Mouthzoff #11

PowerMouth Entertainment presents

Issue 11 February 2014

in the studio with

MAJOR LEAGUES BDO • LANEWAY • THE CORONAS • VALENTINE’S DAY

For further information and enrolment details, please visit www.basslinemusic.com.au

MouthZoff NOVEMBER 2013

2

Inside 4 BIG DAY OUT

21 ROBYN BROWN

6 AUSTRALIA DAY

22 ICEHOUSE / MODELS

7 ASK ABBY

24 GARAGE GOSS

9 COVER STORY

26 DZ DEATHRAYS

Matt Thrower reports Gala at Eatons Hill

How important is image?

In the studio with Major Leagues

overcoming heartache

Pop legends return

Brisbane’s up-and-comers

“Aussy thrash pop dou”

27 SPOTLIGHT ON

12 PETE MURRAY

talks to MouthZoff

13 SONIC BOOM

Polishing your masterpiece

14 LIVE’N’LOCAL

The Black Bear Lodge

28 LANEWAY FESTIVAL

The lowdown on Laneway

30 CD REVIEWS

Tourism, Halfway and more

16 CALIGULA’S HORSE

interviewed by Jae Salmon

32 LIVE REVIEWS

Kingswood, Calling All Cars, Casuarinas

Managing Editor Ben Knight Art direction & layout Mike Roberts Regular writers Jae Salmon Sonic Edwards Randy G Abby Skye Angie Everingham Ben Knight Cat Anderson Matt Gleeson Mike Roberts Ian Pix Matt Thrower Dave Rowlands Bruce Heath General Manager Abby Skye

17 LILLY ROUGE

34 MOUTHZOFF SOCIAL

Business Manager Wayne Ficnerski

18 MOUTHZOFF TALKS TO

36 COURTNEY BARNETT

20 JULIAN MARLEY

38 MOUTHZOFF TALKS TO

Photographers Ben Knight Gary Howard Brett Linsley Greg Elkenhans Hi Nrg Studios Bob McGahan Geoff Norris Bruce Heath Lauren Brodie

returns from LA

Out and about

The Coronas Live review

Interviewed, reviewed

MTNS and GOVS

39 WHATZON

Gigs this month

PLUS! MouthZoff gets to the heart of music – Jae Salmon speaks with local lovers

Founder Randy G Web

MouthZoff Valentines

On the cover: Major Leagues Pic: Supplied

www.mouthzoff.com

Advertising/enquiries admin@mouthzoff.com

Editor’s letter Here at MouthZoff we pride ourselves on the fact that we do things differently. We’re a team of writers, musos, photographers and other random go-getters that fancy challenging ourselves to concentrate on local coverage, write superior articles, and present amazing imagery that shows off the incredible Queensland music scene.

Cool local things to note this month from a Brisbane/Queensland perspective are Violent Soho’s number 14 spot in the Hottest 100 and The Belligerents and The Creases competition wins to play at the Big Day Out and Laneway respectively.

MouthZoff was there to cover all the action and we think both bands painted a radiant picture of what Brisbane music is all about. You have all done us proud.

We would love to hear from you. We have much to do and look forward to adding new features that our readers want. For now, we are thrilled you’re here to see what we have been up to last month and to help us build our amazing music scene into the best in Australia.

BEN KNIGHT

b d o The Hives

R

eviewers and anonymous thread commenters often have plenty of ammo to throw at organisers of festivals, unleashing vitriol at poor layout, bad sound and endless bar and toilet queues. However, even the most cynical festival watcher could not have had much to complain about at this year’s Big Day Out, held for the first time at Metricon stadium and the surrounding Carrara Parklands. it’s simply a great set-up, with the main stages inside the stadium and easy access to the remaining parklands outside. A friendly, positive vibe permeates the sunny sunday and there are more simply excellent performances than this reviewer has seen at a single festival in a long time. earlycomers are well rewarded as Brisbane band Jungle Giants play their giddily upbeat indie pop, while fellow Brisbanites violent soho (“from Mansfield”, they proudly proclaim) are a loud and proud purveyor of riff-laden rock for that vast majority of festival-goers who missed Nirvana the first time. Covered in Chrome (which went on to reach No. 14 in the Triple J Hottest 100) is a particularly anthemic moment.

Canberra house duo Peking Duk transcend the 4/4 limitations of their genre, throwing in some deep, slow cuts that provide an interesting sonic contrast in the Boiler room.

Over at the main stages, New Zealand band The Naked And Famous are powerhousing through their widescreen electro rock, Punching in A Dream providing an early highlight. Alisa Xayalith boasts a soaring voice and by the time the band soars through i Kill Giants and the euphoric Young Blood, the audience is putty in their hands.

They are closely followed by Australia’s biggest psych-rock export Tame impala who, Kevin Parker’s white-rimmed sunglasses aside, are their usual low-key selves on stage. instead, they opt to let the music do all the work, producing a characteristic shimmer of glistening keyboards, effect-laden guitars and Parker’s Lennon-on-atelephone murmur. Opening with the unmistakeable riff of Mind Mischief, the group go on to swirl through early number Half Full Glass Of wine (with a psych-improv section) and the glittery bounce of elephant.

Snoop Lion

rÜFÜs bring old-fashioned synth-pop to the Boiler room with a tinge of Pet shop Boys and New Order. it’s a slighter, more melodic style of dance music than many of the Boiler room regulars would be traditionally accustomed to, yet the band’s popularity and slick versions of their hits Take Me and Tonight ensures a warm reception.

Back at the red stage, boisterous LA popsters Grouplove whip up a happy, smiling frenzy with crowd favourites Borderlines and Aliens, ways To Go and Tongue Tied, with Colours making a suitably rousing finale.

One of three replacements for cancellers Blur, sweden’s The Hives command the main stage with their usual gusto, leaping and sweating through their charismatic garage rock. Frontman Howlin’ Pelle Almqvist plays his usual snake-hipped preacher routine and it’s just the ticket for the late afternoon crowd. Hate To say i Told You so, walk idiot walk and set closer Tick Tick Boom are obvious highlights. it’s back to the red stage for The Lumineers who provide the day’s one and only example of rustic folk rock. Their total contrast to the rest of the day’s program does not dampen the crowd’s enthusiasm, however, as they play superb renditions of Ho Hey, stubborn Love,

Classy terran

Then i where precia power with c the cr as sat The gu bit lou

it’s be ficult t Canad

Primu

Arcade Fire

Bliss n Eso

epic blend of post-punk and stadium choruses, but their expansive new album reflektor showcases an art-rock groove and slinkiness. we get a generous dose of both tonight, with the 10-strong band performing a simply magnificent set. win Butler looks like some kind of post-modern elvis while wife and co-vocalist régine Chassagne is a thoroughly impressive multi-instrumentalist, veering between drums, keyboards, accordion and hurdy gurdy. The setlist is the stuff of brilliant dreams, with vintage tracks like Neighbourhood #1 (Tunnels) blending with the transcendent Afterlife and a truly awesome reflektor. Closing song wake Up has the audience bellowing along perfectly with the track’s sky-reaching “oh ohhhhs”, and then….

Cosmic Psychos

y Girls and a great cover of Bob Dylan’s subnean Homesick Blues.

it’s a quick visit to the JBL essential stage, e sydney’s Northlane play to a small but apative crowd of enthusiastic headbangers. Their rful brand of progressive metalcore, complete chugging breakdowns, opens up circle pits in rowd. recent single Quantum Flux is about tisfying a climax as one could hope for. uitars could have been turned up a uder though…

ecoming more and more difto classify Arcade Fire. The dian outfit emerged as an

….BAM! with barely a second after the group’s set, Pearl Jam are straight into Do The evolution. elder statesmen of rock, the group has never sounded better.

Animal and Hail, Hail are charged out with total conviction. Your humble reviewer was intending to watch a bit of this set, then head on over for a bit of snoop Dogg and Ghost, but my thoroughly Gen-X nostalgia trip with Pearl Jam was too compelling to miss. even Flow, Given To Fly, Corduroy, Not For You….all sounded magnificent, and kudos to the camera team who rendered the band on the big screens in rich, chiaroscuro black and white.

But even their power wasn’t going to let me miss Major Lazer, whose hyper-modern dancehall showed that electronic music can also include showmanship. From dancing girls to production mastermind Diplo crowd-surfing in a hamster ball, the team bring a carnival-like sense of fun to the performance. And with pumping versions of Bubble Butt, Jah No Partial and a banging take on The Prodigy’s Breathe, there was no better way to say goodbye to Big Day Out 2014.

The Lumineers’ Neyla Pekarek

MATT THrOwer

us

BIG DAY OUT METRICON STADIUM PICS: BEN KNIGHT Tame Impala

Australia Day ALL-STAR LINEUP AT EATONS HILL Reviewed by CAT ANDERSON

T

he Eatons Hill Hotel is one of the largest, if not the largest hotel and entertaining complex in Queensland. They are also gaining a reputation for booking quality acts and staging well-run events. The Australia Day event is billed as family friendly, and it really is. The hotel has a large grassy area out the back, where the stage, bars and food stalls are located and the littlies run free.

Nat Dunn is first up and despite the early hour and crowd numbers yet to build, wowed those present with her incredible vocals and enjoyment.

