Brag#639

ISSUE NO. 639 NOVEMBER 18, 2015

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

MUSIC, FILM, THEATRE + MORE

rudimental REV VING UP FOR VANFEST

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Feathers will fly at their upcoming festival appearances.

Simplicity is the name of the game on Steph Crase's return.

Mike Portnoy and his supergroup on the way for Soundwave.

Ireland's golden boys turn their eye to overseas stardom.

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BRAG :: 639 :: 18:11:15 :: 3

rock music news

the BRAG presents

welcome to the frontline: what’s goin’ on around town... with Gloria Brancatisano, James Di Fabrizio and Tyson Wray

Lazybones Lounge Thursday November 19

five things WITH

Inspirations My first records were The Beatles, and 2.

I haven’t stopped listening to them still. They

3.

and then went on to learning to read music and guitar. We always had a piano in the house too,

Your Band Taste got together when we were all around 16. Michael [Tortoni] and I were friends and found Virgil Donati. Even then he had quite a reputation as a drummer. He pushed us musically. We were a three-piece for quite a while until I met Joey [Amenta] in a music shop. He convinced Michael over the phone to let him join the band by playing and singing to him. We then gave him two Marshall stacks and went off to play Festival Hall for two nights before taking off on a three-month Arts Council tour of Australia.

Hordern Pavilion Tuesday January 5

The Music You Make We grew up alongside Skyhooks, 4.

AC/DC and Dragon; Chisel and Midnight

BLOC PARTY

Oil weren’t too far behind. You had to be tough and good to win over those pub audiences. We were working six nights a week! This has stood us in good stead for our upcoming gigs. That chemistry still exists today, even with our new drummer Damian Corniola.

PARTY IN THE PADDOCK –

Music, Right Here, Right Now The music scene at the moment 5. seems to underbubbling with great new talent. I think bands are making a comeback. There’s always a circle that comes around. The last time was Nirvana.

I think everyone is desperate for the next one. Everyone is sick of Auto-Tuned puppets! Our favourite at the moment is Robot Child (who are supporting us on our Melbourne shows).

What: The Best Of Taste Remasters out now through GoSet Where: Bridge Hotel When: Saturday November 28

MORE SOUNDS FOR SOUNDWAVE

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, Tegan Reeves

ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 les@thebrag.com Tony Pecotic - (02) 9212 4322 tony@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 COORDINATOR: Sarah Bryant - gigguide@thebrag.com (rock); clubguide@thebrag.com (dance, hip hop & parties) AWESOME INTERNS: Elias Kwiet, Tegan Reeves, Aaron Streatfeild, Eden Gillespie REGULAR CONTRIBUTORS: Nat Amat, Prudence Clark, Tom Clift, Joseph Earp, Christie Eliezer, Tegan Jones, Lachlan Kanoniuk, Emily Meller, David Molloy, Annie Murney, Adam Norris, George Nott, Daniel Prior, Kate Robertson, Natalie Rogers, Erin Rooney, Spencer Scott, Natalie Salvo, Leonardo Silvestrini, Jade Smith, Lucy Watson, Rod Whitfield, Harry Windsor, Tyson Wray, Stephanie Yip, David James Young

FLAWLESS

Nu-metallers Sevendust are returning to Australia for their first shows on Aussie soil in six years. The five-piece will hit six cities while they’re down here next autumn, beginning in Perth and finishing up in Sydney more than a month later. The band released tenth album Kill The Flaw last month – the fourth Sevendust album to drop since they last graced our stages – so fans will no doubt relish the opportunity to hear some newer material live for the first time.

Sevendust will tear through the Metro Theatre on Saturday March 19.

Mary Black

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

ft. Violent Soho, Spiderbait, The Preatures and more Burns Creek, Tasmania Friday February 19 – Saturday February 20

GLEN MATLOCK, EARL SLICK & SLIM JIM PHANTOM Newtown Social Club Sunday February 28

SHAKEY GRAVES The Basement Thursday March 31

High On Fire

HIGH ON LIFE

Californian heavy metal hellraisers High On Fire are coming to Australia. Fronted by the one and only Matt Pike, the outfit will be returning to our shores following the release of their latest record Luminiferous, which has been critically lauded from the likes of Pitchfork and Drowned In Sound. While they may be busy getting high on fire, Luminiferous nonetheless marks the seventh studio album from the hard-working group whose debut, The Art Of Self Defense, dropped back in 2000. Catch Pike and co. at Manning Bar on Saturday February 20.

FORBES LIGHTS UP

Vanfest, the December festival taking over Forbes in the Central West of New South Wales, has boosted its lineup with even more local names. After already announcing the likes of John Butler Trio, Rudimental, Birds Of Tokyo and Kilter on the two-day schedule, the Vanfest team has now added GRMM, Matt Boylan-Smith and Kuren to the program. The addition of GRMM and Kuran increases the stocks of electronic talent on the festival bill, with the Friday night lineup to be headlined

by UK stars Rudimental. Meanwhile, singersongwriter Boylan-Smith will join the Saturday timetable. Vanfest 2015 goes down at the

Forbes Showgrounds from Friday December 4 to Saturday December 5.

IT’S NOT UNUSUAL

Everyone’s favourite Sex Bomb Tom Jones has added five headline dates around the country to accompany his appearance at Bluesfest. Over his 50-year career, the Welshman has sold more than 100 million records, winning a Grammy and two Brit Awards along the way. Not just a man of his times, Jones’ two most recent albums, 2012’s Spirit In The Room and 2010’s Praise & Blame have garnered him some of the best reviews of his career. Experience the man himself at The Star Event Centre on Monday March 21.

Chris Isaak

EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG. ACCOUNTS RECEIVABLE: Luke Forrester: accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121 DEADLINES: Editorial: Friday 12pm (no extensions) Ad bookings: Friday 5pm (no extensions) Fishished art: No later than 2pm Monday Ad cancellations: Friday 4pm Deadlines are strictly adhered to.

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4 :: BRAG :: 639 :: 18:11:15

BACK IN BLACK

After 25 years of music and 11 platinum-selling albums, Mary Black has announced her retirement from the international touring circuit and will say farewell with a final Sydney show.

Firmly situated as a veteran among Irish music, Black has had a career filled with hits including ’Columbus’ and ‘Babes In The Woods’. Performing with the likes of Van Morrison, Joan Baez, Emmylou Harris and Imelda May, the singer moved from humble beginnings in an Irish folk band to international stardom. Black will play her last-ever Sydney show at the Enmore Theatre on Thursday March 10 with support from Róisín O.

FIRST COMES CHRIS

Rocker and roller Chris Isaak has announced a string of Australian shows for next April.

Currently Down Under to pass judgement on contestants of The X Factor, Isaak’s love affair with Australia is no secret. Throughout his 30-year career, he’s sold more than a million albums in this country, and had 11 ARIA Top 20 albums. His latest release, First Comes The Night – record number 13 and his first of original songs in six years – debuted at number two on the ARIA Album chart. Isaak will play The Star Event Centre on Wednesday April 6.

thebrag.com

High On Fire photo by J. Hubbard

ART DIRECTOR: Sarah Bryant PHOTOGRAPHERS: Katrina Clarke, Ashley Mar

Soundwave has locked in three more heavyhitting bands for its 2016 bill. In a special Soundwave exclusive performance, Killswitch Engage will perform the entirety of their seminal 2002 record Alive Or Just Breathing, while Ill Niño will be performing Revolution, Revolución through as well. Also joining the bill are the supergroup Terror Universal, featuring current and former members of Machine Head, Soulfly and Ill Niño. They all join a lineup that already features the likes of Disturbed, NOFX, Deftones, The Prodigy, Public Enemy, Bring Me The Horizon, Bullet For My Valentine, Refused, Metal Allegiance and more. After spanning two days in 2015, the 2016 Soundwave returns to a one-day format at Sydney Olympic Park on Sunday January 24.

Enmore Theatre Thursday January 7

Shakey Graves photo by Jarred Gastriech

are still the benchmark for all musicians, but the songwriter that inspired me was Pete Townshend. When I heard Quadrophenia, I flipped out! I felt he was writing what I was thinking.

Growing Up I grew up in Brunswick where my parents 1. were incredibly supportive. I first learnt drums

FOALS

KEN MURDOCH FROM TASTE

so I was trying to write songs from an early age. I used to put music to Shakespearean sonnets! My dad bought me a Fender amp and 1968 Telecaster and encouraged me to leave school and go professional.

MICHAEL P CULLEN

DEBUT ALBUM

‘IN A RESTLESS HOUSE’ FEATURING THE SINGLES ‘RABBIT RUN’ AND ‘SON’

OUT NOW thebrag.com

BRAG :: 639 :: 18:11:15 :: 5

live & local

free stuff

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

head to: thebrag.com/freeshit Rae Howell_Credit – Anne Skilbeck

five things WITH

PHIL BARLOW FROM PHIL BARLOW AND THE WOLF For his deep connection to music and life-long commitment to his art, B.B. King. For their incredible songwriting, Bernard Fanning and Desmond Child. For his onstage improvisation which I believe ultimately gave him the edge, Jimi Hendrix. For the truth in his lyrics, Eddie Vedder.

3.

Growing Up [I remember] the old fella 1. strumming Roy Orbison and Elvis tunes, with high eyebrows and a quiet confidence in his voice. At least for the first half of the song [laughs]! We had occasional music nights and were encouraged to play instruments, but it wasn’t a thick fabric in our lives as it is for me now. As a young teeanger, I

got in a garage band and found ’90s grunge and rock. That sparked my passion and led to me picking up the guitar for the first time. Creativity and songwriting happened much later, though.

2.

Inspirations For the liberation in their vocal styles I am a big fan of Robert Plant and Jim Morrison.

Your Band Reg Leayr (Regotron) likes to slap fat strings. We met when I needed a bass player for a charity concert in 2013 and it just worked.

Antonio Alvarez is on sax; he’s a talented fella, great at improvising and adds a great presence.

Todd Orchard is the classic rock drummer we have been waiting for! He’s just got amongst it.

To this point, I have been the songwriter, with the band adding their flavours. I love writing music; it amazes me. Based on the how much the band are spontaneously creating onstage, I’m sure we will write together soon as well.

The Music You Make Bluesy rock, roots and a 4. taste of funk – each style has its place as a medium to express the waves of emotion that make us

City Calm Down

human, and we love to explore.

From the raw and overwhelming new beginning to an evolution into spiritual consciousness, our two releases Phoenix Rising (2012) and our recent release The Awakening represent two very different chapters.

Music, Right Here, Right Now 5.

I find the music scene a very interesting beast. Since the album sales/online streaming transition, artists’ budgets are tight and so only the lean muscle musicians remain. The live show is what it’s all about, which works just fine for us, ’cause that’s what we love. The long-term venues with a good reputation seem to be going solid, but there seem to be venues falling off the scene when the punters don’t get off the iPhones and get out to live shows.

Small festivals are happening everywhere, as are backyard gigs, and that’s awesome.

What: The Awakening out now independently Where: Frankie’s Pizza When: Thursday November 26

Nakatomi

City Calm Down have released their debut album, In A Restless House, and to celebrate they’ll be playing shows around the country next April. Following a sold-out national tour, the album has already scored huge praise, including earning the feature album spot on triple j and singles getting the nod of approval internationally. The forthcoming summer will see City Cam Down tackle the festival circuit, including appearances at Lost Paradise, Falls Festival and Sugar Mountain. After all that, they’ll take over Oxford Art Factory on Friday April 1.

Shining Bird

A HARPOON THROUGH YOUR HEART

Melbourne four-piece The Harpoons are ready for love. As it happens, ‘Ready For Your Love’ is the name of their new single, and they’re throwing one big love-in in Sydney this week to celebrate.

Frontwoman Bec Rigby joins brothers Henry and Jack Madin with Martin King in an experimental yet accessible hybrid soul/R&B outfit, landing fresh from dates in the UK and US. Their brief Aussie tour begins at Brighton Up Bar on Friday November 20.

ARIA WEEK 2015

Austinmer locals Shining Bird have confirmed a run of east coast tour dates and revealed the music video for their snake-wrangling single, ‘Rivermouth’. The clip follows the highly unbelievable story of Australian farmer Barry Whittenss, and frankly, you have to see it to believe it. The self-proclaimed ‘eucalyptus pop’ outfit will roll into Newtown’s Union Hotel this Friday November 20.

6 :: BRAG :: 639 :: 18:11:15

We’ve got five copies of All I Know to give away. Enter the draw at thebrag.com/ freeshit.

ARIA Week, the now-annual Sydney celebration of all things Australian music being held either side of ARIA Awards night, has confirmed its program of live gigs, showcases and masterclasses for 2015. This year’s ARIA Week includes a number of high-profile music festivals, kicking off with MTV’s Beats & Eats at Parramatta Park on Saturday November 21, all the way through to the Electronic Music Conference and EMC Play on Tuesday December 1 and Wednesday December 2. The showcase program includes triple j Unearthed’s event on Wednesday November 25 at Newtown Social Club, featuring Vallis Alps, Airling, Gordi and Luen (DJ set), and a Telstra Road To Discovery gig with the likes of Merpire and Ciaram Granger. US music exec and label head Lyor Cohen will be the keynote speaker at ARIA’s invitation-only Masterclass event on Tuesday November 24. Meanwhile, the ARIA Awards themselves take place at The Star Event Centre on Thursday November 26.

LIVE AT THE SLY

Slyfox’s Live At The Sly night has announced its latest lineup of funk, blues and soul for Thursday

Ibeyi

IBEYI DOWN UNDER

Ibeyi will make their Australian debut this March. As well as appearances at WOMADelaide and Perth Festival, the multilingual French-Cuban duo have announced headline shows in Brisbane, Sydney and Melbourne. Consisting of twins Lisa-Kaindé and Naomi Diaz, Ibeyi recently released their debut self-titled album and will present it to Australian audiences in intimate live settings around the country. Catch Ibeyi at Oxford Art Factory on Tuesday March 8.

POLISH IT OFF

Sydney buzz band Polish Club have dropped a fairly impressive new video in support of their latest single ‘Beeping’.

The clip, which was put together with the use of nothing but a black-andwhite photocopier, was produced by the band’s drummer John-Henry and friend Tommy Thoms. The pair tirelessly shifted each frame around as the photocopier moved across the glass top. From there, each photocopy was painstakingly photographed. A month in the making, the result is a trippy psychedelic experimentation that hits just as hard as the song itself. Check it out on YouTube, and check Polish Club live at Waywards on Friday December 11.

Polish Club

November 19. Sydney home boys Midnight Tea Party will be headlining, with support from the nicely named Fat Yahoozah, who will be bringing their horn section along for the ride. The so-called sewer jazz collective, Wild Cat Falling, will kick things off for the evening. Get there early for a prime spot and the drink specials. thebrag.com

metz_PhotoBydavidwaldman_1

SHINING BIRD READY TO SOAR

Brisbane boy Conrad Sewell is a star on the rise. Already, he’s landed his first Australian number one hit with ‘Start Again’, imposing itself on earholes everywhere after Sewell first made his name via a collaboration with Kygo on ‘Firestone’. The 27-year-old has been nominated three times over for ARIA Awards this year, including for Best Pop Release, Breakthrough Artist and Song Of The Year. And that’s not all.

He’s just dropped his new EP, All I Know, out now on Warner, and started a lap of the country to launch it, including at the Metro Theatre on Wednesday November 25.

NAKATOMI ON A KNIFE EDGE

Fresh from releasing their new single, ‘The Knife’, Nakatomi have announced a headline show. Featuring Emily Smart on vocals and Hamish Cox on synth, ‘The Knife’ was recorded with Badcop (Tkay Maidza), who developed sound design, and Melbourne producerengineer, Jimi Maroudas (Kimbra, Bertie Blackman). Nakatomi will play the Gallery at Oxford Art Factory on Friday November 26.

RESTLESS ON THE ROAD

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BRAG :: 639 :: 18:11:15 :: 7

Industrial Strength Music Industry News with Christie Eliezer

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THINGS WE HEAR * Which former music manager put a positive spin on his stay in hospital, saying it was his first holiday in 20 years? * Which promoter is scouting a ghost writer for his tell-all memoirs? * Which reality star accused a friend of sending topless pics of her to the media? * Theyâ&#x20AC;&#x2122;re still talking about the music exec who was doing the â&#x20AC;&#x2DC;Rock Lobsterâ&#x20AC;&#x2122; at the Age/Music Victoria awards in Melbourne last week. * Hilltop Hoodsâ&#x20AC;&#x2122; label Golden Era launched its Golden Ale beer, made with SA brewer Pirate Life, at a Warm Up event that featured Trials, Briggs, K21 and the Hoodsâ&#x20AC;&#x2122; DJ Debris on the decks. Hoodie MC Suffa confessed to a hangover after imbibing the stuff the night before because he was more of a wine drinker.

* During the Tamworth Country Music Festival, Virgin will put on six more daily flights each from Sydney and Brisbane to ease the load for its 50,000 attendees. * A guitar owned by John Lennon was sold at auction for US$2.41 million, while the cardigan worn by Kurt Cobain at Nirvanaâ&#x20AC;&#x2122;s legendary MTV Unplugged performance went for US$140,800. * A six-second drum loop from â&#x20AC;&#x2DC;Amen, Brotherâ&#x20AC;&#x2122;, the 1969 track by Washington, D.C. soul group The Winstons, has been sampled 1,900 times, according to Whosampledwho.com.

These included songs by N.W.A (for â&#x20AC;&#x2DC;Straight Outta Comptonâ&#x20AC;&#x2122;), The Prodigy, David Bowie and Oasis.

But theyâ&#x20AC;&#x2122;ve never received a cent from it. Now fans have raised US$36,500 via crowdfunding and given it to the last remaining member of the group, frontman Richard Spencer.

SECRET SOUNDS CONNECT EXPANDS

TROPSCORE TO CONTINUE AFTER TROPFEST AXED

As Secret Sounds Connect â&#x20AC;&#x201C; the commercial rights agency for some of Australiaâ&#x20AC;&#x2122;s top festivals â&#x20AC;&#x201C; expands its services and deals, it has made some new hires. Jade New (ex-Future Entertainment general manager, MTV) is now GM, overseeing business operations with a focus on the talent and content division. Former Sony Music marketing manager Nicole Lembke is strategic partnerships manager, driving new business for festival clients such as Laneway, Falls, Southbound, Listen Out, Field Day and Harbourlife. Former Nova music marketing manager Zoe Murdoch is the strategic partnerships manager for Splendour In The Grass, tasked with building up its brand integration. This year, Connect got Splendour a record number of brand partnerships including PayPal securing tickets for its customers and Telstra, which live streamed some of the sets.

Next monthâ&#x20AC;&#x2122;s short film festival Tropfest may have been axed after founder John Polson announced it has a six-figure financial hole, but its music component Tropscore, which offers a composer the chance to produce a music score or sync to a provided film, will continue, says APRA AMCOS. The winner will still be announced on Thursday December 3, but where the announcement will take place is yet to be decided. As the film industry reeled at the loss of an important launching pad for young filmmakers (not to mention its sponsors like Qantas, Somersby Cider, Uber and Nova), Pandora is exploring the possibility of screening the works of the 16 finalists, who were to be announced this week out of 450 applications.

Meanwhile, the New South Wales Department of Fair Trading is ensuring the 450 entrants will get their competition entry fees returned.

Peita Dixon, previous head of partner services at Mixitup Australia, is the new talent and content manager, leading integration across campaigns. Lucy Morris is partnerships coordinator and Charlotte Ibbotson is integration coordinator.

Other new partnerships with Connectâ&#x20AC;&#x2122;s summer festivals include Foxtel + Falls Byron Bay (a marquee where punters can watch 1,000 movies from nine channels), Topshop + Laneway (official fashion sponsor, with festival offerings in its stores and onsite), and Pandora + Laneway (as official streaming sponsor for 2016 and 2017, playing tracks from a Laneway playlist before the festival and broadcasts onsite).

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* In the wake of the success of N.W.Aâ&#x20AC;&#x2122;s Straight Outta Compton, an unreleased demo of â&#x20AC;&#x2DC;Fuck Tha Policeâ&#x20AC;&#x2122; has surfaced, with an unheard rap from Ice Cube. It goes: â&#x20AC;&#x153;Stereotypes of a brother like me / Down with the niggas from the CPT posse / They callinâ&#x20AC;&#x2122; me a thug â&#x20AC;&#x2122;cause I carry a piece / Thatâ&#x20AC;&#x2122;s why I say, â&#x20AC;&#x2DC;Fuck police!â&#x20AC;&#x2122;â&#x20AC;? * Azealia Banks is under police investigation after an alleged fight with nightclub security in LA. They told her to get out after she allegedly tripped the fire alarms. * Chester Bennington has quit Stone Temple Pilots to concentrate on Linkin Park. STP played US TV show Jimmy Kimmel Live! with Joss Stone taking the mic. * Yours & Owls now runs Wollongong punk metal festival Hy-Fest with Helter Smelter after its growth in size. It was set up in 2011 by muso Luke Armstrong.

TUNECORE OPENS IN AUSTRALIA

TKAY MAIDZA RULES SA MUSIC AWARDS Tkay Maidza didnâ&#x20AC;&#x2122;t make it to Adelaide for the South Australian Music Awards as she was recording in Sydney. But she did win four trophies, including for Best Female, Best Release (Switch Tape) and Best Song and Video for â&#x20AC;&#x2DC;Switch Lanesâ&#x20AC;&#x2122;. Timberwolf took the award for Best Male and Songwriter, Bad// Dreems for Live Act, Grenadiers for Group, Skies for New Artist, Motez for Producer and WOMADelaide for Festival.

VINYL SALES HIT 26-YEAR HIGH IN THE US Nine million vinyl records were sold in the US during the first half of 2015 â&#x20AC;&#x201C; a 26-year high â&#x20AC;&#x201C; due to growing interest by millennials.

In comparison, 14 million vinyl records were sold for the entirety of 2014. Vinyl is the fastestgrowing format, generating US$222 million in the first half of 2015, compared to $163 million from streaming.

Digital distributor and publishing administration service TuneCore has launched in Australia, setting up its fourth international office in Melbourne. Australia-based members can collect revenue from streaming services, digital download stores, songwriter royalties and sync licensing opportunities, all in local currency. New members pay $14.99 to upload a track for distribution. The price for an album is $39.99 the first year and $65.99 after that.

A one-time fee of $99.99 provides access to TuneCore Publishing Administration. Since setting up in 2006, TuneCore has expanded to Canada, Japan and the UK, earning artists $600 million.

Sydney-based The Planet Company/MGM has signed a new physical distribution deal with North Carolinaâ&#x20AC;&#x2122;s Redeye Worldwide.

Australian stores will carry CDs from labels like Yep Roc, Acony, Anticon, Barsuk, Bomp!/ Alive, Burger Records, Kill Rock Stars, Planet Mu and Signature Sounds. The two companies last year released music by Dave Rawlings Machine, Ben Browning, Born Ruffians, Datura4, Deradoorian, Eilen Jewell, Iris DeMent and Sam Sparro locally.

SONY TO STOP MAKING VIDEO CASSETTES

LOCKOUTS #1: ANOTHER STREET RALLY

You thought they stopped making video cassettes? Youâ&#x20AC;&#x2122;d be wrong. 14 years after it stopped selling compatible cassette players, Sony announced it will cease the manufacture of its Betamax product next March. Betamax was launched in 1975 to much hype, but was blown out of the water a year later when Japanese rival JVC came up with the cheaper, lighter and greater capacity VHS.

PLANET/MGM EXTENDS REDEYE DEAL

After 1,000 people marched through Sydney streets in September protesting the lockouts, Reclaim The Streets is holding another. It will depart on Saturday December 12 from Newtownâ&#x20AC;&#x2122;s Camperdown Memorial Park. RTS says in its Facebook event: â&#x20AC;&#x153;The city is not just an investment portfolio for the super rich, itâ&#x20AC;&#x2122;s our home too. Would you rather a park or a car park? A casino or a dancefloor? A community or a ghost town?â&#x20AC;?

Lifelines Expecting: Mollie McClymont of country music act The McClymonts and husband Aaron Blackburn. They married in May. Engaged: a Korn fan went down on one knee and proposed to his girlfriend at a Korn meet-and-greet before their show in Georgia. He said Korn was their favourite band and actually got to first talking because he was wearing a Korn T-shirt.

Injured: 5 Seconds of Summerâ&#x20AC;&#x2122;s Michael Clifford was on crutches after slipping onstage at Londonâ&#x20AC;&#x2122;s Wembley Arena before 10,000 music fans. Not too long ago he got hit by a pyrotechnic during their show on the same stage.

Injured: a guy who attended a Garth Brooks show in Salt Lake City was beaten up by a group of African-American men after they spotted a Confederate flag magnet on his pick-up truck.

In Court: Taylor Swift has settled out of court a lawsuit by Californian clothing company Blue Sphere over the infringement of its Lucky 13 trademark.

In Court: Soulfly singer Max Cavalera must pay 50,000 Brazilian reals (AU$18,000) to his former sister-in-law for stating in his 2013 book My Bloody Roots: From Sepultura To Soulfly And Beyond that she was a â&#x20AC;&#x153;bitchâ&#x20AC;? and hit on him before hooking up with his brother Igor.

In Court: British folk icon Roy Harper was cleared of all charges of an alleged sexual relationship with a 12-year-old girl in the midâ&#x20AC;&#x2122;70s.

In Court: DJ Garrix is suing his former manager, saying he was given â&#x20AC;&#x153;false and misleading informationâ&#x20AC;? before he signed to his management and record label, and wants the rights to his early music back.

Died: New Orleans icon Allen Toussaint, 77, of a heart attack.

He produced â&#x20AC;&#x2122;60s records for Ernie K-Doe, Irma Thomas, and Art and Aaron Neville, and later Labelleâ&#x20AC;&#x2122;s Nightbirds, which included â&#x20AC;&#x2DC;Lady Marmaladeâ&#x20AC;&#x2122;. His songs included â&#x20AC;&#x2DC;Working In A Coal Mineâ&#x20AC;&#x2122;, â&#x20AC;&#x2DC;Ride Your Ponyâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;Fortune Tellerâ&#x20AC;&#x2122;.

