bowling Club. The night will feature music from Annabelle Gaspar, Steve Sonius, Bill Cotsis and Ben Drayton. Presale is sold out, however there should be some tickets available on the door at 10pm. Also happening this weekend in that neck of the woods is Troppo Galaktika on Friday July 24 at The Red Rattler. It’s a big old queer party with DJs HipHopHoe, Yung Brujo, Tracksuitpants and Spiked Punch. Penny Wong There’ll also be performances, food and coffee cup readings. Newtown Hotel faves Snapback will be doing something a little different next Wednesday July 29 (as well as their usual soiree I’m sure). The pub will be screening the National Press Club debate on marriage equality between people’s (read: lesbians’) hero Penny Wong and Cory Bernardi (who I won’t describe here because I have nothing nice to say). From midday, they’re encouraging you to throw popcorn at Bernardi. Sounds fun.

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(9:30PM - 1:30AM)

SATURDAY AFTERNOON

sat

25 July

(4:30PM - 7:30PM)

SUNDAY AFTERNOON

sun

26 July

(9:30PM - 1:15AM)

mon

(4:30PM - 7:30PM)

(8:30PM - 12:00AM)

tue

27 July

(9:00PM - 12:00AM)

28 July

(9:00PM - 12:00AM)

BRAG :: 622 :: 22:07:15 :: 21

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

VIEW FULL GALLERIES AT

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live reviews What we've been out to see...

TEX PERKINS AND THE DARK HORSES, TIM WOODZ Oxford Art Factory Sunday July 19 Tim Woodz is the kind of person your mum or dad would describe most fittingly as a ‘duffer’. Hapless, lanky and goofy, Woodz simply stands onstage and sings about some of the things he’s seen. As such, he’s got songs about possums, folk festivals and how he once went to see Geordie Lane and was instead greeted by Geordy Lane. It’s all accompanied by some jazzy guitar work and a broad, country-kid accent. This may all sound incredibly off-putting, but Woodz’ charm played a big part in the audience warming up to him. He was all grins and silly anecdotes, putting the crowd at ease and holding court over a few tall tales. This momentary glimpse into his daydreaming life was a nice enough way to kick back on a Sunday evening – nothing more, nothing less. Charming. A few things didn’t quite seem right about Tex Perkins and The Dark Horses’ headlining show in Sydney on the back of their most recent album, Tunnel At The End Of The Light. The first came with the choice of venue – while Oxford Art Factory is a room that has

serviced a considerable mix of styles and genres, this set definitely felt as though it would have been better suited to say, The Basement or maybe even 505. Another was that, sadly, it was too long – coming onstage five minutes early and finishing ten minutes late may seem like tiny trivialities, but they certainly added up in the long run as certain parts of the set seemed to drag on for indefinite spells. When Perkins said to the audience, “Let us know if you want some more,” as the supposedly final song rang out, it felt more pleading than provocative. When the Horses are on, however, they’re a hazy delight of alt-country. Perkins commands the stage as only he can, throwing himself into particular lines and cracking the occasional joke. His right-hand man is Charlie Owen, who holds it down across keyboards, pedal steel and guitar – sometimes running two simultaneously – and maintains his status as one of the country’s most effortlessly impressive players. The six of them run a remarkably tight ship, and while this felt like the wrong place, it was ultimately the right time for an evening with the Dark Horses. After all, Tex can get away with just about anything these days. David James Young

17:07:15 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711

22 :: BRAG :: 622 :: 22:06:15

toe to toe

PICS :: AM

the filth ft. bleeding knees club

PICS :: JA

PHOTOGRAPHER :: ASHLEY MAR

19:07:15 :: Frankie’s Pizza :: 50 Hunter St Sydney

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I M A G I N E B E I N G M A D E TO PHOTOGRAPHER :: ASHLEY MAR

an immense contrast to Iansek’s own modest whispers.

#1 DADS Oxford Art Factory Friday July 17 Tom Iansek’s second solo outing as #1 Dads, About Face, was the sleeper success album of 2014. It hardly made him a household name, even among music fans here in Oz, with only the one single – the Ainslie Wills collaboration ‘So Solider’ – getting any substantial radio airplay. And yet, while the Big Scary songwriter has been gradually spreading his tentacles across the breadth of the Aussie music scene from performance to production, it’s largely down to About Face that he’s managed to set an Oxford Art Factory record for the most consecutive shows at the venue. Tonight is the fourth in Iansek’s run of five shows on Oxford Street, but it was the first to go on sale, which means the crowd is packed in and politely enthusiastic. The current #1 Dads live set-up, which debuted in the Sydney Festival Spiegeltent earlier this year, sees Iansek not only joined by his two instrumental accompanists but also a couple of special guests – the first of whom is Tom Snowden, here to perform the lilting burner, ‘Return To’. Snowden’s voice is like the soundtrack to a blue whale breaching the surface on the open ocean – it never fails to leave an audience stunned for its beauty and magnitude, and so it proves this time;

Such are the unusual foundations of the #1 Dads experience. Iansek operates as part frontman, part musical director – it’s certainly a strange dynamic when the best-recognised (and arguably best altogether) moments feature guest vocalists; the rest of the set carried more on the strength of Iansek’s songwriting alone than the whole package, voice included. But Iansek is too mild to be a rock star anyway. The tunes are punctuated with his awkwardly endearing attempts at humour – some might call them ‘dad jokes’ – and he’s not afraid to follow the grandeur of the Snowden performance with his oh-so-delicate ‘Blood Pt. 2’.

FEEL LIKE CRAP JUST FOR

Iansek has hinted previously that #1 Dads might be winding to a close; perhaps his focus is on Big Scary and other projects. Tonight’s show “may be the last time we play for you”, he admits, to a chorus of disapproval from the floor. He’s got a surprise to make up for it – an understated cover of FKA Twigs’ ‘Two Weeks’. But the real message to take away is that local audiences are ready to recognise songwriting talents like Iansek, almost defined as they are by their very lack of excess – and that’s a wonderful sign for the immediate future of Australian music.

BEING

Chris Martin

LEFT

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

OUR LOVELY PHOTOGRAPHER

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S :: JAMES AMBROSE :: KATRINA

H A N D E D.

STOP t THINK t RESPECT

CLARKE :: ASHLEY MAR ::

BRAG :: 622 :: 22:06:15 :: 23

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

pick of the week

Blur

Wolf Alice

FRIDAY JULY 24

Rogue Station + Snow Leopard + Kite + The Last Cavalry + Jason Tobias Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. Steve Crocker Fortune Of War, The Rocks. 7pm. Free. Sydney Reclink Community Cup Fundraising Gig - feat: Meat Cake + Sumeru Vic On The Park, Marrickville. 7pm. Free. Vanessa Heinitz Manly Leagues Club, Brookvale. 7pm. Free.

FRIDAY JULY 24

Oxford Art Factory

Wolf Alice + Bad//Dreems 8pm. $54.90. WEDNESDAY JULY 22 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC The Groovemeisters Lazybones Lounge, Marrickville. 8:30pm. Free.