Thomas Busby’s other band, up-andcoming Americana aficionados Good Oak, deliver an entertaining set, again impressing those present.

Up next are Busby Marou, and you can feel the crowd atmosphere lift. These guys really are well-loved. As is coming to be expected, they do not disappoint.

Former 90s rockers Jebediah also share in the simple happiness to be performing to an engaged crowd, and the crowd favourites do not disappoint.

Somewhere along the line though, their indie slacker ennui has given way to a real joie de vivre which shows in their performance.

Not so much joie de vivre as straight out telling it like it is are You Am I. Starting out a killer set with an acknowledgment of the traditional owners, Tim Rogers is his usual charismatic and bombastic self and the band are in excellent form, complete with Bob Dylan cover-version interlude. Do bands reach a certain point in their history where covering Dylan becomes obligatory? Well regardless, You Am I nail it tonight.

Finally, as the evening breeze goes from being cool to chilly, the Hoodoo Gurus take the stage and things warm right up. It’s hard to believe these guys have been a going concern, playing their energetic sets for over 30 years now, but it’s true. (I googled it during their set!). The Gurus don’t disappoint this and other long-time fans in the crowd, littering the set with favourites old and new, and some of their own.

HOODOO GURUS + YOU AM I + JEBEDIAH + BUSBY MAROU + GOOD OAK + NAT DUNN Eatons Hill Hotel PICS: BEN KNIGHT MouthZoff Valentine Bones - DEAD WOLVES Q. What is your idea of the perfect date?

A. Here in DEAD WOLVES we pride ourselves on our courteous and gentlemanly manner.

Our “perfect date” would happen when the Moon is full and the hair that covers our entire bodies is washed and thoroughly towel-dried. We would then prove our worth by dancing to one of our favourite bands such as ROTH, Muddy Chanter, Junkyard Diamonds or The Halls.

Then with hearts racing and appetite excited we would grab a romantic meal like a Slice of famous Fortitude Valley Pizza, while we take in all the colourful characters who transverse the Valley Mall - the best free entertainment. Dance, dinner and a show; that’s our “perfect date” in the city of Brisbane, where its perfect one day and perfect the next.

Dave Faulkner Hoodoo Gurus

Ask Abby with ABBY SKYE

http://abbyskye.com.au/

how important is image?

I

have a lot of muso friends who believe “it should be all about the music” (I presume they mean “it should ONLY be about the music”).

I know some in particular that will position the microphone straight up so they don’t have to look at the crowd, bury their face into it and let out some other-worldly sounds that granted, do excuse the lack of visual stimuli in their show. I understand where they’re coming from – when you’re dead on the money, a song can swoop you up into this captivating, swirly vortex-type thing that carries you on a 3.5 minute journey that is unlike any other feeling in this world and when you’re on this amazing little carpet ride, you do assume that everyone else can not just hear it, but feel it too. And a lot of the time they do! Your fans might keep attending gigs ‘cause they really dig what you put into your music and it gives them something similar to what it gives you. It’s a very special gift and is certainly the most important part of your musical show.

Despite the following rant, theatrics needn’t and shouldn’t subtract from musical substance or the focus on it.

However…

There are a few distinguishable groups that the discerning music professional considers and caters to and the impact and importance of your visual presentation will differ for each one.

Marketing to the masses - Firstly, a career can skyrocket due solely to the successful use of a gimmick or trend – we’ve all seen it happen. All too often, an act of questionable musical substance will reach the pinnacle of ‘success’, simply because they looked appealing to the right (and/or a lot of) people, sold enough t-shirts/calendars/ doona covers or had deep enough

in your moment. Not everyone gets to have the moments that we performers do, so consider all of the senses and make the experience larger than life – you’ll both benefit in the end!

Pic: Brett Hotchkin

Pic: Brett Hotchkins

pockets backing them that they can buy enough air-play to convince the masses that they ABSOLUTELY LOOOVE that act and MUST HAVE their latest over-tuned, bromidic album. Meanwhile, the genius works of countless local artists don’t get airplay because their ‘category’ of music doesn’t fit the ‘commercial specifications’. Where do you want to sit?

The experience for your fans – Not everyone gets to fulfil their dream of being a super star, yet how many of us sang into a hairbrush as a kid?? Being in your shoes is a fantasy for a big hunk of your audience and YOU are living their dream. In our consumption of entertainment, we like to truly invest in and expect to gain from what is being portrayed to us. Also, assess the situation – it this the moment for people to hear the extent of your prowess, or are they a little bit tipsy and jumping uncontrollably? People will devote themselves to you in the moment you are rocking it out on stage, but in return they are hoping to feel what you’re feeling and share

Your professional image - This industry (like many others) is a long-running game of smoke and mirrors. Being able to convince the crowds that you’re bigger, better and more flawless than you really are is a marketing fundamental and one utilized by every single record label, manager and publicist or selfmanaged artist serious about selling a product to the fullest capacity. Once only available to record labels with big budgets, this powerful tool is now available to everyone, thanks to social media, cheap technology and accessible software and tutorials.

The scenario for a serious musician is very different these days. We can make the most of all the productivity tools at our fingertips, but we also need to apply the business acumen and perspective that was previously the role of someone else to make it all work. How your music ‘looks’ to your audience and how it/you make(s) them feel is an imperative component of how well it will be received. The acts with legions of loyal fans have such because they have made their audience feel awesome, for whatever reasons (legitimate or not).

They’ve been able to connect with them on a personal level, even despite the illusion of unattainability (legitimate or not).

I like to see image as an extension of the artistic platform; like another colour or medium. It won’t detract from the music if you don’t let it. But your music’s ‘façade’ can be as individual and creative as the music itself – again, the only limit is your imagination.

MouthZoff FEBRUARY 2014

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www.youtube.com/watch?v=Hh-o5g4tLVE

COVER STORY

In the studio with

MAJOR LEAGUES

words IAN PIX pictures BEN KNIGHT

A

nna, Jaimee and Vlada stand in a tight knit circle with Jake peering through the obstacles that quarantine the drums. It is the perfect setting for the band’s shared approach to writing and composition to flourish. Comments, ideas and banter flood the room and the sense of support and casual perfection is evident. It is a cool experience to sit around with a group of young passionate performers and feel a real

sense of collaboration in every slice of the song writing process.

Floating around and capturing some images of the band there is a sense of excitement about the upcoming tour and what opportunities may arise from increased exposure. The studio space, created by Brisbane lads The John Steel Singers, is complete with forest clad Continued next page

COVER STORY

Major Lea

wall paper, constantly changing coloured LEDs and a clown car approach to cramming in as many musical instruments as conceivable. The music created in this space is whimsical and imaginative and sends you back to the early nineties when bands were happy to be crunchy and fuzzy. The simple leads that are weaved in to the tunes tie the melody together nicely and are just experimental enough to keep the listener guessing.

The band has as strong collaborative style with everyone contributing to the conversation about the energy and direction of each new song. Compliments for each person’s inventiveness are launched around the room “great lead…it gave me goosebumps”, “that

had great energy”, “that soun This is the perfect environmen ception of cool tunes and long as a band. The only thing that development of titles for song ing referred to as past Pearl J

After the session the guys are that promo photography is the est skill only outdone by their methods. Taking a few snaps t ally prove to be rather relaxed lens and are content to just be than focusing on creating any or brand.

There was a bit of time to han

agues

nded amazing”. nt for the cong term success is missing is teh gs that keep beJam classics.

e quick to warn eir second poorr nasty interview the band actud in front of the e present rather y type of image

ng around after

the session where we had an opportunity to chat about the up coming tour down the east coast. “I just hope people turn up” explains Anna. It will be the band’s first major headline tour where they will be travelling as far as Western Australia to try and spruik their brand of fuzzy grunge pop. They describe their excitement about the success of singles ‘Teen Mums’, ‘Endless Drain’ and ‘Silver Tides’ in the global blog sphere, drawing praise from critics in the USA, Canada, South America, Asia, Europe, South Africa, and the UK - where they have just picked up airplay on leading digital radio station Amazing Radio. Back home all three singles from the record is currently receiving airplay support

from the likes of Triple J, FBi, Radio Adelaide, 4ZZZ, RTR, RRR, SYN FM and 2SER. The band have spent a majority of their time in 2013 on the road, performing alongside Captured Tracks signings Beach Fossils (USA) and Wild Nothing (USA), as well as The Preatures, Violent Soho, Ball Park Music, and Jeremy Neale. Now it is time for the guys to take chief place as the tour headliner. Make sure you get down to wish Major Leagues bon voyage on their ‘Weird Seasons’ tour at the Alhambra Lounge on the 20th February from about 8pm where they will be supported by Melbourne’s The Ocean Party.

Good luck dudes!

Pete Murray interviewed by ANGIE EVERINGHAM

F

ebruary sees the return of home grown artist, Pete Murray, with a sold out show at The Tivoli on 22nd, and at Redlands Hotel on 23rd.

If his shows in Brisbane last year are anything to go by, this is a tour you don’t want to miss. Sydney artist Patrick James is the support act, and Pete said he enjoys being able to choose who tours with him, and gets a kick out of providing a platform to the upcoming artists who have joined him on the road.