Died: Glen Barrie, 26, guitarist with Queensland hardcore band As Paradise Falls, went to sleep during recording sessions in Bangkok and never woke up.

Died: Scottish drummer Andy White, 85, from a stroke. He famously stood in for Ringo Starr on The Beatlesâ&#x20AC;&#x2122; first single â&#x20AC;&#x2DC;Love Me Doâ&#x20AC;&#x2122;/â&#x20AC;&#x2DC;P.S. I Love Youâ&#x20AC;&#x2122; after playing on Britainâ&#x20AC;&#x2122;s first rock record, The Sound Of Fury by Billy Fury.

He also played on Tom Jonesâ&#x20AC;&#x2122; â&#x20AC;&#x2DC;Itâ&#x20AC;&#x2122;s Not Unusualâ&#x20AC;&#x2122; and Luluâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Shoutâ&#x20AC;&#x2122; before moving to the US where he was hired to teach Steven van Zandt drums for his role on The Sopranos and recorded with The Smithereens.

Died: former MotĂśrhead drummer Phil â&#x20AC;&#x2DC;Philthy Animalâ&#x20AC;&#x2122; Taylor, 61, after a period of illness.

Died: Martin Beard, 68, drummer with â&#x20AC;&#x2122;60s psychedelic band Sopwith Camel (â&#x20AC;&#x2DC;Hello, Helloâ&#x20AC;&#x2122;) before becoming an electronics technician in Silicon Valley.

LOCKOUTS #2: EMC PANEL DISCUSSION With lockouts enforced in Sydney and soon coming to Queensland, plus rumbles in the ACT, the forthcoming Electronic Music Conference has included a new panel â&#x20AC;&#x201C; Lockouts and The Future of Australian Nightlife Culture. Industry heads and venue owners will discuss the lawsâ&#x20AC;&#x2122; impact on nightlife. thebrag.com

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RUDIMENTAL

GENERATION GAP

T

he title of Rudimental’s second album, We The Generation, could be seen as a nod towards the widely receptive tastes of today’s youth. Released at the start of October, the record is rooted in the pop realm, but the band hasn’t restricted itself in terms of stylistic influences. Frenetic breakbeats and drum and bass grooves sit next to arena pop choruses, R&B melodies and flirtations with everything from house to reggae. A similar expansiveness characterised the London collective’s 2013 debut, Home, and it’s indicative of the four members’ musical outlooks.

“We grew up listening to music from various backgrounds and various influences, and that’s shaped us as musicians and as a band and as producers,” says co-founder Kesi Dryden. “We grew up in East London, and we had the whole drum and bass culture going on and jungle culture and there was a big house scene going on, and then the garage and grime influence as well. But then at the same time we’d come home and our parents would be listening to soul music and Motown and funk and reggae.

It’s basically a snapshot of what we grew up with that all shapes the Rudimental sound.”

In the wake of Home’s release, Rudimental became global pop stars, topping the album charts in the UK and Australia, scooping up Best British Single at the Brit Awards for ‘Waiting All Night’ and nabbing a coveted Mercury Prize nomination. The debut album’s pervasive impact saw the band spend the last couple of years on a blockbuster world tour, which itself left an imprint on the new record.

“We The Generation is kind of a snapshot of us being on the road the last three years,” says Dryden.

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“We’ve been all around the world writing the album. We didn’t have six months to a year to be in the studio – we’ve literally been doing shows, getting offstage, going into the studio the next day. So we’ve had studios in South Africa, we’ve had studios in America, we’ve had studios all around Europe, we’ve been in Jamaica in the studio.

So the new album’s a snapshot of all the influences we had from childhood growing up, and all the influences we’ve taken with us from touring for about three years.”

Of course, each band member’s interpretation of these infl uences will differ. So while Dryden says Rudimental’s music is the sum of their collective experience, the picking and choosing of infl uences isn’t a mediated exercise.

“We don’t walk into the studio and say, ‘Alright, let’s make a drum and bass track today,’ or ‘Let’s make a house tune today.’

It naturally evolves. We kind of write music in a traditional sense, where we just get instruments out and start jamming different ideas together. Then we write the songs around those jams that we’ve made, and then the electronic side of things always comes at a later stage.

“When you’re in places like Jamaica writing music, it’s impossible not to be infl uenced by reggae and the whole reggae culture. So while you’re there in the studio, those things organically infl uence your music, and I think that’s happened all around the world with this new album.”

In spite of the broad spectrum of ingredients, Rudimental’s production background allowed them to tie these infl uences together in a cohesive and exceedingly marketable manner.

BY AUGUSTUS WELBY

“We’ve literally been doing shows, getting offstage, going into the studio the next day. So we’ve had studios in South Africa, we’ve had studios in America, we’ve had studios all around Europe, we’ve been in Jamaica”.

This could have otherwise been difficult, especially given the guest vocalists involved – along with omnipresent pop singer Ed Sheeran, who sings on lead single ‘Bloodstream’, the record features the likes of Bobby Womack, Foy Vance, Dizzee Rascal, MNEK and Lianne La Havas.

“We met Bobby Womack at [Later...

With] Jools Holland. We were performing and he was loving our performance and after we finished he came up to us and was like, ‘Guys, that was amazing.’

And we were like, ‘Wow, this is Bobby Womack.’ You know, he’s a legend. So we exchanged details and always planned to get in the studio. Unfortunately his health deteriorated and we never got a chance to get in the studio with him. Then he unfortunately passed away, but his wife contacted us and said he had this amazing song, an a capella called ‘New Day’ that she would love us to work on. We worked around the a capella and made this amazing track. “[It was] such a honour to be able to work on a track with Bobby Womack’s vocals. It’s something we can look back in the future and no matter whatever happens, we were lucky enough to work with Bobby Womack. It’s definitely a very proud moment.”

Womack’s admitted fandom illustrates the sort of heights Rudimental soared to off the back of their debut release. However, this meant there were also major expectations on whatever came next.

“We never like to limit ourselves or put boundaries on what we do,” Dryden says. “When we write music, we don’t plan too much about where it will end up. But when we fi nished the album, we chose tracks that worked together.

There’s another 20 to 30 songs that could’ve been thrown on the album but didn’t quite fi t the whole feel of the album.”

“There was a bit of pressure,” Dryden admits. “One thing that we kept hearing was that the second album is a very important statement in your career. A lot of people have great breakthrough albums with their first album, and then their second one has dipped and hasn’t been as successful or hasn’t lived up to expectations.

While all the guest vocalists sound at home on We The Generation, the presence of sadly deceased American R&B legend Womack is of particular note.

“So there was a lot of pressure like that, but when we’re so busy and so much on the road and so focused getting all our music done and getting in the studio, we

tried not to let that affect us too much. The main thing for us was being really proud of the music we made, and I think that’s what shaped the album, rather than outside infl uences and pressure.

This is the message we wanted to show.”

Early next month, Rudimental will return to Australia for their third tour in as many years. Given the emphasis on electronic elements and the heavy reliance on guest vocalists, the band’s live show is a major production number.

“We have 11 band members onstage with us,” says Dryden.

“We have the four of us, Rudimental, with our instruments.

We have our brass section; we have four different vocalists, two of them being Anne-Marie and Will Heard, who feature heavily on the new album – they’re amazing to see live and they’ll be on the road with us, so I can’t wait to show them off to you guys, because they’re incredible talents. And we’ve also got our drummer, who’s got an amazing drum kit where it’s half-acoustic, half-electronic, so it mixes between the acoustic and electronic sounds of the album.

It’s a pretty full-on show and we’re dead excited to be coming out and playing songs from the new album.”

What: Vanfest 2015 With: Peking Duk, John Butler Trio, Birds Of Tokyo, Sticky Fingers, Illy and more Where: Forbes Showgrounds When: Friday December 4 – Saturday December 5 And: Also appearing at the Enmore Theatre on Thursday December 10 More: We The Generation out now through Atlantic/Warner thebrag.com

Dream On Dreamer Solace In Solitude By Thomas Brand

D

ream On Dreamer’s newest release takes the band in an independent direction – an alien journey considering they’ve made their name by working with a label for most of their career. The Melbourne post-hardcore outfit’s new approach has allowed vocalist Marcel Gadacz to work on his craft in a more earnest way, and his outlook towards independence is bright.

Dream On Dreamer photo by Mark Klienert

“I guess in some small way we still have that old-school mentality like bands like Fugazi,” says Gadacz. “When I was 16 or 17 or something I was into that straightedge hardcore. Obviously that’s changed, but compared to [what was then] going on in the scene, right now there’s nothing but pop art and pop music. It’s literally almost to a point where it makes you angry about what hardcore – or so they call it these days – has turned into. It’s an absolute joke.

We’re competing with charting next to Justin Bieber.”

Earlier waves of hardcore or metalcore bands wouldn’t ever have been heard on triple j or any largescale commercial music platform, but the genre has undergone some drastic changes in the past decade.

As far back as 2009, bands like Parkway Drive began appearing on indie festival bills. Electronic influences and cleaner vocals started co-existing in the music of groups such as Bring Me The Horizon, Enter Shikari and others, making the chaos of older metalcore styles more digestible for a discerning public.

While Gadacz admits there have been changes, both good and bad, the newfound popularity of the heavy scene has worked in Dream On Dreamer’s favour.

“I’m not saying we’re not like that – we can’t help the fact that this

music is getting more popular in the ARIA charts,” says Gadacz.

“There’s nothing wrong with it, it just shows that there’s more chances and possibilities for these kind of acts to come out. In terms of the whole DIY thing, what’s the point? We’re trying not to be a band that just creates music, we create our own art – for example, when it comes to anything that we print, whether it’s T-shirts, CD artworks, everything, we’ve been able to create it ourselves.

“It’s really something where if you’re connected to Dream On Dreamer, you’re not just connected to the music, you’re connected to the lyrical side of things, to our art in general. For us, it’s a really good way to connect with the fans, especially on a personal level, as I’m behind the whole artwork. It’s something I can really embrace – I’m fully myself. I can put as much energy as I want into the art side of things, and people are connecting to it, and it’s one of the best rewards a band can have. It’s really amazing to see.”

Nevertheless, Gadacz believes there are too many heavy artists getting caught in the rock star mentality and forgetting what living as a band should be about. He sees it as a generational issue, as if the old wave of metalcore that people like him grew up with isn’t reaching the youth as it did previously.

“We don’t really feel inspired by the industry at the moment,” says Gadacz. “We don’t feel inspired by what’s going on. When you are involved with this stuff, you realise how fake everything is. Society is already fake as is; if we want to be in a scene where people are divided, where there’s a true passion or true movement or unity,

mental states and the like, I think you can’t be doing what the bands are doing at the moment – doing the whole pop thing and betraying people or falling into their hands about things. The industry is so full of lies. It gets you to a point where I’d rather play to 50 people who actually give a shit over 5,000 people who just came because they were told to be there, told to like this because it’s what the industry does.

“That’s just frustrating to see,” he adds. “It’s not why we got into this

music in the first place. Bands like Fugazi, all that kind of stuff – we have our roots in that mentality, and the reason why those bands existed is that they didn’t want to get caught up in that fake stuff that’s going out. It’s just one of those things. I don’t know how many people give a shit these days and pick up that kind of stuff.

Obviously we have younger fans as well that have no idea about these bands. They don’t know about bands that might come from a Deathwish label – they don’t know who Converge is. They don’t know

that kind of stuff, and you can’t really blame them.

“But you can set that example in the modern industry to be inspired by bands like ours, rather than – not to name anyone – but other acts.”

What: Songs Of Soulitude out now independently With: Polaris Where: Factory Theatre When: Friday November 20

The Brag presents An evening of faded glamour, true romance and siren songs with

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RHYTHM HUNTERS

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SATURDAY 21st NOVEMBER 2015

playing the internationally acclaimed album True Believer

+ SPECIAL GUESTS SI MULLUMBY (WILD MARMALADE) NICKY BOMBA (MELBOURNE SKA ORCHESTRA)

Thursday 19th November

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Tickets at Trybooking.com "Unique and uniquely valuable" Sydney Morning Herald "a rich baritone cocktail of spoken word, singing and crooning. It’s intoxicating. Must be experienced."

Rip it Up Magazine "more than just a singer, more than just a poet, but some exciting new thing in between."

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www.michaelcullen.info thebrag.com

BRAG :: 639 :: 18:11:15 :: 11

Ron Sexsmith Around The Bend By Adam Norris

2

0 years ago, Ron Sexsmith released his eponymous debut album, and started the ball rollin on one of the most quietly smouldering, critically acclaimed careers in music today. Lauded by the likes of Paul McCartney and Elvis Costello, he has just dropped his 14th album, Carousel One, and is embarking on his first Australian tour in six years. We were willing to forgive his absence if he agreed to open up on his writing practice and plans for the future, and the man sure doesn’t disappoint.

“There’s never a time when I’m not writing – I’m always working on something,” Sexsmith explains in a measured Canadian drawl. “I’m working on songs right now, in fact, for whatever my next record ends up being, and lately we’ve been touring a lot, so there really hasn’t been that much time for anything else. When I’m home, though, I don’t really have a lot of hobbies.

My friends and I might play pingpong sometimes, but other than that, I like to just grab some drinks, go out and see a movie. It’s not a very exciting life, really, but I quite like those moments when I’m at home and don’t have to be anywhere or be anybody.”

It is an interesting aside, this notion of Sexsmith relaxing his public mask and slipping back into the everyday man. It is deceptively easy to fool yourself into thinking the person you hear in his vast catalogue of songs is the man himself; they seem so personable and direct. Though his songs are not always strictly autobiographical, Sexsmith is certainly a songwriter whose influences are clear, and he does not shy from expressing them.

“I’m very impressionable, and I think I’ve always worn my infl uences on my sleeve. On this record I think people can hear a whole range of artists who have infl uenced me. There’s a song called ‘No One’, which is very infl uenced by Roger Miller. A lot of the usual suspects: Gordon Lightfoot, The Beatles. I mean, I am 51, so most of the music that really infl uenced me was stuff I heard as a kid, and I’m just fortunate that I grew up in such a melodic period. I’ve just written a novel recently, and I’m a big fan of Dickens – he was a big infl uence, although I wouldn’t quite dare compare my book to him. But these people just set a high bar, and you’re trying to reach it.”

That Sexsmith has turned his hand to literature comes as a fi ne surprise, though with many singers celebrated for their lyrical prowess – think John Darnielle or Colin Meloy – the shift across to novelist seems somewhat inevitable. While many details of the book are still under wraps, the novel’s genesis makes for an interesting insight into how Sexsmith’s ideas develop in the first place.

“I’ve never really done anything like this before. I’m in a holding pattern here, waiting to see if the publishers like it or if they’ll pass.

I never thought I’d do something like this. I had the arc of the story first, and I didn’t know what it was originally. I thought maybe it was a song, a screenplay, I didn’t know. But when I got down to writing it, a lot of characters I hadn’t even thought about suddenly occurred to me, and it started taking on a life of its own.

“I guess that’s what happens. But I could always see this kind of end in sight. I could see where the story was going, I just wasn’t sure how to get there.

“There are some songs I’ve written over the years that are kind of story-songs,” he adds with a laugh, “that were sort of signs from a frustrated novelist.

So to actually write something that wasn’t meant to be set to music was something I always wanted to do. Plus it’s a kind of fairytale, which was unexpected.

Sometimes I’ll have an idea for a song that is more of a feeling than a topic, and I don’t quite know how to express it. Those are the songs I pull my hair out over, trying to put into words something that you’re not even sure what it is. I guess that’s the thing that I’m always chasing after in every record: a grand statement of something I can’t express.”

For now, there is Carousel One, and the promise to see Sexsmith in action throughout November.

He sounds eager to return and showcase an album that has already been celebrated as one of the strongest of his career; no faint praise for someone whose songs have been embraced by smitten fans and fellow singers alike.

“I’ve tried to write songs that were universal, that could be covered easily,” he says. “You just hope that the song’s foundation is strong enough that it can support whoever is doing it, though most of the covers were songs I originally just wrote for myself.

You’d like to think if someone has chosen your song, it’s because it speaks to them for whatever

reason. Maybe they just like the melody, I don’t know. Leslie Feist did a cover of ‘Secret Heart’, and I think most people know her version. Sometimes I’ll play it and someone will say, ‘Hey, I loved that Leslie Feist song you did.’

But that’s how it goes. I just write, and try not to get too tripped over by it.”

What: Carousel One out now through Double Cross/Cooking Vinyl With: Bob Evans Where: Newtown Social Club / The Basement When: Saturday November 21 / Monday November 23

Summer Flake Nothing But Time By David James Young laughs. “I’d add in, like, a single note over the top of one of the songs and think I’d done a great job – ‘That really added to the song! I might just do a few more of those!’ A few hours later, there’d be an orchestra of guitars over every single track. I gave myself some more limitations for this EP. I only had a small amount of time to actually produce and record the EP – I wanted it to be a more spontaneous burst of songs. It’s a lot more restrained in that respect, but I think it works in its favour.”

The Summer Flake sound is one that incorporates a myriad of guitar sounds, from layered distortion to ringing, shaken reverb. When queried on what the secret is behind getting the right tones and effects on her playing, Crase points to knowing her set-up a lot better and not constantly seeking out new toys as she has previously done.

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“This one had a couple of songs that came to me really quickly,” says Crase, the singer, songwriter and multi-instrumentalist behind the Summer Flake moniker.

“The chords kind of presented themselves to me, and I had even written lyrics for one song, ‘Number One’, that I just thought were going to be placeholders.

After a while, I realised the song was done – the lyrics were exactly what they needed to be. To be honest, I have guitar parts that fl oat around for years. At some point, they have to stick with me or I have to let them drift off.

That’s the hard part – it doesn’t always come that straightforward.

Because it’s all my project, I have

to know where to add in lyrics, what the right tone is for the song – it all factors in. It takes a little longer than I’d like it to, but at least it means I’m satisfi ed with the songs themselves.”

Time Rolls By arrives roughly two years after the release of Summer Flake’s debut album, You Can Have It All. Although Crase remains quite proud of what she achieved on that record, she knew that certain rules had to be implemented in order to not repeat herself – as well as not give in to previous indulgences.

“I must have done hundreds of overdubs on the last album,” she

“I got it in about 2003, when I was about 21,” she says of the instrument. “I bought it for myself as a birthday present. I’d been looking around for a guitar for years at that point. I use to frequent all the music shops in my area, and they all got to know me pretty well. One day, one of the clerks took me aside and said to me that he had a friend that was selling one of his guitars and knew I’d be interested. This guy was a collector of Telecasters – he already had about 50 at that point; God knows how many he’s got now. At that point, he was selling his Jaguars and his other models that weren’t really his cup of tea anymore. The Jaguar he showed me came along at the exact right time for me – it still feels right now. Every now and then, I’ll play a different guitar and it’ll be fun for a little while. I always go back to that Jaguar, though – it’s the right neck, the right weight, and it’s pretty, which helps.”

What: Time Rolls By out now through Rice Is Nice With: Matt Banham, Shrapnel Where: Vic On The Park When: Saturday December 5

thebrag.com

Xxx photo by xxx

fter a couple of comparatively quiet years, Melbourne-viaAdelaide’s Summer Flake, AKA Steph Crase, has returned to the fold with a batch of songs that may well be her strongest to date.

Time Rolls By is the latest EP to feature the Summer Flake name; a collection of five songs that reflect the project’s sweetly lo-fi and gently harmonic tendencies, matched up with some hazy, washed-out guitar work. Although certain material stretches a while back – single ‘The Sun Won’t Shine’ has been around in one way or another for the better part of five years – the release also features several tracks that arrived more or less fully formed.

“I’ve gone gear-mad in the past,” she confesses. “I’ve always had new pedals and other bits and bobs coming in and out of my setup. For the most part, though, I’m pretty solid with what I’ve got right now. I’ve been playing the same Fender Jaguar for a long time, I’ve got the same distortion pedals.

I feel like I’ve got a great sound going with what I have. There was one new bit that I hadn’t tried before on the EP, though. When I play live, I have a Dunlop tremolo pedal – one that has a lock-in wah that you can use for the speed of the tremolo sound. I love using it live, just as something to have in the background, but I’d never had the chance to use it on a recording before this EP. I used it on the song ‘Makes Me Wanna Cry’ and it sounded awesome.”

Talk turns to the aforementioned Fender Jaguar, which Crase has played since before she had even begun performing as Summer Flake. She counts it as her signature guitar – it has featured on every release she has recorded on, including her forthcoming second studio album, which she is projecting for release in the first quarter of 2016 following a brief tour in support of Time Rolls By.

Birds Of Tokyo Play It Again By Adam Norris the dots between these releases over the whole period, to link people in to where we’ve actually come from, what it is now and where it’s going,” says Kenny. “We came up with the idea of a playlist while touring overseas. People were asking us about our songs, and it made us realise that we have such a widespread range of material that is constantly being brought up by people. It made us think, ‘Man, we should definitely put this all out as a record someday and really canvas our [history].’

“But I also think that’s a massive part of today’s musical relationships, how everyone listens to music in their own little world. People are very much on a singular, one-song relationship with an artist. People go, ‘Oh, I love that song,’ and generally, they seem to be satisfied with that.

That one song means something special to them, and that’s great.

[There are] people who go a little further, who look into an artist’s history, but generally I think it’s very singular – it’s very short and sharp, quite concise.”

B

irds Of Tokyo are a divisive band, though it’s difficult to gauge exactly why that is.

They’ve found huge success since forming back in 2004, with four charting records and a compilation album, Playlist, now on shelves.

Some of that divisiveness seems to have roots in the inevitable criticism of any act that finds mainstream success, but these charges have little weight here. Birds Of Tokyo are far from a generic band, and each album sounds significantly different to the last. This was one of the main motivations in releasing Playlist in the first place – to show just how far the Perth five-piece has come, and unite songs that many listeners aren’t aware actually come from the same band.

“We’ve been a band for ten years, and in that ten years has come a hell of a lot of change,” says frontman Ian Kenny. “It’s changed who each of us are as artists, who we are as a band. So when you do get the opportunity to say what you’re about, especially overseas where you’re kind of new, you can bring to the table what the band is now, as opposed to what it was. So it does feel like you get a chance to reinvent yourself, and we definitely take each opportunity to do that.

We’re aware of where we sit in the public image, and in our scene.

It comes as part of the territory.

Things have grown as you get more access to people, people find more access to you – it’s all part of the territory of running a big gig.”

Playlist is an album in reverse, with songs arranged from newest to oldest. With new single ‘I’d Go With You Anywhere’ leading the charge, it’s a winding odyssey.

What distinguishes this from a ‘best of’ release, though, is the strange evolution of the band’s catalogue.

A recurring observation of Birds Of Tokyo is that while many are familiar with a wide sweep of their songs, a great deal are unaware there is one distinct band anchoring them all together. Playlist, then, operates both as a mirror of sorts for the band to reflect on how it has evolved, but also a chance for casual listeners to assemble this musical jigsaw.

“It certainly will be a mirror, but the whole idea was to kind of connect

While this does seem to be becoming a staple of music listening today – thanks largely to the digitised ease of access to individual songs – you nevertheless feel there must be a real frustration for artists in showcasing the full scope of their creativity. Though Playlist is indeed a means of addressing that, Kenny is quite accepting of the reality of musical consumption.

“Well, that’s the way people will choose to access music, and that’s just how they’re going to roll. Mostly that’s with your first-time or maybe part-time listeners. To our fans, who are actually well-informed about the band and know the records, who are interested in what we have to say, that’s something very different.

In my mind it’s like two different

parties happening next door to each other.”

It’s a neat analogy, and for anyone who has seen the band in the flesh, a very fitting one. Birds Of Tokyo gigs are hardly kick-back-and-relax events (“We really try to slam it out,” Kenny enthuses), and with a string of gigs in the next few months that includes Vanfest and Falls Festival, it’s going to be an ideal time for new audiences to see first-hand just how varied the band can be.

“I think the band suits festivals,” says Kenny. “We all enjoy writing big songs, and that’s where we find some of our strengths as writers. If you’ve got big songs, which I think we do, that’s where they really tend to work. We bust our balls on setlist design – whether it’s a city show or a festival, we really scrutinise what is going to be the best possible show. We talk within the band about that a lot, maybe too much. We do our heads in about it.

“But we’re always trying to create the best set for each show. ‘Does it have to be heavier this time, is it for a harder crowd, or can we be more diverse?’ We’re always happy to swap songs around once we’re there, but we really scrutinise the shit out of what we’re doing.”

What: Vanfest 2015 With: Rudimental, Peking Duk, John Butler Trio, Sticky Fingers, Illy and more Where: Forbes Showgrounds When: Friday December 4 – Saturday December 5 And: Also appearing at Falls Festival 2015/16, Lorne, Marion Bay and Byron Bay, Monday December 28 – Sunday January 3; and Taronga Zoo, Friday February 12 More: Playlist out now through EMI/Universal

The Bennies Get Down And Get High By Natalie Rogers

E

veryone’s favourite party animals The Bennies released their ultimate summer banger ‘Party Machine’ on triple j’s Good Nights recently, but when I catch up with guitarist Jules Rozenbergs, the boys are hard at work in the studio laying down tracks for the rest of their forthcoming album.

“We like to start the party when we record with a few beers and a few spliffs,” he says. “It helps to get out all the energy we’ve soaked in recently.

We’ve been on the road and met so many different people. I love travelling with the boys, and we’re closer than ever. I think that’s really going to come through in the music – and so far, so good. I just listened to the drums and they’ve come up really nice.

The Bennies photo by Ian Laidlaw

“This is the most prep we’ve done for any album before – I don’t know if that makes us sound better or worse!” Rozenbergs laughs. “But at the moment we’re really trying to create something special for us and for our fans.”

A handful of lucky punters will already have heard some of The Bennies’ new material at an intimate gig they played earlier this year. “We put on a small show at The Old Bar in Melbourne and played half a set of new songs. It was a good exercise in stress, actually, because we’re so used to playing our old set, but it went over really well and gave us a good idea of what people will respond to. Even though the crowd didn’t know the songs, overall it seems like everyone was pretty psyched, which made us more psyched. After the show, we were smoking a bit of weed and we were like, ‘Fuck yeah!’ thebrag.com

“Everyone has our backs, so we really can’t complain.”

