Issue #16 by MouthZoff Mag

PowerMouth Entertainment Proudly Presents

Issue #16 2014

BRIANNA CARPENTER CASEY FOGG ROCK CENTRAL GUY COOPER / HUMAN RECORDS BROADBEACH COUNTRY MUSIC FESTIVAL CAXTON ST SEAFOOD & WINE FESTIVAL

JULIA ROSE

TAKES OUT ‘PERFORMER OF THE YEAR’ AT THE QUEENSLAND PRIDE AWARDS!

PLUS! BEC LAUGHTON - REICHELT - SECOND AFFAIR - LIVE N’ LOCAL

WHAT’S INSIDE 4

COVER STORY: MOUTHZOFF TALKS TO JULIA ROSE

BROADBEACH COUNTRY MUSIC FESTIVAL

Winner Performer of the Year, Queensland Pride Awards 2014 Our MouthZoff Street Team covers the entire weekend

MOUTHZOFF TALKS TO BEC LAUGHTON

SPOTLIGHT ON: GUY COOPER

LIVE REVIEW: BRIANNA CARPENTER

ALBUM / SINGLE REVIEWS

LIVE REVIEW: CASEY FOGG

MOUTHZOFF TALKS TO SECOND AFFAIR

SOUND ADVICE: MICROPHONE PLACEMENT & TECHNIQUES PART2

One of Brisbane’s favourites is off to the Big Apple! Interview with the founder of Brisbane’s Human Records CD Launch at The Old Museum

Album launch at The New Globe Theatre About pre-stage rituals & sound limits

Regular column from Peter Muldoon

LIVE REVIEW: HITS / THIRTEEN SEVENTY / BMX-RAYS / GALAPAGOS At The Underdog

MUSO-TO-MUSO: NARCISISM IN MUSIC

SONIC BOOM: SHOULD I SELF-PRODUCE MY ALBUM?

LIVE N’ LOCAL

CAXTON STREET SEAFOOD & WINE FESTIVAL

LIVE REVIEW: REICHELT

LIVE REVIEW: MISSION X

Regular column from Abby Skye

Regular column from Sonic Edwards

Regular photo galleries of local and touring artists on Queensland stages

Our MouthZoff Street Team track down all the live music

This Issue’s Editor Peter Muldoon Art Direction & Layout Abby Skye Sub-Editors Matt Thrower Randy G Writers Peter Muldoon Sonic Edwards Cat Anderson Matt Thrower Jazz Milburn Abby Skye Matt Gleeson Angie Everingham Randy G Xavier Soul Rah Bruhn Photographers Bruce Heath Brett A Linsley Rick Ng Graeme Plenter Ben Knight Grant Linsley Lauren Brodie Greg Elkenhans Geoff Norris General Manager Abby Skye Business Manager Wayne Ficnerski Founder Randy G

At The Zoo

At Rock Central, Bramble Bay

Phone: 1300 309 609 Email: info@mouthzoff.com Web: www.mouthzoff.com www.facebook.com/mouthzoff

Letter from the Editor: It is my pleasure to take to the editor's chair and a big thanks to the team for passing the torch. I definitely have some big shoes to fill! We have seen some highs and lows of late. Sadly, a few of Brisbane's great venues shut their doors for the last time, but it seems that despite this Queensland muso's are out stronger than ever, giving us plenty of content to cover. This issue is jam packed with live reviews, including the Broadbeach Country Music Festival, Caxton Street Seafood Festival, Reichelt, Darren Middleton and Mission X, just to name a few. There are interviews with music producer Guy Cooper, Julia Rose and up and coming locals Second Affair, as well as CD reviews and all your favourite regular MouthZoff columns. In other exciting news our MouthZoff website has been revamped and is fully operational. This comes with a slight change to the way we do things, ensuring that we can bring content to you quicker, easier and better than before. We always look forward to your suggestions so please let us know what you think. I hope you enjoy reading this issue as much as we have enjoyed putting it all together. Until next time, rock on! Peter Muldoon

JULIA ROSE

After taking out the ‘Performer of the Year’ award at the 2014 Pride Awards Festival, Rah catches up with Julia about the lead up to her recent success

You released your second solo EP “Stairway to the moon” in 2013, tell us a tale of the process you went through to produce it? Stairway to the Moon was our 2nd EP - the songs themselves had been written over a two year period when I had relocated from Broome to Kingscliff to Melbourne to Brisbane and ultimately to the Gold coast. The transitions of which incited the inspiration for an outpouring of creativity so I was aching to get these songs onto a record. Guy Cooper my producer finally pinned me down long enough to record what became Stairway to the Moon. I had finally written a soundtrack to the personal journey of that time in my life - a catharsis of sorts.

Where and when were you, as a musician, made? Does it run in the veins or did you stumble across a guitar in someone else’s backyard? Music is indeed in my blood courtesy of both sides of the gene pool! I stumbled my way through piano and saxophone for 15 yrs before I was bought a nylon stringed guitar for senior graduation, however it wasn’t until I bought my first bass guitar, a $200 crimson red Yamaha, that my true affiliation with melodious rhythmic grooves and song-writing was realised. It was then when I started my first band. What do you love to do other than play music? There is nothing I enjoy more than hanging out with my canines and hitting the beach. Oh, and a good meal comes a close second!

Do you regularly perform and collaborate with your kinsfolk, Claire Cottone (CC the Cat), Louise Cottone? Is music a family affair? CC and I have been playing and performing together for most of our adulthood in various acts such as BERTHA CONTROL, CC THE CAT, JULIA ROSE, as well as our lesser known collaboration THE FLYING COTTONES with lil’ sister Louise Cottone. The three of us have been sharing musical space since we sang around the piano together as Von Trapp Family wannabes.

You have an amazing capacity for storytelling through song, could you please describe how you use storytelling in your music and why it is important to your genre of music? There is timelessness in relating to other humans’ emotions. In my experiences of being on the road and interacting with folk of all walks of life there appears common themes that course through our lives and as such shared feelings that allow people to relate to each other above and beyond individual differences. Life is a journey and these soundtracks are my story.