Pete told us this current tour will be his last shows in Australia for a while, as he concentrates his energy creating new music, and ramping up his tours overseas. New opportunities are opening up for Pete in Canada and Europe, and he will spend some time playing to new audiences in the northern hemisphere summer. Pete’s recent shows in Canada saw him team up with Paul Langois from “Tragically Hip” for some intimate gigs, and Pete loved the time he spent in the tour bus travelling from the east to west coast of Canada.

Ben McCarthy, Pete’s been writing the lyrics, then finding a beat on garage band, adding the loop and then honing the song. We can expect to hear some new tunes soon. Pete said he’s having fun working with beats rather than a band this time round, and he said to expect something different ... I for one can’t wait to hear it!

Fans will be excited to know Pete is making some new music too ... and it will be a departure from what we’ve come to know & love. Collaborating with

At the time of printing, there are still tix available for Pete’s show at Redland Bay Hotel, and he shared with me why he’s really looking forward to playing

Pic: Supplied

there. His dad passed away when Pete was just 18, and he left this world at Redland Bay Hospital. He’s never been back to the area in all these years, and although he says he feels his dad’s spirit around him all the time, he expects the connection to be strong when he’s back in the area.

MouthZoff will be there to enjoy the show and review the gig, and you can get your tix by visiting www.oztix.com.au

Sonic Boom Polish your songs before you record

W

elcome back to another instalment of Sonic Boom – exploring all things musical (not like Cats the musical, that was terrible). Some of the topics I approach in this month’s dribble will use some of the ideas explored in previous articles about song forms and catchiness, so feel free to read through previous issues.

Let’s set the scene – you’ve written a song, you love it, your mother loves it and you want to immortalise it. I know it sounds silly but how well do you actually know the song? Have you made conscious decisions about the song, to the point that you know why you’ve chosen this chord instead of that chord, why the title is memorable or all other phrasing options for the melody?

Now when I say that you should have your song polished before you record, I’m talking about the final recording.

Demo recordings are the easiest way of workshopping ideas, reflecting on them and comparing them to the style of song you want it to sound like. Whether it’s jazz songs in a similar feel, country songs by an artist you admire or pop songs that lasted the test of time, this is a tried and true method of working out how it fits into the genre.

Some of the work you can do, that is normally done by a producer, includes looking at the chord progression and it’s relationship to the melody to determine whether it supports the emotion and lyrics. For example, using minor chords will give your song a melancholy sound whereas major chords may sound happy.

Similarly, if you’re aiming for a more

aggressive sound you might use chords that put the melody in the fifth (a D melody note over a G chord). A love song might sound better if you use third relationships (a D melody note over a Bb chord). Some songs capture the wonderment of endless possibilities by actually using chords that don’t contain the melody note - a D melody note over an F chord would achieve this. For more of this, listen to ‘A Whole New World’ from Aladdin (I know, I know, but the writers used seriously good craft in this song). Harmonic Rhythm is another factor in how the song comes across to the listener. This is simply how fast the chords change, so sometimes you can experiment with new chords in the second half of the bar with the original chords. Keep in my mind that sometimes you’ve picked the right chords the first time around, but there’s no harm in experimenting.

One of the most elusive factors in writing a song is the phrasing of the melody – where the main, meaningful words of the lyrics line up with key notes in the melody and how long they are held for.

Of course, speaking the words as you would normally say them in a conversation will give you the most natural phrasing. That doesn’t always mean that it’s the sound you are after. Experiment!

Another thing you can try in most popular styles is the interplay between vowel and consonant sounds. Classical training and conventional wisdom dictates that you sing the vowel sound (A E I O U) long and start and end it with a short

consonant – “looooooong”.

Contrast that with a jazz approach that has crept into rock and pop occasionally, whereby you swap that idea so that now you have a long consonant (the ones that work best are F, L, M, N, S, SH, and V) and a short vowel – “ssssssssshort”.

Practice incessantly. Try different options with the above ideas and other concepts that change the mood and feeling of a song to find the perfect combination that says what you are trying to say, especially in the lead up to recording the final version. If you have at least tried all the ideas you can think of, you will find it easier working with a producer and you will definitely move quicker.

SONIC EDWARDS

MouthZoff february 2014

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THIRSTY MERC COOLANGATTA HOTEL picS: BRETT LINSLEY

Phil Stac

k

Above: Steve Balbi Right: Don Martin

MI-SEX COOLANGATTA HOTEL picS: HI NRG STUDIOS

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MouthZoff february 2014

Matt Sm

ith

Josh Martin The Buzzbees

MouthZoff Valentine

Rai This

tlethway

te

Alex Marzullo The Con & The Liar

The Buzzbees + The Con & the Liar + Second Affair the zoo picS: BRUCE HEATH Second Affair

MouthZoff FEBRUARY 2014

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words JAE SALMON pictures GREG ELKENHANS

I

t has been a while since I have attended a metal gig and I realise now how much I miss them, especially when the line up is this good. Caligula’s horse has done a sensational job of choosing the support acts this evening. there are five bands in total on the bill, each one performing their set with everything they have for an eager audience. helm and Guards of May are two bands I definitely want to see again as they both belt out an incredible performance. helm also liven their set up with some choreographed trio guitar moves which I always find entertaining. the evening is stampeding toward our headline act – Caligula’s horse. there are a couple of things I would like to thank Caligula’s horse for, the first is - giving me the nudge to fill what was previously an unrealised gap in my ancient Roman history knowledge. I have been fascinated to read the account of the man who was the inspiration for

the name. the second is for delivering a blistering set of thumping tunes.

C horse pretty much have it all when you are ticking off the list for noteworthy bands. Lead singer and co-founder of the band, Jim Grey has undeniable stage presence, a great look and an impressive sleeve of ink that tonight’s hot weather allows him ample opportunity to display in full. he also sings with the clarity and precision of Muse’s Matt Bellamy; a most enviable trait. Lead guitarist and co-founder of C horse, sam Vallen is every bit as good as steve Vai in the intricate noodlings he produces (they even have the same initials).

Driving, heavy drum beats, melodic, booming bass lines and I haven’t even mentioned the flawless harmonies and

Jim Grey Caligula’s Horse

how good the lyrics are yet (or maybe I just did), these characteristics sum up Caligula’s horse for me. heavy isn’t their only setting however and tonight is showing us the versatility they are capable of. One track in particular begins with a reggae style beat and production sound quality of 1930’s music, before it melts into the familiar metal dirge. Not all the songs were set to a galloping pace either as there were softer, slower tracks to demonstrate their sensitive sides.

Whatever way you look at it, if your musical penchants lean toward hard, heavy, melodic, metal rock, then saddle up and ride away on Caligula’s horse. their new album ‘the tide, the thief & River’s End’ is available for download

ht p:/ caligulashorse.com/album/the-there ide-the-thief-rivers-end

Caligula’s Horse / HELM / Trinatyde / Guards Of May / Stellar Green New Globe Theatre

Sam Vallen

MouthZoff Valentine

talks to

Sean Jackson - TRASHQUEEN

Caligula’s Horse has been in existence for only 3 years and you have just released your second album The Tide The Thief and The Rivers End which is a massive accomplishment.

Does the journey so far feel like it has been all hard work or has it been a thrilling ride?

Q. What is your idea of a perfect date?

A. My idea of a perfect date is dinner then a movie and after that a walk along the riverbank at Southbank. That might sound unimaginative, but I definitely think Southbank has a romantic vibe to it and you can make a day of it with all the touristy stuff. We could go to GOMA, take a ride on a ferry, etc. The best part about all that action is it fits into the budget of a broke-as musician like myself.

Both!

From the beginning I approached C horse in a different way to previous bands. We avoid stagnating by always working on something. that might be new music, new live transitions and medleys, song covers, hours in the practice room, or whatever. We don’t take time off!

It’s been a busy few years but I can confidently say that we’ve put as much time and effort into our band as possible and we’re already reaping rewards: seeing our small fanbase grow steadily larger, having consistently released music we can enjoy, and touring around the country.

Recording for the new album began in 2012 and it was released in October 2013 and you finally got to launch it last month. What were the positives in taking that length of time to finish production?

We never intended for the album to be in production for such a long period, that was just the result of my own insanely busy schedule! the album was entirely self-produced and engineered,

Sam Vallen

and as a result fitting it around work, university, and touring was pretty daunting.

with any band at any venue in the world, who would support you and where would you perform and why?

I suppose the flip side is that I was able to approach the songs and production with a far more objective ear than I might have if the production cycle was shorter. Every element was pained over, and by the time it was finished there was no sound or structural component that I wasn’t completely happy with.

I could definitely tell you my dream festival lineup, whether we’d have any hope of ever billing next to these guys is another story completely! I think it would be Devin townsend, Opeth, and Pain of salvation, and we’d be playing late afternoon at an enormous outdoor festival somewhere in Europe...

JaE saLMON

If Caligula’s Horse could headline

LILLY ROUGE RETURNS Known not only for her flaming red hair, good looks but her killer voice too, Leah Martin-Brown is back in town. Leah, aka ‘Lilly’ is the founder, lead singer and songwriter of Gold Coast all-original hard rock band Lilly Rouge. the band itself is well known throughout Queensland, but destiny has not yet revealed its cards and it appears Lilly now has much bigger aspirations for the next twelve months and beyond.