The fun-loving four-piece recently supported US punk veterans Reel Big Fish and Less Than Jake on a national tour. “Us ska dudes have to stick together!” laughs Rozenbergs again. But after having to cancel their US tour halfway through last month, Rozenbergs says The Bennies are focusing all their energy on an 18-date Australian tour that kicked off last week. Determined to reach all points of the compass, they’ll tear the roof off venues in Hobart, Bunbury, Cairns, Darwin, Newcastle and everywhere in between.

“This time we’ll push ourselves to get even further north and further west,” says Rozenbergs. “It’s a sad reality that not every band can visit every town all the time, but it’s totally understandable because Australia is so fucking big! A lot of people miss out that aren’t in the main states or cities. I’m a music fan before I’m a musician, and it always means heaps to me when bands go out of their way on tour, and so it’s us paying it forward, and it means the world for us to do that.”

There’s no denying The Bennies are influenced by a lot of different bands.

The fact they promote themselves as a ‘psychedelic, reggae, ska, doom metal, punk rock band from hell’ gives you the idea they don’t like to be pigeon-holed – so I wonder who Rozenbergs was influenced by before he became a Benny.

“One of my big influences when I was a bit younger was The Bouncing Souls. The Souls are one of my

favourite bands of all time, and when I was a very young guy I got to meet Bryan Kienlen, their bass player. It was around the time I was starting my first band and I didn’t really have a clue, and I was finding it difficult to get going or find any traction.

“Anyway, I thought he was a god.

I could barely talk to him I was so nervous, but he talked to me as if I was just like him. He told me to just have fun, make time for my friends and one day I could be touring America. He didn’t talk to me like he was a rad fucking bass player who had played with everyone and made amazing music. He didn’t tease or talk down to me, or put me down, and I’ve always held on to that,” Rozenbergs says.

“Also, I’ve had the negative experience of when you meet your

heroes and it’s not always that great.

I won’t say who’s a fucking arsehole and who’s not, because that’s not good for anyone, but at the end of the day that does happen and it can crush young people’s dreams. I think sometimes musicians forget how much music can mean to people – music gets us through the darkness and it helps us celebrate the light, if you know what I mean.”

Two bands that will help The Bennies shine on this tour are The Hard Aches, a duo from Adelaide, and Melbourne’s Wet Pensioner. “The Hard Aches are an independent band and they’ve worked really fucking hard,” Rozenbergs says. “They’ve made a name for themselves, not just in Adelaide but around Australia. BD is the frontman of the band and he’s a great songwriter. If you like

the narratives that The Smith Street Band use, then you’ll dig them.

“They’ve done so much for the scene, so it was only natural that we wanted to get them on board and hang out with them. They’re great people and you wanna be able to hang out if you’re going to tour everywhere. Plus we’ve got Wet Pensioner, who are fucking mental as well. The band are really good friends of ours … They’re an up-andcoming band that we’re really excited about. They put on a great stage show and they bring the party – so everyone will have a lot of fun!”

With: The Hard Aches, Wet Pensioner Where: Factory Floor When: Friday November 27

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Vintage Trouble Hopeful On The Road By Augustus Welby

I

n August, blues rock conservationists Vintage Trouble released their second album, 1 Hopeful Rd. It had been four years since the LA foursome emerged with their debut LP The Bomb Shelter Sessions, and their profile had subsequently blossomed in all corners of the world. Having toured with the likes of Brian May, The Who and AC/DC, there was a lot of attention focused on Vintage Trouble in the lead-up to 1 Hopeful Rd., which the band confidently took in its stride.

“When The Bomb Shelter Sessions came out, it was kind of just our calling card – it was really just a demo,” says bass player Rick Barrio Dill. “We recorded it in twoand-a-half days after only being a band for three months, and then have been on the road the last four years supporting what ostensibly was a demo. A lot of songs were born on the road, because we were definitely a live band. So we really wanted to do the traditional record thing, but we had to choose from 37 songs, many of which had been road-tested. So it wasn’t so much that there was pressure as it was just exciting for us.”

The Bomb Shelter Sessions contained quite a few gutsy, oldfashioned rock’n’roll tunes. By contrast, the band’s new release is a tamer beast, with greater focus on building up emotion via soul numbers and blues ballads.

“What we finally decided to do was, ‘Let’s just make the best record right now, as far as songs,’” says Dill. “Some of that was wanting to showcase more of the ballads and more of the soulful side, as well as having an equal part of that crazy live thing that we’re known for. At this point we had gotten such confidence and such swagger from the last four years, from the fans that we had built up, that we

almost felt there was a big safety net there.”

Vintage Trouble formed roughly five years ago, but the four members had all previously worked together in different outfits on the LA scene. While they weren’t banking on Vintage Trouble becoming a career project, there was a distinctly different attitude from the outset.

“We just wanted to stop chasing anything and just make music that we liked,” says Dill. “It wasn’t fashionable five years ago to even be thinking of the type of music that we were doing, especially in Los Angeles, but we just wanted to make music that we liked from the time period that we liked. Lo and behold, we had a gig three weeks after being a band and immediately it just took fire, and before we knew it we had four residencies a week all over Los Angeles.”

During the construction of 1 Hopeful Rd., Vintage Trouble were intent on producing a captivating start-to-finish album journey.

Despite the advances in their creative bond, certain elements of the Bomb Shelter Sessions recording process were carried over.

“We tripped onto our mantra on Bomb Shelter Sessions in that we were trying to only make something so we could sell it at our gigs,” Dill says. “Three months in, we had so many people coming out to the gigs, and we had to put something onto CD so we could sell it at gigs. So we just went into the studio and all set up in a circle and just got ’em down live. Most of what you hear is us all playing together all at the same time. Even Ty [Taylor, vocalist], even though he was in the side booth, he was singing at the same time as we were laying it down.

“That was something that we held onto for this record, and in that comes a little bit of that recklessness and danger or excitement. Some things aren’t perfect – we’re not fixing things in Pro Tools. Hopefully the honesty still shines through, because I definitely think that was something people associated with it. It was sort of opposite the trend, especially with more popular forms of music where everything is really, really perfect.”

Taylor’s rich, soulful vocals and charismatic personality are the locus of much of the band’s appeal.

From a creative point of view, however, there’s no clear leader of Vintage Trouble.

“Obviously Ty is your quarterback – he’s arguably one of the greatest

singers and frontmen on the planet,” Dill says. “But we’re defi nitely four alpha personalities, which is interesting. On paper it probably wouldn’t work, but that was another thing we realised early on – this odd collection of these alpha males, there’s a lot that each one brings to the table.

“Our biggest challenge is getting out of our own way. Sometimes somebody’s headstrong and luckily there is a respect that goes around the table. If somebody else is particularly headstrong about a certain issue or part or whatever, we’ll try it. We try all kinds of things to give everybody that respect. That’s probably one of the oddities that I think is so amazing about Vintage Trouble.

Our age – we’re a little older, and if you throw too much testosterone

and youth into that mix, obviously it self-destructs and explodes, but I think we realised early on how lucky we were to be in a room with each other. All of us realised how lucky we were to fi nd chemistry. That was the magic interlocking thing.”

What: Bluesfest 2016 With: The National, Tom Jones, Kendrick Lamar, Noel Gallagher’s High Flying Birds and many more Where: Tyagarah Tea Tree Farm When: Thursday March 24 – Monday March 28 And: Also appearing at the Factory Theatre on Thursday March 31 More: 1 Hopeful Rd. out now through Blue Note/Universal

Halestorm When The Weather Rolls In By Rod Whitfield Being that it’s his first trip to Australia in any capacity, Hottinger is reserving his judgement as to what he is expecting from our country and its crowds.

“I don’t know what to expect, which is kinda half the fun, but from what I’ve heard from all of our rock buddies that go to Australia and New Zealand, [they] say you’ve got some of the best rock crowds in the world.

That sounds good to me – I can’t wait to experience that for myself.”

Halestorm, fronted by Lzzy Hale and rounded out by her brother Arejay (drums) and Josh Smith (bass), promise to bring a big, cathartic and emotional but no-nonsense rock show to Australia, taking in all three of their studio albums and some tracks from their earlier EPs.

I

s the life of a successful travelling musician more of a long-winded holiday than actual work?

Someone who does manual labour for a living might think so, whereas the musicians themselves enduring the interminable hours of travel in between shows may disagree. Joe Hottinger, long-time lead guitarist 14 :: BRAG :: 639 :: 18:11:15

and backing vocalist for American rock sensation Halestorm, ponders this during some very rare downtime at home in the lead-up to the band’s very first tour of Australia and New Zealand this December.

“I haven’t been to Australia before, even as a tourist,” Hottinger says. “We

don’t get around, man. We’ve never actually been on vacation. Granted, we travel constantly, and to me, life is kind of a vacation. I do what I love with people that I love, and it’s awesome!

But yeah, we’ve never vacationed before, so it’s kind of exciting to get to these new places, and maybe one of these days we will.”

“So yeah, we’ve been building a lot of improv into our set. Like, we try to trick each other, you know? It’s a blast! It’s rock’n’roll – we’re not saving any lives here, it’s a rock show.”

In fact, the band members are tossing around an unofficial title

Joining the December dates are the originally Australian but now Los Angeles-based rockers Bellusira, and Hottinger can’t wait to get on the road and share the stage with them.

“I love those guys!” he enthuses.

“We met them in LA when we went out there; they’re the sweetest people and they’re so good. We went to see them there when Will Hunt [Evanescence] was drumming for them, and it was such a good rock show. It was just awesome. They are true rock warriors.”

Halestorm have been on a very steady rise since the release of their self-titled debut album back in 2009, to the point they have a list of tour dates in front of them stretching out as far as the eye can see. The demand for them to play, worldwide, is virtually non-stop.

“Yeah, it really hasn’t slowed down, it’s been just growing,” says Hottinger. “Since I joined the band 12 years ago, it’s been nothing but a growing behemoth, really.”

What: Into The Wild Life out now through Atlantic/Warner With: Bellusira Where: Manning Bar When: Sunday December 13

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Xxx photo by xxx

“We always say that when you come and see Halestorm, what you see is what you get,” says Hottinger.

“There’s no trickery, there’s no backing tracks, we don’t even use a click track. We like to be able to do anything at the drop of a hat.

I just love feeding off the energy of a crowd, and I know Arejay our drummer does too. If it’s a great crowd, sometimes the songs are going to be a little faster, and that’s alright!” he laughs.

for the upcoming tour. “As Lzzy was saying, we’re calling this the ‘Do Whatever The Fuck We Want Tour’,” Hottinger laughs again.

“We’ll probably play some of the new record, play a bunch of the old songs, stuff we haven’t played for a decade.”

Metal Allegiance The Soundwave Supergroup By Rod Whitfield

I

live-orientated project paying tribute to some of the members’ favourite classic bands, to a fullblown original group that has just released its debut record.

t’s difficult to believe that an all-star collaboration like Metal Allegiance – one that features some of the biggest names in heavy music history – had relatively humble beginnings. The core of the project alone features members of Anthrax, Megadeth and Dream Theater, let alone some of the other artists who have contributed along the way.

But according to former Dream Theater drumming extraordinaire Mike Portnoy – speaking from “somewhere in Oklahoma” on tour with one of his many other projects, The Winery Dogs – this is absolutely the case.

“It was always just a thing where we would play covers – bands like Sabbath and Motörhead and AC/ DC and Maiden and Priest,” says Portnoy. “That’s how it started.

Finally, last year, we were doing it on the Motörboat [Motörhead’s heavy metal cruise ship], and we had this idea – ‘Hey, what if we got together and did an album of original material?’ So now we have it broken down to a core band – myself, David Ellefson and Alex Skolnick [Testament], along with Mark Menghi, who is the business guy behind it all. So that’s how the album came about, where we had about two dozen special guests, and there you go!”

“Before we did the [2015 self-titled] album, years before, this thing started back in 2011 as a live thing first,” he says. “It started small – the very first one took place around the Big Four show in California, the spring of 2011. It was just the four of us: myself, Charlie Benante and Frank Bello from Anthrax, and David Ellefson from Megadeth, and it started as a clinic.”

And in even more exciting news for Aussie classic metal fans, Metal Allegiance have been booked to play the Soundwave tour early next year, which will be – surprisingly, given the bands he’s played in over the years – Portnoy’s first-ever appearance on the festival lineup.

From those modest beginnings, the project quickly expanded into the monster conglomeration it is today. “We did it about six months later when the Big Four played in New York,” Portnoy continues, “and that time we were joined

by Kerry King from Slayer, Phil Anselmo from Pantera and Scott Ian from Anthrax, so it grew from four people to seven people. Then we did it a few more times over the years, and it grew into ten people, then 12 people, and it just kept growing and growing and growing.”

“Man, I am so stoked,” he says.

“I have been wanting to play Soundwave my whole career.

Every year it comes and goes, and I’m in six different bands at the moment! I kept waiting for at least one of my bands to get invited, and it’s fi nally happened for Metal Allegiance. So I’m really, really glad to be making it back out there again, and fi nally to play Soundwave for the first time.”

That journey has brought Metal Allegiance to late 2015, having morphed from a fun clinic and

Since Portnoy left perhaps the biggest progressive metal band of

all time, Dream Theater, back in 2010, he has experienced massive demand for his services, and he is now in the enviable position where he can pick and choose from some of the world’s best players to collaborate with.

“I have to respect the people I’m working with, first and foremost,” he says. “At this stage in my life, after 25 years in Dream Theater, I’m fortunate to be in a situation where I don’t really have to do anything. I can choose the things that I want to do, and people I want to work with.

“The people I’m working with now are people I admire and respect – everyone from Billy Sheehan and Richie Kotzen in The Winery Dogs, to all the guys I’m working with in Metal Allegiance. I get to play with Steve Morse, touring

with Twisted Sister; it’s all musicians and bands that I admire and respect. And I thank God for that.”

He also sees it as the fulfi lling of his adolescent fantasies. “It just comes down to the fact that I’m still a music fan. I’m still that 13-year-old kid sitting in his room listening to KISS records; I’m still that same person. I’m fortunate to play with a bunch of people I respect and admire, but I work as hard as I do because I’m still a music fan and I want to do lots of different things. I want to do a prog thing, I want to do a metal thing, I want to do a classic rock thing – I just have this musical itch that I have to constantly scratch,” he laughs.

As far as the Metal Allegiance project is concerned, its very

nature means it’s difficult to make future plans, so Portnoy and co. must play things purely by ear.

“Because there’s so many people involved, it’s hard for us to do a traditional tour,” he says. “So we can really only function when opportunities like Soundwave come around – festivals or one-off shows or events where you can try to nail a bunch of us down at one place at one time. So we’ll just continue to do things like that.”

What: Soundwave Festival 2016 With: Disturbed, Bring Me The Horizon, The Prodigy, Deftones, NOFX and more Where: Sydney Olympic Park When: Sunday January 24 And: Metal Allegiance out now through Nuclear Blast

LIVE NATION PRESENTS

WITH SPECIAL GUESTS

AUSTRALIAN 2015 TOUR SUNDAY 13 DECEMBER

MANNING BAR FOR TICKETS AND MORE INFORMATION GO TO LIVENATION.COM.AU

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WWW.TICKETEK.COM.AU

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Palms Racking Up The Hits By Chris Scott

W

e enter the scene with an old-school VW convertible cruising the streets of suburban Sydney. It’s packed to the rafters with the four members of Palms – Al Grigg, Brendan Walsh, Tom Wallace and Dion Ford – each one looking more chilledout and sun-baked than the next.

The clip for single ‘Bad Apple’ flips the iconic ’90s skate video genre on its head. Instead of the extreme stunts and bone-rattling falls, nonchalant rollerblading and a total lack of skill reign supreme.

Palms’ second album, Crazy Rack, throws up slices of thrash-pop and droves of fuzz imbued with this same irreverent larrikinism. It’s why I’m intrigued by the lyrics of guitarist and vocalist Grigg, which belie the effervescent nature of the music.

“I sort of need to care about wanting to play the song night after night to be able to draw from something to perform it all the time,” he says. “It needs to come from somewhere sort of real, or at least honest. And it’s also cathartic for me, I guess, to get these things off my chest or work through my thoughts.”

Grigg says his writing process begins in a secluded and contemplative environment, fuelled by an organic drive. “Because when I start writing the song anyway I’m on my own in my room, usually playing acoustic guitar, so even the more punkier songs or

the more sort of energetic songs all start out just on acoustic guitar.

So it’s a very kind of – I guess isolated, personal, and probably kind of introspective sort of place a lot of the songs come from.”

Palms’ music is inherently instinctive. Every wail of the wah pedal and landing blow of the rhythm section is the product of an uplifting collaboration shared with close mates. “It’s like me going and I’m playing with my friends and you put the drumming behind everything and it lifts it up,” Grigg says. “The music is this really joyous thing, an exciting thing and a happy thing.”

It’s a component of the new album that, as Grigg suggests, allows fans to connect with the music on different levels. “So if you want to find the intensity and you want to have this sort of emotional response to the album, then it’s there and you can find it. But if you just want to tap your foot or sing along or jump around, then you can do that as well. It’s all kind of there.”

For Crazy Rack, Palms once again recorded with good friend Owen Penglis (Royal Headache, Straight Arrows), splitting time between Sydney’s Linear studios for live tracking and Penglis’ basement studio, where they pieced together overdubs, vocals and other bits and pieces. It’s the fervent energy of the band and Penglis’ natural feel

for production that have injected these new tracks with a propulsive immediacy.

“Owen is definitely a ‘less is more’ kind of guy, so if you can take something away, he will: ‘Instead of having a distortion pedal, let’s just drive the amp harder or just sort of keep everything very simple,’” says Grigg. “If you let a band just sound like themselves, you get a better chance of that band having something sounding idiosyncratic; having something that another band’s not going to have.”

Beyond the familiarity and conceptual clarity offered by Penglis’ recording method, his impressive arsenal of quality vintage gear – everything from reverb units to classic microphones and a hefty reel-to-reel eight-track – helped shape the album’s sonic fabric.

“Owen has this amp, it’s an old Australian brand called Goldentone, and he’s got an amp that sounds like fucking magic,” says Grigg. “It’s all over our record and I’m pretty sure, because Owen just did a bunch of stuff on the Royal Headache album, I’m pretty sure it got a run on that album too.

Everyone that plays it is just blown away.”

What: Crazy Rack out now through Ivy League

The Coronas Long Way To The Top By Thomas Brand

A

s a band, you can only go so far in a single scene before you can’t expand any further.

The Coronas have come to the conclusion that the sky is the limit for them, riding off several number one chart spots and sold-out shows in their native Ireland. They’ve set their sights on cracking into the British market, perhaps even toying with the idea of targeting the international scene in a bigger way than before. This ambition has seen the band evolve in many ways, as frontman Danny O’Reilly paints a picture of four rockers who won’t be content with anything less than success.

“We’ve been very lucky that our first couple of albums did really well in Ireland,” says O’Reilly on the phone from his homeland. “We released them ourselves independently.

We took the decision to move to London to see if we could give it a go there, and creatively we wanted to change, we wanted to take ourselves out of our comfort zone, which the move became in a way.

We got a record deal, a promotion deal and the crowds are growing, the tours have been growing, and we’re really excited about that. Even with Australia, we came there last year and were surprised by the crowd. We really enjoyed it and hopefully we can continue to build on that.”

The Coronas’ loyal fan base had developed substantially over seven years before they finally made the decision to relocate to the UK. However, there’s still a gap between their drawing power on international stages and their home turf. It’s kept receptions mixed for the band, but O’Reilly seems to enjoy playing in any scenario – although the support of the Irish scene has made the move to London easier.

16 :: BRAG :: 639 :: 18:11:15

“When we started out, we were doing everything ourselves. We had our own music scene that we hit and spread out in through word of mouth, but we were of the opinion that someone would come and pluck us out of the air. I think it’s the same in any industry, though – you have to put yourself in the shop window. We had to put ourselves out at the bottom of a new ladder to climb up with London. I suppose it is unusual to be so big in one area and not the other, especially since we’re not really an ‘Irish’-sounding band. We wouldn’t consider our music Irish in that sense, really. But I guess it’s cool to have such a big, loyal fan base here.”

It’s odd to think that two countries like the UK and Ireland, which are geographically close and share a language, could have such separate and distinct music scenes. Along with changing the way they saw themselves as professionals, The Coronas took on the UK by altering the way they approached their music.

“The album before last [2011’s Closer To You], we wrote a lot of it in a place in Dingle in Ireland,” O’Reilly says. “Beautiful part of the world. We wrote most of our last album there. We were really happy with it. When we started writing for this album [2014’s The Long Way], we went down to Kerry County again in the same way with ten songs that we thought were quite good. When we moved to London, we started writing and reignited our ambitions. As I said, we saw the ladder and realised we were in a much bigger game.

“We took ourselves out of our comfort zones, pushed ourselves a bit harder and in the end only one of those ten songs we wrote in Ireland made it to the album.

Most of the new songs came from when we were in London. I think that shows we improved our songwriting, seeing all these new tracks over the old songs.”

After one geographical change improved The Coronas’ creative palette, they’re now beginning

to cast an eye overseas, with ambitions beyond the occasional tour.

“Even now we’re thinking, ‘Where do we take it for the next one?

Where do we go past London?’”

O’Reilly says. “We live there now, it’s great, but maybe it’s time for a change. Maybe we should go to America. Even then, we’re hoping to take it to Europe next year. Our record deal with Universal means we can release the album in lots

of different territories. We’re in two minds about what we should do with the next one, and how we approach that – that will take us on a bit and get us focused, change the way we perform even.”

What: The Long Way out now through Island/Universal With: Mick McHugh Where: Factory Theatre When: Friday November 27

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xxx by xxx

“Luckily we’d been doing quite well [before the move],” says O’Reilly.

“We get a lot of radio play here. We played our biggest headline show in February at the 3Arena in Dublin, which was 14,000 capacity and sold

out, if that gives a bit of an indicator of the level of popularity here, which is so cool. We still need to expand, build and improve into other territories. Doing the smaller tours and smaller venues is great as a band, but it’s still great to be able to go back and do the big shows as well as travelling overseas. We get a kick out of doing both. They’re both quite different.

arts in focus

arts news...what's goin' on around town... with Chris Martin, Sam Caldwell and Tegan Reeves

free stuff head to: thebrag.com/freeshit Through A Beaded Lash

five minutes WITH

TERRY SERIO FROM A RIFF ON KEEF: THE HUMAN MYTH

Through A Beaded Lash photo by David Jeffrey

do a deal with the devil like his idol, Robert Johnson? He certainly seems to move above the realm of mere mortals. His life seems to be part-miracle, part-legend, part-hoodoo man.

Your background isn’t only in acting – what else are you bringing to the role, starring as the man himself?

I also have my own band, The Ministry Of Truth, and recently recorded a soon-to-bereleased studio album with Simon Relf from The Tambourine Girls and Marcus Gordon from Spookyland (produced by Tony Buchen).

So you bring these kind of cool experiences to the table so that being Keith onstage, in the band onstage or studio, or swanning about in one of his mansions, is the most normal thing in the world. Hanging out in a previous life with my old pal Michael Hutchence helped, and not unlike Keith I’ve battled some furious demons myself and survived.

W

hat is it about Keith Richards that makes for such a good story?

Everything about Keith seems to resonate with black cat bone, magic… Did he

You also went the extra mile in costuming for the role – tell us about your skull ring.

The ring is my Keith totem. It is special. Since Keith himself was given his ring all those years ago, I’ve never seen a photo of him without it. I had to find one of my own I could endow with that same kind of magic. Luckily my now dead friend, the legendary Ian Rilen, was once married to Sofia Fitzpatrick, who makes skull jewellery in Sydney. I rang her

and said, “Something Keith, this way comes.”

She laughed and said, “You need a skull ring.”

Does the play take a sincere approach to Keef’s life, or is it as tongue-in-cheek as perhaps the man himself?

Magic, mystical, sincere, arrogant, outrageous, fantastical, deluded, wealthy (over $300 million): all these words resonate ‘Keith’. And within these words is a simple man of music.

There is a UK show on TV where Mick and Keith run a corner shop. Parody is fun but ultimately kind of undermines something he has already done and is an expert at – selfparody – so within this crazy world of Keith I am looking for a kernel of truth, a glimpse of the man.

Rumour has it Keef is actually immortal.

Does the current generation of rock stars have anyone to rival him?

You’ll have to come see the play, but let me just pose the question: in a head-to-head for immortality for Lord of The Underworld, who would win – Nick Cave or Keith?

What: A Riff On Keef: The Human Myth Where: SBW Stables Theatre When: Wednesday November 25 – Saturday December 12

no doubt have Sydney audiences in stitches too.

It’s only on for two nights, so be sure to get there while you can. Hills will play the Concert Hall, Sydney Opera House on Wednesday January 13 and Thursday January 14.

Judith Lucy

CUMMINGS’ NEW PAINTINGS xx

Entitled New Paintings, Elisabeth Cummings’ latest exhibition is just that – a series of her newest works. It has been said that Cummings’ work from the last 15 years has been some of her best, ensuring this exhibition features potentially the finest work in her career. She is credited with influencing many other Australian artists with her abstracted style and use of colour, and has not let age deter her from international endeavours, recently returning from a residency and exhibition in Hong Kong, along with a 2014 residency in Waiheke, New Zealand. New Paintings is showing at King Street Gallery until Saturday December 19.

DODARLO FOR CHRISTMAS

THERE’S A MOTH IN THE HOUSE

Comedian Judith Lucy has announced her return to the Sydney stage for a week this summer. Lucy will be performing her stand-up show Ask No Questions Of The Moth, which won her the 2015 Helpmann Award for Comedy. She has spent the year busily touring the show to sell-out audiences across Australia, following the success of her ABC series Judith Lucy Is All Woman, which aired earlier this year. You can see her live at the Drama Theatre, Sydney Opera House from Wednesday January 27 – Sunday January 31.