Are there any great Aussie folk tales or folk songs that speak to your own music? Artists Mia Dyson & Liz Stringer are great Aussie artists whose music and tales I’ve found great comfort and joy in. It takes guts to decide to pursue an artist’s life. How would you describe your own approach to that choice? Balance!? A mix of creative artistry, late nights, full gigging weekends and a full-time job on weekdays - hectic!!! Support from my partner and band mates essential! What would you like to see more of in the live music scene on the Gold Coast? What can live music lovers do to get venues to book you? More venues that showcase original, live music and that are willing to pay well for it. If you’re a live music lover it is essential to show up! Local people need to support local performers! As a music lover and performer there is nothing more fun than a packed room!!! www.juliarosemusic.com Story by Rah Bruhn Photos supplied

The Hill Billy Goats

Street Team: Story by Jazz Milburn Photography by The Linsley Brothers I know country music breeds great earthy lyrics but to be totally true its never really won me like this before. Introducing The 2nd running annual Gold Coast Country Music Festival. It was Saturday on the GC, streets full of boot scooting cowboys and cowgirls amongst a sea of Akubra hats and ankle boots. With a two day festival the lineup was indeed promising. Though featuring many bands I’d never heard of before, just arriving from Melbourne myself I was ready for the initiation to Queensland talent. So as you can imagine I was happy when a mate and photographer suggested a particular band describing them as “bloody brilliant”. Taking his hot tip, I tagged along and to my pleasant surprise I set my eyes upon the act by the name of “The Hill Billy Goats”. Imagine three ladies wearing electric blue tutu’s, cowboy hats and fishnet stockings all playing stringed instruments such as guitar, violin and a rustic double bass.The

BROADBEACH COUNTRY MUSIC FESTIVAL June 2014

ladies were also joined on stage by an eccentric fellow in electric blue tweed pants sporting a mohawk and wearing animal tooth jewellery. Cracking jokes in between songs when he wasn’t playing his drums that were embellished with worn out creepy porcelain dolls strapped down to his kit accompanied by a wash board that he played on. Done deal, lets confirm right here and right now that I like these guys already. The music was rhythmic, harmonic folk with Irish and African influences, covering songs from the 1700s through to the 1930s. Each track was introduced with the era and origin by the engaging head “goat girl” the charismatic Maheny Wearne on vocals,bass,Irish whistle and also solo tap dancer, wow! Her voice powerful and unique her “Goat boy” the cheeky charmer Bryce Wearne (Maheny’s husband) an unbelievable talent with hyperactive energy making us all laugh whilst jumping from multiple instruments.

On guitar pro yodeller Lauren Butler with a voice range bordering spine tingling also joined by Caroline Trengrove, a guest fiddler who is a storm on her instrument setting the pace. The Hill Billy Goats are an old world carnival, fun quirky magical and authentic. The audience were swept up into the flying fiddle, tapping our feet to the addictive rhythms. I wasn’t watching them in a modern day street, I was at a night market in a barn with candlelit lanterns and a bonfire outside (well thats where they took me whilst performing) Real deal musicians and entertainers in fact “bloody brilliant” was spot on. After a high from the H.B.G’s it was time to travel on… Meet “The Lamplights” a young Duo featuring Brian Gittoes and Jason McGregor. Two well groomed hip and arty looking musicians. Normally a five piece band the lads were playing in a bar as part of the festival as I was passing by...

Casey Barnes

BROADBEACH COUNTRY MUSIC FESTIVAL Artists (clockwise from top left): The Bostocks, Simply Bushed, Ashleigh Dallas, Johnny Taylor, Amber Lawrence, The Lamplights, Troy Casser-Daley & Adam Harvey, Ben Ransom, Dozzi

...I was drawn in with the refreshing smooth sound, a husky voice and presence. They mastered playing to the audience and for some reason reminded me of The Flight of the Concords (big compliment in my books) probably just because they were dam funky. I’d love to play their album on a road trip up the coast singing along to their summer vibe catchy tunes. Huge potential to a commercial market. I can easily imagine these lads playing to large crowds at future festivals. Keep an eye on the Lamplights, I see big things coming for them. Next, having to move onto yet another act (choosing from the multiple stages running at the same time, spread out over the G coast), I was so wrapped to see “The Round Mountain Girls” who I luckily met Chris Banjovi earlier in the day back stage, who was lovely.

Reminding me of Neil Young who I admire. Chris the front man for Round Mountain Girls is a folk, charismatic,organic performer with presence. Long hair, wearing a white crisp cotton shirt and waste coat (a little bohemian to say the least), mastering their brand of Celtic folk that actually really spoke to my own Irish background. I don’t know what it was, but I was home watching this band. Cool Bluegrass Roots stimulating clapping and cheering from the audience we were swaying like sailors. We all just needed a beer to raise our glasses and sing along to the fast paced, brilliant, clever lyrics and melodies all performed by a earthy voice. I lost it when the long black haired fiddle player, who’s hair moved awesomely and naturally in the breeze, gave his epic whimsical solo on the fiddle,

Just amazing. The standard of talent was off the hook. The band were tight and everyone of them were having the time of their life on stage. All the ingredients for greatness. There were many amazing bands, in fact too many to mention, unfortunately. I chose these guys as they were the most unique and memorable that I enjoyed. In overall the whole festival was a winner and a refreshing eye opener to the excellence that is obviously here in Australia. What a great initiative, hats off to all the organizers and talent for bringing this to the people - canâ&#x20AC;&#x2122;t wait for next year. See you there!

Bec Laughton is one of those charming young women who when you first chat with her, you feel like you’ve known her for years. There’s a definite air of grace about her, but it was her sense of excitement and energy that jumped right down the phone at me. She’s obviously thrilled about living her dream and the future ahead of her is about as bright as the lights of New York City itself, where she will soon be visiting and working. But for now she’s wrapping up a successful tour back home which has seen her visit cities right across Australia. She’d just arrived home in Brisbane from Western Australia the night before we spoke, saying it was the best part of the tour so far. She loved playing to a packed house in Freemantle (which is always a bonus for any artist!) and had a great time performing at Settler’s Tavern in Margaret River, especially after sampling the delicious local wines! Bec reported the crowds there were amazing. One night, they were partying, and having a great time, and she wanted to do a slow song from the set list, so she asked everyone to hold onto the person they were with, and she started to sing, and when she opened her eyes, she could see everyone had formed a big circle and were really getting into the song, hugging each other and having a moment ... “The Aviary” in Perth was another stand out show; on a gorgeous rooftop venue, with a fun crowd of people. Bec also raved about the support band who toured with her; ‘they were a great bunch of guys, and had a lot of fun’. What’s not to love?! The tour is about to wrap up in Melbourne – Bec’s birth city, and one of her favourite destinations. Bendigo on Friday night is the last stop this time round, and Bec will stay on and spend some time in Melbourne for a few days afterwards. Then there’s some much deserved downtime for 3 weeks before heading to New York City in August...and she wants to ‘smash out’ a bunch of songs between now & then. She’s working hard at being more disciplined with her song writing, saying the creative process is ‘always difficult’ for her, but shared that she usually writes the lyrics and music together, and prefers to write about what’s going on in and a round her life at the time. As a talented drummer, Bec also enjoys playing with beats, and loves to start an upbeat song with a cool groove and see where it goes from there... She’s one of those brave (if not slightly crazy?!?) artists who sometimes loves to call out to the crowd for words/ lyrics in a live audience, and will make up a song from the words she hears. Recently, when playing live in Brisbane, she did just that and the words shouted out from the crowd were “chicken” and “running”. So she set about making up a song on the spot, introducing it with “Ok, here’s my song called ‘Running Chicken’.” Bec told me she really enjoys the personal experience of interacting with a live crowd, and loves playing & making up songs in that setting. This obviously has its roots in her jazz background – she’s comfortable with improvisation and uses it to her advantage on stage! Bec studied Jazz at the Conservatorium of Music in Brisbane, with a Major in Jazz Voice. “In music, you can just learn by jumping into it; it doesn’t always have to be formal study”, she said. But it’s worked well for Bec, who recently won the Brisbane Lord Mayor’s Young & Emerging Artist sponsorship - a $15,000 grant, which is paying her way to work in New York City next month. Congratulations! Bec announced she will have the privilege of working with Grammy award winning artist, Michael League (from Snarky Puppy) while in New York City. League, who recently won the Grammy award for “Best R & B Performance”, will work with Bec to write & record two new songs. No wonder she is so excited! About half her month in NYC this August will be working in the studio, and half will be spent networking and being a tourist in the Big Apple. Back in Brisbane, Bec now performs at some of the bigger shows & festivals, which she said is just great! She was happy to say the days of small pubs & clubs were over... She recently supported 70’s classic disco band Bony M at Twin Towns & Eaton’s Hill Tavern, and said they were ‘awesome!’ and she raved about Eaton’s Hill Tavern as a local venue. September sees Bec hit the stage at the Sunshine Coast’s ‘Peregian Originals Festival’ and for everything else Ms Laughton, you can get connected with her on Facebook, Instagram, Tumbler & YouTube. Her passion for life & music is infectious! Check her out on YouTube and like me, you’ll be lining up to see her live sometime soon.