Just last week Lilly flew back into australia from none other then hollywood, Los angeles. Late last year the star was scouted out on social media and is now embarking on the journey of a lifetime. Remarkably, this did not hinder her from

returning to australia to honor a previous arrangement with the band and support the Getaway Plan at this saturdays thriller Block Party! after the performance she’ll return to hollywood and continue to unfurl further exciting plans. Leah is planning to return to australia periodically for Lilly Rouge gigs, so keep an eye out - meanwhile you can catch Lilly Rouge this saturday 8th February at the thriller Block Party, Conniston Lane Brisbane: supporting the Getaway Plan, Wendy Icon and Call the shots.

Entry is $20 but apparently you get a discount at the door for saying ‘Lilly Rouge.’!

RaNDy G

MouthZoff FEBRUARY 2014

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talks to

THE Danny O’Reilly interviewed by MATT THROWER

A

lthough far from a household name in Australia, the Coronas are something of rock royalty in their home country of Ireland. And with good reason – they have made three increasingly impressive albums of heartfelt indie rock, centred by the passionate vocals and lyrics of Danny o’Reilly. With a fourth record on the way in 2014 and an upcoming Australian tour, MouthZoff caught up with Danny to talk about music, inspiration and guinness.

Firstly, many people are really looking forward to seeing the band perform in Australia. What are your memories of your previous encounters here?

We had a great tour there in 2009. We were much less experienced then as a band and we probably enjoyed ourselves too much! I came back and my voice was totally gone, I had to see a specialist and all. It’s such a great place to tour as we’ve lots of Irish friends there and they really appreciate you going so far to play. obviously the Coronas are a massive act in Ireland, and you would be used to playing some huge venues over there. this Australian tour will be in smaller pubs and clubs – are you looking forward to these more intimate shows, and do you get many opportunities to perform in smaller venues?

Yeah we’re very lucky that things are going so well in Ireland but when we tour in Europe and uK it is usually in smaller venues and we love playing them. that’s how we started in Ireland, built up our crowd by touring small venues and we love the challenge of trying to do that again in other countries Is there a gig that is particularly close to the band’s heart?

When we play the olympia in Dublin it is usually a special atmosphere. We grew up going to gigs there and it has a vibe that’s so relaxed and enjoyable for us.

We were lucky enough to play six nights there in 2011. It was an amazing week

COR

how is work coming along on the follow-up to 2011 album Closer to You?

great! As I write this we’re actually on lunch from rehearsals and pre-production. We’ve half the album finished and we will be finishing it in March straight after the tour. I can honestly say I’ve never been so excited about a set of our new songs With your mother and sister also singers, how important was music to you growing up?

It was very important, mainly because it was always something to be enjoyed. there were no classical lessons or anything like that. Music was never forced upon us but I suppose we could see from my mother how enjoyable and fulfilling it could be. how old were you when you decided you wanted to perform and write songs for a living? Music aside, what life influences helped shape this direction for you?

I suppose I knew deep down from around when I wrote my first song that I knew it was something I wanted to do. I was probably 14 then but didn’t admit that it was more than a hobby to anyone until I was in college and we started to get a following. love, relationships, family and friends support have all been influences on my chosen career path.

Who are some of your influences and inspirations in shaping you as a songwriter? glen hansard, Bell X1, Jeff Buckley, the Beatles, Coldplay, Radiohead, Fleetwood mac, the list is endless I’ve noticed very real, personal

emotions expressed in the Coronas’ lyrics. What inspires the themes of you songs?

You can only write about things that yo can offer some sort of insight into, and find if you’re really honest in your lyric people can relate to what you say. I oft write about the band and our journey and our desire to improve, and of cour love and friendships.

What musical artists are the Coronas currently enjoying? the National, Phoenix and haim.

Can you recommend any Irish bands w should look out for? gavin James is awesome, as is Róisín (Danny’s sister). hozier is great too.

Do the Coronas have any guilty musical pleasures?

Is there a closet Miley fan in the band, for example?

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Knoxy, our bass player, is a massive Abba fan! two pub questions in one: which pubs in Dublin do you recommend for seeing good live music? And which pub serves the best pint of guinness?

Whelan’s and the Workman’s Club for gigs. P Mac’s and grogan’s for guinness Finally, I have a fan question for you! helen Murphy from Maynooth would like to know if you would

ever do a duet with your mother Mary Black?

We have played together but I doubt we’ll ever release a song together.

We’re busy doing our own thing the Coronas play Mick o’Malley’s Irish Pub on Friday, February 21.

Julian Marley & The Uprising Reviewed by MATT THROWER

T

onight shows that reggae is still an uplifting and uniting musical force. As I enter The Arena, locals Paua are playing their feel-good reggae with a tinge of rock and dub. REM’s Losing My Religion’s complex plight of faith is thematically, if not musically, ideal for Jamaicanstyle arrangement – but Paua are skilful enough to make it work musically as well.

Next up is Blue King Brown’s Natalie turning in a powerful acoustic performance. Backed with two female singers from West Papua, the set also raises awareness for activist movement Rize Of The Morning Star.

Natalie speaks with passion about the genocide and oppression that afflicts West Papua’s people, and how the Rize movement aims to bring peace and freedom to this troubled part of the world. It’s a reminder of how lucky we Australians are.

Musically, Natalie’s firing on all cylinders, managing to

make soaring, danceable music just with the aid of vocals and an acoustic guitar.

The real reason the reggae faithful have gathered tonight, however, is to experience the charisma and performance zeal of Julian Marley. Backed with his band The Uprising (and the ubiquitous female backing singers), Julian is clearly here to bring back the euphoric vibe once presented by his famous father. Worthy successors to The Wailers, The Uprising blend ghostly echoing bass and drums, dubby keyboard stabs and (yes!) wailing guitars, while Julian is a wiry, dreadlocked presence, leaping about like a groovy witchdoctor. A true crowdpleaser, he finds plenty of time to throw in songs made famous by his Dad, including Stir It Up, Get Up Stand Up and One Love. The power of the music combined with the nonstop energy of the frontman ensures everyone leaves this gig with a smile on their face.

Songs of Roma House Some of Brisbane’s most vulnerable community members are sharing their stories with the world, thanks to a special project involving a group of Australia’s top songwriters.

Local music industry greats Tylea Goold, Deb Suckling, Danny Widdicombe and Chris Dale are well known and loved in the Queensland music industry. Between the four of them, they have toured all over the world, recorded about a dozen albums and worked alongside members of some of Queensland’s most successful bands including The Go-Betweens and Powderfinger.

But for the past few months the Brisbane based songwriters have focused their energies on working with a group of artists who are rarely in the spotlight – residents from Mission Australia’s homeless service Roma House.

At the end of last year, the songwriters took part in a ten week program initiated by QMusic, working with Roma House residents to share their stories and build their capacity through music.

April 9th saw the songwriters and the budding artists celebrate the launch of Songs of Roma House, a compilation of songs written and performed by the residents with a little help from their new expert friends.

The Songs of Roma House compilation is now available for stream and http://www.qmusic.com.au/?contentID=759 free download

JULIAN MARLEY & THE UPRISING + NATALIE + PAUA THE ARENA pic: BEN KNIGHT

Robyn Brown R aising a son with cerebral palsy has given jazz singer Robyn Brown a life of heart-wrenching challenges and rewards - but with it, a newfound strength to seize the day.

In just a few years the silky-voiced Sunshine Coast singer has captivated local audiences with her passionate performances. Now, her self-titled debut album of vintage jazz and blues songs - accompanied by Queensland’s finest jazz instrumentalists - is bound to stir hearts!

A self-described storyteller, Robyn Brown’s voice echoes the sass and sultriness of Diana Krall, but also the wholeheartedness of Eva Cassidy.

Wholehearted perhaps, because it’s been a long, emotional road to get to this point - her eldest son Joel requires extensive care and for a long time, musical aspirations had to be shelved.

But now all grown up, Joel’s lust for life is proving to be an inspiration to his mother!

“I’ve learnt so much from raising a disabled child. Having to face the challenges and come through them has helped me to realise there is a lot I can achieve in life, even if it is difficult.

Often, out of those difficulties comes great joy,” Robyn says. Though it has been a long time coming, this album has been worth the wait.

The lush, nine-track album is a collection of elegant, moody and upbeat favourites from her repertoire - six songs from the jazz and blues greats (Duke Ellington, Billie Holliday, Ray Charles) plus three self-penned originals of equal class. Inspired by early jazz singers, Robyn puts her own stamp on the music.

The Billie Holliday classic God Bless the Child is given a tender rendition (“I fell in love with this song when I heard Eva Cassidy sing it - it has been my first love in jazz”), while Wayne Shorter’s instrumental jazz standard Footprints, with lyrics of loss and longing, is given a spine-tingling ethereal treatment.

On the upbeat side of things, opening

the album is the hauntingly beautiful original What Will Tomorrow Bring, a lament inspired by AfricanAmerican spirituals.

Pic: Supplied

track Just Squeeze Me by Duke Ellington is bound to get the toes a-tapping, as is her swinging original Don’t Give Your Heart. A soft Latin groove is applied to Bernice Petkere’s Close Your Eyes, layered with sensual vocals.