Reviewing The Situation © Mark Baxter

CARRIAGEWORKS CARRIES ON

Carriageworks, Eveleigh’s home of the creative and performing arts in Sydney, has announced the full details of its expansive 2016 program. The year will kick-start with the new-look FBi SMACs, now transformed into a full-blown music festival on Sunday January 10 ahead of the awards ceremony on Tuesday January 12. Its lineup of local performers includes Cosmo’s Midnight, Tuka and Dustin Tebbutt. Other highlights on the 2016 Carriageworks program, which features 54 different projects, include the return of US artist Nick Cave with Heard, a performance that will stretch across Sydney, Korean boy bands Boyfriend and JJCC doing sets for Chinese New Year, and the Sydney Symphony Orchestra’s new work Crossing The Threshold. Elsewhere, Sydney Chamber Opera will collaborate with Carriageworks on O Mensch!, and the Sydney thebrag.com

Gay and Lesbian Mardi Gras will take over the precinct with a massive party, Day For Night, on Saturday February 20. There will also be a bevy of visual and installation art from the likes of Katthy Cavalerie and Francesco Clemente; dance from Anne Teresa De Keersmaeker, Stephanie Lake, and Force Majeure with Dance Integrated Australia; and experimental music from Christian Fennesz. Carriageworks’ full 2016 program and ticketing details are available at carriageworks. com.au.

WE’RE NOT OVER THE HILLS

Adam Hills is bringing his latest stand-up show, Clown Heart, to Sydney this summer. It’s been three years since Hills has taken the stage in his hometown, having been kept away with his hit TV show The Last Leg on Channel 4 in the UK. A sell-out at both the Melbourne Comedy Festival and Edinburgh Fringe Festival, Clown Heart will

Following on from the Darlinghurst Business Partnership’s highly successful DoDarlo event in June 2015, plans for a second instalment to celebrate Christmas have been announced.

Taking place on Saturday December 5, the DoDarlo Xmas Party aims to showcase stores in the Darlinghurst area, while providing a platform for local businesses to network with each other and their clients. Free drinks and nibbles, discounts, free workshops, giveaways and other special little surprises will feature on the day.

To celebrate the festive spirit, the Darlinghurst Business Partnership has created a number of limited-edition, specially commissioned gift labels in association with local artist Jodee Knowles.

Some of the venues and businesses involved in DoDarlo include Tap Gallery, Radio Free Alice, Go Vita, My Little Cupcake, The Record Store, Jason Moss Jewellery, The Makery, Old Growler,

THROUGH A BEADED LASH

Audiences are invited to step onto the faded ‘golden mile’ of Oxford Steet with Robert Allan’s Through A Beaded Lash, coming to the stage this month at The Depot Theatre. The play follows Adam and Zoe, the proprietors of a gay bookshop that’s been sold to developers after 25 years, and their discovery of some artefacts from the 1980s, when the AIDS epidemic was tearing a community apart. Director Julie Baz explores the perspective on ’80s Sydney life through the eponymous lashes of the drag entertainers who walked the streets in those long-forgotten days.

Through A Beaded Lash is playing from Wednesday November 25 – Saturday December 12, and we’ve got two double passes to give away for a performance of your choice. To enter the draw, head to thebrag.com/freeshit.

Grand Days East, Sydney Art Walk and many more. Full details can be found at dbp.org.au/ dodarlo, including participating businesses and specials.

MULTIPLE IDENTITY CRISIS

Guy James Whitworth’s fifth solo Australian show Artist/Activist/Arsehole is named in reference to the three separate elements Whitworth believes any good artist needs to maintain: the practical ability, the wish to make social change and the ego and ambition required to put that work out into the world. Coincidentally opening on the same night as a documentary made about Whitworth premieres in London, his latest offering highlights that he is indeed an artist with an agenda – one that focuses on bringing local communities together and breaking down social barriers and prejudice. Whitworth features the LGBTQI community heavily within his portraits, as well as the vegan community in which he campaigns constantly for animal rights and food equity.

Artist/Activist/Arsehole runs at the M2 Gallery from Thursday November 26 – Wednesday December 2.

DROPPED LIKE IT’S HOT

Presented by The Goods Theatre Company in association with Red Line Productions, Dropped is a darkly comic two-hander that tells the tale of two women soldiers sifting through the debris to find a sense of themselves among all the memories and lies, written by award-winning playwright Katy Warner. Dubbed “Godot with gals and grenades”, the show stars Olivia Rose (Arms And The Man, Gaybies, Packed To The Rafters) and Deborah Galanos (Misterman, The House Of Ramon Iglesia, Redfern Now) and is directed by Anthony Skuse (Blood Bank, Punk Rock, Constellations). See Dropped at the Old Fitz Theatre between Tuesday December 8 – Sunday December 20.

REVIEWING THE SITUATION

Hit cabaret production Reviewing The Situation will return to Sydney in 2016 after playing to packed houses at the Adelaide and Melbourne Cabaret Festivals. Returning for only five performances from early February, Reviewing The Situation tells the true story of Lionel Bart and his journey from rags to riches, and back to rags. Starring pianist, singer, writer and comedian Phil Scott as Bart, audiences are told the story of his demise from the successful composer of Oliver! and We Remember Them Well to a poverty-stricken alcoholic. Reviewing The Situation plays from Thursday February 4 – Sunday February 7 at Hayes Theatre Company.

Reviewing The Situation

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99 Homes [FILM] Live And Let Live By Ian Barr

I

n 2009, writing for The New York Times, critic A.O. Scott coined the term “Neo-Neo Realism” (the sub-header read “American Directors Make Clear-Eyed Movies For Hard Times”) to comment on a recent cluster of naturalistic, sociopolitically minded independent US films, all focused on the human face of America’s economic woes – including 2006’s Ryan Goslingstarring Half Nelson and the body of work of Kelly Reichardt (Wendy And Lucy, Night Moves).

The name most synonymous with this unofficial movement, according to Scott’s piece, was Ramin Bahrani, the writer/director of this month’s new real estate thriller 99 Homes, but then the director of micro-budget docudrama features Man Push Cart (2006), Chop Shop (2008) and Goodbye Solo (2009), each of which focused on characters of different ethnicities who embodied the American immigrant experience. The first of those films earned Bahrani the good fortune of being seen and endorsed by the late Roger Ebert when he saw it at the 2006 Sundance Film Festival – a major boon for any independent filmmaker, and a turning point for Bahrani.

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99 Homes centres on the relationship between an evicted construction worker (played by Andrew Garfield) and his evictor, portrayed with characteristic menace

by Michael Shannon, who offers him a rare chance at salvaging the home he’s lost with a partnership opportunity. To boil the film down to its elevator pitch, it’s the evictee eventually becoming the evictor.

“It was really [through] spending time in Florida and meeting people that I found the story. Most of what you see in the film is based on real things that I’ve seen and real people I’ve met,” says Bahrani. “I was trying to find a way to connect the story of someone who was evicted from their home with the highest level of the other side of the coin, and that was the real estate broker, because the evicted person wouldn’t be interacting with a Wall Street broker or someone in Washington, D.C. [This story] seemed the best way to dramatise what I was seeing, and then I just started researching from there.”

Following 2012’s At Any Price (starring Zac Efron and Dennis Quaid), 99 Homes sees Bahrani transitioning more gracefully into genre-oriented, melodramatic material than on his first three films, though it’s hardly a careerist move.

“It probably wasn’t in my mind when I was making my first three films,” he says of the idea of working with professional actors on what is, in an unconventional guise, a gangster picture. “There’s a style to this film that was new to me. There’s a

stylisation to some of the dialogues and the shooting that is hovering between stylisation and realism. It was a challenge to find that balance.

“With Michael, there’s no challenge, just endless joy, because he’s so damn good – just another level of actor,” adds Bahrani. “But then, there are non-actors in this film. The sheriff – he’s a real sheriff and actually does evictions. When Andrew’s knocking on doors to evict someone, every other person is a real person, and every other person is an actor – Andrew had no idea of which one was which.”

The kinship between 99 Homes and Bahrani’s earlier films is one of the reasons he resents being pigeonholed solely as a hardline realist filmmaker. “I respect Tony [A.O. Scott]’s writing very much,”

he sighs when I mention the aforementioned NY Times piece.

“As a filmmaker, I think it’s good to just put your head down and do the work.

“Sometimes I do wonder if critics spend as much time writing their reviews as we do making the films,” he deadpans. “When people say, ‘Why doesn’t he make films like the first three?’ – well, get over it. I want to keep changing and growing as an artist. So yeah, you wish people would just look at the film for what it is, and then think about it and make an analysis of it. The same way some musicians went from acoustic guitar to electric, I just want to do something new.

I’m very grateful Visconti made The Leopard and didn’t make La Terra Trema 13 times in a row – the same way it’s exciting to watch

Mean Streets transform into Last Temptation Of Christ.”

Following its well-received festival bows at both Venice and Toronto Film Festival, and its recent theatrical run in the US, 99 Homes has been critically acclaimed, though there remains one critic whose voice Bahrani misses.

“I dedicated the film to Roger, because I owe so much to him, and I hope he would’ve liked it. I told him the basic synopsis of the story while he was in hospital, about six months before I was able to make the film, and he gave it a thumbs up.”

What: 99 Homes (dir. Ramin Bahrani) Where: In cinemas Thursday November 19

thebrag.com

20:21 photo by Jeff Busby

“Like a lot of people, I grew up reading his reviews and watching his television show,” says Bahrani, citing Ebert as the source of discovering eventual filmmaking heroes like Martin Scorsese, Spike Lee and Mike Leigh. “He happened to really respond to my first film, and then became a champion of all my films.

And that was really important to me, because it gives you the courage to continue working, to not stray from your vision, but also opens the film to a larger audience. A lot of people came to watch my films because of

his support and his voice. Later, he became quite ill, and we became even closer friends.”

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

Hamlet

■ Film

SPECTRE In cinemas now The poster for new James Bond outing SPECTRE is of Daniel Craig in a black turtleneck against a grey background. After seeing the film, it’s understandable why they opted for such a beige promotion: this is by-thenumbers Bond, adequate but little else.

■ Theatre

HAMLET Playing at the Playhouse, Sydney Opera House until Sunday December 6 Prince Hamlet smells a rat. Something is rotten in the state of Denmark, but it’s not the rotting corpse of the King that’s causing all the stench. Set in modern times, director Damien Ryan’s production has all the hallmarks of a political Cold War thriller.

The palace of Elsinore is awash with secrets and lies, and brimming with eavesdropping spies and electronic bugging devices. The royal Danes are gripped by the fear of invasion by Norway, and Hamlet’s uncle Claudius (Sean O’Shea) wastes no time marrying Queen Gertrude (Doris Younane) and seizing the crown, while gaining an enemy in Hamlet.

The use of a simple but clever set, smoke machines and some very effective lighting enhances the eerie setting. The phantom apparition enlightens the young prince about Claudius’ evil doings in order to become King, then urges Hamlet to seek vengeance – and so the tragic demise of the royal court is set in motion.

Josh McConville’s portrayal of Hamlet’s chaotic and increasingly unhinged mind is energetic, unpredictable and refreshing. McConville brings a physicality to the role that has been missing from some past productions, and his clear and engaging tone when tackling Shakespeare’s most-loved soliloquies is impressive, while his emphasis on important plot points keeps the story flowing at an agreeable pace.

Hamlet photo by Daniel Boud

Homeground photo by Prudence Upton

O’Shea is a compelling Claudius as he grapples with a murderer’s conscience, and Younane’s performance in the final scene is enough to make you think twice next time you’re offered a drink.

Although often seen as a second-tier character, Philip Dodd’s Polonius is an absolute scene-stealer. The actor’s confident and seemingly effortless understanding and interpretation of a complicated text is a joy to watch, and much appreciated in the moments when the narrative reveals a twist. In a genius move, he pops up again in the role of the gravedigger, bringing some welcome comic relief.

However, Dodd isn’t the only actor to take on multiple characters, as more than half the cast appears in dual (or even triple) roles, causing some confusion – as do the gender-switched roles of Marcellus (Julia Ohannessian) and Bernando (Catherine Terracini), which reverse the tradition of Shakespeare’s time when men played all female characters.

This production of Hamlet by the Bell Shakespeare Company has lived up to the its reputation for depicting Shakespeare in a relevant and accessible fashion, proving that his plays have mass appeal – which is exactly what the master playwright intended.

Natalie Rogers

thebrag.com

After the events of Skyfall, MI6 is in disarray, and a disastrous outing for Bond (Craig) in Mexico City further places the 00 program in jeopardy. But Bond is onto something, and outside of official channels, he begins the hunt for a criminal syndicate with global ambitions.

Opening with a pointless text intro, we are thrust into a satisfying (if poorly grounded) action sequence, followed by the standard slow drip of information: just what is Bond supposed to be seeking? What leads Bond to his (and our) discovery of SPECTRE is still hard to say, excepting one posthumous assassination request and the standard array of kills and seductions quickly forgotten.

Much has been made of the presence of Monica Bellucci and Christoph Waltz in the

Spectre film, but neither has anything into which to sink their teeth.

Bellucci’s role is a glorified cameo, and Waltz, despite being a phenomenal performer, is relegated to a few villainous set pieces and remains mostly in the shadows.

Keeping Waltz concealed sounds like an effective strategy, but his reveals are rather meaningless, and his ultimate motivations overwhelmingly petty. Even the greater comments the film has to make about surveillance are side notes to the main plotline, one that ties all of Craig’s

films together and yet remains disappointingly thin.

Gone is much of the experimentation and visual flair that made Skyfall so divisive and intriguing. Wondrous possibilities are wasted – a sequence where Bond is tortured with the threat of disorientation and memory loss results in him being wholly unaffected.

Insights into the lives of Moneypenny (Naomie Harris) and the lovable Q (Ben Whishaw), as well as competent action sequences, are fun but not enough to recommend

the film over any other in the franchise. Sure, it’s finally gotten its sense of humour back – the best relic from the more camp days of the series – but a few visual gags can’t carry an otherwise overlong and uninspiring narrative.

Director Sam Mendes’ formulaic follow-up is neither stirred, nor shaken, and feels like a film made out of contractual obligation. Revisit the glory days rather than forking out for this competent but unfulfilling revival.

David Molloy

■ Film

SECRET IN THEIR EYES In cinemas Thursday November 19 Rule of thumb: every great foreign film eventually gets an American remake. Annoying and superfluous as they tend to be, they sometimes find synergy with the right creatives, and wonderful things happen. Take the 2009 Argentinian Oscar winner The Secret In Their Eyes, add a skilled adaptation screenwriter (Billy Ray) and three Oscar favourites for the cast, and you have a bloodchilling winner on your hands.

In the midst of New York’s early2000s terrorism paranoia, FBI investigators Ray (Chiwetel Ejiofor) and Jess (Julia Roberts) are thrown into chaos when Jess’ daughter Caroline is found raped and murdered.

13 years later, Ray seeks out a former colleague and love interest, Claire (Nicole Kidman) to reopen the case and finally bring the killer to justice.

Plot-wise, it may seem like a by-the-numbers cop thriller, but from the opening montage – in

which we witness mercifully brief snapshots of Caroline’s murder – there’s an edge to this film that’s missing from many of its peers. Partly, this is down to the quality of the source material and director Billy Ray’s excellent adaptation, but really, it all comes down to the performances.

Roberts gives another mesmerising turn as the heartbroken mother; after Caroline’s death, Jess remains in a waking coma state for much of the film. Not only does she look exactly as worn and broken as she should, but there’s an unquenchable fury that drives her from the film’s opening to its spine-tingling end.

As for Ejiofor and Kidman, they have a surprisingly awkward chemistry – Ray’s inability to talk straight to the object of his affections alternates between creepy and endearing. Kidman, for her own part, has never lacked the power to make you

Arts Exposed

Secret In Their Eyes believe this person could very well indeed rise to the rank of district attorney.

Though Ray’s obsession drives the plot, we’re not made to feel as if this vigilante behavior is the ‘right’ way to go, just the only logical path for this man. The director’s capacity to balance judgment – to keep emotions aside in how we view the protagonists’ actions, yet to make our blood

boil from systemic corruption and injustice – shows great potential, as this is his directorial debut.

With a cold, cautious gaze and emotional punch, Secret In Their Eyes sneaks in just in time for awards season, and don’t be surprised if you see Roberts up for another gong.

David Molloy

What's in our diary...

Homeground Sydney Opera House, Saturday November 21 – Sunday November 22 Bennelong Point is a site of great cultural importance for Australians, and not just because of the famous building opened there in 1973. For thousands of years beforehand, the surrounding area was home to some of our nation’s indigenous people, and a wonderfully vibrant culture of their own. Homeground is the Sydney Opera House’s annual festival celebrating First Nations culture, not only from Australia but overseas as well. Music, dance, arts workshops and markets will take over the Western Boardwalk this weekend, with appearances from Canada’s A Tribe Called Red and local stars OKA and Archie Roach.

Entry is free. For the full program, visit sydneyoperahouse.com.

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BARS BRAG

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

Sydney CBD (02) 9290 4712 Thu 4-9pm; Fri – Sat 4-11pm The Barber Shop 89 York St, Sydney CBD (02) 9299 9699 Mon – Wed, Sat 4pm-midnight; Thurs – Fri 3pm-midnight Basement 33 Basement, 27-33 Goulburn St, Sydney CBD (02) 8970 5813 Mon – Thu 5pm-late The Baxter Inn Basement 152-156 Clarence St, Sydney CBD Mon – Sat 4pm-1am Bondy’s L1, 16 Philip Ln, Sydney

CBD (02) 9251 2347 Thu – Fri 5pm-late; Sat 5pm-late Bulletin Place First Floor, 10-14 Bulletin Place, Circular Quay Mon – Wed 4pm-midnight; Thurs – Sat 4pm-1am deVine 32 Market St, Sydney CBD (02) 9262 6906 Mon – Fri 11.30am-11.30pm; Sat 5.30-11.30pm Frankie’s Pizza 50 Hunter St, Sydney CBD Mon – Fri noon-3am; Sat – Sun 4pm-3am Gilt Lounge 49 Market St, Sydney CBD

ARCHIE ROSE DISTILLING CO.

OF

bar bar

ADDRESS: 85 DUNNING AVE, ROSEBERY PHONE NUMBER: (02) 8458 2300 WEBSITE: ARCHIEROSE.COM.AU OPENING HOURS: MON – SUN MIDDAY-10PM

Tell us about your bar: Our bar is housed in a warehouse in Rosebery, and shares the space with our distillery that is producing our spirits on a daily basis. The bar is made from copper, like the stills, and American Oak, like the barrels. The comfortable and cavernous space has been described as Tom Ford’s ultimate man cave. Our mezzanine space suspended above the bar is a perfect venue for functions as well as being the site for some of our experience-based events, like the blend-your-own-gin masterclass where you get to make your very own gin blended from our different distillates.

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Care for a drink?

As well as selling our own spirits (Signature Dry Gin, Original Vodka and White Rye) we have an imposing back bar sourced from the finest distilleries in the world, with a particular focus on Australian distilleries. Our signature serves are probably what we’re known for. Our Rye and Dry features our White Rye mixed with P.S. Soda Blackstrap ginger soda (ginger, blackstrap molasses, allspice berry).

Sounds: Our music is drawn from a large variety of genres. You might find we’re playing country and Western, ’90s hip hop or maybe some Dean Martin.

TH

EK

A Work In Progress 50 King St, Sydney CBD (02) 9240 3000 Mon – Fri noon-2am Ash St Cellar 1 Ash St, Sydney CBD (02) 9240 3000 Mon – Fri 8.30am-11pm The Attic 275 Pitt St, Sydney CBD (02) 9284 1200 Mon – Fri 11am-1am; Saturday 5pm-1am Assembly 488 Kent St, Sydney CBD (02) 9283 8808 Mon – Tue 5-11pm; Wed – Fri noon-midnight; Sat

5pm-midnight The Australian Heritage Hotel 100 Cumberland St, The Rocks (02) 9247 2229 Mon – Sun 10.30am-midnight Balcony Bar 46 Erskine St, Sydney CBD (02) 9299 3526 Mon 5pm - late; Tue – Fri noon-midnight; Sat 5pm-midnight BAR100 100 George St, The Rocks (02) 8070 9311 Mon – Thu noon-late; Fri – Sat noon-3am; Sun noon-midnight Bar Eleven Lvl 11, 161 Sussex St,

(02) 8262 0000 Wed 6pm-midnight; Thu & Sat 6pm-2am; Fri 5pm-2am The Glenmore 96 Cumberland St, The Rocks (02) 9247 4794 Mon – Thu, Sun 11am-midnight; Fri – Sat 11am-1am Goodgod Small Club 53-55 Liverpool St, Sydney CBD (02) 8084 0587 Wed 5pm-11pm; Thu 5pm-1am; Fri 5pm-3am; Sat 6pm-3am Grain Bar 199 George St, Sydney CBD (02) 9250 3118 Mon – Sun noon-late Grandma’s Basement 275 Clarence St, Sydney CBD (02) 9264 3004 Mon – Fri 3pm-late; Sat 5pm-late The Fox Hole 68A Erskine St, Sydney CBD (02) 9279 4369

E E W

Highlights: Recently voted the Best International Bar at the London International Bar and Restaurant Design Awards, our bar is genuinely a beautiful space. In terms of unique selling points, how many fully functioning distilleries can you tour prior to having a drink? There is something really magical about drinking a spirit in the venue it was made in, with the smell of new make wafting on the breeze.

The bill comes to: Our food is limited but we have share boards from Black Star Pastry next door, which can be shared between three people ($27.50) with a signature serve ($8.50) coming to $36.

Mon 7am-3pm; Tue – Fri 7am-evening The Grasshopper 1 Temperance Ln, Sydney CBD (02) 9947 9025 Mon – Thurs & Sat 4pm-late; Fri noon-late Harpoon Harry 40-44 Wentworth Ave, Sydney CBD (02) 8262 8800 Mon – Sun 11:30am-3am The Lobo Plantation Basement Lot 1, 209 Clarence St, Sydney CBD 0415 554 908 Mon – Thu, Sat 4pm-midnight; Fri 2pm-midnight The Loft UTS 15 Broadway, Sydney (behind 2SER) (02) 9514 2345 Mon – Wed 2pm-10pm; Thurs – Fri 2pm-late Mojo Record Bar Basement 73 York St, Sydney CBD (02) 9262 4999 Mon – Wed 4pm-midnight; Thu, Sat 4pm-1am; Fri 3pm-1am The Morrison 225 George St, Sydney CBD (02) 9247 6744 Mon – Wed 11.30am-midnight; Thu 11.30am-1am; Fri – Sat 11.30am-2am; Sun 11.30am-10pm 11.30am-10pm The Palisade 35 Bettington St, Millers Point 0421 001 474 Tue – Fri noon-2.30pm & 6pm-9.30pm; Sat 6pm-9.30pm Mr Tipply’s 347 Kent St, Sydney CBD (02) 9299 4877 Mon – Sat 10am-late Palmer & Co. Abercrombie Ln, Sydney CBD (02) 9240 3000 Mon – Wed 5pm-late; Thu – Fri 3pm-late; Sat – Sun 5pm-late Papa Gede’s Bar Laneway at the end of 348 Kent St, Sydney CBD Mon – Sat 5pm-12am Ramblin’ Rascal Tavern Basement, 60 Park St, Sydney CBD Mon – Sat 4pm-midnight; Sun 6pm-10pm Rockpool Bar & Grill 66 Hunter St, Sydney CBD (02) 8078 1900 Mon – Sat lunch & dinner The Rook Level 7, 56-58 York St, Sydney CBD (02) 9262 2505 Mon, Sat 4pm-midnight; Tue – Fri noon-midnight The SG 32 York St, Sydney CBD 0402 813 035 Tues – Fri 4pm-midnight; Sat 6pm-midnight Shirt Bar 7 Sussex Ln, Sydney CBD (02) 8068 8222 Mon –Wed 8am-8pm; Thu – Fri 8am-10pm Since I Left You 338 Kent St, Sydney CBD (02) 9262 4986 Mon – Wed 5pm-10pm; Thu – Fri 5pm-midnight; Sat 6pm-midnight Small Bar 48 Erskine St, Sydney CBD (02) 9279 0782 Mon – Fri noon-midnight; Sat 5pm-midnight

The Smoking Panda 5-7 Park St, Sydney CBD (02) 9264 4618 Wed – Sat 4pm-late Stitch Bar 61 York St, Sydney CBD (02) 9279 0380 Mon – Wed 4pm-midnight; Thu – Fri noon-2am; Sat 4pm-2am The Swinging Cat 44 King St, Sydney CBD (02) 9262 3696 Mon – Sat 4pm-midnight Tapa Vino 6 Bulletin Place, Circular Quay (02) 9247 3221 Mon – Fri noon-11.30pm Uncle Ming’s 55 York St, Sydney CBD Mon – Fri noon-midnight; Sat 5pm-midnight York Lane 56 Clarence St, Sydney CBD (02) 9299 1676 Mon – Wed 6.30am-10pm; Thu – Fri 6.30pm-midnight; Sat 6pm-midnight

121BC 4/50 Holt St, Surry Hills (02) 9699 1582 Tue – Sat 5pm-midnight Absinthe Salon 87 Albion St, Surry Hills (02) 9211 6632 Wed – Sat 4-10pm Arcadia Liquors 7 Cope St, Redfern (02) 8068 4470 Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm Bar Cleveland Cnr Bourke & Cleveland St, Redfern (02) 9698 1908 Mon – Thu 10am-2am; Fri – Sat 10am-4am Bar H 80 Campbell St, Surry Hills (02) 9280 1980 Mon – Sat 6pm-late; Sun 11am-3pm Bellini Lounge 2 Kellett St, Potts Point 0432 241 556 Thu – Sun 6pm-late The Beresford 354 Bourke St, Surry Hills (02) 8313 5000 Mon – Sun noon-1am Black Penny 648 Bourke St, Surry Hills (02) 9319 5061 Mon – Sat 7am-midnight; Sun 7am-10pm Button Bar 65 Foveaux St, Surry Hills (02) 9211 1544 Mon – Sat 4pm-midnight Café Lounge 277 Goulburn St, Surry Hills (02) 9016 3951 Mon – Thu 5pm-midnight; Fri – Sat 4pm-midnight; Sunday 4-10pm Casoni Italian Bar & Eatery 371-373 Bourke St, Darlinghurst Tue – Thu 5pm-11pm; Fri – Sat 5pm-midnight; Sun 5pm-10pm Central Hotel 42-50 Chalmers St, Surry Hills (02) 9212 3814 Mon – Sat 10am-2am; Sun 10am-10pm Ching-a-Lings 1/133 Oxford St, Darlinghurst (02) 9360 3333 Tue – Wed 6pm-11pm;

Fri – Sat 6pm-1am; Sun 5pm-10pm The Cliff Dive 16-18 Oxford Square, Darlinghurst Wed – Sat 6pm-4am The Commons 32 Burton St, Darlinghurst (02) 9358 1487 Tue – Wed 6pm-late; Thu – Fri 12pm-late; Sat – Sun 6pm-late The Darlie Laundromatic 304 Palmer St, Darlinghurst Mon – Sat 5pm-11pm Darlo Bar 306 Liverpool St, Darlinghurst (02) 9331 3672 Mon – Sun 10am-midnight Darlo Country Club Level 1, 235 Victoria St, Darlinghurst 0449 998 005 Wed – Thu 5pm-midnight; Fri – Sat 5pm-2am Dead Ringer 413 Bourke St, Surry Hills (02) 9331 3560 Mon – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm Eau De Vie 229 Darlinghurst Rd, Darlinghurst 0422 263 226 Mon – Sat 6pm-1am; Sun 6pm-midnight The Forresters 336 Riley St, Surry Hills (02) 9212 3035 Mon – Wed noonmidnight; Thu – Sat noon1am; Sun noon-10pm Gardel’s Bar 358 Cleveland St, Surry Hills (02) 8399 1440 Tue – Sat 6pm-midnight Gazebo 2 Elizabeth Bay Rd, Elizabeth Bay (02) 9357 5333 Mon – Fri 4pm-midnight; Sat – Sun noon-midnight Golden Age Cinema & Bar 80 Commonwealth St, Surry Hills (02) 9211 1556 Mon - Sun 11am-9pm Goros 84-86 Mary St, Surry Hills (02) 9212 0214 Mon – Wed 11:30am-midnight; Thu 11:30am-1am: Fri 11:30am-3am; Sat 4pm-3am The Hazy Rose 1/83 Stanley St, Darlinghurst (02) 9357 5036 Wed – Thu 5pm-midnight; Fri – Sat 3pm-midnight; Sun 3-10pm Hello Sailor 96 Oxford St, Darlinghurst (02) 9332 2442 Tue – Sun 5pm-3am Hinky Dinks 185 Darlinghurst Rd, Darlinghurst (02) 8084 6379 Mon – Sat 4pm-midnight; Sun 1-10pm Hollywood Hotel 2 Foster St, Surry Hills (02) 9281 2765 Mon – Wed 10am-midnight; Thu – Sat 10am-3am Hustle & Flow Bar 105 Regent St, Redfern (02) 9310 5593 Tue – Sat 5pm-midnight Li’l Darlin Darlinghurst 235 Victoria St, Darlinghurst thebrag.com

COCKTAIL OF THE WEEK

Pour it in your mouth-hole... (responsibly).