ACOUSTIC, COUNTRY, BLUES & FOLK

Gadjo Guitars Mr Falcon’s, Glebe. 7pm. Free. Robert Irish + Roadhouses + Jack Elias The Gasoline Pony, Marrickville. 7pm. $5.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Batch Sessions - Feat: Blueberry Circuit + Dominic Youdan Batch Brewing Co, Marrickville. 6pm. Free. Ed & Astro Orient Hotel, The Rocks. 9pm. Free. Fox Company + Van Cooper + Release The Hounds Frankie’s Pizza, Sydney. 4pm. Free. Jenny Lewis + Fraser A. Gorman Metro Theatre, Sydney. 7:30pm. $48. The King Khan & BBQ Show Oxford Art Factory, Darlinghurst. 8pm. $40. Ocean Grove + Void Of Vision + Devastator Hombre Records, Newcastle. 6pm. $14.30. 24 :: BRAG :: 622 :: 22:07:15

Of Monsters And Men State Theatre, Sydney. 8pm. $79. Sarah Belkner + Martha Marlow The Newsagency, Marrickville. 7:30pm. $16.50. Sosueme - feat: I Know Leopard + DJ Ember Beach Road Hotel, Bondi Beach. 8pm. Free. The Daughters Agenda + Callum Chynoweth Band + Blake Lynch Valve Bar, Agincourt Hotel, Ultimo. 7pm. $10. Tired Lion Goodgod Small Club, Sydney. 7:30pm. $14.

THURSDAY JULY 23 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Thursdays In Jam - feat: El Moro + DJ Av El Cubano Jam Gallery, Bondi Junction. 9pm. Free. Vintage Sons Ft. Simon Meli The Golden Sheaf, Double Bay. 9pm. Free.

ACOUSTIC, COUNTRY, BLUES & FOLK

Zack Martin + David Levell Marrickville Bowling Club, Marrickville. 7pm. Free. Ladies Sing The Blues feat: Lady Cool + Amanda Easton + Liza Ohlback + Joy Yates + Lindsay Drummond + Dahlia Dior + Lucinda Peters

Sydney Opera House, Sydney. 7:30pm. $75. Mick Hambly + Chris Brookes + Saffire Rose Garry Owen Hotel, Rozelle. 7:30pm. Free. Peter Head & Jason Walker + Joshua Seymour The Gasoline Pony, Marrickville. 7pm. $5. Ryan Adams + Jenny Lewis Enmore Theatre, Newtown. 7:30pm. $103.55. The Snakemen Mr Falcon’s, Glebe. 8:30pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Aaleatha And The Audio Fix Crown Hotel, Sydney. 9pm. Free. Alpha Experiment Frankie’s Pizza, Sydney. 10pm. Free. Big Smack + Into The Wild And Pretty Alright Bull & Bush Hotel, Baulkham Hills. 8pm. Free. Everything Everthing + Urban Cone + Feki Metro Theatre, Sydney. 8pm. $59.50. Evie Dean Dee Why Hotel, Dee Why. 7pm. Free. Florence + The Machine State Theatre, Sydney. 8pm. $89. Glenn Esmond Duo Mr Tipply’s, Sydney. 5:30pm. Free. Live At The Sly - feat: Raindrop + Ruth Carp & The Fish Heads + Aether Beach The Sly Fox, Enmore. 7:30pm. Free. Marmozets Newtown Social Club, Newtown. 8pm. $39.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Funk Engine Mr Falcon’s, Glebe. 9pm. Free. Roots Of The Barrio The Basement, Circular Quay. 7:30pm. $24.30. Sexy Sunday Jam Bellini Lounge, Potts Point. 7pm. Free. The Liberators Lazybones Lounge, Marrickville. 9pm. $15.

ACOUSTIC, COUNTRY, BLUES & FOLK

Ben Salter & Band Factory Theatre, Marrickville. 8pm. $21.50. Bonnie Kay And The Bonafides The Gasoline Pony, Marrickville. 7pm. $5. Tom Stephens + Obscura Hail + Brendon Moon Bridge Hotel, Rozelle. 8pm. $10.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Ange Cumberland Country Golf Club, Greystanes. 7pm. Free. Bad Blood Album Launch - feat: Mitch Capone + The Wise Guys Lizotte’s, Newcastle. 6pm. $29. Balloons Kill Babies Tattersalls Hotel Penrith, Penrith. 8pm. Free. Big Rich Club Liverpool, Liverpool.

5:30pm. Free. Big Way Out Narrabeen Sands Hotel, Narrabeen. 8:30pm. Free. Blake Tailor Town Hall Hotel, Balmain. 10pm. Free. Blaming Vegas St George Leagues Club, Kogarah. 9pm. Free. Concrete Apples + The Greeks + Love No Scenery Valve Bar, Agincourt Hotel, Ultimo. 8pm. $10. Crossing Red Lines + Little Coyote + Flick The Bean + Shake You Blood Studio Six, Sutherland. 8pm. $12. Dave Ireland Chatswood RSL, Chatswood. 5pm. Free. DJ Marty Wentworthville Leagues Club, Wentworthville. 9pm. Free. Glenn Esmond Fortune Of War, The Rocks. 8pm. Free. Jack Horner The Oriental Hotel, Springwood. 8pm. Free. Krishna Jones Manly Leagues Club, Brookvale. 9:30pm. Free. Martys Place Penrith Gaels, Kingswood. 8pm. Free. On The Prowl Penrith RSL, Penrith. 8pm. Free. Pow Pow Kids + Dumb Punts Vic On The Park, Marrickville. 7:30pm. Free. Rattle & Hum - U2 Show + The Coldplay Show Rooty Hill RSL Club, Rooty Hill. 8pm. Free. Rob Eastwood The Push Bar, The Rocks. 7:30pm. Free. Rock Solid Duo Courthouse Hotel, Darlinghurst. 10pm. Free. Ryan Thomas Orient Hotel, The Rocks. 4:30pm. Free. Skyscraper Kings Park Tavern, Kings Park. 7pm. Free. Sugar Reef Vikings Sports Club, Dundas Valley. 9:30pm. Free. Ted Nash The Forbes Hotel, Sydney. 5pm. Free. The Cops + Le Pie + Space Monk Newtown Social Club, Newtown. 8pm. $15. The Filth - feat: Jack Ladder

And The Dreamlanders Beach Road Hotel, Bondi Beach. 8pm. Free. The Resignators + Ebolagoldfish + Speedball + Distorted Hearts + The Unhinged Valve Bar, Agincourt Hotel, Ultimo. 9pm. $15. The Tribe Bidwill Hotel, Bidwill. 8pm. Free. Toxic Dolls Edgeworth Bowling Club, Edgeworth. 8:30pm. Free. Waax Waywards, Newtown. 8pm. Free. Wildcatz Club Engadine, Engadine. 8pm. Free. Wolf Alice + Bad//Dreems Oxford Art Factory, Darlinghurst. 8pm. $54.90.