The album slides into the blues with Robyn’s tongue-in-cheek original The Blonde Blues, a humorous exploration into first-world problems, inspired by an exploding hairdryer! Closing

Robyn is a regular fixture at local jazz clubs and festivals, but her proudest musical achievement to date was performing at the Special Olympics State Games hosted in Caloundra in 2013. As an ongoing supporter of the disability community, the album’s artwork was designed by a gifted young artist with autism, Luke Fitzgerald.

To celebrate its release - and the day of love - Robyn Brown’s album launch will be held on Valentine’s Day, February 14, The Shared, Yandina. It will be combined with an art exhibition by Luke Fitzgerald. Her Brisbane launch will be held the following night at the Brisbane Jazz Club.

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Icehouse

REwIND IN MOTION Re

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ALL me old-fashioned, but one of my biggest thrills when seeing live music is watching the interraction between band members - the nuances, the quiet cues and, dammit, the smiles between the musicians.

So, on an amazingly rare opportunity to see two of Australia’s best exponents of original pop/rock - together - at the cauldron of Eatons Hill Hotel in Brisbane, I was really looking forward to enjoying these old pros in action. Years had certainly not wearied them in the least – both acts were able to rekindle their own brands of melodic, thumping eighties anthems (much to the adoring delight of the full-house crowd), and the hits and memories were delightfully re-lived throughout more than three hours of music.

Iva Davies

ICEHOUSE/MODELS EATONS HILL HOTEL picS: BEN KNIGHT

First a disclaimer: I have enjoyed the music of Models ever since their first album Alphabravocharliedeltaechofoxtrotgolf graced my turntable at the age of fourteen.

Its quirky and astoundingly original mix of pop and awkwardness was something totally fresh and new - and their original sound was cemented further by its followups Cut Lunch and Local &/or General.

This was Models in their early, formative years - Melbourne contemporaries of Nick Cave’s The Boys Next Door

e/Models

eview by MIKE ROBERTS and a wealth of urgent, inventive new-wave acts. They as much as anyone helped stamp a new brand of imaginative excess in one of the most explosive creative periods of OzRock.

All pics by BEN KNIGHT Sean Kelly

Importantly their music hasn’t dated one bit - and they skated through their different eras (35 years and counting) effortlessly.

Out Of Mind Out Of Sight was tight, heavy and every bit as energising as the earlier hits I Hear Motion and Big On Love. And the welcome addition of ancient tracks (Unhappy, Two Cabs To The Toucan, Atlantic Romantic and Local &/or General) brought knowing smiles from the older set in the audience. Models were simply mesmeric - note-perfect throughout, and lead singer Sean Kelly’s voice was as angst-ridden, melodic and husky as ever.

But - and there’s always a “but” - where was the similar magic from Icehouse? As the main act, they exploded onto the stage in a flurry of lights and sounds - a bank of eleven (yes, eleven!) LCD screens blazed into life as they thumped straight into Fat Man - another for the oldschool audience, being off their debut album Icehouse - released under their former moniker Flowers).

Throughout their set I watched every member intently - Iva Davies was

in fine form vocally, and at times he reminded me how much his own guitar brings to Icehouse’s sound - but the chemistry, camraderie between them all was, for me, simply not there.

As energetic as their playing was, and as wild and dazzling their lightshow was, I kept getting the increasingly-nagging feeling that they were just going through

the motions (no pun intended). Sure, they played a bucketload of hits from their long repertoire, and to be fair the crowd lit up on each and every one (Love In Motion, Great Southern Land, We Can Get Together, Electric Blue et al) - but where was the humour? In stark contrast to Models who kept up a steady banter, Icehouse seemed somehow remote and - perhaps as their eponymous song would suggest, cold.

Besides all that, it WAS a fantastic night and it served to dust of those old eighties memories and also demonstrate that age is no hinderence to great performing, and truly great songs that these two former giants gave us do not date.

Garage Goss Young griffo Young Griffo may have been a World Featherweight Boxing Champion, but if you are attempting to compare him to the Brisbane based three piece of the same name then let me tell you there is nothing featherweight about them.

If you love power trios who know how to pack a punch then hook into Young Griffo next time they perform in our fair city.

Young Griffo deliver a mix of genres that are sure to get you jumping. Since 2010 they have released a double A side – Blood to Bone & Last of Me, a single release ‘Pennies’, an EP ‘Tiny Islands’ and now a single track album ‘Cutting Sails’. 2013 saw the band writing, recording and filming video clips. If you haven’t gone a few rounds with Young Griffo yet you can get your chance to jump in the ring on February 14 at the Tempo which is arguably one of the best live venues in the Valley. Grab a date for Valentines Day and face up to a night of home-grown, live music that is guaranteed to be a total knock out.

THe sTress of leisure

The Stress of Leisure are presently working on a new albu which they plan to release this year. They are recording at The Shed in Albion, with Darek Mudge (We All Want To/ Screamfeeder) at the controls.

Since the release of their song song ‘Sex Time’ in 2011, the quartet have been working on songs that make you wann move. Being at one of their gigs is like doing a groove-bas workout. Lead singer Ian Powne says he likes nothing mo

Twin Haus Twin Haus describe their sound as psychedelic, math, alternative-rock or close to it at least. Lead vocalist Daniel Grima says that everything Twin Haus write tends to stem from the practice of jam, which seems to bind together the influences and musical concepts of each individual in the band.

Last month they headed off to a wine vineyard in Orange in their newly painted ‘Twin Haus’ wicked. With the assistance of producer Tim Carr (Matt Corby, Smashing Pumpkins, Ernest Ellis), they recorded their Debut 6 track EP in the vineyard’s wine cellar studio. Keep an eye on the Twin Haus page for EP launch details and the announcement of an east-coast tour soon.

All pics supplied

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news from the stArs of BrisBAne’s smAller venues with Jae salMon

Blonde on Blonde Blonde on Blonde had a huge year in 2013, touring with Stonefield and supporting Grinspoon at their final show.

Other bands they have played with reads a bit like a Who’s Who of Australian and International rock – Tame Impala, Wolfmother, INXS, Violent Soho, Spiderbait, British India, Presidents of the United States of America, Redcoats and ASH, to only mention a few. They have even represented in Los Angeles as part of the Musexpo conference.

Having just wrapped up the Life is a Beach Tour, in support of Calling all Cars and Kingswood and supporting Birds of Tokyo at the Hamilton Hotel for OZ Fest, BoB are far from taking a break with two dates in Sydney already booked in February and a performance at Ric’s on February 8. They released their single ‘Lucid’ in September 2013 and if you have yet to check out the reverse film clip for that track, which even includes a ‘Hi Mum’, I recommend you take a look and why not chuck a Like on their facebook page too at https://www.facebook.com/blondeonblondetheband. than to look out into the audience and see people moving to the music. Even if they’re still talking and not looking in his direction, he is glad that they’re at least moving! “It’s a great feeling to see a dance floor start up. A real great feeling.”, says Powne.

You can experience The Stress of Leisure when they support Dave Graney at New Globe Theatre on February 22 alongside songstress legend, Tylea. It promises to be a great night.

Baskervillain With influences listed as Pink Floyd, The Beatles and The Rolling Stones, it is pretty clear that Baskervillain has hit upon a sound that will surely appeal to many a listener. They take well known styles and bend popular genres into willing submission with the end result of creating the Baskervillain sound, one that is uniquely their own. These guys are super fresh on the scene and have all the right ingredients to assure success. Packing masterful guitar work, clean and precise vocals, captivating melodies and blow out jams, they are destined for popularity. So if you like the idea of discovering new bands and accompanying them on their journey to greatness then I guarantee Baskervillain will make excellent travel companions. Check out their single ‘Walls’ and keep an eye out for upcoming gigs.

MouthZoff FEBRUARY 2014

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MouthZoff Valentine Clint Morrow - THIRTEEN SEVENTY Q. What is the most romantic song you have written and is romance a genre you favour in your song writing?

DZ DEATHRAYS

by IAN PIX

S

o-called ‘Aussy thrash pop dou’ DZ Deathrays had the honour of opening this year’s Gold Coast leg of the Big Day Out. These polite young gentlemen didn’t seem very phased about being the opening act for the festival and are more than willing to rock out in front of any size crowd. When asked if they play louder at festivals Shane quickly announced “yeah we like to play loud” but quickly rephrased his answer to “we play loud everywhere”. This is definitely the way the crowd loves it, demonstrated by the utter chaos at every DZ Deathrays affair.

The boys chat about their excitement at a trip back over to South by South West where they will be hoping to shack up with fellow Brisvegas locals Dune Rats. “We are going to find a campervan and the Dune Rats know a guy that owns a warehouse where we can park”.

They described the event as a place to play a loud as you can, collect thousands of business cards that you will never read and drink heaps of free booze. Count me in.

The guys are currently working on a new album and aiming for a release in a few months time. Will be catching up soon to talk about their trip over to Austin and see how the new album is progressing.

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MouthZoff FEBRUARY 2014

A. Probably a toss up between ‘1370’, off our first album’ Arrest The Slide’ and ‘Inside’, which we’ve just recorded for our second album, to be released this year. ‘1370’ was written for my girlfriend when she moved away a few years ago. I was working through whether things would work out longterm and how to deal with a long-distance relationship. The song must have had the right effect because she moved back eventually! The song also eventually gave the band its name.