RUMMAPLE COLLINS @ROSIE CAMPBELL’S, 320 CROWN ST, SURRY HILLS Ingredients: • Appleton signature blend • lemon • sugar • cold pressed apple juice • bitters topped with ginger ale

Origins: Ridiculed, revered and so misunderstood. Hailing from San Juan, Puerto Rico in the tiki era of the ’50s and ’60s, it has stood the test of time across the decades.

Method: Blend with ice.

Glass: Collins

Best drunk with: Caribbean sunsets and sunshine During: Summer – but great for any day of the week While wearing: A smile And listening to: ‘Dreadlock Holiday’ by 10cc

Garnish: Apple fan

More: rosiecampbells.com

Method: Shake all the ingredients apart from ginger ale and strain over fresh ice, topped with ginger ale.

(02) 8084 6100 Mon – Sun 4pm-late Li’l Darlin Surry Hills 420 Elizabeth St, Surry Hills (02) 9698 5488 Mon – Fri noon-late; Sat 4pm-late LL Wine and Dine 42 Llankelly Place Potts Point (02) 9356 8393 Mon – Thu 5pm-11pm; Fri – Sat noon-late; Sun 11am-10pm The Local Taphouse 122 Flinders St, Darlinghurst (02) 9360 0088 Mon – Wed noonmidnight; Thu – Sat noon-midnight; Sun noon-11pm Love, Tilly Devine 91 Crown Ln, Darlinghurst (02) 9326 9297 Mon – Sat 5pm-midnight; Sun 4-10pm Low 302 302 Crown St, Surry Hills (02) 9368 1548 Mon – Sun 6pm-2am Mr Fox 557 Crown St, Surry Hills thebrag.com

0410 470 250 Tue – Wed 5pm-late; Sat 10am-midnight; Sun 10am-10pm The Norfolk 305 Cleveland St, Surry Hills (02) 9699 3177 Mon – Sat noonmidnight; Sun noon10pm Old Growler 218 William St, Woolloomooloo 0422 911 650 Tue – Sat 5pm - midnight The Passage 231A Victoria St, Darlinghurst (02) 9358 6116 Mon – Sat 5pm-late Peekaboo 120 Bourke St, Woolloomooloo 0403 747 788 Mon – Thu 4pm-10pm; Fri – Sat 4pm – 12am Play Bar 72 Campbell St, Surry Hills (02) 9280 0885 Tues – Sat 5pm-midnight Pocket Bar 13 Burton St, Darlinghurst (02) 9380 7002 Mon – Wed 4pm-midnight; Fri –

Sat 4pm-1am; Sun 4pm-midnight The Powder Keg 7 Kellett St, Potts Point (02) 8354 0980 Wed 5pm-1am; Thu 5pm-2am; Fri – Sat 4pm-2.30am; Sun 1pm-midnight The Print Room 11 Glenmore Rd, Paddington 0424 034 020 Wed – Fri 3pm-late; Sat 12pm-11pm, Sun 12pm-10pm Queenie’s Upstairs 336 Riley St, Surry Hills (02) 9212 3035 Tue – Sat 6pm-late & Fri noon-3pm Roosevelt 32 Orwell St, Potts Point 0423 203 119 Tue – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm Rosie Campbell’s 320 Crown St, Surry Hills (02) 8356 9120 Mon 5pm-midnight: Tue – Sun 4pm-midnight Shady Pines Saloon Shop 4, 256 Crown St, Darlinghurst

Mon – Sun 4pm-midnight The Soda Factory 16 Wentworth Ave, Surry Hills (02) 8096 9120 Mon – Fri 5pm-3am; Sat – Sun 6pm-3am Surly’s 182 Campbell St, Surry Hills (02) 9331 3705 Tue – Sun noonmidnight Sweethearts Rooftop 33/37 Darlinghurst Rd, Potts Point (02) 8070 2424 Mon – Thu 2pm-11.30pm; Fri – Sun noon-11.30pm This Must Be The Place 239 Oxford St, Darlinghurst (02) 9331 8063 Mon – Sun 3pm-midnight Tio’s Cerveceria 4/14 Foster St, Surry Hills Mon – Sun 5pm-midnight Vasco 421 Cleveland St, Redfern 0406 775 436 Tue – Sat 5pm-midnight The Village Inn 9-11 Glenmore Rd, Paddington (02) 9331 0911 Mon – Sun 12pm-late The White Horse Hotel 381-385 Crown Street, Surry Hills 1300 976 683 Mon – Sat noonmidnight; Sun noon10pm The Wild Rover 75 Campbell St, Surry Hills (02) 9280 2235 Mon – Sat 4pm-midnight; Sun noon-10pm The Winery 285A Crown St, Surry Hills (02) 9331 0833 Mon – Sun noonmidnight

Anchor Bar 8 Campbell Pde, Bondi (02) 8084 3145 Tue – Fri 4.30pm-late; Sat – Sun 12.30pm-late Bat Country.

32 St Pauls St in Randwick (@ The Spot) (02) 9398 6694 Mon – Sat 7am-midnight; Sun 7am-10pm Beach Road Hotel 71 Beach Rd, Bondi Beach (02) 9130 7247 Mon – Sat noon-1am; Sun 11am-10pm Bondi Hardware 39 Hall St, Bondi (02) 9365 7176 Mon – Wed 5pm-late; Fri noon-midnight; Sat 9am-midnight; Sun 9am-10pm The Bucket List Shop 1, Bondi Pavilion, Queen Elizabeth Drive (02) 9365 4122 Mon – Tue 11am-5pm; Wed – Sun 11am-late The Corner House 281 Bondi Rd, Bondi (02) 8020 6698 Tue – Sat 5pm-midnight; Sun

I MAG I N E BE I NG MAD E TO

FEEL L IKE CRAP JUST FOR

BEING

LEFT

H A N D E D.

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

GO TO LEFTHAND.ORG.AU TO WATCH THE VIDEO

STOP t THINK t RESPECT

BRAG :: 639 :: 18:11:15 :: 21

out & about Queer(ish) matters with Lucy Watson

L

ast week, news broke of two particular instances of homophobia around Australia – that of a man who wasn’t recognised as next of kin following the death of his partner, and that of a family repeatedly asked to move seats on a Qantas plane to make way for a married couple.

What struck me about both of these stories, but particularly the Qantas incident, is that it seems people aren’t able to recognise homophobia for what it is.

One article about the Qantas incident noted that Qantas donates to Mardi Gras, and that its CEO, Alan Joyce, is openly gay – in a way indicating its employees’ behaviour was excusable. This kind of argument is akin to the ‘I can’t be racist because my friend is black’ line of thought, which ignores the fact these kinds of identity oppressions occur on a much more systematic, structural level (and also forgets that gay people can be homophobic too).

A company may do all it can to proclaim inclusivity – donate to Mardi Gras, write LGBTI-friendly policy and so on – but it does little to change the fact that we have, and will continue to have for probably some time, an inherent bias to the dominant relationship structure; that is, married heterosexuality. In a world dominated by heterosexuality, it’s easy to assume a man and a woman together are in a relationship, while a gay relationship (particularly between two women, given the inherent invisibility of lesbianism due to greater visibility of gay liberation, greater visibility of female friendships, and the subordination of women generally) is far less obvious, due to our inherent heterosexual bias.

Structural homophobia is everywhere.

There is little to no research on lesbian transmission of STIs, because it seems less prevalent, and so it therefore becomes less worthwhile to research and understand. Similarly, I’ve had countless doctors who’ve asked “Are you pregnant?” and when I answer with a firm “No”, their response is always, “But how do you know? Condoms and the pill aren’t foolproof.” No, but being in a monogamous relationship with a cisgendered woman is pretty foolproof.

Gay men still can’t donate blood, because of the HIV risk – despite the fact testing is becoming more advanced, medication is making viral loads undetectable, and

James i.V

young, straight women are the group of people with the fastest-growing virus rates in Australia.

Religious schools and hospitals can still fire gay teachers and doctors for their sexuality. And while many don’t, it still means these teachers and doctors have to think very carefully about disclosing personal information, while their straight colleagues proudly display pictures of their wives and kids.

Most people, particularly in the cities, are becoming great allies. But homophobia still exists in your assumptions, and your ignorance to your own immunity from daily microaggressions. When you make polite conversation by asking a girl if she’s got a boyfriend, you’re assuming she’s straight. When you walk down the street holding hands with your straight partner, you forget that the two men behind you might be wanting to do the very same, but fear harassment. When you take that partner to family dinner, you might be blissfully unaware that your gay cousin desperately wanted to bring his boyfriend, but thought it might be too awkward, or make the evening ‘too much about him’.

And when you devalue one family in order to make way for another, as Qantas did, you’re telling that family that it’s not worth as much.

Gender stereotyping is entrenched in a privileging of heterosexuality, too. When you ignore the man who comes into your make-up store because he couldn’t possibly be wanting to be served, you’re saying that men can’t be feminine. When your butch friend puts on a skirt for a special event and you gush at just how pretty she looks, you’re reminding her that her usual, more masculine presentation isn’t as good. This also plays into instances of transphobia, which is much more rampant and overt than homophobia today.

Being a good ally means more than just supporting marriage equality and waving a flag at Mardi Gras. That’s a good place to start, but a better one is recognising that your privilege might be so unconscious you don’t even notice how hard others have it.

this week…

Secret Garden Bar in Enmore finally got its liquor licence approved! Starting this Wednesday November 18, and every Wednesday after, is Sasslife. Harking back to the old Homosocial days, this Wednesday features Malo, James i.V, Ratchet Glamma, Chi Chi, and visuals from Hayley Coghlan.

Queer performance collective Gang Of She has an exhibition at 107 Projects, showing Thursday November 19 – Saturday November 21. The artists have created a womb filled with their collective and individual works, where you can drink and party as well as witness the spectacle.

Gang Of She The boys from L’Oasis are organising their fourth party this Friday November 20 at Slyfox. Titled The Gutter and The Stars, this one features both L’Oasis and Stereogamous.

Sveta

22 :: BRAG :: 639 :: 18:11:15

Then on Saturday November 21, head to the Oxford Hotel for this month’s instalment of Heaps Gay, featuring Wild Sunset, Cunningpants, Sveta, Adi Toohey and heaps of others.

Your bar’s not here? Email: chris@thebrag. com 3pm-10pm Fat Ruperts 249 Bondi Rd, Bondi (02) 9130 1033 Tue – Fri 6pm-late; Sat – Sun 2pm-late Mr Moustache 75-79 Hall St, Bondi Beach (02) 9300 8892 Mon – Fri 5pm-11pm; Sat noon-11pm; Sun noon-10pm The Phoenix Hotel 1 Moncur street Woollahra (02) 9363 2608 Wed – Thu 4pm-11pm; Fri – Sat noon-11pm; Sun noon-10pm The Robin Hood Hotel 203 Bronte Rd, Waverley (02) 9389 3477 Mon - Sat 10am-3am; Sun 10am-10pm Speakeasy 83 Curlewis St, Bondi (02) 9130 2020 Mon – Sat 5pm-11pm; Sat – Sun 4pm-10pm Spring Street Social (and Jam Gallery) Underground 195 Oxford St, Bondi Junction (02) 9389 2485 Tues – Sat 4pm-3am Stuffed Beaver 271 Bondi Rd, Bondi (02) 9130 3002 Mon – Sat noonmidnight; Sun noon10pm

The Angry Pirate 125 Redfern St Redfern (02) 9698 9140 Tue – Thur 5pm-midnight; Fri – Sat 3pm-midnight Bar-racuda 105 Enmore Rd, Newtown (02) 9519 1121 Mon – Sat 6pm-midnight The Bearded Tit 183 Regent St, Redfern (02) 8283 4082 Mon – Thu 4pm-midnight; Fri – Sat noon - midnight; Sun noon - 10pm Blacksheep 256 King St, Newtown (02) 8033 3455 Mon – Fri 4pm-11pm; Sat 2pm-11pm; Sun 2pm-10pm Bloodwood 416 King St, Newtown (02) 9557 7699 Tue – Wed 6pm-late; Thu – Sun 5pm-late Calaveras 324 King St, Newtown 0451 541 712 Wed – Sat 6pm-midnight The Chip Off The Old Block 3 Little Queen Street, Chippendale (02) 9318 0815 Tue – Sat 4pm-11pm Cornerstone Bar & Food 245 Wilson St, Eveleigh (02) 8571 9004 Sun – Wed 10am-5pm; Thu – Sat 10am-late Corridor 153A King St, Newtown 0405 671 002 Tue – Fri 3pm-midnight; Sat 1pm-midnight; Sun 1pm-10pm

Cottage Bar & Kitchen 342 Darling St, Balmain (02) 8084 8185 Mon – Wed 5pm-midnight; Thu – Sat noon-midnight; Sun noon-10pm Different Drummer 185 Glebe Point Rd, Glebe (02) 9552 3406 Mon – Sat 4.30pm-late Doris & Beryl’s Bridge Club and Tea House 530 King St, Newtown Mon – Fri 5pm-midnight; Sat – Sun 5.30pm-midnight Earl’s Juke Joint 407 King St, Newtown Mon – Sat 4pm-midnight; Sun 4-10pm Freda’s 109 Regent St, Chippendale (02) 8971 7336 Tues – Sat 4pm-midnight; Sun 4pm-10pm The Hideaway Bar 156 Enmore Rd, Enmore (02) 8021 8451 Tue– Thu 4pm-midnight; Fri – Sat noon-1am; Sun noon-10pm Hive Bar 93 Erskineville Rd, Erskineville (02) 9519 9911 Mon – Fri noon-midnight; Sat 11am-midnight; Sun 11am-10pm Kelly’s On King 285 King St, Newtown (02) 9565 2288 Mon – Fri 10am-2.30am; Sat 10am-3.30am; Sun 11am-11.30pm Knox Street Bar 21 Shepherd St, Chippendale Tue – Thu 4pm-l0pm; Fri – Sat 4pm-11pm Kuleto’s 157 King St, Newtown (02) 9519 6369 Mon – Sat 4pm-late; Thu – Sat 4pm-3am The Little Guy 87 Glebe Point Rd, Glebe (02) 8084 0758 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3pm-10pm Mary’s 6 Mary St, Newtown (02) 4995 9550 Mon – Fri 4pm-midnight; Sat noon-midnight; Sun noon-10pm The Midnight Special 44 Enmore Road, Newtown (02) 9516 2345 Tues – Sat 5pm-midnight; Sun 5pm-10pm Miss Peaches 201 Missenden Rd, Newtown (02) 9557 7280 Wed – Sun 5pm-midnight The Moose Newtown 530 King St, Newtown (02) 9557 0072 Wed – Sat 6pm-midnight Mr Falcon’s 92 Glebe Point Rd, Glebe (02) 9029 6626 Mon – Thu 4pm-midnight; Fri 3pm-midnight; Sat noonmidnight; Sun 2pm-10pm Newtown Social Club 387 King St, Newtown (02) 9550 3974 Mon 9am-6pm; Tues – Fri 9am-8pm; Sat 10am-8pm The Oxford Tavern

1 New Canterbury Rd, Petersham (02) 8019 9351 Mon – Thu noon-10pm; Fri – Sat noon-11pm; Sun noon-9pm Raven’s Eye 127 King St, Newtown (02) 9557 6429 Mon – Thu 5pm-midnight; Fri – Sat 11.30am-midnight; Sun 11:30am-10pm The Record Crate 34 Glebe Point Rd, Glebe (02) 9660 1075 Tue – Sat noon-midnight; Sun noon-10pm The Royal 156 Norton St, Leichhardt (02) 9569 2638 Mon – Thu 10am-1am; Fri – Sat 10am-3am; Sun 10am-midnight Secret Garden Bar 134a Enmore Rd, Enmore 0403 621 585 Mon – Sun 1am-11pm Soho In Balmain 358 Darling St, Balmain 0407 525 208 Tue – Sun 5pm-midnight Temperance Society 122 Smith St, Summer Hill (02) 8068 5680 Mon – Thu 4pm-11pm; Fri – Sat: noon-midnight; Sun: noon-10pm Thievery 91 Glebe Point Rd, Glebe (02) 8283 1329 Tue – Thu 6pm-11pm; Fri 6pm-midnight.

Sat 11pm-3pm & 6pm-midnight Timbah 375 Glebe Point Rd, Glebe (02) 9571 7005 Tue – Thu 4pm-10pm; Fri noon-11pm; Sat 3pm-11pm; Sun 4pm-8pm Wilhelmina’s Liquid and Larder 332 Darling St Balmain (02) 8068 8762 Tues – Fri 5pm - late; Sat – Sun 8am - late The Workers Lvl 1, 292 Darling St, Balmain (02) 9555 8410 Thu – Sat 5pm-3am; Sun 2pm-late ZanziBar 323 King St, Newtown (02) 9519 1511 Mon – Sat 10am-4am; Sun 10am-12am Zigi’s Wine And Cheese Bar 86 Abercrombie St, Chippendale (02) 9699 4222 Tue 4pm-10pm; Wed – Sat 2pm-late

Alberts Bar 100 Mount St, North Sydney (02) 9955 9097 Mon – Wed 11.30am-10pm; Thu 11.30am-11pm; Fri 11.30am-midnight Firefly 24 Young St, Neutral Bay (02) 9909 0193 Mon – Thu 5-11.30pm; Fri 4-11.30pm; Sat noon11pm; Sun noon-10pm The Foxtrot 28 Falcon St, Crows Nest Tue – Wed 5pm-midnight; Thu 5pm-1am; Fri – Sat 5pm-2am; Sun 4pm-10pm The Hayberry Bar & Diner 97 Willoughby Road, Crows Nest (02) 8084 0816

Tue – Thu 4pm-12am; Fri & Sat noon-midnight Sun noon-10pm Hemingway’s 48 North Steyne, Manly (02) 9976 3030 Mon – Sat 8am-midnight; Sun 8am-10pm Honey Rider 230 Military Rd, Neutral Bay (02) 9953 8880 Tue – Sat 4pm-midnight; Sun 4pm-10pm InSitu 1/18 Sydney Rd, Manly (02) 9977 0669 Tue – Fri 5pm-midnight; Sat 9am-midnight; Sun 9am-10pm The Hunter 5 Myahgah Rd, Mosman 0409 100 339 Mon – Tue 5pm-midnight; Wed – Sat noon-midnight; Sun noon-10pm Jah Bar Shop 7, 9-15 Central Ave, Manly (02) 9977 4449 Mon – Fri 4pm-late; Sat 9am-late; Sun 9am-10pm The Local Bar 6/8 Young Ln, Neutral Bay (02) 9953 0027 Tue – Fri 11.30am-midnight; Sat 7am-midnight; Sun 7am-10pm Los Vida 419 Pacific Hwy, Crows Nest (02) 9439 8323 Mon – Wed 5pm-midnight; Thu – Sat 11.30am-midnight; Sun 11.30am-10pm Manly Wine 8-13 South Steyne, Manly (02) 8966 9000 Mon – Sun 6.30am-late The Mayor 400 Military Rd, Cremorne (02) 8969 6060 Tue – Wed 5pm-late; Thu – Sat noon-late; Sun noon-10pm Miami Cuba 47 North Steyne, Manly (02 99775186 Tue – Thu 8am-10pm; Fri – Sat 8am-1am; Sunday 8am-4pm Moonshine Lvl 2, Hotel Steyne, 75 The Corso, Manly (02) 9977 4977 Thu 5pm-2am; Fri 1pm-2am; Sat noon-2am; Sun noon-midnight The Pickled Possum 254 Military Rd, Neutral Bay (02) 9909 2091 Thu – Sat 9pm-1am SoCal 1 Young St, Neutral Bay (02) 9904 5691 Mon – Tue 4pm-late: Wed – Thu noon-1am; Fri – Sat noon- 2am; Sun noon-midnight The Stoned Crow 39 Willoughby Rd, Crows Nest (02) 9439 5477 Mon – Sun noon-late The Treehouse Hotel 60 Miller St, North Sydney (02) 8458 8980 Mon – Fri 7am-late; Sat 2pm-late Wilcox Cammeray 463 Miller St, Cammeray (02) 9460 0807 Tue – Thu 4pm-10pm; Fri – Sat 2pm-11pm; Sun 2pm-10pm

thebrag.com

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

ALBUM OF THE WEEK ARCA

title track is particularly ruthless, embracing silence as a disorienting tactic in almost unprecedented fashion, before slamming into tortured vocal samples and eventually, mercifully, finding a rhythm.

Mutant Mute / Create/Control

There is pop music, there is avant-garde experimentation, and then there is Arca. The young Venezuelan wunderkind became a household name after producing for Björk, Kanye West and FKA Twigs, and in his second solo effort, he crafts an abrasive and vicious aural assault that is difficult to fault.

A rising star returns with a challenging exposition of musical mastery.

GUM Glamorous Damage Spinning Top

Like a disco where all the dancers are tripping out, Gum’s Glamorous Damage is a deliberately overstuffed mixture of velvet, vigour and visions.

But given the psych-rock pedigree of the man responsible for its creation, who was expecting anything less?

Jay Watson has had a hand in both Pond and Tame Impala, and the music he records under the name Gum has the same far-out sense of wonder.

There’s a kind of VHS fuzz threaded throughout Glamorous Damage; a sun-warped weirdness that means tracks like the brilliant ‘Science Fiction’ feel moments away from totally disintegrating. It’s all blissedout choruses and overloaded instrumentation, with the euphoric buzz of numbers like ‘Ancients’ and ‘Notorious Gold’ proving infectious.

Of course, by its very nature, there’s not much variety to the piece. That said, an artificially imposed diversity would only water down exactly what makes Glamorous Damage so enjoyable. The success of tracks like ‘Elafonissi Blue’ and ‘R.Y.K.’ relies on a kind of unambiguous abandon, and the bloated nature of the melodies raises the whole work to levels that are almost baroque.

Glamorous Damage is a tower forever in the process of toppling; an overstuffed album that turns the excessive into a kind of art form.

Joseph Earp

This is emphatically not everyone’s jam: unapologetically brutal and scattered, Arca still manages to find coherence and even dancefloorworthy breaks among the sonic web he spins. The

Through the dizzying haze of electronic stabs, one can see Arca poised over the mess as a composer with immense control. It’s evident in the exquisitely delicate piano work in ‘Else’; the discordant twanging of alien strings in ‘Gratitud’; the exploration of the human voice outside of song (‘En’); perfectly toned thudding basslines (‘Sinner’); and the inevitable diving back, headlong, into the electrical storm (‘Faggot’, a song as immediate and bracing as one would expect).

He even has the grace and restraint to save the best for last – ‘Soichiro’, a magnificent track in its own

thebrag.com

David Molloy

WHITE FANG

LE1F

GUY GARVEY

Chunks Burger/Redeye

Riot Boi XL/Remote Control

Courting The Squall Polydor/Universal

The definition of a pleasant surprise, Custard – the best Australian band of the ’90s, fact – have returned after 16 years with a secretly recorded album, the description of which also acts as a description of everything that makes this indie band great: laid-back, subtly unpredictable and absolutely joyous.

Given that it features songs with titles such as ‘Pissing In The Driveway’ and ‘Bong Rip’, one could be forgiven for dismissing White Fang’s Chunks as little more than half-baked juvenilia.