BEC LAUGHTON recently won the Brisbane Lord Mayorâ&#x20AC;&#x2122;s Young & Emerging Artist sponsorship - a $15,000 grant, which is paying her way to work in New York City next month. Congratulations, Bec! Story by Angie Everingham Photos supplied

GUY COOPER HUMAN RECORDS

Music producer, musician, record label owner and just another human being doing this thing", is how he describes himself. Having produced artists such as Buena Vista Social Club, Katie Noonan, Kate Miller-Heidke, 360, Reichelt and Julia Rose, just to name a few, producer Guy Cooper recently sat down with MouthZoff Magazine to answer a few of our questions. Story by Peter Muldoon Photos supplied 12

What did you do before becoming a producer? I was always into audio. I actually left high school and did robotics and computer systems engineering for about two years, but it was boring and I didn't want to do that for the rest of my life. I was also disc jockeying at the time so I quit engineering and auditioned for the Queensland Conservatorium where I was the first ever DJ to be accepted into the university. When did you decide this is what you wanted to do? I have always been into music. I just started recording all my friend's bands as I was the only one who knew how to use the equipment. At the age of eight I reprogrammed my Commodore 64 to make synthesiser noises. How did Human Records start? I've been in bands for fifteen or maybe longer years and we'd been touring around and doing our thing, booking shows, writing songs, making posters, promoting the shows, going to the show, making the CD, making the artwork, going to the print shop, trying to get a distribution deal and it just occurred to us one day that we were a label and all that was missing was a name for the label. I'm the organised one so I started the label, put my own money into it, invested in my own thing, built the website and pretty much did exactly the same thing I had been doing just that now it was under the label.

What makes Human Records different? I guess it's that we focus on what makes humans tick. At the end of the day there are lots of things you can do in this world for money and we certainly don't do music for money, though we need to make money because I'd like my artists to be empowered to do what they do full time because they make amazing music. We don't sign artists that are looking for cash or are looking for popularity. All of the artists on our label will be making album number ten by the age of sixty because it is a life time dream for them to make music. We try to make an emotional connection and make music that is for human beings, not whales or mice. In your own words, what is the role of a producer? I think producers are a facilitator. Someone that can facilitate the music and the direction for an artist. It's tough writing a song and putting your heart on the line and it's tough delivering that to an audience. Our artists write songs that mean something to them and each of the songs artists bring in have a really specific poignant meaning to them that maybe I know and they know, but no one else might get. I try to facilitate that into something that can be shared with a wider audience and that's what recording is. Music exists whether it's recorded or not. There's no need to ever go into a studio and hit that red button. You can play that song in your bedroom into your old age and the music still exists perfectly fine.

How much of your work involves having good people skills? All of it! There's certainly a different way to talk to musicians than to nonmusical people. In some ways they are more easily offended because they tend to be more connected with their feelings and emotions. All my friends are musicians and I love them and my life wouldn't be the same without having musicians around me. I think good people skills is particularly important, especially in this industry. It's all about what that person thinks of you or what that person knows of you, so you got to be a nice guy about and there is really no need to not be a nice guy. At the end of the day the universe is going to do what the universe wants to do. As long as I get to work with nice people that's the most important thing. Have you ever turned down any artists that wanted to record with you? Yeah, definitely. I think I need to be into the music because if I really don't like it just on a personal level, without even pointing out why I don't like it, then I can't make it sound good. It's very difficult to make something sound good if I don't really enjoy it. I've taken those jobs in the past and it's just not turned out well for either of us. I have difficulty making it sound sonically pleasant if I don't actually enjoy it or like it and that's a big thing for me. In that case, I will just recommend another producer to them that will better suit their music.

continued next page

www.humanrecords.com.au.

Guy Cooper Interview continued: Do you have a signature sound? I didn't think I did, but I think maybe I do. When people listen to the stuff they tell me that it has a certain tone to it, but I don't know if that's my gear or I think its more my ear, more than anything else. At a certain point in any record I'm making, I'm just making music that I like and what I like is based on everything I've listened to in my life. I don't intend to have a signature sound, but once I find a sound for a band I'll tend to stick with it a little bit. Do you ever find yourself caught up more in one aspect of being a producer than another? Yeah, I think so. With some bands it depends on where they're at in their careers. If its an inexperienced band that haven't released anything before I find that I spend most of my producing time on the song writing and the technical side of things. When you record with a more experienced band they've recorded before and they know what to go through and they don't come in with songs that are playing over the top of each other or just wouldn't show up if they couldn't play it in time. They're thinking about the breath of the song and the way it flows throughout the track, so then I'm focusing more on the emotion of the recording. Where do you see the Australian Music Industry in 5 years time? Probably the same place it is, its not going anywhere anytime soon and it doesn't need to go anywhere anytime soon. I think the issues we face here in Australia is partly population size and partly cultural, that is our culture isn't really valued and really we've only got a couple of generations of what you would call Australian culture versus a French singer-songwriter with much more history and more value there. People in this country don't value our culture as much as they should, instead this country is run on sport and entertainment and that's exactly it, its entertainment that people want more than music. So it will be in exactly the same place it is now with kick-ass musicians writing kick-ass music and some of them will cut through the crap of media and entertainment and cut through to people's hearts and there will be some great artists making music in their bedrooms that never get seen. How do you rate Brisbane’s music scene on an international scale? There is nothing wrong with Brisbane’s music scene. Again, it comes down to having a small population. We have a lot of space and not many people. Most other cities have a bigger music scene, but there is a much bigger population to match. The good thing about Brisbane is that most bands support other bands and other musicians and realise that we’re all this together so let’s just make some cool music and help put on a good show. Is there any artist that we should currently be keeping an eye on? Yeah, Lane-Harry & Ike Campbell. They’re two 19 year olds and they’re busting their arse. Since September last year they’ve have done three albums and an EP. They’re working hard and they’re kicking arse and they’re good at what they do. Big things ahead for those guys. Another great artist is Hussy Hicks down on the Gold Coast. They are the greatest band in Queensland without a doubt. Anyone who hasn‘t checked them out should definitely look them up.