I wrote ‘Inside’ for our drummer, Fi, to sing about her lover. I like the idea of having a woman explicitly singing a love song to another woman. It’s not something that you hear a lot of in popular music. Usually it’s a little more gender-ambiguous. ‘Inside’ is probably the only 100% positive love song we’ve ever done. Most of our music deals with frustration, dysfunctional relationships and self-loathing.

Every month MouthZoff profiles a live venue. This month:

SPOTLIGHT ON

Black Bear Lodge 1/322 Brunswick St, Fortitude Valley (Answered by Timothy Carroll) Why should we be going to the BBL? Come to Black Bear if you hate bars with flat screen TVs, shit music and 90s Beers on Tap. We like great Australian Craft beers, low lights. vinyl records and good times. We host live gigs from some the best bands in the country as well as free entry soul parties late into the night on weekends. We offer an oasis from the zombies in the valley.

What is the vibe?

It’s a beautiful room with case windows looking out over the valley mall, hardwood floors and

candlelit booths for sitting and chatting. Late at night our house Djs play hits and anti-hits till late and from Bruce Springsteen to Beyonce. We party.

What should i drink?

Stone and Pacific Ale, Old Fashioned Espresso Martini Acts to watch out for are...

The John Steel Singers Jeremy Neale World’s End Press Thomas Calder (The Trouble with Templeton) Ken Strignfellow and many more..check our website for full gig listings.

http://www.bclick lackbearlodge.chere om.au/

Tell us about your favourite memory from the bar.

My favourite times have just been hanging and chatting with the other staff really. We’ve had some pumping Jazz Party Tuesdays, The Preatures, Saskwatch, Courney Barnett but Maybe MKO singing ‘I will always Love you’ at one of our 90s Parties would take the cake.

Brisbane’s music scene is......

Strong as ever. I think we punch above our wait. However I think maybe audiences are less willing to go out to gigs than they once were. Maybe?

MouthZoff FEBRUARY 2014

27

Laneway Festival

reviewed by MATT THROWER all pics by iAn pix

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arlycomers are treated to the guitar pop of locals and Unearthed winners The creases, a midday ray of sunshine on the proceedings despite the overcast weather.

The surreal quality of cass mccombs is diluted a little when performed with a conventional rock band, but he still manages to captivate with his americana doowop jangle.

Pond drummer cameron avery fronts The Growl, a still-psychedelic but more straightahead rock combo than his other band. Pretty good.

Lorde The Growl

a bit of outsider fusion is up next from King Krule, but it’s pretty hard to connect either with his snotty kid stage persona or the distancing jazz rock that he peddles.

For those who missed out on either the Hills Hoist indie of The Go Betweens or the ’80s chime of New Zealand label Flying Nun, Dick Diver is your modern taste of this rather lovely sound. although they are somewhat sonically lost in the large sheep shed where they play, their compact nuggets of guitar pop are irresistible nonetheless. amongst all this slightly aloof coolness, it’s something of a treat to get something bigsounding and earnest. This comes in the form of Frightened rabbit, scottish arena-scale indie rock fronted by scott Hutchison, who also happens to be one of the day’s greatest vocalists. also from scotland, the dry ice is sprayed liberally around for chvrches, makers of some of the most compelling synth-pop in the world

Drenge

Savages

right now. While singer lauren mayberry’s voice is as gorgeous live as on record (she also manages to impressively feminise the roger Daltrey mic twirl), there is something a little bit detached and antiseptic about the performance as a whole.

Kurt Vile’s stoned stones ambling is much more the ticket, and while Hottest 100 dominator Vance Joy is nice, acoustic and personable, there are far more potent reasons to be here.

Thank whichever God created twitchy post-Fall rock & roll for Parquet courts, junior apprentices of mark e smith and stephen malkmus who rage and jerk through a furious, energetic and melodic set.

But I don’t believe anything gives me a bigger smile all day than Haim, whose nouveau Fleetwood mac-flavoured pop is given a rockier edge by Danielle Haim’s wailing guitar solos, esme’s bass face and all three sisters participating in thumping percussion jams. When

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MouthZoff Valentine Nick Rodwell - ROTH Q. What was the most memorable concert you have taken a girlfriend to and why?

Cloud Control

eir eagles-borrowing hit The Wire comes ong, resistance is futile.

female vocals, but sticking with their set brings big rewards. a hypnotic highlight.

his still gives me time to catch the end of avages’ clanging post-punk which rises to a ne-chord krautrock finale that is nothing short goosebump-inducing.

The Zoo stage closes with three hip hop acts including Danny Brown and earl sweatshirt, but this reviewer falls in love with the blazing rhymes and beats of run The Jewels. Good to end a consistently great festival on such a high.

orde is a big star now, Grammy winner that he is, and she admirably behaves like one, with the charisma and stage presence to match her world-dominating electro ballads.

Jagwar ma are one of several acts to suffer from the sheep shed acoustics, but their thumping dance rock still manages to thrill.

It takes a little getting used to Warpaint’s shimmering guitar grooves and ghostly

A. The most memorable concert I’ve experienced with my girl was completely unplanned and spontaneous. My girl and I were just out one night for a midweek drink at The Joynt and just happened to catch Pugsley Buzzard doing a solo show. Pugsley is a ragtime-styled pianist/ songwriter who sprinkled his set with tunes from Tom Waits’ Closing Time, an album which is full of romantic narratives. With Pugsley’s charm and Tom Waits’ songs, The Joynt was a very colourful, yet intimate place to be that night. Definitely a night to remember.

MouthZoff Valentine Ashleigh Kerley - MARVILLE

Danielle Haim

The Jezabels

Lauren Mayberry of Chvrches

Q. When you think about your first boyfriend, which song comes to mind?

A. Strangely enough the first song that comes to mind is ‘Fantasy’ by Mariah Carey.

When I was in primary school I remember having a terrible crush on a boy in my class. It happened around the same time that I was fairly obsessed with Mariah Carey. So ‘Fantasy’ (and others) got quite a work out.

We never dated of course, but I do seem to remember that I got to hold his hand once though. I thought that was pretty cool.

CD Reviews mtnS Salvage The Brisbane-based three-piece act MTNS (pronounced “Mountains”) have followed up their debut single, “Lost Track of Time,” with a debut EP entitled “Salvage”. It includes two versions of the aforementioned single, as well as the title track “Salvage” plus “Fears” and “Crave”. This is an extraordinary effort which places them in the upper echelon of ambient electronic indie bands. It is refreshing to listen to a local act that actually delivers the goods. This is music to drift away to; a wonderful aural experience which grows on you even more with repeated plays.

MATT GLEESON

touriSm a Song For You (once Beaten Black and Blue) Right from the get go ‘A Song For You’ grasps the listener playfully by the hand and leads them to a happy place. If the frolicking opening guitar riff doesn’t immediately grab your attention then surely the charming accented vocals of Jozef Wisniewski will. However, on deeper analysis ‘A Song For You’ is one of those cheery tunes written about a serious subject - domestic violence. “We wanted to get people talking and address our ideas for a change”, says Wisniewski. ‘A Song For You’ is a delightful and thought-provoking listen that represents only one of the facets to the gem that is Tourism. Definitely go see them live and also check out the clip to this song as it’s well worth the three minutes.

JAE SALMON

Smoking martha Sweet as honey

modelS gtk

Sweet as Honey is exactly that. It’s the taste you get when you combine sultry female vocals with perfect guitar distortion, hipgrinding, dirty blues bass and catchy, chanting lyrics. This is music to seriously lose yourself in. For those who partake, Sweet as Honey is the perfect accompaniment to bourbon and amps set to eleven. If the crowds aren’t writhing in a trance-like state when performed live, check for a pulse. Sweet as Honey is the first single from Smoking Martha’s debut EP, due for release in March 2014. Catch them when they play Brisbane’s newest Live music venue Vibe at the Indooroopilly Hotel on 14 February.

First new material from Models since... gulp...

1986, this EP captures a more refined sound, a subtle, driving rhythm, swirling background vocals and Sean Kelly’s plaintive lead singing infuse each of these four numbers. Virtual Twig is a catchy rant on the horrors of progress; Drive Through Love a scintillating cover from the late Palaco Brother Peter Lillie; Nothing On The Wire is a slow-tempo travelogue and final track Kiss It Goodbye harks back to their trademark jazz-infused weirdness.

JAE SALMON

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MouthZoff FEBRUARY 2014

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The use of soundscap the minim I found th quite unse a particula is a brave knock-out

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GTK was only available at their recent gigs, unfortunately, but if you see it pop up on Ebay, it’s well worth bidding for.

MIKE ROBERTS

gigantic glee in la giddy choruses. O Likes Me’ takes m and throws glitter all over them. In ‘ similarly upbeat w undercurrent to th and their homage own idiosyncratic lodic rock of the t EP title Hey Geron

halFwaY any old love

After producing a few singles over the past year, Sydney-based indietronic act, CULL, have finally released their debut EP “Bà Noi”. This EP delivers ethereal electronic music with a hallucinogenic quality and a strong emphasis on guitar pedals and home studio effects. The track titles are indicative sic that’s on offer - “World Inside Your Head”, “The urial Urn”, “Animate” and “Keep My Star”.

f a variety of instruments and effects to create a pe is nothing new. One just needs to hear some of malist works of Philip Glass to attest to this. However, he disjointed and warbling effect on all four tracks ettling. I am sure this type of music has an appeal to ar audience, but I was hoping for so much more. This e, self-produced effort that doesn’t quite deliver the t punch.