There is a discomfort when listening to Le1f’s debut album Riot Boi. This discomfort stems from both the hefty issues raised on the album (issues such as gay and transgender rights and social injustice), but also the way in which he does it. From the chaotic and discordant sounds of ‘Rage’ to the seductive tones of ‘Swirl’, Le1f’s unorthodox take on important social and political issues is an engaging and challenging listen, one which will hopefully lure you into his deeper meanings.

Best known for his work as the voice of Elbow, celebrated singer-songwriter Guy Garvey has branched out to craft a work wholly his own, and the world is better for it. His eclecticism sparkles across the runtime, and though there’s some average material, it cannot undo the lyricism and ambition that make up Courting The Squall.

The Brisbane lads have mellowed since their original run – 16 years away will do that to middle-aged men – so the album is more in the vein of ‘The New Matthew’ than ‘Apartment’.

But they still make room for unexpected tangents, like the blues jam at the end of ‘Orchids In Water’, or how ‘Rice & Beans’ devolves into a series of echoed “la-la-la”s.

The lyrical wit is still readily apparent.

Be it drummer Glenn Thompson’s critique of the industrial aspects of the art world on highlight ‘Contemporary Art’, or everything that comes out of David McCormack’s mouth – current favourite: “Ricki-Lee is not an authority,” after McCormack gets caught watching The Voice in ‘Queensland University’.

Musically, the gems are ‘1990s’ and the honest-to-goodness Custard jam ‘Get In Your Car’, which builds and builds over eight minutes into Custard’s best-ever album closer.

However, in actuality, this is a surprisingly solid, defiantly enjoyable album. Though it is dominated by a blend of punk, garage rock and unashamed crudity – there’s a song named after a four-letter curse word, and the lyrics are largely concerned with the after-effects of drugs and booze – White Fang know how to stop things from becoming onenote, and inject the proceedings with a very genuine sense of invention.

A track like ‘Wander’ is fused with real pathos, and there is a delightfully surreal interplay between the punk riffs of ‘I Love School’ and the song’s decidedly non-punk message. Best of all, White Fang aren’t afraid to mix up their messy energy with elements of mainstream pop, and both the reverb-heavy chorus at the centre of ‘Shit On My Shoe’ and the Beach Boys-esque “naa naa”s that close out ‘Wander’ are distinctly infectious.

Production is tight throughout the entire album. With the somewhat surrealist approach to beats jarring upon first listen, they work to beautiful effect on songs like ‘Umami/Water’ and ‘Lisa’. The first single from the album, ‘Koi’, is made all the stronger working in conjunction with the whole record.

Standout songs like ‘Umami/Water’, ‘Cheap’ and ‘Taxi’ highlight how effective hip hop can be as a means of highlighting social exclusion and lending a voice to those most affected. Though Riot Boi feels as though it’s from the near future, what Le1f has to say will never be more relevant than now.

It kicks off with the barnstorming ‘Angela’s Eyes’, a song that defies you to stand still. Driven by thrumming bass and a shuffling percussive tide, it’s an early peak in energy you won’t see the likes of again. “I’m the son of a saint and a leader of men / And I’m neither of them but I’m yours,” Garvey opines on the title track, charming the heck out of everyone listening. The warmth and unflinching honesty of his lyrics carry even the less inspiring tracks.

The perfectly Tom Waits-esque jazz/blues drops in ‘Yesterday’ and ‘Electricity’ dazzle, especially when Jolie Holland’s unparalleled voice arrives for a cameo that cuts through the smoke and engraves itself into your bones.

Custard are back, everybody. Tell your kids.

Chunks is the album your drug dealer in high school might have recorded if he was emotionally stable. And, you know, actually talented.

While this album may be a difficult listen for some, whether because of its content or approach, it is still an important one that should be heard.

With all the confidence of experience, Garvey’s capacity to seduce is prolific, and his solo debut is thrilling courtship.

Leonardo Silvestrini

Joseph Earp

Daniel Prior

David Molloy

In this stripped-back grunge affair, New York no-wavers PC Worship manage to sound like an iteration of Swans where Michael Gira has lost the will to go on.

Basement Hysteria Northern Spy/Redeye

Expansive, immersive, harsh, isolating and often overwhelming, Mutant is a sign of a great visionary flexing his muscles. This is music worth evolving for.

Come Back, All Is Forgiven ABC/Universal

CUSTARD

INDIE ALBUM OF THE WEEK

PC WORSHIP

right, gains immeasurable gravity from its placement near the record’s end.

That may not sound complimentary, but there’s something hypnotic about Basement Hysteria’s doom-laden sea of apathy. The downtuned guitars, tortured sax and vocals emanating from a haunted VHS player form together to make a noisy, cohesive whole to keep its denim-clad listeners in sway. Opener ‘Done’ sets the scene with its slapped piano keys and gritty sampling, establishing the persistent percussive power that defines the drumming across the EP. Then it’s on to ‘Social Fiction’ for a dose of alt-rock via the avant-garde, showcasing some serious instrumental chops as jam-

style guitar shreds, piercing sax and fuzz-laden screams unite.

PC Worship do everything in their power to alienate – distancing the vocals, blasting feedback, and messing with rhythm just to throw off stoned headbangers. And then they floor you with the 13-minute ‘My Lens’, easily the most Swans-esque track and Basement’s musical peak – a longform jam in Southern gothic style, replete with slurred lyrics, twanging broken banjo and xylophones.

For such a sludgy sound, PC Worship showcase a surprising playfulness matched with restraint in this playground of dissonance.

Wallow. It’s worth it.

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

AUGIE MARCH - Moo, You Bloody Choir CAT STEVENS - Tea For The Tillerman OF MONTREAL - The Sunlandic Twins

JARVIS COCKER - Jarvis THE CURE - Faith

David Molloy BRAG :: 639 :: 18:11:15 :: 23

snap sn ap

VIEW FULL GALLERIES AT

thebrag.com/snaps

up all night out all week . . .

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

AT FIRST SIGHT 2015

their groove-heavy trip from taking hold.

However, they did cover Yoko Ono, so big applause for that.

Though not exactly a big name, given they’d flown all the way from Greece for the 2015 edition of At First Sight, you might’ve expected Acid Baby Jesus to perform later in the day. However, just after lunchtime the Athens four-piece arrived, bringing colourful swirls of Nuggets-esque psych to the impressive Bay 17 main stage.

A testament to the crowd’s embrace of the festival program was the strong turnout for My Disco. While a lot of the earlier acts were fairly easy to digest, My Disco circa 2015 are certainly not easygoing. Severe is their latest album, and it’s an apt descriptor for the psychic demeanour of this performance. Another word comes to mind to sum up the set of rhythmically precise, sinister meditations played in complete darkness, accompanied by projections of a fornicating geometric object – and that’s brilliant.

Carriageworks Saturday November 14

Nicholas Allbrook’s solo project has hitherto involved the Pond frontman going it alone. But today he was joined by a four-piece band (including Pikelet’s Evelyn Morris on electric organ) to premiere material from an LP recorded with this group of musicians.

At moments it was more explosive than Pond, with hints of The Bad Seeds at their masculine heaviest, leaving behind a curious hunger for Allbrook’s sophomore effort. However, it was slightly disappointing to see him abandon the solo set-up, which works so well to amplify his idiosyncrasies.

No Zu are the perfect festival act. The Melbourne collective’s conflation of discofunk, African percussion, hypnotising dual vocals and Mediterranean horn-playing injected a heavy dose of adrenaline into the responsive Carriageworks audience.

The highly active seven-piece succeed at making accessible music that gives people more than just an increased heart rate to take away with them.

Brisbane’s Blank Realm ambled onstage looking like a bunch of regular scruffs, but delivered a set of blissful indie rock, sounding like a jacked-up Smiths or a less austere Television. Taking songs from this year’s Illegals In Heaven and 2014’s exercise in excellence Grassed Inn, Blank Realm demonstrated their ability to make a lot happen – sonically and emotively – with a limited number of digits.

Broadway Sounds are a cheery bunch, but something was amiss (perhaps a sense of sincerity), which prevented

Oscar Key Sung runs a one-man live show, and his songs are actually quite introspective. But he’s got the gift of stage presence. It’s difficult to put your finger on exactly what that requires – it’s not as simple as flamboyantly moving around – but Key Sung effortlessly charmed with his glitchy yet intimate R&B. A special treat saw three Amrita dancers join him for his ultimate number ‘All I Could Do’.

Total Giovanni are essentially a live band, but they utilise electronically triggered drums and various other laptopcued sounds, facilitating the biggest dance party of the day.

On a lineup heavy with Melbourne acts, it was nice to see Sydney’s Donny Benet take charge of the grand finale. Benet and his technically flawless Show Band were here to present the songs of Nile Rodgers, and gained vocal assistance from several of the aforementioned artists. Highlights included No Zu’s Becky Sui Zhen owning the spotlight for Sister Sledge’s ‘He’s The Greatest Dancer’ and Key Sung strutting a relatively extroverted side on Carly Simon’s ‘Why’.

As always, Benet was a beacon of positivity, and while this set felt less vital than much of what came earlier, it ensured everyone exited Carriageworks wearing a smile.

Augustus Welby

12:11:15 :: UNSW Roundhouse:: Anzac Parade Kensington 9385 7630 OUR LOVELY PHOTOGRAPHER

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15:11:15 :: Frankie’s Pizza :: 50 Hunter St Sydney

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the beach boys

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Allphones Arena Monday November 9

14:11:15 :: Bondi Beachfest :: Bondi Beach

THE DARKNESS, APES Enmore Theatre Friday November 13

S), the lights fired up and we grasped our one way tickets tight as the pit closed in.

Stepping out with a confidence born (presumably) from having toured with The Darkness for a few weeks, the five-piece Apes were an impressive start to a night of rock. Extremely tight and perfectly loud, they kicked off with aplomb, frontman Ben Dowd leaving the biggest impression as he Steve Tylered his way through track after track. The Aussie natives have an impressive sound and stage presence, and are well worth a look-in.

Every single member, down to killer new drummer (and freakin’ 24-year-old) Rufus Taylor, was a paragon of charisma, led by the swaggering Hawkins, who gradually undressed as the setlist progressed. His antics had every last audience member enraptured, from leading sing-alongs and critiquing our efforts to hit his falsetto heights, to riding a security guard while soloing, to handstanding and clapping with his feet, to hurling an overexcited punter from the stage.

They’d be the first to admit, though, that they are but tiny pilot fish to the glam rock behemoth that is The Darkness. Justin Hawkins stepped out oozing confidence in a black-and-white-striped suit emblazoned with his own name (lightning bolt for the

And the hits! Permission To Land dominated proceedings, with a healthy slice of the new album Last Of Our Kind and a few bangers from the albums in between. ‘Get Your Hands Off My Woman’ had the front row nearly break through the

TAME IMPALA, MINI MANSIONS

While the late arrivals felt their way round in the dark, the stage whirred up with a lo-fi lit backdrop and modulating synth. With a ‘What’s up Sydney?”

Kevin Parker and chums launched into ‘Let It Happen’. After a “Here we go!” came ‘Mind Mischief’. They sounded shimmering and bright and… quiet?

Sydney Opera House Tuesday November 10

Tame Impala and the Sydney Opera House were made for each other. Far-out and futuristic with foundations in the ’60s.

Grandeur with grace in equal measure.

At once solid and soft. Weird, wonderful, known the world over and Australian icons.

It seemed destined to be a gig where everything would come together just so. A perfect union of sound and space.

As the eager but ticketless fans looking down on the Forecourt through the Royal Botanical Gardens fence were chucked out by wardens, on came Mini Mansions (their bass player in a particularly fruity flower-patterned suit). They could feel it too.

After delivering a stern-faced set of powerprog-pop, they thanked their hosts: “We’re all lucky to be here together.”

A group in the crowd soon started a chant of “Turn it up!” Eventually the sound crew heard them. Volume levels sorted, the set covered new and old, including ‘Yes I’m Changing’, only the second time they’ve played it live.

Parker, ever humble (he introduced the band with a “We’re Tame Impala, from Perth”), was visibly moved by the location. He kept looking out to the skyline in awe (the bands get the best view at these forecourt gigs), once telling the audience: “It’s like it’s not even real.”

Enmore’s floors. But the greatest moment of the night was one that even the band didn’t expect…

As bassist Frankie Poullain, the embodiment of the ’80s, brought out his cowbell and drumstick to beat out ‘One Way Ticket’, so too did a dozen members of the crowd. Astonished, Hawkins had them all lifted onstage to hammer out the backing track. One woman in particular looked as if it were the single greatest moment of her life.

Their tongue-out-of-cheek banter, colossal riffage and fantastic audience rapport make these guys one of the best live rock acts around. No other ticket can guarantee a night on par with The Darkness. Rock is not dead.

David Molloy

He gushed, clearly overwhelmed by the occasion. “We played a gig at the Opera House once, y’know, just a thing inside. It was pretty cool but. I think it’s pretty safe to say not in a million years did we think we’d be out here doing this with you guys, and this [pointing to the Harbour Bridge] and this [looking up at the Opera House sails], and so much love in this space – Jesus!”

He continued, breathless, excited like a child at Christmas: “You guys see these things every day, but for us it’s just, it’s, y’know. It’s a novelty. Y’know, we look up at these things and it makes us feel like we’re somewhere, y’know what I mean? So yeah. Anyway. There we go.

That’s it, I promise.”

What a trip.

George Nott

PHOTOGRAPHER :: ASHLEY MAR

You wouldn’t let your daughter date a Rolling Stone, but chances are you’d let your mum spend a night with Neil Diamond. The 74-yearold played an epic 25-song set at Allphones Arena with songs spanning decades of hits (including many cuts from his Hot August Night double album) as well as some new tracks. It was no mean feat for a man who first toured Australia back in 1976.

This was an evening all about good old-fashioned manners, from the announcer welcoming patrons to the actual star himself. Diamond was a gracious host, frequently walking across the length of the stage to make sure every single person in the room got a chance to be sung to or connected with.

The show began with a Diamondpenned track made famous by The Monkees and the Shrek film, ‘I’m A Believer’. This big band version was filled to the brim with horns and some old razzle-dazzle. Another song made famous by a different group (UB40) was Diamond’s ‘Red Red Wine’, which had just the right amount of pop and reggae thrown in.

The star was backed by a tight 13-piece band of musicians who were adept at playing lots of different instruments. This helped create different moods and flourishes, from the cool pop groove of ‘Crunchy Granola Suite’ all the way to some softer wistful ballads like ‘Love On The Rocks’.

A long and sprawling interpretation of ‘Cherry, Cherry’ still boasted that great acoustic guitar hook and allowed Diamond to step back and introduce his entire band. But the biggest song of the night was undoubtedly ‘Sweet Caroline’, during which a huge sing-along in the greyhaired crowd ensued, as well as a hilarious moment when three older women held up huge, Bridget Joneslike knickers. Enough said.

There were moments of pure sentiment and home movies (‘Brooklyn Roads’) through to swaying pop songs, all from a man just happy playing his plain old daggy self. Diamond can still smoothly croon away like a youngster, but he also has the worldly wisdom of a gentleman who has learned a thing or two about the art of love.

Natalie Salvo

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BRAG :: 639 :: 18:11:15 :: 25

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

KE PHOTOGRAPHER :: KATRINA CLAR

FLORENCE + THE MACHINE, JACK LADDER AND THE DREAMLANDERS Sydney Opera House Friday November 13

“Oh my love, don’t forsake me,” she sang, “Take what the water gave me…”

As opening salvos go, it would be hard to find a more fitting number. The day had seen wild winds and lashings of hail, the rain a caul across the city. Thousands of us had gathered in the downpour awaiting a performer whose voice and stagecraft are the stuff of arresting legend – those unearthly, soaring notes, those tribal pirouettes – and while I was excited to finally be seeing Florence + The Machine live after years of fandom and missed live opportunities, I was also warned her gigs can be hit-and-miss.

Prior to Flo and co., we were treated to the habitually entertaining Jack Ladder and The Dreamlanders. Grandiose while avoiding ostentation, Ladder is a tremendous wordsmith and his band can conjure disparate landscapes with ease; one moment you are haggard and heartbroken, the next, raw and raging. Yet after seeing them deliver an outstanding set at September’s Small World Festival, I was engaged but somehow underwhelmed by their support slot. As another punter noted, “If they were any more relaxed, they’d be asleep.”

GENTLEMEN OF THE ROAD 2015 The Domain Saturday November 14

This year’s Gentlemen Of The Road saw Mumford & Sons’ pet event move from the regional town of Dungog to The Domain. The weather was less than ideal, and the ground was soggier than your grandma’s Weet-Bix, but spirits were high. The food and beer selection was good, but minus ten points are awarded to whoever allowed the Knafeh food truck guys to bring a mic and PA. Not even Joel Turner made beatboxing cool.

The heavily British lineup nonetheless saw Aussie locals Art Of Sleeping kick things off, crooning to the already solid audience with their single ‘Crazy’.

Meg Mac, dressed all in black, oozed confidence with her fierce cover of Bill Withers’ ‘Grandma’s Hands’.

The Jungle Giants pumped out an energetic performance, with their danceable tunes a welcome addition to the afternoon’s mood. The Vaccines treated the crowd with tracks from their latest release English Graffiti, to

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26 :: BRAG :: 639 :: 18:11:15

When Florence emerged, the rain had eased to a petulant drizzle, and the crowd lost its mind. ‘What The Water Gave Me’ segued into ‘Ship To Wreck’, and my God, any concern that Florence might not be in top form was instantly quashed. Her energy is remarkable, and her voice one of those rare feats future generations will longingly admire. ‘Rabbit Heart (Raise It Up)’ saw her enter the crowd (the first time) and sing her way to the upmost forecourt steps, where she was raised on a fan’s shoulders to close the song as the audience radiated out like acolytes with searching, outstretched hands.

The band itself was in fine form, with the evocative presence of harp and horn section – the horns really do turn a song like ‘How Big, How Blue, How Beautiful’ into something epic. Conversely, when songs were stripped back to their core, such as the acoustic ‘Cosmic Love’, the experience was no less commanding, and it’s a rare audience that has the respect to exercise silence when a performer attempts such an intimate gesture in so open a venue.

‘Shake It Out’ and crowd favourite ‘Dog Days Are Over’ led to encore ‘Mother’ and ‘Drumming Song’, wrapping a comprehensive set that cemented Florence Welch as one of the most fascinating, enthralling performers we have.

Adam Norris

a generally favourable response. The UK continued to represent as Jake Bugg took to the stage, scaling the energy levels back in what was a solid performance.

If the ground was wet before Samuel T. Herring fronted Future Islands’ secondlast show after 22 months on the road, it was twice as steamy after the frontman gyrated his way across the stage.

Herring’s passion is a rare, captivating sight, potentially unequalled.

Headliners Mumford & Sons opened up with some strong songs, breaking out the banjo early. It seemed as though the entire population of British citizens living in Australia had turned up for some quality ballads and banjo-bashing. The set was a delicate balance between well-orchestrated climaxes and some quieter moments, as the band at one stage unplugged and shared a single microphone. Their tribute to the victims of the Parisian terrorist attacks that had occurred that day was a poignant reminder of just how lucky the audience was to be here, enjoying music in a safe and happy environment.

Tegan Reeves

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MAR ::

PHOTOGRAPHER :: ASHLEY MAR

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g g guide gig g

send your listings to : gigguide@thebrag.com

WEDNESDAY NOVEMBER 18

THURSDAY NOVEMBER 19

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Dave Stringer + Si Solo Factory Theatre, Marrickville. 7pm. $35.

ACOUSTIC, COUNTRY, BLUES & FOLK

Country & Inner Western - feat: Lachlan Bryan & The Wildes + Imogen Clark + Hussy Hicks The Basement, Circular Quay. 7pm. $17.

Gadjo Guitars Mr Falcon’s, Glebe.

7pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Anatomy Class Captain Cook Hotel, Paddington. 8pm.

Free.

Ben Ottewell Newtown Social Club, Newtown. 8pm. $36.

Hussy Hicks + Eddie Boyd And The Phataphillars Lazybones Lounge, Marrickville. 7pm. $17.

Magnus + Convergence Method Frankie’s Pizza, Sydney. 7pm. Free.

Mark Travers Orient Hotel, The Rocks. 9pm. Free.

Musos Club Jam Night Bald Faced Stag Hotel, Leichhardt.

8pm. Free.

Sugar Jam Open Mic Night Sugarmill, Kings Cross. 8pm. Free.

The Fallen Gentry + Mick Daley + Scott Gibson The Gasoline Pony, Marrickville. 7pm. $5.

Vibrations At Valve - feat: Ambulare + Avelna + State Of Art + The Kids Don’t Like It + Allysnowfox + The Cereal Picnic + Jucy Lucy And More Valve Bar, Agincourt Hotel, Ultimo. 7pm. $15.

Hauschka + Hinterlandt Ensemble The Basement, Circular Quay. 5pm. $39.60.

Live Soul By The Greens Marrickville Bowling Club, Marrickville.

5:30pm. Free.

Liza Ohlback Band Camelot Lounge, Marrickville. 7:30pm. $25.

The Soul Movers Django Bar @ Camelot Lounge, Marrickville. 7pm. $29.70.

Thursdays In Jam - feat: El Moro + DJ Av El Cubano Jam Gallery, Bondi Junction. 9pm. Free.

ACOUSTIC, COUNTRY, BLUES & FOLK

Australian Music Week - feat: + Matt Stillert + The Blues Preachers + Jeanie + William Crighton + Timothy James Bowen + Clea + Demi Louise + Andy Golledge The Blind Bear, Cronulla. 4:10pm. $23.50.

Canadian Blast @ Australian Music Week - feat: Irish Mythen + Jenn Grant + Charlie A’Court Brass Monkey, Cronulla. 2:30pm. $23.50.

Leroy Lee Bald Faced Stag Hotel, Leichhardt.

7pm. Free.

The Tarantinos + Manana Frankie’s Pizza, Sydney. 10pm. Free.

Mark N The Blues Mr Falcon’s, Glebe.

8:30pm. Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

3 Way Split Orient Hotel, The Rocks. 9pm. Free.

Australian Music Week - feat: Dancing Fingers + Knox + Josh Needs + Matt Stillert +

Bryce Cohen Grind Espresso, Cronulla. 3pm. $23.50.

Australian Music Week - feat: Jorja Carroll + Søren + Nikita King + Sarah Belkner + Mark Moroney Queen Margherita, Cronulla. 1:50pm. $23.50.

Australian Music Week - feat: Knox + A Girl’s A Gun + Frank Sultana + Codie Prevost + Chris Watts + Hussy Hicks + Krista Polvere 2230 Restaurant & Bar, Cronulla.

4:50pm. $23.50.

Australian Music Week - feat: Rin Mcardle + Chris Paton + Adam Harpaz + Josh Arentz + Lachlan Bryan + Charlie A’Court Shucked Oyster Bar, Cronulla. 1:50pm. $23.50.

Australian Music Week - feat: Animal Ventura + Nikita Rolleston + Chris Watts + Kristafor Farrenkothen + Amistat Ham, Cronulla.

3:50pm. $23.50.

Australian Music Week: Sofar Sounds Presents - feat: Adam Miller + Sarah Belkner + Lydia Goldthorpe + Hein Cooper + Krista Polvere + Chris Watts Rydges Cronulla Beach, Cronulla.

1:50pm. Free.

Australian Music Week - feat: Ben Ottewell + Buddy + Hein Cooper + Rin Mcardle Brass Monkey, Cronulla. 7:20pm. $23.50.

Australian Music Week - feat: Letters To Lions + Woodlock + Skegss + The Owls + The Pinheads + Pow Pow Kids + Wells El Sol Mexican, Cronulla. 6:20pm. $23.50.

Australian Music Week - feat: The Aviators + Lepers & Crooks + Chase The Sun + The Vanns + Guards Of May + Royal Chant Sting Bar, Cronulla.

7pm. $23.50.

Australian Music Week - feat: William Crighton + Hat Fitz & Cara + Wendy Matthews + Jasmine Rae + Missy Michael P Cullen

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Lancaster JD’s Bar, Cronulla.

7pm. $23.50.

Australian Music Week - feat: Latin Ministry + Conchillia + Slumberhaze + Tenderfoot + Neighbour + Sound Concern Mall Stage Southern End, Cronulla.

3:30pm. $23.50.

Australian Music Week - feat: Hein Cooper + Rin Mcardle + Ed Wells + Maples + Marvell + Lydia Goldthorpe Croydon Lane Wine & Tapas Bar, Cronulla.

7:40pm. $23.50.

Australian Music Week - feat: CharityRose Turner + SueAnne Stewart + Kyle Lionhart + Zefereli + Dean Ray + Emma Beau + Mark Moroney Zink Bar & Restaurant, Cronulla.

5pm. $23.50.

Australian Music Week Songwriters Circle - feat: Wendy Matthews + Darren Percival + Jenn Grant + Charlie A’Court + Lachlan Bryan + Irish Mythen + Jenn Grant + Ella Fence + Fieu + Hannah Cameron Mall Stage Northern End, Cronulla.

3:10pm. $23.50.

Bodyjar Newtown Social Club, Newtown. 7pm. $31.

Dirty Cash Three Wise Monkeys, Sydney. 8pm. Free.

Live At The Sly - feat: Midnight Tea Party + Fat Yahoozah + Wild Cat Falling Slyfox, Enmore.

7:30pm. Free.

Michael P Cullen And The Soul Searchers Lazybones Lounge, Marrickville. 5pm. $15.

Musos Club Jam Night Carousel Inn Hotel, Rooty Hill. 8pm. Free.

Punk A Holic Anonymous - feat: Speedball + Black Knuckles + The Derros + Salty Tenders Valve Bar, Agincourt Hotel, Ultimo. 8pm. $15.

Sheerkhan + Special Guests Brighton Up Bar, Darlinghurst. 8pm. $11.50.

Stephanie Lea Fitzroy Hotel, Windsor. 7pm. Free.

pick of the week British India

SATURDAY NOVEMBER 21

Metro Theatre

British India + Tired Lion + Creo 7pm. $37.10.

The Brian Jonestown Massacre + Masco Sound System Metro Theatre, Sydney. 8pm. $73.85.