LIVE REVIEW REVIEW LIVE BRIANNA CARPENTER is a Brisbane singer-songwriter who has recently released her second album, 'On So It Goes'. She launches it with some special guests tonight at The Old Museum. While Brianna releases her work under her name as a solo artist, her special guests are some of the musicians who have helped create the album and include a string quartet, a pair of talented backing vocalists and a drummer referred to as 'Doctor Motown'. The stage is set with a grand piano out front of the raised stage and a brightly coloured backdrop that Carpenter tells the room was designed by her husband, who is her partner in business as well as life. It fills the high ceiling above the band without obstructing the sound. The set starts with a track from Carpenter’s debut album 'Harlequin', but that song turns out to be the only old song in the show. The rest of the performance is drawn, fittingly, from the album being launched tonight. Between songs, Carpenter shares short vignettes about each track such as the inspiration behind ‘Save Me’ – which is about Brisbane being like a country town and what it would be like to always have to run into someone you couldn’t bear to see. It’s also only got three chords, with Carpenter quipping, “Well, if the Beatles could do it...”.

Throughout the show, she is an engaging performer, talking comfortably to the audience and moving between grand piano and guitar, despite needing to climb up and down from the stage that’s just a bit too high for a simple step when wearing a dress. Brianna Carpenter describes herself as someone who notices and says she writes about what she notices. So her songs are usually about other people. The exceptions are a new track, not on the album, called ‘Tea’ and the set’s closing song ‘Wolves’, which has lyrics written by her mother. It’s the musical performances though, from both Carpenter and her band mates, that bring the room to life. Being able to perform her songs with a string quartet has been a goal of Carpenter’s and their inclusion tonight is inspired. They add a layer of richness to the songs that reflect the production of the album they come from. Brianna Carpenter describes creating this album and tonight’s show as a labour of love. She says that she doesn’t do encores so please don’t ask for one, but when the final crashing chords of ‘Wolves’ finally fade it’s abundantly clear that Brianna Carpenter’s labour is one well realised; the room feels full of that love. Story by Cat Anderson Photography by Ben Knight

BRIANNA CARPENTER CD Launch at The Old Museum June 8th 15

THE BUZZBEES - James Street

The latest single from Brisbane Band, The Buzzbees, is a gorgeous mix of guitars, vocals and the melodic counterpoint of ukulele. It’s a gentle tune that’s easiness on the ears belies its complexity. The Buzzbees launched this single a couple of weeks back at Black Bear Lodge with a well-received set. James Street is mature, accomplished and indicative of The Buzzbees' sound. Using the ukulele for counterpoint and melody along with two vocalists means we can expect more great tunes from these guys. By Cat Anderson

ALBUM / SINGLE REVIEWS

LANE-HARRY & IKE CAMPBELL – Love & Terror Cult

Right off the bat, it’s clear Lane-Harry and Ike Campbell are not your average Aussie hip-hoppers. This Gold Coast duo are a world away from the sunny festival beats and rhymes of Bliss ‘N Eso or Hilltop Hoods. Theirs is a grimier, more foreboding world of lurching rhythms, dark obsessions and abrasive sounds. The lyric flow is different too, more worldly even – there are no blatant Yatala industrial estate accents here, just straight-up urban drawls delivering tales far darker and more subterranean than their hometown’s glossy exterior would ever suggest. Like most hip hop records, this album will attract a strong language warning on its front sleeve (they’ve even had a video banned from YouTube) but the adventurous production and experimental sonic charge to these songs shows the pair have much more to offer than mere shock tactics. An impressive array of guest vocalists injects some soulful authenticity into the mix as well. Highlights on an album full of highlights include the hallucinogenic crawl of opener Absinthe, the growling anger of Jesus, the orchestral swell of Groceries and the skipping beat melancholy of Trust Issues. By Matt Thrower

CASEY FOGG – Bleeding Hearts

Brisbane girl Casey Fogg has paid her dues in all the familiar ways – live vocalist for a range of covers and originals bands from here to the top end, support gigs at local venues and even a slot at the Woodford Folk Festival. Her talent is clearly evident on this debut album of unashamedly mainstream pop/rock. The acoustic beginning of the opening title track has one thinking Casey is in the sensitive singer/songwriter mould before its electric charge kicks in – and that’s where her strengths really lie. She’s at her best when delivering her authoritative, husky vocals over the top of anthemic, melodic pop ‘n roll. There are guitar solos, well-crafted arrangements, a crisp production and, best of all, Casey at the forefront of it all with her charismatic vocals, heartfelt lyrics and confident, hook-laden songwriting. Nice one. By Matt Thrower

REICHELT – Books On Tape

While the foreboding Teutonic name may suggest some guttural industrial metal a la Rammstein, Reichelt is simply the surname of project main man Luke who performs his indie-folk with a healthy dash of humour, heartbreak and surrealism. Opening track All I Want Is Sleep, for instance, throws Reichelt’s strange tales against a swelling Irish-flavoured ballad skewed with some unexpected but surprisingly well-placed synths. Next song I’m Not The Only One is even better, throwing in female backing coos and a catchy, atmospheric chorus. He’s cast as an ineffective schemer in Why Do My Evil Plans Always Fail?, the narrator’s bitterness emphasised with growling bass, but our hero’s natural knack for a memorable melody means that even this stroppier track never gets TOO harsh. At times, he resembles a slightly less unhinged version of Finn Andrews’ own musical confessional The Veils or a more bookish Bright Eyes, but there’s enough pure originality going on here to give Reichelt due respect. For this reviewer, he’s a genuine discovery and I’m keen as mustard to find out where he goes from here. by Matt Thrower

BRIANNA CARPENTER - On So It Goes

“On So It Goes” is the lushly realised second album by Brisbane artist Brianna Carpenter. The album has been a year in the creation, with Carpenter doing everything herself – writing, arranging, recording, producing and engineering, in between her other work which includes writing scores. The album has been released on Brianna Carpenter’s own record label, which has given her complete control over the presentation of the entire album ensuring that her intentions for the theme and feel of the album are met. “On So It Goes” has a laid back vibe, with the arrangements showing off Carpenter’s glorious voice and clever lyrics. Stand out tracks include the haunting opening ‘Enchanté’ and thebeautiful ‘I’m So Lonely’, that was co-written with her husband. Unlike some releases doing the rounds these days, “On So It Goes” is a set of songs that can be played from start to finish and, while a little on the eclectic side, flows comfortably through Brianna’s lyrical storytelling. By Cat Anderson