SATURDAY JULY 25 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Charlie Heart + Towera Smith Golden Age Cinema, Surry Hills. 5pm. Free. Sexy Sunday Jam Bellini Lounge, Potts Point. 7pm. Free. That 70s Roller Disco - feat: Tom Dobalina + Andrew P Street + Alejandro III UNSW Roundhouse, Kensington. 7pm. $16. The Shaolin Afronauts + The Liberators Goodgod Small Club, Sydney. 7:30pm. $17. We May Never Meet Again: The Music Of Amy Winehouse - feat: Movement 9 + Elly Poletti Foundry616, Ultimo. 8:30pm. $21.50.

ACOUSTIC, COUNTRY, BLUES & FOLK Big Blind Ray Duo Rocks Brewing Co, Alexandria. 2pm. Free. Journey The Gasoline Pony, Marrickville. 3pm. $5. Mojo House Band - feat: Jesse & James Mojo Record Bar, Sydney. 7pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Ms Mr

AM 2 PM The Fiddler, Rouse Hill. 8pm. Free. Back To Bacharach - feat: Casey Donovan + Doug Williams + Darren Mapes + Hayley Jensen The Basement, Circular Quay. 7:30pm. $45. Blake Tailor Duo Wentworthville Leagues Club, Wentworthville. 10pm. Free. Blood, Sweat & Beers - feat: Luca Brasi + Clowns + Grenadiers + Tyre Swans + Bagster + Corpus + Hannahband + Hostile

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g g guide gig g

g g picks gig p

send your listings to : gigguide@thebrag.com Objects + Tigers Factory Theatre, Marrickville. 2pm. $36.50. Blur + Jamie T Qantas Credit Union Arena, Darling Harbour. 7pm. $79.90. Dave Somerville + Ray Burgess + The Allstars Revesby Workers Club, Revesby. 8pm. $40. Dave White Duo Town Hall Hotel, Balmain. 9:30pm. Free. Day Ravies Newtown Social Club, Newtown. 8pm. $12. DJ Marty Wentworthville Leagues Club, Wentworthville. 9pm. Free. Geoff Bull And The Finer Cuts Penrith RSL, Penrith. 2pm. Free. Geoff Davies - feat: The Push The Push Bar, The Rocks. 7:30pm. Free. Halcyon Revesby Workers Club, Revesby. 8:30pm. Free. High-Tails Beach Road Hotel, Bondi Beach. 8pm. Free. Jack Horner Plough & Harrow, Camden. 8pm. Free. Joseph Gatehau Fitzroy Hotel, Windsor. 8pm. Free. Kids In Control + Mindless Excess + Aces & Eights + Hollywood Heartache Metro Theatre, Sydney. 4:45pm. $12. Krishna Jones Orient Hotel, The Rocks. 4:30pm. Free. Macson Club Central Menai, Menai. 7:30pm. Free. Mamajae + Little Coyote + The Iron Horses Narrabeen Sands Hotel, Narrabeen. 8:30pm. Free. Ms Mr + George Maple + Tigertown Metro Theatre, Sydney. 8pm. $59.90. Ocean Grove + Void Of Vision + Devastator Exchange Hotel, Darlinghurst. 9pm. Free. One Hit Wonders Epping Hotel, Epping. 10pm. Free. Pete Hunt Hunters Hill Hotel, Hunters Hill. 3:30pm. Free. Salty Snacks The Gasoline Pony, Marrickville. 7pm. $5. Soundbird Penrith RSL, Penrith. 9pm. Free. Steppin Out Penrith Gaels, Kingswood. 7pm. Free. Sugar Reef Oxford Hotel, Darlinghurst. 9:30pm. Free. The Macs Carousel Inn Hotel, Rooty Hill. 8pm. Free. The Motor City Syndicate Club Cronulla, Cronulla. 8pm. Free. The Ocean Party + Beef Jerk Vic On The Park, Marrickville. 8pm. Free.

SUNDAY JULY 26 INDIE, ROCK, POP, METAL, PUNK & COVERS

Endless Summer Beach Party Penrith RSL, Penrith. 2pm. Free. Evie Dean Cronulla RSL, Cronulla. 5pm. Free. Frankie’s Vulgar Display Of Pizza 3 - feat: Killrazer + Flaming Wreckage + Rise Of Avernus + Gods Of Eden + Diminish The Gods + Hybrid Nightmares Frankie’s Pizza, Sydney. 6pm. Free. Georgia White Plough & Harrow, Camden. 3pm. Free. Josh Arnetz + Billy Demos + Jamie Bryden + Daniel Southern + Andy Mac + Clare Bretherton Valve Bar, Agincourt Hotel, Ultimo. 4pm. $10. Kye Brown Oxford Hotel, Darlinghurst. 2pm. Free. Ocean Grove + Void Of Vision + Devastator Red Rattler, Marrickville. 2pm. $14.30. Penny Lane Wallacia Hotel, Wallacia. 1pm. Free. Raoul Graf Waverley Bowling Club, Waverley. 2pm. Free. Sidebar Sundays - feat: Dave White Side Bar, Sydney. 9pm. Free. Starving Millions + Disparo Valve Bar, Agincourt Hotel, Ultimo. 4pm. $10. Sydney Rock ‘N’ Roll & Alternative Market - feat: The Rechords + Spurs For Jesus + The Jordan C. Thomas Band + The Drey Rollan Band + DJs Rockin’ Marc Rondeau + Rod Almighty + The Crimplenes + Solid Gold Hell DJs + MC Wolfman Dan Manning Bar, Camperdown. 10:30am. $5. The Endless Summer Beach Party Penrith RSL, Penrith. 2pm. Free. Years & Years Metro Theatre, Sydney. 8pm. $45.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Em’Ielle Taylor Square, Darlinghurst. 10:30am. Free. Judy Bailey’s Jazz Connection Lazybones Lounge, Marrickville. 6:30pm. Free.

ACOUSTIC, COUNTRY, BLUES & FOLK Danielle Deckard Mr Falcon’s, Glebe. 6:30pm. Free. Finn Commercial Hotel,

up all night out all week... Parramatta. 2:30pm. Free. Ramblin Man Sessions IV - feat: M.E. Baird + Jason Walker + Joshua Seymour + Mark Lucas Petersham Bowling Club, Petersham. 4:30pm. $10. Russell Neal + Veronica Wagner + Warren Munce + Perikles + Paris Hearts Harlequin Inn, Pyrmont. 3pm. Free. The Slowdowns Ruby L’otel, Rozelle. 6pm. Free.

MONDAY JULY 27 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Sonic Mayhem Orchestra Lazybones Lounge, Marrickville. 8:30pm. Free.

ACOUSTIC, COUNTRY, BLUES & FOLK John Maddox Duo Mr Falcon’s, Glebe. 7pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Frankie’s World Famous House Band Frankie’s Pizza, Sydney. 4pm. Free. Gengahr + Velociraptor + I Oh You DJs Newtown Social Club, Newtown. 7:30pm. Free. Purity Ring Metro Theatre, Sydney. 8pm. $55. The Wombats + Circa Waves Hordern Pavilion, Moore Park. 7:30pm. $73.91.