The Grand Magoozi The Gasoline Pony, Marrickville. 7pm. $7.

FRIDAY NOVEMBER 20 ACOUSTIC, COUNTRY, BLUES & FOLK

Cameron Cusack Band + Ray Danes + Roscoe Lee Brown The Gasoline Pony, Marrickville. 7pm. $5.

Eden Mulholland Oxford Art Factory, Darlinghurst. 8pm. $11.60.

Finn Edgeworth Tavern, Edgeworth. 8:30pm.

Free.

The Brian Jonestown Massacre

Pete Murray Towradgi Beach Hotel, Towradgi.

7:30pm. $35.

Stormcellar Lazybones Lounge, Marrickville. 10pm. $15.

Wolfmail The Vanguard, Newtown. 6:30pm. $23.80.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Bodyjar Newtown Social Club, Newtown. 8pm. $31.

A Northern Soul And Coalesce Group Factory Theatre, Marrickville. 7pm. $23.86.

Andy Tipton Kings Park Tavern, Kings Park. 7pm.

Free.

Australian Music Week - feat: Cubans In Whistler + Palace

Of The Kings + Juice + Raindrop + Captives + Lillye + Hurst Sting Bar, Cronulla.

7pm. $23.50.

Australian Music Week - feat: Søren + Jorja Carroll + Greg Hunan + Irish Mythen + Hannah Cameron Grind Espresso, Cronulla. 3pm. $23.50.

Australian Music Week - feat: Dave Bova + Shelly Fitzpatrick + Jasmin Jones + Hussy Hicks + Zefereli Queen Margherita, Cronulla. 1:50pm. $23.50.

Australian Music Week - feat: Chris Cavill + Matt Stillert + Emma Beau + The Blues Preachers + Sue-Anne Stewart + Hannah Cameron + Lachlan Bryan 2230 Restaurant & Bar, Cronulla.

4:30pm. $23.50.

Australian Music Week - feat: Demi Louise + Rin Mcardle + Emma Beau + Timothy James Bowen + Chris Watts + Lachlan Bryan Shucked Oyster Bar, Cronulla. 1:50pm. $23.50.

Australian Music Week - feat: Sarah Belkner + Chris Paton + Lydia Goldthorpe + Jeanie + Tenderfoot Solo + Greg Nunan Ham, Cronulla.

2:20pm. $23.50.

Australian Music Week - feat: Leanne Tennant + Ella Fence + Zefereli

+ Krista Polvere + Skyscraper Stan The Blind Bear, Cronulla. 3:10pm. $23.50.

Australian Music Week: Sofar Sounds Presents - feat: Kyle Lionhart + Hussy Hicks + Clea + Josh Needs + Mark Moroney + SueAnne Stewart Rydges Cronulla Beach, Cronulla.

1:50pm. Free.

Australian Music Week - feat: Flamingo Jones + Bel + Rackett + Sarah Belkner + Ella Fence + Goo Northies Cronulla Hotel, Sydney. 7pm. $23.50.

Australian Music Week - feat: Frank Cotterell & Kyle Druery - Back To The 60s + Pat Capocci + Jesse Valach + Lloyd Spiegel + Ray Beadle + Adam Martin + Mark Moroney + An Interview With Ted Gardner Brass Monkey, Cronulla. 5:50pm. $23.50.

Australian Music Week - feat: Rudigar + Dluna + The Cairos + Vernaskeep + Jaguar Club + Masco Sound System + Bad Pony El Sol Mexican, Cronulla. 6:20pm. $23.50.

Australian Music Week - feat: Betty & Oswald + C Major + Kristafor Farrenkothen + Mr Percival + Ed Wells + Nikita Rolleston JD’s Bar, Cronulla.

BRAG :: 639 :: 18:11:15 :: 27

g g guide gig g

send your listings to : gigguide@thebrag.com 7pm. $23.50.

Australian Music Week - feat: Declan Kelly & The Rising Sun (Diesel N Dub) + Radical Son + Gambia + Jason Owen + Canadian Blast Presents: A Tribe Called Red Mall Stage Northern End, Cronulla.

3:50pm. $23.50.

Australian Music Week - feat: Fieu + Eddie Boyd & The Phatapillar + Knox + Nicole Trophy + Bears With Guns + The Moving Stills + Conchillia Mall Stage Southern End, Cronulla.

3:30pm. $23.50.

Australian Music Week - feat: Kyle Lionhart + Demi Louise + Clea + Irish Mythen Croydon Lane Wine & Tapas Bar, Cronulla.

8pm. $23.50.

Australian Music Week - feat: Marvell + Amistat + Hein Cooper + Adam Harpaz + Matt Stillert + Adam Miller + Bryce Cohen Zink Bar & Restaurant, Cronulla.

5pm. $23.50.

Banquet - feat: Pretty City + Wells The World Bar, Kings Cross. 8pm. Free.

Chris Stretton Fortune Of War, The Rocks. 8pm. Free.

David Agius Town Hall Hotel, Balmain. 5pm. Free.

Downfall Of Gaia + Hope Drone Roxbury Hotel, Glebe.

8pm. $18.40.

Dream On Dreamer Factory Theatre, Marrickville. 7pm. $20.

Evie Dean Adria Restaurant, Darling Harbour. 5pm.

Free.

Jonathan Jones Orient Hotel, The Rocks. 5:45pm. Free.

Joy. Goodgod Small Club, Sydney. 8pm. $13.90.

Long Knife + Hostile Objects + Unknown To God + A.V.O + Culture Of Ignorance

Valve Bar, Agincourt Hotel, Ultimo. 8pm. $15.

Max Power Duo Royal Motor Yacht Club, Newport.

8:15pm. Free.

Men From Earth The Basement, Circular Quay.

7:30pm. $30.

Mike Miller Crown Hotel, Surry Hills. 8pm. Free.

Mr Jamie Ray Lord Raglan Hotel, Alexandria. 7pm.

Free.

Nathan Cole Padstow Park Hotel, Padstow. 7pm. Free.

Nile + Unearth + Feed Her To The Sharks + Whoretopsy Manning Bar, Camperdown.

7:30pm. $62.

Oliver Thorpe Mr Falcon’s, Glebe.

9:30pm. Free.

Peter Head The Push Bar, The Rocks. 7:30pm. Free.

Pretty City + Wells The World Bar, Kings Cross. 9pm. Free.

Rob Eastwood Castle Hill RSL, Castle Hill. 6:30pm.

Free.

Sam Newton Bar Cleveland, Redfern. 8:30pm.

Free.

Sheena Easton Revesby Workers Club, Revesby.

8:30pm. $76.41.

Ted Nash 99 On York, Sydney.

5:30pm. Free.

The Harpoons Brighton Up Bar, Darlinghurst. 8pm. $11.50.

The Screaming Jets Metro Theatre, Sydney. 8pm. $46.85.

UB40 Big Top Sydney (Luna Park), Milsons Point.

8pm. Free.

Vanessa Heinitz Chatswood RSL, Chatswood. 5pm.

Free.

Vanessa Heinitz Vineyard Hotel, Vineyard. 9pm. Free.

Voodoo Lust + Leadfinger + The Escapes Factory Theatre, Marrickville. 8pm. $19.50.

White Summer Ding Dong Lounge, Melbourne. 9pm. $12.

Wildcatz Orient Hotel, The Rocks. 10pm. Free.

SATURDAY NOVEMBER 21 ACOUSTIC, COUNTRY, BLUES & FOLK Chich And The Soul Messengers The Gasoline Pony, Marrickville. 3pm.

Free.

Paul Hayward And His Sidekicks Town & Country Hotel, St Peters. 4pm.

Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Bin Juice + Bad Valley + Phantastic Ferniture Brighton Up Bar, Darlinghurst. 8pm. $11.50.

INDIE, ROCK, POP, METAL, PUNK & COVERS I Know Leopard Goodgod Small Club, Sydney. 8pm. $13.90.

Marlon Williams And The Yarra Benders Oxford Art Factory, Darlinghurst. 8pm. $28.70.

90s Music Festival - feat: Bands Covering Rage Against The Machine + Tool + Greenway + Nirvana + Limp Bizkit + Pantera + Soundgarden + Stone Temple Pilots + People Of The Sun + The Jerk Offs + Horrorwood Mannequins + The Buzz Lovers + Acid Nymph + Tempora + Fresh Tendrils + Grunge Monkey Valve Bar, Agincourt Hotel, Ultimo. 4pm. $15.

Bin Juice

28 :: BRAG :: 639 :: 18:11:15

Alfredo Malabello The Push Bar, The Rocks. 7:30pm. Free.

Ana Moura + Spyglass Gypsies Enmore Theatre, Newtown. 8pm. $57.91.

Ange Orient Hotel, The Rocks. 5:45pm. Free.

Australian Music Week - feat: Adam Miller + Josh Needs + Dave Bova + Jesse Valach + Jasmin Jones + Shelly Fitzpatrick + Nikita King Grind Espresso, Cronulla. 1:40pm. $23.50.

Australian Music Week - feat: Hussy Hicks + Hannah Cameron + Katie Brianna + Jeanie + Josh Arentz Queen Margherita, Cronulla. 1:50pm. $23.50.

Australian Music Week - feat: Greg Nunan + Marvell + Nikita Nikita Rolleston + Ed Wells + Skyscraper Stan + Animal Ventura + Søren 2230 Restaurant & Bar, Cronulla.

4:30pm. $23.50.

Australian Music Week - feat: Greg Nunan + Lydia Goldthorpe + Mark Moroney + Jorja Carroll + Chris Cavill + Mystery Set Shucked Oyster Bar, Cronulla. 1:50pm. $23.50.

Australian Music Week - feat: Ross James Tipper + Chris Cavill + Kristafor Farrenkothen + Lachlan Bryan + Sue-Anne Stewart The Blind Bear, Cronulla. 3:10pm. $23.50.

Australian Music Week - feat: Sofar Sounds Presents Tenderfoot (Solo) + Ed Wells + Zefereli + Rin Mcardle + Skyscraper Stan + Timothy James Bowen Rydges Cronulla Beach, Cronulla.

3:10pm. Free.

Australian Music Week - feat: Frank Cotterell & Kyle Druery - Back To The 60’s + Holly Who + Mar Haze + Jenny Broke The Window + Maples + Le Pie + Zombie Cats + Krista Polvere Brass Monkey, Cronulla. 6:30pm. $23.50.

Australian Music Week - feat: The Stiffys + Red Wine Roses + The Dark Hawks + Warhead + Salvador Dali Llama + Merpire El Sol Mexican, Cronulla. 7:10pm. $23.50.

Australian Music Week - feat: The Lockhearts + Drawcard + Fait Accompli + The Ruckus + Narla + Ivy + Bandintexas Sting Bar, Cronulla.

7pm. $23.50.

Australian Music Week - feat: I Am Apollo + The Daphne Rawling

Band + Skyscraper Stan And The Commission Flats + Leanne Tennant + Charity-Rose Turner + Rosaye JD’s Bar, Cronulla.

7pm. $23.50.

Australian Music Week - feat: Tropical Zombie + Black Bird Hum + The Morrisons + Lachlan Bryan And The Wildes + Frank Sultana & The Sinister Kids + Simon Kinny-Lewis + Bryce Cohen + Kate Lush + Charlie A’Court + Hussy Hicks + Josh Needs Mall Stage Northern End, Cronulla.

11:40am. $23.50.

Australian Music Week - feat: Lyn Bowtell + Jason Owen + Kayla’s Rain + Melanie Dyer + Sue-Anne Stewart + Cass Eager & The Velvet Rope + Fox Holmes + State Of Art + Emma Beau + Jeanie + Andy Golledge Mall Stage Southern End, Cronulla. 12pm. $23.50.

Australian Music Week - feat: Amistat + Ella Fence + Adam Harpaz + Zefereli Croydon Lane Wine & Tapas Bar, Cronulla.

8:30pm. $23.50.

Australian Music Week - feat: Knox + A Girl’s A Gun + The Blues Preachers + Dancing Fingers + Adam Harpaz + Clea + Nicole Trophy + Demi Louise + Chris Watts + Timothy James Bowen + Katie Brianna Zink Bar & Restaurant, Cronulla.

1:40pm. $23.50.

British India + Tired Lion + Creo Metro Theatre, Sydney. 7pm. $31.70.

Cull + Milkk + Suixx Roxbury Hotel, Glebe.

8:30pm. $10.

Do I Scare Ya? - feat: Captain Kickarse & The Awesomes + The Main Guy & The Other Guys + Moof De Vah + Kevin Dystopian Bald Faced Stag Hotel, Leichhardt.

7pm. $13.90.

Double Lined Minority Chatswood Youth Centre, Chatswood.

2pm. $10.

Glenn Esmond Crown Hotel, Surry Hills. 9pm. Free.

Got It Covered Rooty Hill RSL Club, Rooty Hill. 8pm. Free.

Hockey Dad The Lair, Metro Theatre, Sydney.

4:30pm. $12.

In Defence + Disparo! + The Holiday Project + Head In A Jar + The Condemned + Dispolar Monster Mouse, Marrickville. 7:30pm. $15.

Jed Zarb Town Hall Hotel, Balmain. 9pm. Free.

John Dixon The Forbes Hotel, Sydney. 7pm. Free.

Katcha Mr Falcon’s, Glebe.

Hoodoo Gurus

8pm. Free.

LJ Marrickville Ritz Hotel, Marrickville.

8pm. Free.

Nathan Cole Fortune Of War, The Rocks. 3pm. Free.

Pete Murray The Basement, Circular Quay. 7pm. $42.31.

Ron Sexsmith Newtown Social Club, Newtown. 8pm. $56.95.

Spit Roasting Bibbers Picton Hotel, Picton.

8pm. Free.

Spy Vs Spy + Urban Guerillas Gymea Hotel, Gymea. 8:30pm. Free.

Ted Nash The Belvedere Hotel, Sydney. 7:30pm. Free.

The Chosen Few Orient Hotel, The Rocks. 10pm. Free.

The Southerly Busters The Gasoline Pony, Marrickville. 7pm. $5.

Vanessa Heinitz Panania Hotel, Panania. 8:30pm.

Free.

SUNDAY NOVEMBER 22 ACOUSTIC, COUNTRY, BLUES & FOLK Songsonstage feat: Stuart Jammin + Guests Harlequin Inn, Pyrmont. 3pm. Free.

Songsonstage feat: Russell Neal + Guests Surrey Club Hotel, Redfern. 2pm. Free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Kylie Auldist Newtown Social Club, Newtown. 7pm. $25.

INDIE, ROCK, POP, METAL, PUNK & COVERS Bill Kacir The Mill Hotel, Milperra. 12pm. Free.

Dave Ireland Macarthur Tavern, Campbelltown. 2pm.

Free.

Dog Trumpet The Gasoline Pony,

Marrickville. 5pm. $10.

GK Picton Hotel, Picton.

12pm. Free.

Glenn Esmond Panania Diggers, Panania. 12pm. Free.

Glenn Esmond Fortune Of War, The Rocks. 6pm. Free.

Koral & The Goodbye Horses + The Dusty Ravens Union Hotel, Newtown. 7pm. Free.

Loud Fest 2015 - feat: Hellions + Stories + Endless Heights + Void Of Vision + Bare Bones + Harbours Metro Theatre, Sydney. 3pm. Free.

Mike Miller Royal Motor Yacht Club, Newport. 2pm.

Free.

Open Mic Epping Hotel, Epping.

5pm. Free.

Open Mic Night Nag’s Head Hotel, Glebe. 5:30pm. Free.

Pete Murray The Basement, Circular Quay. 7pm. $42.31.

Steve Crocker Strawberry Hills Hotel, Surry Hills.

4pm. Free.

Sydney Rock ‘N’ Roll & Alternative Market - feat: Men Into Space Manning Bar, Camperdown.

10:30am. $6.

Symptoms Persist Valve Bar, Agincourt Hotel, Ultimo. 5pm. $10.

Ted Nash The Rivo Hotel, Riverstone. 4pm.

Free.

The Beatvilles Orient Hotel, The Rocks. 8:30pm. Free.

The Livingroom + Welter + Jack And Chi Lewisham Hotel, Lewisham. 4:30pm.

Free.

The Revheads Towradgi Beach Hotel, Towradgi. 3pm.

Free.

Thrash ’Em All Feat: In Defence + Sorcery + Disintegrator + Atomic Death Squad + Deadly Visions + Disparo!

Frankie’s Pizza, Sydney. 4pm. Free.

U2 Elevation Orient Hotel, The Rocks. 4:30pm. Free.

Vanessa Heinitz Ingleburn Hotel, Ingleburn. 1pm. Free.

MONDAY NOVEMBER 23 ACOUSTIC, COUNTRY, BLUES & FOLK John Maddox Duo Mr Falcon’s, Glebe.

7pm. Free.

Songsonstage feat: Russell Neal + Chris Brookes + Guests Kelly’s On King, Newtown. 7:30pm.

Free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Frankie’s World Famous House Band Frankie’s Pizza, Sydney. 9pm. Free.

Live & Original @ The Corridor - feat: Bek Jensen + Amy Freeman + Clodagh Corridor Bar, Newtown. 7pm. Free.

Marty Orient Hotel, The Rocks. 9pm. Free.

One For The Road - feat: Angry Anderson + Baby Animals + Diesel With Guest Jimmy Barnes + 1927 + Dragon + Mark Gable + Hoodoo Gurus + Noiseworks Enmore Theatre, Newtown. 7pm. $99.

Ron Sexsmith The Basement, Circular Quay. 7pm. $54.90.

The Monday Jam The Beresford Hotel, Surry Hills. 6pm. Free.

TUESDAY NOVEMBER 24 ACOUSTIC, COUNTRY, BLUES & FOLK Songsonstage feat: Stuart Jammin + Guests Kelly’s On King, Newtown. 8pm. Free.

The California Honeydrops + Special Guests Newtown Social Club, Newtown. 8pm. $44.92.

thebrag.com

g g picks gig p

up all night out all week...

Ben Ottewell

wed

thu

18 Nov

19 (9:00PM - 12:00AM)

Nov

(9:00PM - 12:00AM)

fri

20 Nov

5:45PM  8:45PM

(10:00PM - 1:40AM)

SATURDAY AFTERNOON

WEDNESDAY NOVEMBER 18

SATURDAY NOVEMBER 21

Ben Ottewell Newtown Social Club, Newtown. 8pm. $36.

Australian Music Week - Feat: I Am Apollo + The Daphne Rawling Band + Skyscraper Stan And The Commission Flats + Leanne Tennant + Charity-Rose Turner + Rosaye JD’s Bar, Cronulla. 7pm. $23.50.

Country & Inner Western - Feat: Lachlan Bryan & The Wildes + Imogen Clark + Hussy Hicks The Basement, Circular Quay. 7pm. $17.

Dave Stringer + Si Solo Factory Theatre, Marrickville. 7pm. $35.

THURSDAY NOVEMBER 19 Australian Music Week: Sofar Sounds Presents - Feat: Adam Miller + Sarah Belkner + Lydia Goldthorpe + Hein Cooper + Krista Polvere + Chris Watts Rydges Cronulla Beach, Cronulla.

1:50pm. Free.

Australian Music Week - Feat: The Aviators + Lepers & Crooks + Chase The Sun + The Vanns + Guards Of May + Royal Chant Sting Bar, Cronulla. 7pm. $23.50.

Bodyjar Newtown Social Club, Newtown. 7pm. $31.

Canadian Blast @ Australian Music Week - Feat: Irish Mythen + Jenn Grant + Charlie A’Court Brass Monkey, Cronulla. 2:30pm. $23.50.

Live At The Sly - Feat: Midnight Tea Party + Fat Yahoozah + Wild Cat Falling Slyfox, Enmore. 7:30pm. Free.

Michael P Cullen And The Soul Searchers Lazybones Lounge, Marrickville. 5pm. $15.

Bin Juice + Bad Valley + Phantastic Ferniture Brighton Up Bar, Darlinghurst. 8pm. $11.50.

Do I Scare Ya? - Feat: Captain Kickarse & The Awesomes + The Main Guy & The Other Guys + Moof De Vah + Kevin Dystopian Bald Faced Stag Hotel, Leichhardt. 7pm. $13.90.

The Harpoons Brighton Up Bar, Darlinghurst. 8pm. $11.50.

The Screaming Jets Metro Theatre, Sydney. 8pm. $46.85.

thebrag.com

(8:30PM - 12:00AM)

(10:00PM - 1:15AM)

mon

tue

23 Nov

(9:00PM - 12:00AM)

24 Nov

(9:00PM - 12:00AM)

Pete Murray The Basement, Circular Quay. 7pm. $42.31.

Ron Sexsmith Newtown Social Club, Newtown. 8pm. $56.95.

SUNDAY NOVEMBER 22 Dog Trumpet The Gasoline Pony, Marrickville. 5pm. $10.

FRIDAY NOVEMBER 20

Nile + Unearth + Feed Her To The Sharks + Whoretopsy Manning Bar, Camperdown. 7:30pm. $62.

sun

22 Nov

Marlon Williams And The Yarra Benders Oxford Art Factory, Darlinghurst. 8pm. $28.70.

Loud Fest 2015 - Feat: Hellions + Stories + Endless Heights + Void Of Vision + Bare Bones + Harbours Metro Theatre, Sydney. 3pm. Free.

Joy. Goodgod Small Club, Sydney. 8pm. $13.90.

21 Nov

I Know Leopard Goodgod Small Club, Sydney. 8pm. $13.90.

Kylie Auldist Newtown Social Club, Newtown. 7pm. $25.

Eden Mulholland Oxford Art Factory, Darlinghurst. 8pm. $11.60.

5:45PM  8:45PM

(4:30PM - 7:30PM)

Hockey Dad The Lair, Metro Theatre, Sydney. 4:30pm. $12.

The Brian Jonestown Massacre + Masco Sound System Metro Theatre, Sydney. 8pm. $73.85.

Dream On Dreamer Factory Theatre, Marrickville. 7pm. $20.

sat

SUNDAY AFTERNOON

Sydney Rock ‘N’ Roll & Alternative Market - Feat: Men Into Space Manning Bar, Camperdown. 10:30am. $6.

Thrash ’Em All – Feat: In Defence + Disintegrator + Atomic Death Squad + Deadly Visions + Disparo!

Frankie’s Pizza, Sydney. 4pm. Free.

MONDAY NOVEMBER 23 One For The Road - Feat: Angry Anderson + Baby Animals + Diesel With Guest Jimmy Barnes + 1927 + Dragon + Mark Gable + Hoodoo Gurus + Noiseworks Enmore Theatre, Newtown. 7pm. $99.

BRAG :: 639 :: 18:11:15 :: 29

brag beats

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

dance music news club, dance and hip hop in brief... with Chris Martin, Tegan Reeves and Gloria Brancatisano

five things RODRIGUEZ JR.

WITH

Growing Up I grew up in 1. a small town in the

forward-thinking music.

south of France.

My first contacts with electronically generated sounds were on the radio: Jarre, Kraftwerk, Art Of Noise… they have shaped my love for melodies and sound textures. I eventually got into dance music with acts such as Inner City and Lil Louis in the early ’90s. I actually was into pretty much anything coming from Detroit or Chicago.

Later, Warp Music has also been a founding label: LFO, Aphex Twin, Board Of Canada.

Your Crew I started to produce music in 1995 while studying mathematics at the university. I was part of a techno band called The Youngsters. After a couple of wellreceived techno releases on a small French label, we met Laurent Garnier and joined his world-famous label, F-Communications, in 2000. I eventually started to work on my solo project in 2006 and joined the Mobilee Records crew thanks to Anja Schneider and Ralf Kollmann. I feel really blessed that I’ve been able to make music production a full-time job for more than 15 years now.

Inspirations I try to keep 2. my spectrum of influences as wide as I can. Inspiration can be anywhere, really, from old jazz records to experimental performances in an art museum or regular pop music on the radio. I am still very inspired [by] the dance music from Detroit – this blend of black music grooves with emotional synthetic landscapes.

For instance, Carl Craig is still one of my heroes with his

Ardalan

3.

The Music You Make And 4.

Play I perform my music live onstage. That’s quite a different challenge than a regular DJ set, as I only play my own music, which is a blend of house and techno music with a twist of minimalistic melodies from time to

CHRISTMAS ON THE ISLAND

30 :: BRAG :: 639 :: 18:11:15

Music, Right Here, Right Now 5.

Being a music producer is technically easier than ever thanks to the democratisation of technology. That’s a great opportunity for loads of young talents, but it also ends up in an overloaded and saturated music scene with thousands of new tracks being released every day.

That’s obviously exciting and stimulating, though I think we need to find back some kind of filters in order to connect the music consumer to the right content he’s looking for. I guess proper music curation is going to be the next big thing.

DIRTYBIRD ON TOUR

We are not worthy. But at least one of these guys is. Ardalan and Worthy, two producers from the Dirtybird stable, are joining forces for a five-date tour Down Under in the lead-up to Christmas. Worthy will already be familiar to Australian clubgoers, having visited our shores regularly over the last few years, in the midst of world tours that have seen him play everywhere from island megaclubs to underground basements. But that’s not to leave Ardalan out of the equation – the future house producer will be making his Antipodean debut, and is tipped for big things in the months to come. Join the party at Chinese Laundry on Saturday December 19.

men, strip searches and steroids.

Seems fair enough. Catch the vibe on Saturday November 28.

EMC FULL PROGRAM

The Electronic Music Conference is proving itself to be at the forefront of everything electronic, and now the Sydney event has announced a full schedule of over 50 new speakers and sessions to join the already solid 2015 program. Highlights of the freshly minted EMC schedule include a discussion panel that will focus on how Australia’s music scene can coexist with ongoing lockout laws both in Sydney and other cities. The panel will include industry heads and venue owners from around the country, including Simon Digby (Roar Projects/Melbourne Licensees

Forum Steering Committee), Nick Braban (Our Nightlife Queensland), Dean Ormston (APRA/AMCOS), John Wardle (Live Music Office), and Tyson Koh (Keep Sydney Open). Other newly added sessions include Disrupting The Bubble: Is Australia’s New Festival Scene Sustainable?, which will look at the disappearance of Australia’s megafestivals and the rise of boutique events, and The New Frontier: Why Brazil Is One Of Electronic Music’s Most Lucrative Markets.