CASEY FOGG

Story by: Xavier Soul Photography by Greg Elkenhans

LIVE REVIEW - "Bleeding Hearts" Album Launch New Globe Theatre - Friday 30th May 2014 After a long road of production with a few speed bumps along the way and a last minute venue and drummer change, we are finally here at the New Globe Theatre to witness the official Brisbane launch of Casey Fogg's album "Bleeding Hearts". Recently returning from Darwin, this is her first originals gig to be played back in her home town of Brisbane with her full band. Walking into the venue I'm excited by the large number of people gathered in the foyer. Unfortunately only a handful of them are here for the album launch. In no time the crowd had dispersed and I couldn't help but wander into the theatre next door where they had now congregated. Lo and behold, another live show was taking place... or was it? A cacophony of random film footage played on the large screen while someone stood at a turntable pressing the occasional button or two. I did not stick around long for this as it is not at my scene and I honestly felt that the 'real music' was taking place in the room Casey Fogg was in tonight. First to take to the stage was Brisbane singer-songwriter Steve Dorrington and wow, what a voice! Busting straight into a set of original acoustic tracks, each worthy of instant airplay, his tunes filled the room and allowed everyone to forget about the day's work and settle in for a Friday night in the valley. This was a great performance by a talented and humble artist who we'll be seeing a lot more of, that's for sure. Next up were local rockers Red on Red, although I am not sure we can still call them "local" as they have spent half of their music career in the USA where they have received airplay among many other accolades. These guys are a wellrehearsed band that know their stuff. Their professional and charismatic stage presence matched their music, which for me was a mix of Paramore, Foo Fighters and Kelly Clarkson. Their set was energetic from start to finish and there were a few people who walked in from the show next door.

The room had begun to fill as Casey Fogg was about to hit the stage. Her band tonight consisted of seen-before veterans Peter Muldoon on guitar, Kevin Browne (also the producer of the album) on bass and newcomer Nick Molvalis, who apparently only had a week to learn the set due to a last minute change of drummers - very impressive! The set started strong and most of the crowd were familiar with the tunes, singing along where they could. The second song in was the title track and single from the album "Bleeding Hearts". Nick's drumming was flawless, as though he'd been playing these tracks his whole life and the band gelled perfectly. Something was different this time round, though. Rather than the usual Maton acoustic, Casey was instead sporting her new electric guitar - something not yet seen on the stages of Brisbane as this was something she purchased right before her move to Darwin. This complimented Peter's unique playing style, allowing him to push those tricky guitar solos just a little more than before. As the night progressed Casey Fogg churned out all her great original tracks, one after the other, with her band exserting the talent and professionalism capable of backing any major solo act. In true form, Casey left the best until last, retiring her guitar for the last few songs as the band stepped it up a notch. These were by far the rockiest song of the set and the playing was more intense than before. At one point Peter to ok full advantage of his wireless setup, jumping off stage and rocking out with the crowd below. No one expected this act of spontaneity, which made it all the more exciting. The night ended on a high with a classic rock anthem ending and the crowd cheering like crazy. On the whole this show was a great success and was proof that Casey Fogg is back in Brisbane and ready to take this amazing city by storm once again.

SECOND AFFAIR

are a five-piece rock band from Brisbane boasting a collection of infectious songs and powerful live shows. Having recently released their first album, featuring their single â&#x20AC;&#x153;Driving Blindlyâ&#x20AC;?, the band are quickly gaining a strong following. I was lucky enough to catch the boys perform live at the Narangba Valley Tavern on Saturday 14th June. The venue was packed from wall to wall with fans of all ages, most of whom were sporting Second Affair t-shirts. Their set list ranged from pop-rock, to power ballads, to that classic rock sound we all know and love. They played on through the night punching out catchy melodies one after the other and throwing a few iconic Aussie rock covers in there just for good measure. I caught up with the band after their two hour show to ask them a few questions:.

Story by Peter Muldoon Photography by Graeme Plenter

www.secondaffair.com.au

How long have you been playing together for? As Second Affair it would be coming up to 3 years now, but some of us have been playing together for a lot longer than that in various other bands or duos. What are some of your musical influences? We have such a vast array of influences, ranging from John Farnham to AC/DC and KISS, as well as bands like Powderfinger, INXS and the Charm City Devils. What are you currently working on? We are currently back in our happy place, aka the studio, working on some new tracks for our follow up album and as it stands album number two is looking to be bigger and better. How do you set out about your creative song-writing process? For the most part someone comes to rehearsal with a riff, partial song or a complete song and we each add our own touch to it. For the better part of the songs we like to keep them simple in terms of music with the addition of great melodies and killer harmonies. What is the glue in your band? I guess it is the fact that we are all great mates outside of the band. We were basically two bands that have come together to form Second Affair and it just worked so well from day one because we all have a common goal and the drive to push that goal into a reality. What is your most memorable moment as a band? Tonight. We had one of the best crowd reactions we have ever experienced. You know are you doing something right when the entire crowd is singing along to all of your songs.

What is the weirdest thing to happen to you during a live show? We haven't really had anything 'weird' happen, but I guess it would be tonight when both guitars and the bass broke strings almost simultaneously. Another was when Chris put his foot through his kick drum and brought out the acoustics to finish the set. Do you have any pre-show rituals? Absolutely! We all have a shot of the dirtiest and cheapest tequila we can find. I guess you could say that it 'pumps us up' for the show. Do you have anything you'd like to 'mouth off' about? Definitely. Because we have such a big sound in a lot of our songs we find it increasingly hard to adhere to decibel limits. Not saying that we are a 'loud' band, but a lot of venues have an incredibly low decibel limit, which makes it hard to give our fans the 'full experience' of our live shows. Raise the dB limit guys!! What is next for Second Affair? Since we have found our sound we are really excited about what is ahead for us. A new album with a fantastic producer, new film clip and hopefully an east coast tour later this year.

If there is one band to keep an eye on this year it is definitely Second Affair. These guys are nothing less than a professional outfit with a musicianship not often seen by today's acts. Their songs are sure to be taking over the airwaves of Brisbane before we know it. You can catch Second Affair again at the Narangba Valley Tavern on 2nd August and 1st November or at the Redcliffe Kite Festival on 7th September. Their album is available through iTunes and GooglePlay.