TUESDAY JULY 28 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Alma Music Presents Lazybones Lounge, Marrickville. 8:30pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Cuzn + Black River Bell + Kite + Sergey Onischenko Mr Falcon’s, Glebe. 7:30pm. Free. Best Coast Oxford Art Factory, Darlinghurst. 8pm. $55. Mark Ronson + Pond + Tkay Maidza + Yoland Be Cool + Jones Jnr Hordern Pavilion, Moore Park. 6:30pm. $81. The Districts + Jack Ladder And The Dreamlanders Newtown Social Club, Newtown. 8pm. $42.

WEDNESDAY JULY 22 Batch Sessions - Feat: Blueberry Circuit + Dominic Youdan Batch Brewing Co, Marrickville. 6pm. Free. Jenny Lewis + Fraser A. Gorman Metro Theatre, Sydney. 7:30pm. $48. The King Khan & BBQ Show Oxford Art Factory, Darlinghurst. 8pm. $40. Of Monsters And Men State Theatre, Sydney. 8pm. $79.

Florence + The Machine The Filth - Feat: Jack Ladder And The Dreamlanders Beach Road Hotel, Bondi Beach. 8pm. Free.

Sarah Belkner + Martha Marlow The Newsagency, Marrickville. 7:30pm. $16.50.

Waax Waywards, Newtown. 8pm. Free.

Sosueme - Feat: I Know Leopard + DJ Ember Beach Road Hotel, Bondi Beach. 8pm. Free.

SATURDAY JULY 25

Tired Lion Goodgod Small Club, Sydney. 7:30pm. $14.

THURSDAY JULY 23 Everything Everthing + Urban Cone + Feki Metro Theatre, Sydney. 8pm. $59.50. Florence + The Machine State Theatre, Sydney. 8pm. $89. Ladies Sing The Blues - Feat: Lady Cool + Amanda Easton + Liza Ohlback + Joy Yates + Lindsay Drummond + Dahlia Dior + Lucinda Peters Sydney Opera House, Sydney. 7:30pm. $75. Marmozets Newtown Social Club, Newtown. 8pm. $39. Ryan Adams + Jenny Lewis Enmore Theatre, Newtown. 7:30pm. $103.55.

FRIDAY JULY 24 Funk Engine Mr Falcon’s, Glebe. 9pm. Free. The Cops + Le Pie + Space Monk Newtown Social Club, Newtown. 8pm. $15.

Back To Bacharach Feat: Casey Donovan + Doug Williams + Darren Mapes + Hayley Jensen The Basement, Circular Quay. 7:30pm. $45. Blood, Sweat & Beers - Feat: Luca Brasi + Clowns + Grenadiers + Tyre Swans + Bagster + Corpus + Hannahband + Hostile Objects + Tigers Factory Theatre, Marrickville. 2pm. $36.50. Blur + Jamie T Qantas Credit Union Arena, Darling Harbour. 7pm. $79.90. Day Ravies Newtown Social Club, Newtown. 8pm. $12. High-Tails Beach Road Hotel, Bondi Beach. 8pm. Free. Ms Mr + George Maple + Tigertown Metro Theatre, Sydney. 8pm. $59.90. The Ocean Party + Beef Jerk Vic On The Park, Marrickville. 8pm. Free. The Shaolin Afronauts + The Liberators Goodgod Small Club, Sydney. 7:30pm. $17. We May Never Meet Again: The Music Of Amy Winehouse - Feat: Movement 9 + Elly Poletti Foundry616, Ultimo. 8:30pm. $21.50.

SUNDAY JULY 26 Frankie’s Vulgar Display Of Pizza 3 - Feat: Killrazer + Flaming Wreckage + Rise Of Avernus + Gods Of Eden + Diminish The Gods + Hybrid Nightmares Frankie’s Pizza, Sydney. 6pm. Free. Sydney Rock ‘N’ Roll & Alternative Market - Feat: The Rechords + Spurs For Jesus + The Jordan C. Thomas Band + The Drey Rollan Band + DJs Rockin’ Marc Rondeau + Rod Almighty + The Crimplenes + Solid Gold Hell DJs + MC Wolfman Dan Manning Bar, Camperdown. 10:30am. $5. Years & Years Metro Theatre, Sydney. 8pm. $45.

MONDAY JULY 27 Purity Ring Metro Theatre, Sydney. 8pm. $55. The Wombats + Circa Waves Hordern Pavilion, Moore Park. 7:30pm. $73.91.

TUESDAY JULY 28 Best Coast Oxford Art Factory, Darlinghurst. 8pm. $55. Mark Ronson + Pond + Tkay Maidza + Yoland Be Cool + Jones Jnr Hordern Pavilion, Moore Park. 6:30pm. $81. The Districts + Jack Ladder And The Dreamlanders Newtown Social Club, Newtown. 8pm. $42. Everything Everything

The Districts

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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, James Di Fabrizio and Jade Smith

five things WITH

Knxwledge

PROLIFIK THE GIFTED The Music You Make And Play 4. I’m a massive hip hop fan, but am heavily influenced by electronic music. You could say I’ve managed to mash the two into one. A mixture of boom bap and trap, transforming into some straight, big, heavy beats. At the moment I’ve been working like crazy on Broken Thought Theory’s debut album, which I’ll be previewing at the coming Chop event, which I’m really excited about. Music, Right Here, Right 5. Now

Growing Up I grew up listening to a lot of music. My parents had a huge collection of cassettes and old vinyl records, from the Bee Gees to IceT. Now that I look back, I got into hip hop really from my folks.

Inspirations I have many 2. favourite musicians and artists that I love. But to mention one, I’d have to say Dr. Dre’s Chronic 2001. It definitely changed my childhood after listening to it. It’s

one of those albums where every single track is amazing. You literally listen to the whole thing from beginning to end and not be let down. Till this day, you can’t top that album, in my opinion. Your Crew I’m lucky 3. enough to be a member of many crews who I produce and DJ for, including High Noon, Broken Thought Theory and BustaCap. I also produce for Home Team and Ace The Amara.

Music right now is bigger than ever before, in my opinion. Producers and DJs are springing up out of nowhere, which is great. However, I think technology is a catalyst for this. What was once really hard to achieve a few years back is literally now done at the push of a button. This is awesome, but I feel like modern day producers/DJs have it a little too easy. Sometimes you need to struggle to progress. What: The Chop With: Hazy, DJ Co$t, Raine Supreme, Benny Hinn Where: Play Bar When: Saturday July 25

Charles Murdoch

INSIDER KNXWLEDGE

Following the withdrawal of Jay Electronica from his Australian tour engagements, Red Bull Music Academy has lined up a mighty replacement in Knxwledge – and he’ll be touring the nation following an appearance on the RBMA stage at Splendour In The Grass this weekend. The New Jersey and Philadelphia-raised Knxwledge, AKA Glen Boothe, took the gospel influences of his youth and transposed them into a new groove, forming the soul, jazz and hip hop sound for which he’s known today. He’s produced for the likes of Joey Bada$$ and Kendrick Lamar, and recently released his full-length debut Hud Dreems through Stones Throw. Knxwledge will play Goodgod Small Club on Saturday August 8 – for entry, RSVP at Dash Tickets.