MATT GLEESON

Queensland alt-country band Halfway’s fourth album Any Old Love is a gorgeous, cohesive anthology that draws the listener in.

Produced by the incomparable Robert Forster, this album is comfortingly reminiscent of the 70s West Coast greats, with jangly guitars and catchy hooks, and a dash of Ryan Adams’ early sound to my mind. The songs are all strong, especially the opening track and lead single ‘Dropout’.

The whole collection flows beautifully, with no jarring changes in tempo or mood. And the mood totally embodies what the band themselves have to say about it, from their own website: “This world should grind you down … Because it gives you songs from people who’ve learned how the main chance is entirely up to them. It depends on love. And decency. And being wide awake when the beauty comes.”

I couldn’t have put it better myself. As a great man once said, do yourself a favour.

CAT ANDERSON

govS holy infinity

onimo - erring on of awesome

killCode krew killcode

Power-pop, whether it’s in or out of fashion, is always with us in some form or another and few bands do it with more sheer joy than Hey Geronimo, whose latest EP takes extra ayering harmonies and big, Opening track, ‘The Girl Who mop-top Ed Sullivan-era Beatles r and technicolour brightness ‘Lazer Gun Show’, the vibe is with a slight Animal Collective he vocal styling and harmonies e to Dan Kelly adds the band’s c style to the dirty booted, metune’s namesake. Not a modest nimo but also not inaccurate.

MATT THROWER

This is classic hardrock, but with a pinch of southern influence to take the edge off and let you settle in. The album provides high-energy rockers intertwined with country flavours, ballads and mid-tempo stompers. It’s filled with memorable riffs and melody lines that draw you in and then pound you into the ground with thumping bass and an equal measure of pounding drums. Two of the catchiest songs are found in ‘Loose’ and ‘Shotgun’. ‘Liberated’ continues with the laid-back southern-rock feel that balances the album nicely. Production is subtle and you can hear the passiondriving through the melodies. Killcode Krew are well worth checking out for fans of hard or modern rock mixed with a southern draw.

IAN PIX

What a lovely little single to get you through a hot summer’s day.

Rises and falls with a lovely mix of folk and driving beat. The hint of trumpet throughout provides the perfect amount of atmosphere and simple lyrics add to the feel. Beautiful ditty – would love to see the live versions.

IAN PIX

MouthZoff FEBRUARY 2014

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LIVERE T

Here are some g a little bit more t tempo Hotel, Bru ley plays host to such a phenomenal, it includes the local scene at the m plus two of the best Na acts, in Calling All Cars

KINGSWOOD + CALLING ALL CARS TEMPO picS: THOMAS OLIVER

it’s 8.30 and Blonde on stage. About half way t how much i am apprec who is (in my female op Not only does she rule tambourine throughout out some hearty vocals of the signature sound these reasons this ban watch and a pleasure

the place is really fillin beginning to form lines front. one of the things is the feeling of being a whilst in the relative sa venue.

Calling all Cars appear hard and fast straight i the favourites like their run Away and World’s breaks apart when they

Fergus Linacre Kingswood

F

ortitude Valley venues appear to be going through a period of rejuvenation at the moment – and the live music scene is benefiting from the process. the most recent venue to be re-birthed is th underdog Pub Co. (previously the Step-inn Hotel) at the top of Brunswic St. While the front bar retains its original feel, the back room has been upgraded and converted into a sound stage which will play well for pub bands.

CASUaRINAS UNDERDOG BAR picS; BRUCE HEATH

Tim Kelly Casuarinas

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Most recently, the Casuarinas played the back room. if you don’t know of this group, you might just recognise some of the band members – the front line of Andrew Palmer (the Colours and eleveneleven), tim Kelly (the Nasties and Gift Horse) & Noel Mengel (better known for reviewing other people’s music as an accomplished music critic and author) – voc ists Maureen Hanson and ric trevaskis and drummer Nick Naughton.

EVIEWS next to the sound desk, another time he stood up on the bar and grabbed a drink. Speaking of drinks the band passes the audience bottles of cold beer and red wine to share amongst ourselves throughout the set as we are locked in tight with no way to escape to get a drink for ourselves. this is a great moment to share in.

gigs i look forward to just than others and tonight the unswick St in Fortitude Vala gig. the line up tonight is s one of the best bands on moment, Blonde on Blonde, ational, vehicle inspired s and Kingswood.

Kingswood have had the ‘performance gauntlet’ laid down to them by Calling All Cars, but they instantly rev up the crowd with ‘She’s my Baby.

We are belted in and white knuckling this ride now until the very end, not ever asking once ‘Are we there yet?’ Because this is one ride we never want to end. the best part of seeing the bands you like live is that you get so much more than you would by just listening to their album. tonight the guys give us a wonderful rendition of First Aid Kit’s ‘Wolf’ and perform their hit ‘ohio’ in a reggae beat, which is something you really need to see live to believe.

n Blonde are stepping up on through their set i realise ciating Zara’s performance pinion) the star of the show. the keyboards, guitar and t the set she also smashes s that serve to form some of Blonde on Blonde. For nd is both interesting to to hear.

ng up now and crowds are s along the barrier at the s i like about the the tempo at a large Stadium gig afety and comfort of a small

from a blind spot and drive into their set. they sing all r 2013 hit Wherewolves, Collide. But the place y finish the set with reptile.

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Hayden Ing Calling All Cars

Lead man Hayden ing has a wireless guitar that he uses to full advantage by periodically leaving the stage to appear in other parts of the room while still playing. one time he climbed up and sat

i walk away from the gig tonight feeling restored. there is something sensational about being connected to our Brisbane music community through attending an exceptional event like this. i am experiencing the unmistakable sense of having shared something rare and true with fellow humans. Good feelings from this event will keep my tires pumped until the next servicing of live music. jAe SALMoN

the Casuarinas style is a combination of folk and “urban country” – polished storytelling in the Paul Kelly style but with Kingaroy rather than Adelaide blood in their veins. While the band clearly has roots in country soil (having recently played to crowds at the Gympie Muster) their songs reflect the problems of city living (like the traffic on Coronation drive) and the occasional need to murder someone for one’s own sanity. the standard country music stalwarts of heartbreak, betrayal and hard times are all there – just twisted slightly sideways to fit the urban environment.

With a recently-released self-titled eP and tracks available on Soundcloud, the Casuarinas will no doubt gain a solid following on the Brisbane scene.

BruCe HeAtH

Casuarinas

MouthZoff FEBRUARY 2014

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MouthZoff FEBRUARY 2014

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MouthZoff FEBRUARY 2014

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talks to

Courtney Barn C

d o f s b c s

ourtney Barnett is a Melbourne-based singer/songwriter who’s individual, almost quirky songs have been attracting attention over the past year or so with the release of 2 ePs on her own label, Milk! records. Courtney and her band, the Courtney Barnetts, are in town to launch the vinyl edition of the double eP, A Sea of Split Peas, before jetting off to shows in the uK and uSA. I catch up with her after a sound-check for their gig at the Alhambra Lounge.

I i g w

I r d B c d m s s

We start by discussing her style of music and songwriting generally, as I admit having had trouble describing it to friends recently. She tells me that she doesn’t think there is a genre; it’s just the songs she likes to write. I note that the sound during sound-check is definitely heavier and more rockinfluenced than on the ePs. “those are late night songs”, she tells me, about the ePs, “originally recorded as demos. I was working in pubs and living in share-houses, so would come home late at night and record in my room.”

Courtney goes on to tell me that she laid down all the instruments herself, with the help of headphones while her housemates were sleeping, although there was concern with waking people when it came to the vocals. She agrees that performing as a three-piece has definitely morphed her sound, coming together as it has over the past several months of rehearsals and performance.

We talk a bit about her growing popularity, which she seems a little bemused by although pleased people are responding so positively to her work.

She notes that sociologically, there seem to be 2 sides to people about

36

All pics by Ben Knight

things that are fashionable: either people like it or they choose the opposite, almost in spite of everyone else.

We move on to the recent news item around triple J and the artists who claim that they must write and perform music to suit the style of the station to get anywhere in the Australian industry. I don’t ask Courtney for her opinion on this matter, it doesn’t seem right. though during the conversation she does point out that these things are not black and white, and that news outlets will tend to push something that they think could be newsworthy or controversial.

It’s something she despises about the internet; that it can bring out the worst in people. I ask whether she has found it more difficult, both as an artist as well as having a profile online, being a

MouthZoff FEBRUARY 2014

woman in this industry. She laughs and tells me “I have so many more things to be worrying about; being female is way down the list”.

I then ask about her musical influences, particularly songwriting, and she confesses she likes to listen to classic rock, the kind you find on AM/ FM stations. And given she notes her influences as nirvana, PJ Harvey, neil young, Patti Smith, Lou reed, talking Heads and Jonathan richman, I am hardly surprised. When I mention that her first person, narrative songs with sometimes whimsical touches put Dan Kelly in mind, she seems pleased, telling me she thinks highly of both the man and his music. next up for Courtney Barnett and her band is a short tour of shows to the uK and uSA, where shows in both Lon-

I w n c i a

nett

COURTNEY BARNETT Alhambra Lounge pic: BEN KNIGHT

don and new york have already sold out. She confirms that she’s looking forward to the trip, as well as gigs supporting Billy Bragg through March before heading into the studio to record her debut album, for which she’s still writing the songs.