SOUND ADVICE with Peter Muldoon

Microphone Placement & Techniques Part 2 - Drums, Overheads, Bass & Guitar This month we continue to explore microphone placements for recording. Last month we finished off by looking at some techniques for the kick drum and addressed possible phasing issues when using more than one microphone. We will continue on from here and tackle the rest of the drum kit. Keep in mind that these articles are to be used as a guide to help you understand microphone placements a little more and therefore just scratch the surface of what is out there. When it comes to miking the snare, it is common to place a microphone at a 45째 angle over the top of the snare. From there you can then angle the microphone depending on what sound you are trying to capture. Point the microphone closer to the edge of the snare and you will pick up more rim sound; point it to the centre of the snare and you will get more of the body sound. Another microphone may also be used on the bottom of the snare. Placing it here captures the sound of the snare beads and blended together with the top microphone can yield some pleasing results. These same techniques can be applied to the toms. In this case, when the microphone is pointed to the centre of the tom it captures more of the initial hit, whereas pointing the microphone closer to the edge of the drum will capture more resonance. Another technique for toms is to remove the bottom skin and place the microphone inside the drum shell, resulting in a different sound again. There are numerous techniques for placing your over head and room microphones when recording drums, but rather than boring you with each of them I will instead focus on the important attributes of these placements. Thinking back to last months issue we asked ourselves, "What am I trying to capture?". This applies when placing our overheads. The closer the microphone (the more 'overhead' it is), the closer the sound. Place a microphone right over your cymbals and your recorded track will contain a close cymbal sound. Place it at the back of the room and it suddenly becomes a room microphone, with the recorded track containing the cymbals at a distance as well as the sound of the room. Overhead miking techniques will almost always include the use of two microphones. This creates a stereo image rather than having all your cymbals in mono. A few of the more popular stereo microphone techniques are listed below, for which more information can be found online: ORTF NOS RAI DIN Olson XY Baffled Binaural Blumlein MS Double MS AB Decca Tree Faulkner Stereo 180 Array Glynn Johns It is not uncommon for a combination of techniques to be used, especially in large recording studios. Like any instrument it is just a matter of how much room sound

versus source sound you want. I'd encourage placing yourself at various spots around the kit and the room. What you hear will be a close guide for what the microphone will capture. If you hear a sweet spot then place the microphone there and see if it sounds good when recorded. Moving away from drums we come now to electric guitar and bass. Both of these instruments can be D.I.'d, which can create some great sounds, but this article will focus on the miking of electric guitar and bass cabinets. Before placing any microphones it is important to listen to the sound coming out of each of the speakers. This is done for two reasons - to make sure that everything is working as it should and that there are no tears or damage to the speaker and; to make sure you are miking the best speaker within the cabinet. No two speakers are the same and by placing your ear close to each of them you can quickly determine which of them is the better speaker. The option surfaces again as to whether we want make use of close miking, room miking or a combination of the two. Again, it is depended on the sound you are trying to capture, but if you are not recording in a great sounding room, as most of us aren't, then there is not much point in using a room microphone for guitar and bass. The most common close miking techniques are to place the microphone directly at the speaker, about an inch or two away from the mesh. From here we can move the microphone up, down, left and right to capture different sections of the speaker. Closer to the cone will give you a harsher and crispier sound, while away from the cone will yield a warmer tone. You can also move the microphone off-axis from the speaker, resulting in a different sound again. As soon as more than one microphone is used we introduce phasing issues. As mentioned in last month's article, the best way to determine whether the microphones are in phase is to listen to the recorded sound and move one of the microphones closer or further away from the source until they are both full sounding when played together. Once a microphone is more than 3-5 feet away from the source it is considered a room microphone. Another technique is to place a microphone at the back of the speaker cabinet. This is more popularly used for bass as it picks up more of the low end resonance. Again, a combination of these techniques can be used to achieve the right sound. At the end of the day you are only limited by the number of microphones you have. Don't be afraid to experiment and try out a few different techniques or perhaps even invent one yourself. Please remember to always wear ear protection when exposed to loud noises for an extended period of time. Next month we will discuss microphone placements and techniques for acoustic guitars and vocals.

HITS / THIRTEEN SEVENTY / BMX-RAYS / GALAPAGOS / BURLESQUE DANCERS LIVE REVIEW at The Underdog Sat July 12 Story by Matt Thrower Photography by Rick Ng

With burlesque dancers performing eroticised Minnie Mouse and Princess Leia (Jabba Slave mode) routines, it’s clear that tonight is not your standard boozed up punk rock night. Using the 30th birthday of Thirteen Seventy’s Clint Morrow as an excuse, tonight we all have a beer for the late great Tommy Ramone and let the craziness ensue.

like an updated take on the fuzz-drenched pop/rock of ‘90s outfits like Screamfeeder and Smudge, at others going for a sky-reaching psychedelic meltdown of the Explosions In The Sky variety. It’s a quite disorienting experience, but that’s also the set’s strength - we never quite know what’s coming next.

Looking like the most sunlight-deprived IT department on Earth, Galapagos sound even bleaker - rumbling, cosmically gloomy psych-rock and nihilistic, hilarious monologues delivered with deadpan authority. World is f*#@d.

There are no such musical wormholes from the next act. Hits have gained a reputation as one of this city’s, heck, this NATION’S most compelling live bands. Their new album Hikikomori (produced by Radio Birdman/New Christs frontman Rob Younger) is deservedly copping massive amounts of critical acclaim, while their set is yet another paradoxical experience - self-hating punk rock that makes you feel ecstatic and alive. Backed with riffs that can take your eye out, frontman Evil Dick stalks the stage with red and white face paint, Stacey and Tamara provide the shouty Greek chorus and twin guitar attack, while Gregor and Andy B keep it anchored with their thumping rhythm section. No one leaves disappointed.

Still, no need to despair. BMX-Rays are on-hand to wipe away our blues with no-frills punk rock and no shortage of humour. “Can we have more Phil Collins in the foldback?” sweary front dude Nathan requests at one point. This set is proven to work particularly well with beer. Perhaps the most musically mysterious band of the evening is the aforementioned Thirteen Seventy, sounding at times

MUSO-TO-MUSO with Abby Skye

NARCISSISM IN MUSIC Well, I was just about to get hooked into another know-it-all rant about the music industry (as I do), when I saw a post from a Facebook friend (we’ve never actually met, but you know how it goes) that was making a very obvious and frustrated point about artists posting more photos and updates themselves than they do about their art. Hit me like a tonne of bricks that did, as only moments prior I was feeling pretty chuffed with myself over the amount of likes my latest profile and banner photos had gotten. I realised a) he’s absolutely right and b) I had just done the very thing he was talking about. I wondered if the post was actually directed to me, but then realized I was just being narcissistic. You see, in my schedule of work stuff, I list those updates as 'social media rejusjhing' and it comes under the 'marketing' category, recurring roughly every month. Or maybe that’s how I justify the repetition of this narcissistic activity. You’ve got to admit, it does give you the warm and fuzzies when people pay attention to and compliment you, especially with the broad strokes we’re able to garner on our social media platforms. As a personal rule, I try to stay away from activities that fuel my ego and to take any compliments I’m given with genuine humility and appreciation though, at the same time, I think it’s okay to feel pretty and/or appreciated. Plus, as I’m constantly reminded by my management team, I AM our 'product' (thanks for the love, guys), which we are marketing in a commercial world. So now I’m kind of finding myself on the fence – does narcissism have a place in music, or is it a conflicting interest? Here’s a brain dump (one of those terms that’s so gross, you just have to use it!) of the view from up here: For narcissism: If you consider selling millions of records, touring the globe and living (very) comfortably a sign of a successful musician, it’s safe to assume that the majority (if not all) of them have been 'processed' by a 'commercial machine' for presentation. It’s rarely the pure talent of an artist alone that gets them to number one, it’s also very