STEREOSONIC 2015

Electronic festival juggernaut Stereosonic has revealed a huge lineup for this year’s event. Topping the bill are international heavyweights Major Lazer, Armin van Buuren, Diplo, DJ Snake, Clean Bandit, Duke Dumont and Axwell & Ingrosso. On top of all that, Australian favourites Peking Duk, MaRLo, What So Not, Will Sparks, Hot Dub Time Machine, Timmy Trumpet, Tigerlily, Generik, Slumberjack and Carmada are playing, alongside a whole heap more. Returning for 2015 are custombuilt stages specialising in genres from house and trap to trance and electronica. This year, the festival is going back to the original one-day format. It will also offer three ticket types, including upgrades and VIP specials. Stereosonic will come to the Sydney Showgrounds on Saturday November 28.

spectrum of drum and bass. The 16-track LP arrived just last month on Technique Recordings, through which Tantrum Desire also found success with the anthemic ‘Reach’ back in 2011. Jay Faleye and Devin Smith make a formidable team, so there’ll be no better way to kick off the weekend.

KICK OUT THE JAMS

The inaugural Oxjam festival, taking over venues around the nation for a month’s worth of charity performances and parties in aid of Oxfam Australia, has announced even more artists for its fundraiser gigs. The opening event at Sydney’s

MTV headquarters on Thursday July 30 sees Elizabeth Rose, Nicky Night Time and Yolanda Be Cool join the already announced Cosmo’s Midnight and Set Mo. The UNDR ctrl party at Oxford Art Factory on Saturday August 1 now boasts Bag Raiders added to a bill with Tear Council, World Champion, Ara Koufax and Wordlife, while Point Being and Tim and The Boys are now on the schedule for Noisey’s show at the Chippendale Hotel on Thursday August 6. For more info on the month of music, and how you can add your own shows, visit oxjam. org.au.

Oliver Giacomotto

A MARQUEE MASQUERADE

OutsideIn Festival, the indoor dance event making its return to Sydney this September, has revealed its second round lineup of artists. The new names make up the program for the Red Bull Music Academy stage, fleshing out the already announced lineup with headliners Bilal and Big K.R.I.T. Now added to the bill are internationals Loefah, Chunky and Stormzy, plus local acts Cassius Select, Charles Murdoch, GL, Feki, Magda Bytnerowicz and Max Gosford. OutsideIn 2015 takes over Manning House at Sydney University on Saturday September 26.

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THROWING TANTRUMS

London-based duo Tantrum Desire will scream and shout their way to Candy’s Apartment on Friday August 7. It’s all part of the Australian leg of the launch tour for their new record, Diversifi ed, which as the name suggests, straddles a broad

GO GO GIACOMOTTO

Deep house and techno selector Olivier Giacomotto will share the latest sounds when he arrives in Sydney on a three-date Australian tour this weekend. The Frenchman got his start behind the decks in London, and his international experience didn’t stop there; word spread around the world following his own production work and collaborations with the likes of John Acquaviva, Umek and Popof. Now, Giacomotto makes his way Down Under, and he’ll be on hand at Goldfish this Saturday July 25.

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Charles Murdoch photo by Kane Hibberd

OUTSIDEIN RBMA LINEUP

Partnering with one of the world’s finest champagne brands, Marquee is set to entertain Sydney’s gliterrati for a night of sophistication and mystique. This year, Australia’s Next Top Model mentor and accomplished DJ and producer Didier Cohen will be taking up hosting duties, with internationally renowned DJ and model Miss Nine headlining the main room. Regularly seen behind the decks at clubs across Ibiza, Los Angeles and Brazil, Miss Nine is set to turn up the heat for a night of stylish indulgence. The Dom Pérignon Masquerade Party hits town on Saturday August 8.

Ratatat Return Of The Axe By George Nott

e’ve all been there – coming back to reality after countless hours clicking aimlessly from one YouTube video to the next. While most of us escape such sessions bleary-eyed and nagged with guilt, Mike Stroud and Evan Mast found themselves struck with inspiration. The pair, better known as instrumental electronica duo Ratatat, had come across clips from a 1950s American musical variety program, The Lawrence Welk Show.

The results are certainly a departure from the crunchy electro baroque style found on Ratatat’s previous releases, the last of which, LP4, came out in 2010. Their latest album, Magnifi que, is littered with blissed-out Hawaiian sounds. “We try to do almost the opposite of whatever we just did,” says Stroud. “We get bored pretty easily. We’re trying to keep ourselves entertained. I’m curious about the reaction. We might alienate some people, but… I don’t really care!”

“We were on YouTube. You know, just surfing for, like, hours,” explains multi-instrumentalist and producer Stroud. “A lot of the music on that show is gross. It’s really schmaltzy. But we discovered a video of this great lap steel guitar player, Alvino Rey. It’s absolutely insane. He gets his guitar to sound like it’s singing – as in, it sounds like an actual human voice. It’s so bizarre and amazing.”

Magnifi que (the title is tongue-incheek – “the same joke of calling our old album Classics,” explains Stroud) has been some five years in the making. After nearly a decade of relentless touring and recording, the Brooklyn-based duo needed a break.

This sparked something of an obsession for the pair. They ordered lap steel guitars (a kind of horizontal guitar on legs) online to replicate the otherworldly sound.

“We were a little bit burnt out,” Stroud explains. “It had been non-stop. I felt we kept making the same song over and over, so it’s good to take a step back for a minute and come back to it with something new.”

“We did loads of research, got super nerdy about it,” says Stroud. “We bought the same guitars they were using. It’s old-sounding and futuristic-sounding at the same time. It’s always fun to have a new sound to work with. You end up writing different kinds of songs.”

Writing and recording were done in spurts in various studios around New York and in a friend’s house in Jamaica, overlooking the ocean. Stroud and Mast took great pains over every sound heard on the album, sourcing antique amplifiers

from Mexican thrift stores and researching Queen guitarist Brian May’s set-up to emulate his guitar tone. “It’s a totally obsessive task,” says Stroud. “It’s pretty nerdy. We got really involved in that.” The tracks are all guitar-led, but vary in style from the languid and laid-back to thumping club bangers with some gritty indie electro thrown in for good measure.