I realise that my final question, watching Courtney’s face as I ask, just isn’t going to cut it: if she could collaborate with anyone, who would it be?

I relent and ask for her top five. I’m rewarded with a smile, before she decisively lists David Byrne, David Bowie, PJ Harvey, Lou reed (yes, she can include him even though he’s dead) and Jeff tweedy. I suggest not mentioning the last to Billy Bragg, and somehow suspect that even if I’d not said anything, she wouldn’t.

In addition to being a clever songwriter and dynamic performer, Courtney Barnett is one smart woman, who clearly knows what she’s doing and intends to do more of it. I think we’re all well advised to pay attention.

CAt AnDerSon

C

ourtney Barnett takes the stage at Alhambra Lounge after support acts Jarrod M. McMahon and eves with her band, the Courtney Barnetts and immediately the atmosphere in the room lifts. Both support acts play well-received sets, similar in theme to the music Barnett has released to date. the close-to-capacity crowd is stacked with Brisbane music scene identities among the punters; an indication of the respect this woman has already accrued with her stream-of-consciousness songwriting.

Performing with the three-piece band changes the rather quiet, laid back sound of Barnett’s 2 ePs to something heavier and more-rock-oriented, without losing any of the intrinsic charm of the songs. the more immediate rock combination of lead guitar/bass/drums notice-

ably ratchets up the energy. Crowd favourites are of course the tracks that have received airplay, most notably History eraser, Lance Jr and the set-closing Avant Gardener. that said, the new songs debuted are also very well received by the enthusiastic audience.

Barnett herself is in fine rock-chick form, with comfortable stage banter, and clear enjoyment performing with her bandmates. the band are very tight and working well as a unit. It will be exciting to hear what they come up with in the studio after upcoming tours. there is a strong feeling that the next time they play a headline gig in this town, it’ll be in a much larger room. I can’t wait!

CAt AnDerSon

MouthZoff FEBRUARY 2014

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-

talks to Who are MTNS?

music or playing it live?

Tom Eggert vocals/guitar, Robbie Hellberg synth/bass, Joseph Thiang drums/samples

I really enjoy both processes, but I have so much fun playing live. I love the energy, interacting with the crowd and playing music with my closest mates. It’s nice to have an immediate response to our music from the crowd, where as with recording it’s a lengthy process until you see the final product.

Where did the name come from?

We originally had the name “Mountains”, which was coined because we tracked our first EP in the mountains. And we all find a lot of inspiration for writing in the natural environment. We opted the shorter form MTNS, because we wanted to make it easier for people to find us online. “Mountains” has 400 million search results - tough competition!

Describe your sound in a few words?

Ambient electronic pop.

What do you prefer - recording your

How good are you at social media, and do you think its important?

We definitely think social media has helped us in the last year. We’ve been fortunate enough to have some influential bloggers like our sound, which is how a lot of people have discovered us. It’s also a great way for us to interact with people who are following our music - we can

share our live and recording experiences with anyone from around the world. Robbie claims to be good at social media because he takes the best selfies!

Do you have a favourite Brisbane/ Qld band?

My favourite QLD band would have to be The Middle East. I think they really pioneered a unique Australian sound that was really authentic to where they were from. I find bands with multiple vocalist often struggle to hone in on a consistent sound - but I think across the board they really nailed it.

7. Anything to mouth off about?

English cricket - I’m starting to get bored.

Jo Thiang interviewed by IAN PIX

MTNS & GOVS Who are GOVS? GOVS is my solo project, though on stage the likes of Jackson Haswell (guitar) and Andy Giesel (tin cans) bring everything to life.

Where did the name come from?

GOVS was the name of this cool little cafe in Broadbeach, it was set up like a junk yard and it closed down last year. You can still see the shell of it when you cruise down the Gold Coast Highway, my friends and i use to hang there a ton.

shows with the band lately, we are still young, so its all pretty new.

How good are you at social media, and do you think its important?

With a solo project, it’s hard to feel like you’re not blowing your own trumpet all the time, but I think being ‘good’ at it is more a less a case of whether or not you want to be a good leader.

6. Do you have a favourite Brisbane/Qld band?

Explain your sound in a few words.

Woe & Flutter - not sure if they’re still around!

Lo-fi / Dream-pop.

Anything to mouth off about?

What do you like more - recording or playing live?

Come hang with us at the MTNS shows!

Recording, thats where I’m feeling most creative. I’ve enjoyed playing

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Josiah Birrell interviewed by IAN PIX

The WhatZon

The WhatZon gig guide is TOTALLY FREE! – list your shows for nothing! Just head to www.mouthzoff.com/whatzon for details

February 2014 DATE ARTIST

VENUE suburb

FRI 7 Miami Horror Oh Hello!

Fortitude Valley

Blizzard of Oz / Valve Train / Kingsmoor & The Green Whistle Chardons Corner Hotel Annerley Diesel Hamilton Hotel Hamilton sat 8 MTNS The Loft Chevron Island Oliver Tank The Zoo Fortitude Valley Sound Saber/ The Dapper Bandits/ Stone Chimp The Tempo Hotel Fortitude Valley The Necks Brisbane Powerhouse New Farm

Halfway / Paddy McHugh & The Goldminers / Silent Feature Era The Old Museum Bowen Hills PIGEON Alhambra Lounge Fortitude Valley

Rippinlife presents - El Gordo/ Black Alleys/ Love Hate Rebellion Beetle Bar Upper Roma St sun 9 Dash Berlin World Tour RIverstage Brisbane Sarah McLeod & Jeff Martin Black Bear Lodge Fortitude Valley Diesel Blue Mountain Hotel Harlaxton tue 11 The National RIverstage Brisbane wed 12 Ed Kowalczyk The Tivoli Fortitude Valley

Cured Pink/ Reverse Butcher/ Bonnie Hart/ Third Sky Bearded Lady West End

Michael Paynter Black Bear Lodge Fortitude Valley thu 13 The Hollies QPAC Concert Hall Southbank The Aston Shuffle Oh Hello!

Fortitude Valley

Crooked Colours Alhambra Lounge Fortitude Valley

Kaleidoscope Launch Party New Globe Theatre Fortitude Valley fri 14 Rick Price Brisbane Jazz Club Kangaroo Point The Searchers Kedron Wavell Services Club Chermside Emily Scott Springwood Hotel Springwood

World’s End Press Black Bear Lodge Fortitude Valley Smokin Mirrors (Syd)/ Thrashed (Syd)

/ Smoking Martha/Black Diamond (Ncastle)

/ Hobo Magic Vibe- Indooroopilly Hotel Indooroopilly sat 15 Rick Price / Casey Barnes The Arts Centre Gold Coast The Red Hot Summer Tour: The Angels / Suzi Quatro

/ The Black Sorrows / Shannon Noll / Russell Morris Harrigans Drfit Inn Jacobs Well

Josh Pyke The Old Museum Bowen Hills

“Pussy Love” - Bertie Page Clinic

/Lulu and the Cutthroats/Switchblade Suzie The New Globe Theatre Fortitude Valley

Bobby Rydell Kedron Wavell Services Club Chermside The Bennies Crowbar Fortitude Valley Soul Train Black Bear Lodge Fortitude Valley The New Jack Rubies/ Marville/ Gravel Samwidge/ ROTH Beetle Bar Upper Roma St sun 16 The Con & The Liar The New Globe Theatre Fortitude Valley tue 18 Faulty Towers The Dining Experience The Irish Club Brisbane thu 20 Wire The Zoo Fortitude Valley fri 21 Rapture 2014 Suncorp Stadium Milton

Major Leagues/ The Ocean Party/ the Good Sports Alhambra Lounge Fortitude Valley

John Steel Singers / Jeremy Neale Black Bear Lodge Fortitude Valley

Blues News Agnes Blues & Roots Festival 27 February - 2 March. The festival is held at the SES Grounds in Agnes Water. Kicking off on Thursday 27 February at 4pm until 4pm Sunday 2 March. Featuring headline acts and our favorite home-grown locals: Richard Clapton, 8 Ball Aitken, Shaun Kirk, The Hipshooters, Lil’ Fi, Blind Willie Wagtail, The Zephyr Project, Thunderbirds, Sal Kimber & The Rollin’ Wheel, Pandamic, Mad Hat McGrinny, Benny Walker and many more. The festival is

set in a beautiful part of the state and it is a worthwhile trip not only for the great blues and roots music but the fantastic scenery as well.

On the local scene there are regular blues jams at: National Hotel Toowoomba, Royal Mail Hotel Goodna, Morrison Hotel Woolloongabba and Coorparoo RSL. Blues jams are a great way for newcomers to learn from the seasoned blues veterans. There may be awkward bits and

dud notes but that is the traditional way that blues musicians learn their craft.

Blues jams are free to attend and they are a great way to meet fellow blues lovers. Everyone is welcome to attend these events. You will hear great blues music played at blues jams.

“The essence of the blues cannot be written as a score. It must come spontaneously from within.” - Sam Phillips dave rowlands