much the ticking brains of a marketing department. It’s also a fact that these days people without a talent can become famous to a similar degree from narcissism alone (“When did reality become TV?...”)! People are enjoying being more closely engaged with their stars and finding out more about them personally, which grows their fondness, intrigue and support for them which in turn, boosts business. Against narcissism: They say that sex sells but as an emerging female performer, I find it quite weird just how much booty is associated with what we do. Almost like our musicianship will be directly compared to how our butt rates. While I like my derriere and all, I don’t see what it has to do with my music and I can’t help think how great it’d be if we could just encourage people to be great musicians and artists instead. We’re also now seeing how the 'selfie' rage is impacting us socially and mentally, so perhaps our narcissism is something we should be keeping a very wary eye on. Maybe it’s about finding a balance and what works for you. On the whole though, I do agree with my fb friend. We artists need to become more proactive about keeping our art flowing and getting it seen and heard. We’re moving from an industry that once allowed only a privileged few to be recorded and promoted and monopolised every step to one where individuals can and need to steer their own ship. But wait, we’re not trained for this sort of stuff and besides – that wasn’t part of the deal! Don’t we get to just do the fun stuff?? Not these days. If you want it, you got to work for it. Every tool we could need to market ourselves is available to us now. EVERY one. If you’re able to 'brand' and promote yourself without turning into a monster, good form – keep it up! We can all edit cool photos, record videos and maintain 10 promotion platforms, if we want to. I personally think the key is to keep your self-promotion worthy and just as creative as your art and to keep careful watch that it doesn’t become shallow or self-indulgent. Every one of us has a black and white dog inside. ;-)

SONIC BOOM

With Sonic Edwards

Should I Self-Produce my Album?

A couple of months ago I wrote about what impact a producer can have on your recording, from selecting and arranging songs, overseeing sessions and sometimes engineering and mixing the recordings and even helping write the material. Whether you're indie or on a major label, the producer takes on the stress of time and budget constraints and navigates all aspects of the business, from marketing, budgeting to technical etc. On the subject of whether you should Self-Produce, there are a few key questions you should ask yourself: - Do you know anything about marketing? - Do you have experience in recording? - Have you worked with session musos before? - Can you speak the speak with engineers? - Is saving money the only reason you're thinking about self-producing? Even if you answered yes to most of these, it doesn't mean you're ready to make the plunge. You also need to consider that you are doing this for an artist with their money and their reputation (and that artist is you) and you may not be the best judge of your own work.

Some general tips: - Be brutal – you may have to make some tough decisions that compromise your artistic vision – don't be precious, do what is best for your budget/sound/ sanity. - Don't be afraid to ask for help – in fact, where the budget allows it, hire the best. Their guidance will make you better at what you do. - Compare your work with the best – whether it's mixing, mastering or artwork, you will benefit from having high standards and direct comparison and being brutal with your critique should make up for what you lack in experience. Figure out your market For marketing purposes, you need to know who your fans are. For creating a sound you need to know, not only who to sell to, but how to position your sound and what the expectations of that style are. You can't do too much research on this.

Some Common Pitfalls - Thinking that marketing is some kind of yelling from the mountain-top to make people buy your product/go to your show: “Hey Guys – We wanted to thank you all for coming out to our last show. We appreciated you guys being there and hope you can make it out to our next show at...” See your fans as one person that you do it all for – it will help you understand their story and how it intersects with yours. - Over/under-estimating the value of your art - Not knowing the strategies that other artists use – whether they are similar to you or not, you should be able to pull apart Beyonces marketing campaign and why it works if you're to understand how to market your folk band. Record the music This is the aspect that you'll automatically concentrate on but each aspect relies on the good execution of the others to function. You need to be objective when listening to your own songs, accept any criticism from others and improve your songs without being precious. Some engineering and mixing knowledge is essential whether you are doing it yourself or just working with a professional.

Some Common Pitfalls - Making everything BIG!!! If you listen to hits from any era, you may find that there'll be three or so instruments or elements that are fat, bright, loud while other instruments are supporting these 'stars'. - Leaving decisions until later – partly to blame is the modern recording studio with computers that can save it all, whereas tape limited you and forced you to have a plan. - Vocals - Vocal production is probably the most important aspect - that's the bit that people relate to the most, and understanding the various techniques and sounds that aren't necessarily apparent when listening to other peoples music. - You're not the best judge of your work! Cover Design This isn't just a pretty picture, in fact the picture probably shouldn't be pretty – what's more important people seeing your mug on the cover

(although it is good for your ego) or to instantly understand what your music will do for them and to want to listen to it. The artwork lets potential customers know what to expect from your music – so start with broad strokes – metal albums don't generally have flowers and pony on the cover. Check out what big brands think when trying to sell you cereal you don't need, colour/font/message are factors in these decisions.

Some Common Pitfalls - Typos – yep, shouldn't ever happen but does, a lot. - Not print ready art – between bled edge, CMYK and DPI is a minefield for the uninitiated. - Getting a friend who hasn't dealt with a printer before (see above) you're better off getting a rushjob from a pro than laborious work from someone inexperienced. Manufacturing/Pressing Replication is a professional process that creates a CD by molding the disk to be an exact copy of the original master. Data cannot be added or changed in this case. Duplication, on the other hand, refers to burning data to a disk, as is done in home computing. Replication is cheaper and more reliable for larger runs as burned CDs can still have errors that older players have trouble playing. As for Digital Downloads as an alternative to physical copies, sure you potentially reach a larger audience but now we're into the streaming vs download debate – streaming generates (next to) no income, but people may not already be aware of your music enough to want to buy it. Before you say YouTube, they are heading in the same direction as Spotify...

Some Common Pitfalls - "I can just burn this at home, right?" If, after all of this scare-mongering, you're still keen to produce your own music, go for it!

LIVE N’ LOCAL SPOTTED ON OUR LOCAL STAGES

clockwise from top left: Electric 80â&#x20AC;&#x2122;s Show (Greenbank RSL) Con & Liar (New Globe Theatre) Nine Sons of Dan (Swingin Safari) Oz Killer Queen Show (Southport RSL) Black As Blue (The New Globe Theatre) Buzzbees (The New Globe Theatre)

LIVE N’ LOCAL This page (clockwise from top left): Mondo Rock (Eatons Hill Hotel) Dom and the Mobsters (Rics Bar) Absolutely 80’s Show (Wallaby Hotel) The Buzzbees (Black Bear Lodge) Keith Urban (Brisbane Entertainment Centre) Next page (clockwise from top left): Switchblade Suzie (Kerbside) Lagerstein (New Globe Theatre) In Hearts Wake (Live It Up Music Festival) Steven Jaymes (Fridays Riverside)

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CAXTON STREET SEAFOOD & WINE FESTIVAL June 2014