“We wanted to bring the focus back to guitars. We definitely wanted the album to have really strong melodies this time. Sometimes when starting with a beat you rely on it too much. It becomes more about production than actually songwriting. The songs are more memorable. It’s our best album so far.” Ratatat are touring the new material and hope to visit Australia

before the end of the year. “I got to practise,” says Stroud. “The lap steel still feels really weird to me. It’s hard! Those old players in those clips – you ever notice they look like psychos? Really dorky, a bit creepy. I got to start working on that look!” What: Magnifi que out now through XL/Remote Control

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I’lls Every Song Is An Island By James Di Fabrizio

hen I get in touch with I’lls drummer and vocalist Simon Lam, he’s deep in a recording session for another of his projects – the incredibly alluring duo with Chloe Kaul called Klo. In fact, he’s so caught up in it he’s forgotten we had scheduled a chat. Perhaps this is indicative of Lam’s intense involvement in his music. Along with his I’lls cohorts, guitarist Dan Rutman and keyboardist Hamish Mitchell, he creates richly coloured and truly immersive music. Entrancing and gorgeous, the trio have just released their long-awaited third EP, Can I Go With You To Go Back To My Country.

With a thirst for something more, they were destined to go out on their own. “I feel like all the really fresh music is coming out of electronic stuff. Jazz will always be there in our hearts,” he

adds, stifling a small chuckle at his brazen sincerity. While Lam may laugh, I’lls embrace a covert jazz spirit that is altogether refreshing. Their latest single, ‘Keep’, was born in a session of improvised playing. “We recorded that by jamming around a bit. Once we had something that was working, we just hit ‘record’. The rest of the song we just built up on top of that. We’re still using improvisation, but unlike the traditional sense, we go back and layer on top of that, or cut them up and move them around.” It’s production choices like these that give the electronic music of I’lls such an elusive quality. Their knowledge of the past is intrinsically linked to

their ability to create something new. “Doing a jazz course, you learn how to shape melody,” says Lam. “We kind of used that knowledge, but instead of learning how to do a piano solo, we’d learn how to shape a noise from a synth and how to make it fit appropriately in the timeline of the track – where it sits well and where it should die.” The effort spent shaping these sounds allows them to shine through in the mix. According to Lam, this is one of the biggest advances made on the new EP. “We’ve all matured a lot compared to the last two EPs we’ve done,” he says. “We’ve learnt how to let go of things. If an idea isn’t entirely necessary, we’ve got no problem now just deleting it. That

just leaves what is important there. We spend a lot of time tweaking the smallest things, but at least the things we’re tweaking are focal points. A lot of textures can be onetake flukes, but a lot of the time that’s three hours of work for a tiny sound.” Although I’lls purposely craft music ideal for headphone listening, in a live setting the songs take on a whole new form. “All the shows we play, people are engaged and listening, but we’re not the sort of band that they’d dance to,” says Lam. Wanting to do something different, I’lls recently decided to create a completely seated audiovisual experience, complete with custom-

made visuals by Mitchell. “We set up on the side of the stage with a really big projector that was almost the size of the venue,” says Lam. “I think that suited us a lot more. Everyone was able to sit down and soak it in.” What: Splendour In The Grass 2015 With: Blur, Florence + The Machine, Mark Ronson, Peking Duk and many more Where: North Byron Parklands When: Friday July 24 – Sunday July 26 And: Can I Go With You To Go Back To My Country out now through Solitaire

Mø More Than Meets The Eye By Nic Liney

ø is sounding pretty relaxed, and rightfully so. It’s the middle of a Scandinavian summer, and the Danish electronic pop star tells me she’s just got home from a hiking trip in Norway. It made for a slight respite from what’s been a very intense 12 months for Mø, including a run of headline and festival shows all around the globe, an appearance on Jimmy Kimmel Live! with Iggy Azalea last October, and a collaboration with Major Lazer for the chart-topping single ‘Lean On’. But it’s simply a natural progression for someone who’s wanted to be a star since she was fi ve years old. Most people are usually red-faced when you ask them about their early music loves, having buried their Ricky Martin and ’N Sync albums far, far away. Not Mø. In fact, her entire musical career is founded on an undying infatuation with the most iconic pop group of the ’90s. “The Spice Girls were the reason I started making music!” she says. “That was the first time I felt like a band was communicating with me, like they were talking directly to me. I wanted to be like them, I wanted to do what they did, and so then I was like, ‘OK, my purpose in life is to be a musician.’” She’s not a pop princess by any stretch of the imagination, however. As a teenager, Mø idolised Kim Gordon from Sonic Youth and moved around the Danish punk circuit, exposing her to a whole new world of music and providing a platform from which she could agitate against conventional strictures and political issues. At 18, she formed the punk band Mor with her best friend and started making a lot of noise. “All our lyrics were one big fuck fi nger,” she says. “Really very political, and very angry about a lot of things.”

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It’s kind of hard to reconcile the acerbic punk teenager with the dreamy, complex electropop for which Mø has become known, but she insists she is still reactionary at heart. “I still think a lot of my lyrics are very political, but it’s more in terms of how society infl uences young people’s minds, how we all are infl uenced by social media, and how much it can destroy you as a person if you’re not being strong,” she says. It’s not an idea that is completely foreign to pop, and the most successful icons have all advocated for their own ideals. Indeed, it was the challenges Mø found trying to properly express herself in a group that led her to launch a solo project. Her 2014 debut album, No Mythologies To Follow, is an essay in successfully arranging punk and hip hop infl uences on a dazzling electronic canvas. For this Mø can credit a rich working relationship with Danish producer Ronni Vindahl – the mastermind behind several A$AP Rocky and Kendrick Lamar bangers – who helped develop her as a solo artist.

“I love the way that Ronni and I worked together,” says Mø. “I would make the song and the lyrics on the piano, and then I would send it off to him and he would start to produce it, and we would meet in the middle, so it was really two completely separate work processes. I could sit for hours on my own, and that’s the way I like to work.”

he’s always looking for something completely fresh and new, he wants to ask a question.”

Mø quickly snared the attention of the production powerhouse Diplo, who produced Mø’s 2013 single ‘XXX 88’, and their most recent collaboration, ‘Lean On’, has been sitting comfortably at the top of the ARIA charts lately. Working with such domineering personalities as Diplo can risk relinquishing your own musical identity, but Mø insists that working with the Major Lazer man has been an entirely liberating experience.

“With pop music I really think that you should try to make something that’s at least kind of different. It’s so boring when people just copy a form that works and keep doing the same thing because they want to make a hit and get rich. Fuck that – it’s about trying to communicate something new and produce new vibes so that people think differently. Even if it’s cheesy pop music, it’s still art, it comes from people and it’s something you make with your heart and soul, so it’s important to want to do something different.”

“It’s not at all like a machine; you know, like, ‘OK, we’ll meet in the studio and we will not leave the studio until we have a hit.’ But this is what I think is so cool about Diplo – of course he’s all about making big songs and massive pop songs, but he always wants to push the limits,

This is the kind of attitude that Mø gravitates towards now; a provocative element – a remnant of her punk days – that provides the main ingredient for her current musical direction.

