Raw Ink Magazine – April 2013 by Raw Ink Magazine

magazine

brisbane gold coast tweed coast Issue 19, April 2013

www.rawinkmagazine.com

THE RAW INK TEAM

ROXY COPPEN

Graphic designer and editor roxy@rawinkmagazine.com www.roxycoppen.com

RUTH DUNN

Journalist ruth@rawinkmagazine.com

LIANA TURNER

Journalist and photographer liana@rawinkmagazine.com www.liana-anitra.tumblr.com ---------------------------------------------------------------------------THIS MONTH’S CONTRIBUTORS

PAIGE CHRISTY Journalist paige@yonplume.com www.yonplume.com

----------------------------------------------------------------------------

COVER GRAPHIC BY

ROXY COPPEN

www.facebook.com/roxycoppen ---------------------------------------------------------------------------FACEBOOK www.facebook.com/rawinkmagazine TWITTER www.twitter.com/rawinkmagazine

Hello Readers, Thanks for holding tight with us while this edition was being preped! Once again, we’re excited to present to you some new and exciting stories that we’ve been working on this month. We hope you enjoy! If you know of any creative events happening in your local area, or would like to contribute to the magazine, feel free to send us an email to: roxy@rawinkmagazine.com Don’t forget to like us on Facebook and follow us on our Twitter-tweets. We’ll see you next month. From,

The Raw Ink Team xx

contents 4

‘Hide’n’Seek with Lister’ Ruth Dunn

‘The Griswolds - Chris Whitehall’ Liana Turner

‘The Psychedelic Syndicate’ Paige Christy

‘Nina Simone Tribute Band – Phil Eizenberg’ Liana Turner

‘Cub Scouts’ Liana Turner

‘Texas Tea Kate Jacobson’ Liana Turner

‘Ngaiire’ Liana Turner

‘Mustered Courage’ Liana Turner

HIDE ‘N ‘SEEK PROJECT comes to a close with

LISTE

interview

ER RUTH DUNN

Hide ‘n’ Seek Project is a writing project about Brisbane Street and Graffiti art. It has included interviews with some of Brisbane’s best Street and Graffiti artists, giving insight into these vibrant art movements. Hide ‘n’ Seek Project began in January 2012 with the plan to showcase one artist a month for one year. Due to the amount of street and graffiti artists present in Brisbane the project was prolonged and is now coming to an end with one of Australia’s most famous street artists, Anthony Lister. A big thankyou to all the artists that took part in the Project and we wish you all the best for the future! 5

Anthony Lister is a leading Australian painter and installation artist. He began painting on the streets at the age of 17 and has gone on to exhibit his work nationally and internationally, while holding onto his street art roots. Lister shared some insights into his work and sense of humour, as well as perhaps a little too much information about his studio practice…

How did you first become interested in art? I was fed off place mats at my grandmothers of fine Australian master painters’ artistry so I guess you could say I was fed this shit from early on. What is it about street art that drew you in, and continues to captivate you? I’m interested in reclaiming public spaces. These days there’s far too much cleaning going on and not enough making, that’s for sure. My mess is my message. Do you feel more at home working on the street or in the art gallery? I prefer my studio because I can have my wild cats with me and I can and I can masturbate freely. Are you inspired and influenced by both street and fine art? I agree with Chuck Close when he said inspiration is for beginners and the rest of us just get to work. I don’t get inspired, I get psychic. My works are already there, I just pull them out from where they lay dormant weather it’s a brick wall, canvas, piece of clay or park bench for that matter. Who/what are your sources of inspiration? I guess Chuck Close inspired me to dismiss inspiration. I’d also say Jimi Hendrix is a chosen spirit guide and probably Aleister Crowley but I will deny that. What are the most important things for you as an artist? Waking up and doing 1700 sit-ups and then drinking 15 coffees and then breaking into dancing for two hours every day. What have been some ground- breaking moments in your artistic career and how have these transformed your practice? When I was a kid I took a brutal aboriginal dream time hallucinogen which I won’t name and when I woke from my incarcerated mess I saw everything clearly. That’s when I developed the power to time travel, see the future and channel ancient dead artists. 6

What are some of the main things you have taken from being mentored by Max Gimblett? Max taught me about power and force of stroke when it used directly and correctly with mindlessness. Can you tell me about the main social messages you play around with in your artworks? Mainly misguiding youth role models and my disgust for mankids submissive nature when it comes to corporate brain washing and authoritarian powers. What can we expect from your solo exhibition coming up at Olsen Irwin Gallery in August? I have been working most recently with a chimp that I rented from the zoo and we have been experimenting with primitive mark making and erotica. My monkey can now do graffiti tags and spit on public phones. Do you have some words of wisdom or encouragement for Brisbane street artists? Iâ&#x20AC;&#x2122;d say get out before you kill yourself like I did.

SHIDA BAREK LUCKS MIKEY XXI SKULL CAP ASIO CHOSIN DOVE KITTY LADY P FINTAN MAGEE BLU ART XINJA TOOMBZ LISTER 12

WELL DONE AND

CONGRATULATIONS

RUTH

ON COMPELETING THE

HIDE’N’SEEK PROJECT!