Street Team: Story by Matt Gleeson Photography by Grant Linsley

Street Team: Story by Matt Gleeson Photography by Grant Linsley The 2014 Caxton Street Seafood & Wine Festival was held on 8th June during the Queen’s Birthday long weekend and saw an incredible host of performers from across the country. The music commenced at midday on the Petrie Terrace stage with the performance of 17 year old Brisbane singersongwriter, JESSICA SARAH. Her original acoustic pop delighted the small crowd that was in attendance. After catching a glimpse of VENUS ENVY on the Hale Street stage, local act THE FIRE, led by vocalist/guitarist Chris Fair, followed on from Jessica Sarah with their repertoire of acoustic rock with elements of funk and reggae. The third act to perform on this same stage was THE TIGER & ME from Melbourne. Difficult to pigeon hole, but musically they could be described as indie folk pop driven by piano, bass and drums. They also utilised a ukulele, accordion, violin and effective harmony group vocals to create an eclectic sound. Back to the Hale Street stage to see THE EUROGLIDERS perform an impressive selection of tunes from their vast

West Texas Crude

catalogue from the last 30+ years, including the hits “Heaven (Must Be There)” & “We Will Together”. At one stage lead vocalist and stand-up percussionist, Grace Knight, broke a drumstick midway through a song, which presented an interesting dilemma; but one which was handled by imploring the crowd to participate in a singa-long - truly memorable! Former Australian Idol finalist, DAN ENGLAND then took to the stage with his blend of contemporary rock originals and covers. Definitely not my scene, but the crowd were certainly having a good time. Then I decided to catch a look at DEAD IN A SECOND, upstairs at The Caxton on the Triple M ‘New Music’ stage. Their blend of heavy rock with hip hop sat uneasy with me, so I made a beeline to the Hale Street stage to catch the performance of SHEPPARD. A huge crowd was present to see this local come international act perform their material, including the group’s biggest hit “Let Me Down Easy”. One of the festival’s biggest highlights was the performance of Brisbane roots act, WEST TEXAS CRUDE, who performed on the Petrie Terrace stage.

Ella Hooper

CAXTON STREET SEAFOOD & WINE FESTIVAL 8th June 2014

I felt like I had worn out my shoes with the amount of walking from one stage to another! The crowd were really digging their appealing selection of rockabilly, R&B, and rock ‘n’ roll. Then back to the Triple M stage to see Mackay act, CHASING THE JEFFREY churn out their brand of hard pub rock, with influences from Cold Chisel, Thirsty Merc and Eskimo Joe. Former Killing Heidi lead vocalist, ELLA HOOPER, was next to perform on the Hale Street stage with a selection of songs from her forthcoming debut solo album “In Tongues”. Then a quick switch to the other big stage to watch SLIM JIM PHANTOM (Trio), formerly of the Stray Cats, perform their highly infectious selection of rockabilly tunes. The crowd went wild, plenty of 1950’s style dancing and the second major festival highlight. Back upstairs at the Triple M stage to see local acts THE STRUMS (kick arse pub rock with attitude) and DIVA DEMOLITION (Joan Jett’s Runaways-style pub rock). Then off to the Petrie Terrace stage for the last time to see highly regarded Blues, roots & soul performer, SHAUN KIRK, a soloist who has played at many of Australia’s top festivals. My night was then capped off by enjoying Grammy and multiple ARIA Award winners, WOLFMOTHER, perform their impressive brand of stoner rock on

clockwise from top left: Chasing The Jeffery, The Fire, Eurogliders, Slim Jim Phantom, Tyrone Noonan, Tiger and Me,The Strums, Dead In A Second, Venus Envy, Wolfmother

LIVE REVIEW: The Zoo - Friday, 12th June 2014 Story by Peter Muldoon Photography by Lauren Brodie It started out as a typical Thursday night at The Zoo on 12th June and I had the privilege of reviewing an artist called Reichelt. I had recently acquired his latest album and upon listening to it was unable to pigeon hole his music into any pre-existing genre. This made tonight all the more exciting, not knowing what to expect from this live show. There were quite a few people in the venue tonight and it seemed as though they were all here for Reichelt. Tonight singer-songwriter Luke Reichelt brings with him his full band with Daniel Hitzke on the drums, Michael Gillingwater on bass and his producer Guy Cooper on keys. As part of the show each member is wearing a plague doctor mask, not to fear off any bad air tonight, but rather to inspire and perhaps treat us, their patients, to a show unlike any other. The first song starts off slow and I find myself drawn into the sound. The masks cover any facial expression which gives the act a sombre feel , which to me lets the music speak for itself. Thoughts enter your mind such as "what is this I am experiencing right now?", soon followed by "this is something else!". The first song comes to an end and

Luke introduces himself and the band right before leading into his very own version of Chris Isaak's "Wicked Games" - one of the better covers I have heard for a while. The set continues with ambient tunes lead strongly by synth and taking me on a journey I was not at all expecting. The music is so tight that you forget you are watching four individuals on stage. The masks become mesmerising as I find myself immersed in the music and just as you think the journey is coming to an end there is something else there to draw you back in. The middle of the set contained a few rockier songs, of which were my favourite of the night as they were driven more by drums and guitar, and as the show was coming to an end Reichelt reminded us all of how it began by finishing off with a few more ambient tunes. Reichelt classifies himself as folk metal, but I am not sure I agree. If I had to explain their sound it would be a mix of Tool 's lighter anthems, The Church's emotive guitar and vocals and the all-too familiar sounds of Aphex Twin. Overall it was a great performance by an artist we should all be keeping a close eye on. His latest album "Books on Tape" is currently available on iTunes and at www.reicheltmusic.com.

REICHELT

LIVE REVIEW

ROCK CENTRAL -off to a rockinâ&#x20AC;&#x2122; good start!

Rock Central is a crazy new music hub dedicated to quality rock music, based at the Bramble Bay Bowls Club. Yes, you heard right, ROCK music at a Bowls Club and this somewhat different idea is being so well received, I wouldn't be surprised if more of these traditional clubs looked to do the same. Founder and manager of BamBam Entertainment, Dan Nebe teamed up with Kathy Peachey and these innovators definitely thought outside of the square when they developed the concept. Hold regular rock gigs ina local bowls club - Simple. The result is called Rock Central which operates Fridays to Sundays and is currently leading the way in bringing a great quality and variety of music acts to the Redcliffe peninsular. One of the great acts to recently feature was none other than Brisbane's premier hard rock covers band, Mission X. Though this band is accustomed to playing much largeraudiences, the reception of locals and followers

Mission X at Bramble Bay Bowls Club 6th June 2014 Story by Randy G Photography by Jenny Lee of the band was insane. Band leader and notorious front woman, Abby Skye did her usual fabulous job of blowing the audience away with her signature big voice and captivating stage presence and with the backbone of Mick Duckworth on drums, Mikey Edwards on bass and the amazing Chris Timms on lead guitar, Redcliffe was in for something special. Mission X did not disappoint. All the raves of the night were reflective of this and despite Chris rocking so hard he blew an amp (yes, this was playing a toned down set list), the show went on with the added responses 'far out, these guys are awesome', 'this chick is a powerhouse' and 'this is how rock should sound'. Seriously, I was getting so bombarded with accolades for Mission X that I was growing an ego myself. If you missed out, you can catch Mission X again at Rock Central on Friday 24th October. For more information or to check out the other brilliant acts coming to Rock Central head to www.bramblebaybowlsclub.com.au or Facebook.

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