Mø’s success has seen her extend the ranks of Scandinavian female pop artists who have graced the international stage over the last few years, such as Lykke Li, Oh Land, Icona Pop, and Sweden’s

Elliphant, with whom she is heading to Australia this week for Splendour In The Grass and joint sideshows. Is there a secret to this Nordic achievement? “I don’t really know,” says Mø. “Maybe – and not to sound cynical – but maybe in Scandinavia we have a lot of spare time because we live in very rich countries, so we have a lot of ‘me’ time, and a lot of time to experience ourselves and pursue all our hobbies, as opposed to so many people who really have to fight for a living and who don’t have time for these things. Or maybe it’s just because we are good at English!” What: No Mythologies To Follow out now through RCA/Sony With: Elliphant Where: Oxford Art Factory When: Wednesday July 29 And: Also appearing alongside Mark Ronson, Peking Duk, Earl Sweatshirt and many more at Splendour In The Grass 2015, North Byron Parklands, Friday July 24 – Sunday July 26

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Tuka photo by Cole Bennetts

I’lls make electronic music with a voice of its own. A keen ear can pick the influence of Radiohead and Boards Of Canada, but ultimately the Melburnians bring something unique to the table. This is reflected in their beginnings, originally crossing paths in their first year of a seemingly disparate jazz course. As Lam explains, “We were put together in a group, but musically we didn’t really click with everyone. We were drawn to each other because we had interests outside of jazz as well. I mean, we were literally picked out at random to play together.”

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

club pick of the week Azealia Banks

FRIDAY JULY 24

Metro Theatre

Azealia Banks Xxx

+ Ivan Ooze 8pm. $72. WEDNESDAY JULY 22 CLUB NIGHTS

Porter Robinson + Wave Racer + Cosmo’s Midnight Enmore Theatre, Newtown. 7:30pm. $69. Salsa Wednesdays - feat: DJ Miro + Special Guests The Argyle, The Rocks. 8:30pm. Free. Side Bar Wednesdays - feat: Bangers & Mash Side Bar, Sydney. 9pm. Free. The Wall The World Bar, Kings Cross. 9pm. Free.

THURSDAY JULY 23 CLUB NIGHTS Five Dollar Thursdays - feat: DJs Steve Zappa + Skinny Scubar, Sydney. 8:30pm. Free. JMSN Goodgod Small Club, Sydney. 8pm. $23.70. Kicks The World Bar, Kings Cross. 9pm. Free. Spides101 + Shisd + Kimchi Princi + Grove Street Soundsystem + Pendant thebrag.com

The Passage, Darlinghurst. 8pm. Free. The Midnight Swim Sessions - feat: Thomas Studdy Goros, Surry Hills. 8pm. Free.

FRIDAY JULY 24 HIP HOP & R&B

Azealia Banks + Ivan Ooze Metro Theatre, Sydney. 8pm. $72.

CLUB NIGHTS

Enhanced Sessions - feat: Estiva + Juventa + Ltn + Nick Arbor + Tygris + Losty + Dejay Vu + S10 + Soundbreakers + Nick M + Synerjy + Ricky Cee + Chidibang Home Nightclub, Darling Harbour. 10pm. $20. Bassic - feat: Craze + Ape Drums + Spenda C + Blackjack + Robustt + Snillum + Propaganda + Heirs To The Throne + Clam Joust + Symphonik + Scoops Chinese Laundry, Sydney. 9pm. $27.70. Derriere - feat: Rotating DJs Goros, Surry Hills. 6pm. Free. El Loco Later - feat:

DJs On Rotation Excelsior Hotel, Surry Hills. 10pm. Free. Feel Good Fridays feat: DJs Bar100, The Rocks. 5pm. Free. Friday Lite Hosted By Dysney - Feat: 1Fm1 + Sailor Venus + DJ Ellie Sass + DJ Moto & Jade Le Flay + Cache One Goodgod Small Club, Sydney. 10pm. Free. Fridays Frothers feat: Babysham + Jesse Sewell Side Bar, Sydney. 9pm. Free. Jam Fridays Jam Gallery, Bondi Junction. 9:30pm. Free. Klute + Fuj + 8 Diagram + Royalston + Dauntless Hermann’s Bar, Darlington. 9pm. $30. Nancy Whang Oxford Art Factory, Darlinghurst. 11:30pm. $10. Scubar Fridays - feat: DJs On Rotation Scubar, Sydney. 8pm. Free. Tim Boffa Manly Wharf Hotel, Manly. 8pm. Free. Troppo Galaktika - feat: Hiphophoe + Yung Brujo + Tracksuitpants + Spiked Punch Red Rattler, Marrickville. 8pm. $10.

SATURDAY JULY 25 HIP HOP & R&B

Earl Sweatshirt Max Watt’s, Moore Park. 8:30pm. $71.30. Nosaj Thing + Alba + Phondupe Oxford Art Factory, Darlinghurst. 9pm. Free. The Chop - feat: Prolifik The Gifted + DJ Cost + Hazy + Raine Supreme + Benny Hinn Play Bar, Surry Hills. 6pm. Free.

CLUB NIGHTS

Bad Dog Unnatural Acts - feat: Annabelle Gaspar + Steve Sonius + Bill Cotsis + Ben Drayton Marrickville Bowling Club, Marrickville. 10pm. $50. Danceetc - feat: Poolclvb + Frames + Acaddamy Taylor’s Social, Darlinghurst. 8pm. Free. El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 10pm. Free. Frat Saturdays - feat: Jonksi + Guests Side Bar, Sydney. 7:30pm. Free. Ginger Minj Arq Nightclub, Sydney. 8pm. $27.

Graham M Manly Wharf Hotel, Manly. 9:30pm. Free. Homemade - feat: Destroy The Machines + Royaal + Venuto + Rees Hellmers + I.K.O + Seiz + J-Reyes Home Nightclub, Darling Harbour. 9pm. Free. Le Fruit DJs Goros, Surry Hills. 8pm. Free. Lndry - feat: Torren Foot + Human Movement + Acaddamy + Avon Stringer + Offtapia + Nanna Does + Marley Sherman + Clueless + Gomu Chinese Laundry, Sydney. 9pm. $22.60. My Place Saturdays Bar100, The Rocks. 8pm. Free. Pacha Sydney feat: Ben Gold + David Gravell + Omnia + Glover + Matt Nugent Ivy Bar/Lounge, Sydney. 6:30pm. $40. Resident DJ The Kent Bar & Grill, Hamilton. 9:30pm. Free. Rhythm Of The Night - feat: DJ Levins + Charlie Chux + Ariane + Radge + Lazer Gunne Funke + G Coo + Matka + Batesy + Mckinley Goodgod Small Club, Sydney. 10pm. $15. Scubar Saturdays feat: Live DJs Scubar, Sydney. 8:30pm. Free. Tiefschwarz + Murat Kilic + Robbie Lowe + Ant J Steep + Francis Xavier + Kate Monroe + Sam Francisco + D&D + Rifraf The Spice Cellar, Erskineville. 9pm. $35. Venom Clubnight - feat: Hemina + Durry + Necrostalgia + Internal Nightmare Valve Bar, Agincourt Hotel, Ultimo. 2pm. $15.

SUNDAY JULY 26 CLUB NIGHTS S.A.S.H Sundays feat: Various Acts Home Nightclub, Darling Harbour. 3pm. $10.