Newly announced artist speakers include Hermitude, HMC, Itch-e & Scratch-e and The Presets, plus heaps more. EMC 2015 takes over the Ivy from Tuesday December 1 – Wednesday December 2. Visit electronicmusicconference.com for the schedule and ticketing info.

Norman Jay MBE

What: Chrysalism out now through Mobilee Where: Civic Underground When: Saturday November 21

START:CUE BIRTHDAY BASH

Start:Cue is turning three, and headlining its birthday event at Bondi’s Beach Road Hotel will be UK DJ Ralph Lawson (20/20 Vision) and fellow Brit, Frenchy (Back To Basics). Lawson is best known for his 24-year-long residency at Back To Basics in Leeds in addition to his globally appealing take on house music. Meanwhile, Frenchy made his name via his Throwing Shapes radio appearances and his Disco Till I Die project, both alongside Tristan Da Cunha. Deliberately being staged on the same day as a certain other major dance festival, the organisers at Start:Cue are aiming to attract a crowd that will appreciate a lack of queues, overpriced drinks, shirtless

G-Eazy

EASY AS G-EAZY In support of his second album, When It’s Dark Out, G-Eazy will be heading around the country this March. G-Eazy has spent the last few years touring the globe relentlessly, and his most recent tour, which featured 60 sold-out shows, took him across the globe, including North America, Europe, Australia and New Zealand. This year he has also featured at a range of festivals across North America and Europe, including Roskilde, Wireless Festival, Lollapalooza and Bonnaroo. He will bring the rhymes to the Metro Theatre on Thursday March 3.

WE GOT GAME

ELECTRIC GARDENS GROWS AGAIN

Electric Gardens, the epic dance festival set to debut over the Australia Day weekend in Centennial Park this January, has added one of the world’s most influential DJs to its lineup. Norman Jay MBE, the groove and funk legend himself, will come to Sydney for two sets at Electric Gardens 2016. He’ll be doing an afternoon set on the festival main stage, before lining up for the VIPs at a private stage (for which tickets are on sale now). The Electric Gardens lineup already includes names like Fatboy Slim, John Digweed, Nic Fanciulli, Pachanga Boys and Stacey Pullen. The festival goes down on Saturday January 23.

Returning with his latest effort, The Documentary 2, Dr. Dre’s protégé and prolific rapper The Game is making his way to Australian shores for a national tour. The latest album acts as a sequel to The Game’s debut record The Documentary and features collaborations with Kendick Lamar, Snoop Dogg, Dre, Ice Cube, Diddy, Kanye West and Drake. With more than ten million album sales under his belt, The Game will be bringing a stack of chart-topping hits with him including ‘Westside Story’ and ‘It’s Okay’. Catch The Game in action when he takes over Big Top Sydney, Luna Park on Thursday February 25. thebrag.com

xx

If you’re wondering what to do with the post-Christmas public holiday come Monday December 28, wonder no more. Kick off your NYE celebrations early (or drag the Christmas celebrations out for as long as possible) on Sydney Harbour at The Island LIVE. The Christmas fiesta lineup features Bag Raiders (DJ set), Tear Council, Mantra Collective, Adi Toohey, ZNRB DJs and for the first time ever will be hosted during the daylight hours.

Kicking off at 1pm, the event will make the most of the summer sun in one of Sydney’s most picturesque locations. The ticket price includes the cost of a return water taxi and two free drinks on arrival.

time. I also keep on working in the studio every day and am currently working on a follow-up to my last EP Chrysalism and on my forthcoming album.

Anklepants Not Just A Knob-Twiddler By Augustus Welby

A

nklepants mastermind Reecard Farché has been fascinated by the possibilities of technological manipulation since a young age. As evidenced by Anklepants’ dissident electronic music and startling visual presentation, he has a knack for making it work in unique ways. Farché (or Richard Face, as he’s otherwise known) grew up in Bellingen on the Mid North Coast of New South Wales – a popular holiday destination known for its alternative culture. This environment encouraged the cultivation of peculiar interests.

Mathew Jonson photo by David Terranova

“There’s a lot of different people there,” says Farché. “There’s people living in teepees, there’s a lot of communes. Then there’s a lot of more the opposite, like cowboy kind of characters. There’s a whole range of people, so there’s a lot of musicians there; there’s a lot of all kinds of creative people there.”

Farché started playing guitar when he was nine years old, and he cites his Bellingen guitar teacher as his biggest musical influence. “He was a freak. He was into the early MIDI guitar stuff, so I learnt off him about that end of things,” he says. “The knowledge of how these early systems worked influenced me being interested in that physical input stuff with any kind of instruments, which has ended up with me building all that kind of stuff.

“The reason I first got into electronic music was to add these different sounds to a more conventional rock band formation. I already had other bands going, so [MIDI] looked like this way to introduce these different sounds that could be made by a normal guitar.”

It’s impossible to speak about Anklepants without drawing attention to Farché’s grotesque head mask, which is distinguished by a large phallus protruding from the nose region. Drawing on his background in electronic engineering, Farché incorporated animatronics into the custom-built head, giving the phallus the appearance of autonomous movement.

“I’ve programmed the way [the penis] works, but then I can override it with a button on

the microphone,” he says. “Most of the animatronics control systems that are used now in films, Anklepants is way more hardcore than that. It’s all custom – I can do whatever I want, there’s no restrictions.

“I’m working at the moment on video stuff with mapped tracking. Then all the feedback in the microphone and the audio and whatever will control the video as well and it’ll be one big mutation.”

The visual aspects are hugely significant for Farché, and anyone that encounters the masked figure is left with an unforgettable image. Suffice to say, he’s faced plenty of allegations of vulgar gimmickry. However, while the mask can draw a negative response, it serves an expressive purpose.

“It’s hilarious how people are just obsessed with the appearance of things. [The mask is] the perfect example of that – it works too well. That’s what it was kind of supposed to do – just watch how people go, ‘Look at the disgusting [face],’ or ‘It’s just a gimmick.’

It’s like, ‘Yeah, and you’re just proving to yourself that all you think about is what it looks like.’ There’s so much stuff going on in the music and the technology. To think that it’s just a gimmick is the most lazy way to deal with it.

“The best is when electronic musicians say that. That whole DJ/live electronic music thing is so swept with people standing there posing, twiddling knobs, pressing buttons, that as soon as someone comes in that’s singing and doing way more control than any of their purchased controllers can ever do, they just have to cut it down and say it’s because I’ve got a mask on. If I take the mask off, I’m still doing the same thing.”

What: Social-Patching-And The Pixel Pageant Facéd Boy out now through Love Love Where: Bald Faced Stag When: Saturday December 19 And: Also appearing at Earthcore 2015, Pyalong, Victoria, Thursday November 26 – Monday November 30

Mathew Jonson A Feel For Techno By Adam Norris

C

anada’s Mathew Jonson is a distinctive voice in the world of techno.

Perhaps best known for his 2005 hit ‘Marionette’, he’s also a member of the improvisational trio Cobblestone Jazz. Jonson is in Australia this month for a string of national gigs both solo and with his two bandmates, and the shows are sure to be an education for newbies and diehard fans alike.

here, given that building a genuine narrative – something that has an intro, has recurring themes and emotions that build towards the end – is something he strives for across the majority of his work. He is renowned for being a ‘hands-on’ performer, someone less inclined to filtering beats through a computer than an artist prone to building a fully fleshed track from the ground up.

“There are other people like me, I think, and I don’t personally think I have a stand-alone kind of sound going,” Jonson begins. “If you listen to a lot of EDM or techno, a lot of it can sound very similar. With me, when I write music and when I’m in the studio, I usually have a bit of a story to tell.

I’m writing very specific melodies, very specific basslines. It’s hard to describe, but the melodies somehow just come to me in my head and I have to translate them onto the equipment.

“For me personally, if I get on the computer I find it a lot more difficult. If I was stuck on a computer trying to write techno, there might definitely be a feeling of it being contrived, because it isn’t something that comes naturally to me.

My techno, experimental stuff will be very hands-on, intuitive, doing the entire arrangement as I feel it should be on the mixing desk. It’s more like a dub session, using mute buttons and volume faders to bring out different synthesisers and things I have going in loops. If I’m working with vocals, that will change quite drastically. I’m more in an arranging space, and that’s a very, very different process. There, it’s closer to what you might find in a pop studio, and is considerably more timeconsuming as well.

Anklepants photo by Dina Schweiger

“That’s versus a lot of electronic music, where people are using random generators that are playing notes arranged in some kind of scale. There are a lot of people using presets and stuff like that, and the music can be based on placing a lot of different effects sounds together.

It can be very percussive in a way. And that’s great, that percussiveness can have a lot of energy, but I guess because my music is so melodic and has the harmonies that it does, it seems to be able to stick in people’s heads more.

There are definitely hooks, whereas in a lot of techno it’s so percussive; it’s not necessarily something you’re going to go home singing to yourself after the club closes.”

Jonson’s use of the word ‘story’ is quite telling thebrag.com

“If you’re painting a picture,” he continues, “and you’re only using one brush to paint something very minimal, you can put a couple of lines on a piece of paper that look really beautiful, and you can call it art. You can even feel that there’s some emotional content in that. But the second you take a small pencil and start doodling in the corner, then you have to balance out the whole picture with those kind of movements. It’s the same with music. If you have vocals and start making changes, having

a proper arrangement, it’s something you really need to sit down and establish. I wouldn’t say that’s my forte.

It’s something I can do slightly intuitively, but I feel I could do a lot more study there and be much more effective.”

In addition to the multiple hats Jonson will be wearing on the Australian tour – individual gigs and his freeform work with Cobblestone Jazz – the live shows are going to be accentuated by the addition of visual displays orchestrated by local motion graphic designer, Krystal Schultheiss. In the spirit of improvisation, Jonson et al. have not planned this collaboration with any detail, hoping instead to let the music and visuals develop an unencumbered life of their own.

“A lot of the visual programs out there, they’ll take a feed of the audio off our mixing desk and feed it into their computer, so that it’s all perfectly synced up. You can set a lot of these programs to respond differently to different aspects, be it the tempo, or the bass frequencies might be triggering one visual while other things are going on. A lot of those programs are very modular, so the person sets them up much as you would a modular synthesiser, but with visuals.

“There are certainly a lot of possibilities, and I think it mostly comes down to the individual person,” he chuckles. “It depends on how deep they’re willing to dive down into it.”

Who: Mathew Jonson and Cobblestone Jazz With: Palms Trax Where: Jam Gallery When: Saturday November 21 BRAG :: 639 :: 18:11:15 :: 31

club guide g

club picks p up all night out all week...

send your listings to : clubguide@thebrag.com

club pick of the week Anderson .Paak

Manning House

Xxx

One Day Only Anderson .Paak + P-Money + Jackie Onassis + M-Phazes + more 2pm. $61.10.

CLUB NIGHTS Bamboo Boogie feat: Harry Sounds + Daniel Lupica + Karim Middle Bar, Darlinghurst. 5pm.

Free.

Salsa Wednesdays - feat: DJ Miro + Special Guests The Argyle, The Rocks. 8:30pm. Free.

The Wall The World Bar, Kings Cross. 9pm. Free.

THURSDAY NOVEMBER 19 HIP HOP & R&B Edo G X NBS With DJ Illegal + Hyjack + DJ Skae + Big Hustle + Benji Valve Bar, Agincourt Hotel, Ultimo. 9pm. $40.

CLUB NIGHTS C.U Thursday - feat: Eats Everything Civic Underground, Sydney. 8pm. $20.

Deutsch Duke + Mxxwll Goodgod Small Club, Sydney. 7pm. Free.

Kicks The World Bar, Kings Cross. 9pm. Free.

The Midnight Swim Sessions - feat: Thomas Studdy

Eats Everything

CLUB NIGHTS

SATURDAY NOVEMBER 21

WEDNESDAY NOVEMBER 18

6pm. Free.

Turnt Up - feat: Iamsu! + Bobby Brackins + Nic Nac Max Watt’s, Moore Park. 4:35pm. $65.30.

Goros, Surry Hills.

8pm. Free.

Wax Wars - feat: Dameza + Bace Kadet + Buick + DJ Who + Trusty Trevor + Mat Wonder + Migz + Kiko Oxford Hotel, Darlinghurst. 8pm. $10.

FRIDAY NOVEMBER 20 CLUB NIGHTS Apparat + Tigerstyle + Whitecat Early Bird Oxford Art Factory, Darlinghurst. 9pm. $35.

Bassic - feat: Opiuo + Hamilton + Hatch + The Mane Thing + Blackjack + Astrix Little + Axe B2B Vibrasoul + Ellagator B2B Strafe + The Bassix + Mr Pink B2B Struz Chinese Laundry, Sydney. 9pm. $32.80.

Beat Spacek Oxford Art Factory, Darlinghurst.

10:30pm. $17.90.

Blvd Fridays - feat: Ember Marquee, Pyrmont.

10pm. $13.40.

Derriere - feat: Rotating DJs Goros, Surry Hills.

6pm. Free.

DJ Nesta + DJ Fasmwa + Friends Brighton Up Bar, Darlinghurst. 11pm. $11.50.

El Loco Later - feat: DJs On Rotation

32 :: BRAG :: 639 :: 18:11:15

Excelsior Hotel, Surry Hills. 9pm. Free.

Feel Good Fridays Bar100, The Rocks.

5pm. Free.

Friday Frothers feat: DJ Babysham + DJ Jesse Sewell Side Bar, Sydney.

9pm. Free.

Friday Lite - feat: Victoria Kim Goodgod Small Club, Sydney. 10pm. Free.

Harbour Club - feat: Resident DJs The Watershed Hotel, Sydney. 6pm. Free.

Jam Fridays Jam Gallery, Bondi Junction. 9:30pm.

Free.

Loco Friday - feat: DJs On Rotation The Slip Inn, Sydney.

5pm. Free.

Scubar Fridays - feat: DJs On Rotation Scubar, Sydney. 8pm.

Free.

Treble N Bass Manly Wharf Hotel, Manly. 8pm. Free.

HIP HOP & R&B 73 Til’ Infinity feat: Anno + Mase Boogie + Edseven + Benny Hinn Play Bar, Surry Hills.

4pm. Free.

Climax Sydney The Shift Bar, Darlinghurst. 10pm. $15.

Galvanize #002 - feat: Tornts + Bigfoot + The Holy Sinner & DJ Vame + 5 Finger Discount + Izzy & DJ Maniak + El Jistos + Split

Decision + Jygantix & DJ Load Valve Bar, Agincourt Hotel, Ultimo. 9pm. $10.

SATURDAY NOVEMBER 21 HIP HOP & R&B Australian Music Week - feat: Mind Over Matter + Ivan Ooze + Ry + Waza Northies Cronulla Hotel, Sydney.

7:10pm. $23.50.

Boathouse Saturdays - feat: Resident DJs The Watershed Hotel, Sydney. 9pm. $20.

One Day Only - feat: Anderson .Paak + P-Money + Jackie Onassis + M-Phazes + Sampology + Ngaiire + Joyride + Paces + The Meeting Tree + Baro + Feki + Young Tapz + Jayteehazard + Jimblah + DJ Izm + Mike Who + Thandi Phoenix + Shantan Wantan Ichiban + Zuri Akoko + Adit + Nacho Pop + Poncho + Lazer Gunne Funke + Moonbase Commander + Finehouse + Gravy Manning House, Camperdown. 2pm. $61.10.

Skratch - feat: Adverse + Makoto + Benny Hinn Play Bar, Surry Hills.

Aden Mullens And Raye Antonelli Manly Wharf Hotel, Manly. 6pm. Free.

C.U Saturday - feat: Rodriguez Jr. Civic Underground, Sydney. 8pm. $22.10.

El Loco Later - feat: DJs On Rotation Excelsior Hotel, Surry Hills. 9pm. Free.

Electrocute Clubnight - feat: DJs Zephiran + Danjer + Voodoo + Jenetik And Many More Valve Bar, Agincourt Hotel, Ultimo. 9pm. $10.

Establishment Saturdays The Establishment, Sydney. 9pm. $20.

Frat Saturdays feat: DJ Jonski Side Bar, Sydney.

7:30pm. Free.

Harbourlife 2015 feat: Booka Shade + Eats Everything + Tensnake + Klingande + Derrick Carter + Bicep + More Fleet Steps, Sydney.

12pm. $122.

Iamsu! + Bobby Brackins + Nic Nac Max Watt’s, Moore Park. 8pm. $65.20.

Le Fruit DJs Goros, Surry Hills.

8pm. Free.

Lndry - feat: Justin Martin + Bang Gang DJs + Kid Kenobi + Simon Caldwell + Ken Cloud + Phil Smart + Friendless + Matt Nugent + Jeff Drake + Chris Fraser + Elijah Scadden Chinese Laundry, Sydney. 9pm. $38.

Masif Saturdays Space, Sydney. 10pm. $25.

MTV Beats & Eats Festival - feat: Havana Brown + Savage & Jesabel Parramatta Park, Parramatta. 2pm.

Free.

My Place Saturdays - feat: DJs On Rotation Bar100, The Rocks.

8pm. Free.

Pacha - feat: Ministry Of Sound Trance Nation + Exis + Nick Arbour & Thomas Knight + Tygris + Alex Preston + Danny Lang + Vito + DJ Moto + Deckhead + Elly K Ivy Bar/Lounge, Sydney. 6:30pm. $38.

Rio Recovery - feat: Alan Thomas + B_A + Mantra Collective + Monkey Tennis + Tristan Case + Murat Kilic + Nick Law + Ricky Cooper + Sampsonite + Soul Clap + Secret International + Matthew Dekay + Hoj Factory Theatre, Marrickville. 12pm. $40.

Scubar Saturdays - feat: DJs On Rotation Scubar, Sydney.

8:30pm. Free.

Shocking Pinks

THURSDAY NOVEMBER 19 C.U Thursday - Feat: Eats Everything Civic Underground, Sydney.

8pm. $20.

Deutsch Duke + Mxxwll Goodgod Small Club, Sydney.

7pm. Free.

Edo G X NBS With DJ Illegal + Hyjack + DJ Skae + Big Hustle + Benji Valve Bar, Agincourt Hotel, Ultimo. 9pm. $40.

FRIDAY NOVEMBER 20 Apparat + Tigerstyle + Whitecat Early Bird Oxford Art Factory, Darlinghurst. 9pm. $35.

Bassic - Feat: Opiuo + Hamilton + Hatch + The Mane Thing + Blackjack + Astrix Little + Axe B2B Vibrasoul + Ellagator B2B Strafe + The Bassix + Mr Pink B2B Struz Chinese Laundry, Sydney.

9pm. $32.80.

Beat Spacek Oxford Art Factory, Darlinghurst. 10:30pm. $17.90.

DJ Nesta + DJ Fasmwa + Friends Brighton Up Bar, Darlinghurst.

11pm. $11.50.

SATURDAY NOVEMBER 21 Australian Music Week Feat: Mind Over Matter + Ivan Ooze + Ry + Waza Northies Cronulla Hotel, Sydney. 7:10pm. $23.50.

The Gaelic Club, Surry Hills. 8pm. Free.

Something Else feat: Patrice Scott + Trinity + B&H Smooth + Dave Stuart + Aboutjack + Whitecat + Spacejunk Burdekin Hotel, Darlinghurst. 9pm. $10.

Who Killed Mickey + Stan Gravs Marquee, Pyrmont.

10pm. $23.70.

SUNDAY NOVEMBER 22 CLUB NIGHTS Marco Polo - feat: Nicky Night Time Ivy Bar/Lounge, Sydney. 1pm. $12.40.

C.U Saturday - Feat: Rodriguez Jr. Civic Underground, Sydney.

8pm. $22.10.

Harbourlife 2015 - Feat: Booka Shade + Eats Everything + Tensnake + Klingande + Derrick Carter + Bicep + More Fleet Steps, Sydney. 12pm. $122.

Lndry - Feat: Justin Martin + Bang Gang DJs + Kid Kenobi + Simon Caldwell + Ken Cloud + Phil Smart + Friendless + Matt Nugent + Jeff Drake + Chris Fraser + Elijah Scadden Chinese Laundry, Sydney.

9pm. $38.

MTV Beats & Eats Festival - Feat: Havana Brown + Savage & Jesabel Parramatta Park, Parramatta. 2pm. Free.

Rio Recovery - Feat: Alan Thomas + B_A + Mantra Collective + Monkey Tennis + Tristan Case + Murat Kilic + Nick Law + Ricky Cooper + Sampsonite + Soul Clap + Secret International + Matthew Dekay + Hoj Factory Theatre, Marrickville. 12pm. $40.

Something Else - Feat: Patrice Scott + Trinity + B&H Smooth + Dave Stuart + Aboutjack + Whitecat + Spacejunk Burdekin Hotel, Darlinghurst. 9pm. $10.

SUNDAY NOVEMBER 22 S.A.S.H By Day - Feat: Hoj + Yokoo + Tricky + Lawrence Daffurn Greenwood Hotel, North Sydney. 1pm. $15

S.A.S.H By Day Feat: Hoj + YokoO + Tricky + Lawrence Daffurn Greenwood Hotel, North Sydney. 1pm. $15 S.A.S.H By Night Feat: Oxia + Robbie Glass + Matt Weir + Philip Kanis + Thom’as + Robin Benyahia + Gonzo Discopants + Raffi Lovechild + Deep Seeded Home Nightclub, Darling Harbour. 8pm. $15 Straight Up Sundays - feat: Cool Hand Luke Middle Bar, Darlinghurst. 5pm.

Free.

Tim Boffa + Acaddamy And Husky Manly Wharf Hotel,

Manly. 4pm. Free.

MONDAY NOVEMBER 23 CLUB NIGHTS Mashup Monday - feat: Resident DJs + DJ Thieves + Recess + Otg + Chivalry + More Side Bar, Sydney.

8pm. Free.

TUESDAY NOVEMBER 24 CLUB NIGHTS Coyote Tuesdays The World Bar, Kings Cross. 9pm. $10.

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snap

Off The Record

VIEW FULL GALLERIES AT

up all night out all week . . .

Dance and Electronica with Tyson Wray

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SHXCXCHCXSH

O

ne of my favourite live electronic acts on the planet right now, SHXCXCHCXSH, have locked in an Australian tour. They’re relative newcomers to the scene, but one spin of their recent mix for Resident Advisor shows that the two mysterious Swedes are onto something special. And they’ve already released on the likes of Avian, Hem, Semantica Records and Subsist. They’ll be supported by an A+ local lineup featuring Gabriel Fernandes, XXX, Matt Lush, Jordan Peters, Amateur Humans, Simon Pinnick, Igor Lukacevic and Loveless. Catch ’em on Saturday December 12 at the Bridge Hotel.

Born in New York, moved to London before trekking to Berlin. Yep, Margaret Dygas’ sound has been refined by three of the biggest cities that influence electronic music, and she’s now bringing them to Sydney. Over the course of her career, her hard-hitting house and techno has been released on the likes of Perlon, Ostgut Ton and Powershovel Audio, and she’s a regular at some of the biggest clubs in the world, including Fabric and Panorama Bar. Catch her on Saturday December 5 at the Civic Underground.

The killer producer tINI will return to Australia next month. A regular on the likes of Desolat, Supplement Facts and air london, the German native is one of the slickest names in contemporary house and techno. Give one of her rare recorded mixes a listen and you’ll know what I mean (I highly recommend her ‘Time Warp’ anniversary mix from last year). Catch her playing at dusk at Café del Mar on Saturday December 19, supported by 4our, Gabby, Phil Smart, Murat Kilic and Le Brond.

Margaret Dygas There are loads of other good tours coming our way, including a double bill of Sam Paganini and Pig&Dan at The Arthouse Hotel on Saturday November 28, Dirtybird label mates Worthy and Ardalan at Chinese Laundry on Saturday December 19, and seemingly out of bloody nowhere, Eats Everything has announced a Sydney show to take place this Thursday November 19 at Civic Underground.

Tour rumour: the Hamburg-based house duo Adana Twins will be returning to Sydney in March. Dates coming soon.

Best releases this week: the new record from Oneohtrix Point Never titled Garden Of Delete (on Warp) is a late contender for album of the year. Other highlights include Cherushii’s Far Away So Close (100% Silk) and Luke Hess’ Adventures In Deep Space (Echocord Colour).

RECOMMENDED Eats Everything Civic Underground

FRIDAY NOVEMBER 20 Apparat Oxford Art Factory

SATURDAY NOVEMBER 21 Bicep Oxford Art Factory Justin Martin Chinese Laundry Mathew Jonson, Cobblestone Jazz, Palms Trax Jam Gallery

Oxford Art Factory

SATURDAY NOVEMBER 28 Oliver Huntemann Max Watt’s

Sam Paganini, Pig&Dan The Arthouse Hotel Max Cooper Burdekin Hotel

THURSDAY DECEMBER 3

Chippendale Hotel SHXCXCHCXSH Bridge Hotel

SUNDAY DECEMBER 13 Wolf + Lamb Café del Mar

SATURDAY DECEMBER 19 Floating Points Oxford Art Factory

Gilles Peterson Oxford Art Factory

Worthy, Ardalan Chinese Laundry

FRIDAY DECEMBER 4 – SUNDAY DECEMBER 6

tINI Café del Mar

FRIDAY JANUARY 1

Rodriguez Jr. Civic Underground

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

FRIDAY NOVEMBER 27

SATURDAY DECEMBER 5

Mala Civic Underground

Patrice Scott Burdekin Hotel

Eric Cloutier, Peter Van Hoesen TBA Rødhåd

Margaret Dygas Civic Underground

SATURDAY DECEMBER 12

Finnebassen, Lovebirds, Bjorn Wilke + more Café del Mar

SUNDAY JANUARY 3 Seven Davis Jr Chippendale Hotel

Optimo

s.a.s.h by day ft. robbie cordukes

PICS :: AM

THURSDAY NOVEMBER 19

15:11:15 :: Greenwood Hotel :: 36 Blue St North Sydney 9964 9477

Got any tip-offs, hate mail, praise or cat photos?

Email hey@tysonwray.com or contact me via carrier pigeon.

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