HIP HOP & R&B

Ja Rule + Ashanti + Mistah Mez + Ryan R Cue + Kennyon Brown + Lazy J + Bigg Guy Max Watt’s, Moore Park. 8:30pm. $91.50. Ja Rule + Ashanti Enmore Theatre, Newtown. 7pm. $85.

Side Bar, Sydney. 8pm. Free.

TUESDAY JULY 28 CLUB NIGHTS Coyote Tuesdays The World Bar, Kings Cross. 9pm. $10.

up all night out all week...

Porter Robinson

WEDNESDAY JULY 22

SATURDAY JULY 25

Porter Robinson + Wave Racer + Cosmo’s Midnight Enmore Theatre, Newtown. 7:30pm. $69.

Bad Dog Unnatural Acts Feat: Annabelle Gaspar + Steve Sonius + Bill Cotsis + Ben Drayton Marrickville Bowling Club, Marrickville. 10pm. $50.

THURSDAY JULY 23 JMSN Goodgod Small Club, Sydney. 8pm. $23.70.

FRIDAY JULY 24 Bassic - Feat: Craze + Ape Drums + Spenda C + Blackjack + Robustt + Snillum + Propaganda + Heirs To The Throne + Clam Joust + Symphonik + Scoops Chinese Laundry, Sydney. 9pm. $27.70. Friday Lite Hosted By Dysney - Feat: 1Fm1 + Sailor Venus + DJ Ellie Sass + DJ Moto & Jade Le Flay + Cache One Goodgod Small Club, Sydney. 10pm. Free. Klute + Fuj + 8 Diagram + Royalston + Dauntless Hermann’s Bar, Darlington. 9pm. $30. Nancy Whang Oxford Art Factory, Darlinghurst. 11:30pm. $10.

Earl Sweatshirt Max Watt’s, Moore Park. 8:30pm. $71.30. Nosaj Thing + Alba + Phondupe Oxford Art Factory, Darlinghurst. 9pm. Free. The Chop - Feat: Prolifik The Gifted + DJ Cost + Hazy + Raine Supreme + Benny Hinn Play Bar, Surry Hills. 6pm. Free. Tiefschwarz + Murat Kilic + Robbie Lowe + Ant J Steep + Francis Xavier + Kate Monroe + Sam Francisco + D&D + Rifraf The Spice Cellar, Erskineville. 9pm. $35.

SUNDAY JULY 26 Ja Rule + Ashanti + Mistah Mez + Ryan R Cue + Kennyon Brown + Lazy J + Bigg Guy Max Watt’s, Moore Park. 8:30pm. $91.50. S.A.S.H Sundays Home Nightclub, Darling Harbour. 3pm. $10. Earl Sweatshirt

MONDAY JULY 27 CLUB NIGHTS Mashup Monday - feat: Resident DJs + DJ Thieves + Recess + OTG + Chivalry + More

BRAG :: 622 :: 22:07:15 :: 29

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Off The Record Dance and Electronica with Tyson Wray

Kangding Ray

sosueme ft. hot dub time machine 15:07:15 :: Beach Road Hotel :: 71 Beach Rd Bondi Beach 9130 7247

PICS :: JA

oft, this is a big one. Berlin-based French producer Kangding Ray has locked in an Australian tour. One of the most exciting names in techno, he’s a regular on labels such as Raster-Noton and Stroboscopic Artefacts, with his remix work also appearing on Mute, Warp, Token and In Paradisum, just to name a few. He’s also worked with the likes of Ben Frost, Battles, Inigo Kennedy, Dadub and Violetshaped. He’ll be supported by Matt Lush, Gabriel Fernandes, Hannah Lockwood and XXX when he hits the Bridge Hotel on Saturday September 19. Another one for the techno heads: Eric Cloutier has locked in a return to Sydney. The Detroit don is a regular at Japan’s legendary Labyrinth festival and has held down residences at infamous US clubs such as The Necto and The Works, as well as the renowned NYC techno night The Bunker. He’s also worked alongside the likes of Richie Hawtin, Luciano, Michael Mayer, Three Chairs and Stacey Pullen. Catch him on Friday November 27 at Marrickville Bowling Club. Invasion from the 3000! Some of the best DJs Melbourne has to offer have announced shows in Sydney next month. Moopie will play at The Sly Fox on Saturday August 1, Dean Benson will do the Oxford Hotel on Friday August 8 and Harvey Sutherland will hit The Spice Cellar on Saturday August 15. Let go of the Sydney versus Melbourne

rivalry for these three shows, all come highly recommended. For all y’all purists out there, Mantra Collective have announced the return of their vinyl-only night Black Gold next month. Some of Sydney’s finest collectors will spin analogue only all night long, including Space Junk, Antoine Vice, Aboutjack, Whitecat, James Cripps and B&H Smooth, so expect a night of house, disco, soul and those warm crackles and pops that come with 12-inches. It’s on Saturday August 15 at The Civic Underground. Tour rumour: you best believe we’re getting another visit from Ejeca. Give the track ‘X-Girl’ from his 2012 EP Tusk Wax Five a spin. One of the year’s best. Full details imminent. Best releases this week: holy moly, Post Scriptum’s new full-length Post Scriptum 01 (on Infrastructure New York) is next level good. Other highlights include Erdbeerschnitzel’s The Attendants (Rote Liebe), DMX Krew’s Synth Funk Vol. 2: Dogg Fungk (Synth Funk), Idealist’s 179 Metres Below (Idealistmusic), Obas Nenor’s My Way Home (Mahogani Music) and Bobby Browser’s Clubspinning (100% Silk). Also, I haven’t had the chance to give it a proper listen but Legowelt has released a new album as Saab Knutson titled Electronic Music From The Faroe Islands 1993 – and woah, you need to check out the album artwork.

RECOMMENDED SATURDAY JULY 25 Tiefschwarz The Spice Cellar

Answer Code Request Burdekin Hotel

SATURDAY AUGUST 1 Moopie The Sly Fox

SATURDAY AUGUST 8

SATURDAY SEPTEMBER 12

FRIDAY NOVEMBER 27

SATURDAY AUGUST 15

SATURDAY SEPTEMBER 19

SATURDAY AUGUST 22

FRIDAY NOVEMBER 20

FRIDAY DECEMBER 4 – SUNDAY DECEMBER 6

The Black Madonna Marrickville Bowling Club Dean Benson Oxford Hotel

PICS :: AM

Harvey Sutherland The Spice Cellar

uv boi + zuri akoko + kailo

Pan-Pot

Borrowed Identity Bridge Hotel

Pan-Pot TBA

Kangding Ray Bridge Hotel

Lapalux Chinese Laundry

Eric Cloutier Marrickville Bowling Club

Subsonic Music Festival: KiNK, Dop, Rick Wade, Roman Flügel + more Riverwood Downs Mountain Valley Resort, Barrington Tops

15:07:15 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587 OUR LOVELY PHOTOGRAPHER

30 :: BRAG :: 622 :: 22:07:15

S :: JAMES AMBROSE :: KATRINA

CLARKE :: ASHLEY MAR

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

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