PSYCHEDELIC

THE

SYNDICATE //PAIGE Christy

Lingering about Australia at the moment is a little pulsing wave of psychedelia. It is evident in the colourful nature of the visual arts, the free nature of the people, and perhaps most apparent in the music scenes. Garage, surf, swirling rock ‘n’ roll, dream pop–it’s all here and it’s not weak. Here in Brisbane there’s a group of great kids, by the collective name of The Psychedelic Syndicate, who have formed together with the sole intent of promoting the local psych scene. I spoke to the Syndicate’s Raymond Williams, who is also a member of psych band Magenta Voyeur, about the group and their propelling efforts, the Psych Nights. “It was a few ideas coming together at once I think. When Magenta Voyeur and The Unofficials were living together, we were discussing ways to enhance our audience’s experience. A lot of the people that like our music are quirky and kooky (and I’m saying that’s a good thing). So we wanted

to combine some of the ideas and themes of the classic Tom Wolfe book, “The Electric Kool-Aid Acid Test”. Then the ideas started pouring out as to how to maximise the experience for the audience. We wanted to put on events with cool light shows that up and coming acts don’t usually get in regular venues. We wanted to be able to decorate the venues as much as we could and make events that are completely alien to a regular gig. We wanted to make all events BYO so others in our same situation (student or unemployed) could enjoy. But underlying all of this, we really wanted to push for a psych scene to find its feet in Brisbane.” Having no self restraint, I had to discuss my theories of psychedelic instinct in Australia. With psychedelia involving highlighted aspects of so many different cultures globally, I pondered whether it was the multi-cultural essence of Australia that made us so susceptible to love of psychedelia…

“I’m not sure if I’d put it down to our multiculturalism so much as I would that everything seems to happen in waves. As you mention that psychedelic genres are instinctively loved here in Australia, I would say that it’s been something in the last 5 or so years that we’ve been instinctively asking for. I definitely feel that that’s the case with music; people want it to blend with their mind. Or perhaps I’m only relating to myself and a network of people around me who feel the same way. I mean, I know that this psychedelic music still isn’t for everyone but I think those principles of culture blending are quite present. I think as we continue to evolve and become more accepting of one another that there is the greater want for cohesiveness... I hope.” You can come and be a part of this mighty fine and swelling motion by attending the third Psych Night hosted by The Psychedelic Syndicate at The Underground, Fortitude Valley: Saturday May 4th. The theme is Technicolor and tickets are selling fast. 15

YOU CAN EXPECT: â&#x20AC;&#x153;5 great psych bands, BYO, a light show, people in fancy dress with the theme being Technicolor, painting space, couches, cushions, lots of friendly people and a whole bunch of other nonsense.â&#x20AC;? Be the wave, people. Be the wave.

cub scouts 18

LIANA TURNER Brisbane indie-pop five piece Cub Scouts recently released single ‘Pool’ has been getting lots of loving already. While the single came out just in time to catch the tail end of Summer in the Southern Hemisphere, frontman Tim Nelson explains the US release will be aimed to line up with their perfect bikini weather. At the time of this interview, the accompanying video had around 9000 Youtube views – since then, the number has kept climbing. “There’s been lots of positive feedback,” says Tim. If you’ve not yet had a chance to lay your eyes on the clip, imagine perfect weather and the kind of public pool which contains only cute lads and ladies and equally cute – delightfully synchronised – moves. Even if it’s cooling off and you’re dragging out your cardigans, this song will make you feel like there’s blue skies and a pool party in your head. Cub Scouts celebrated the official launch of ‘Pool’ at Alhambra Lounge in Brisbane last month. Tim says it is always great to play new music to a live audience for the first time. “It was awesome,” says Tim, “It was an under eighteen gig so they were very enthusiastic. It was so positive; they were quiet when we were singing.” Being part of a fairly young band, Tim understands the importance – and difficulties – of hosting all ages or under eighteen shows. “it’s kind of hard for bands,” he says, “There aren’t a lot of venues where it’s possible. It’s a bit easier you get to a certain stage, where you can fill a room. But it’s a tricky one. It’s a really important market.” When we spoke, Cub Scouts were gearing up for their last Brisbane show before touring the UK. “I’m really excited to be touring overseas with the band,” says Tim, “It’ll be a bit of an adventure, getting to see new, interesting places.” Tim explains that while touring and exhaustion may go hand-in-hand, it all leads to feeling that’s pretty damn rewarding. “It’s great just being together – with an entertaining group of people,” says Tim. “We were definitely worn out when we toured with Loon Lake last August. Constant travel, late nights, but I don’t remember us getting sick of each other.”

Cub Scouts are known for being one of Brisbane’s most energetic bands – and Tim can’t disagree. “I think we’ve become quite energetic,” he says. “With ‘Pool’ being such an upbeat song, we had to let go of anything holding us back.” Getting a little bit cosy with their fans, Cub Scouts have been playing some more intimate gigs of late. “I think it’s always nice – especially for a launch – playing for a smaller crowd. It’s like it’s our “true followers”, I guess.” “Then, Festivals are great, too. The vibe is really there. People at festivals are really keen to hear something different.” After their debut EP Told You So was picked up by Triple J, the band has had a few golden moments. “Making it into Triple J’s second hottest 100 – I think we came in at #189 – that was a pretty big thing for us,” says Tim, “We didn’t expect it.” On having worked with producer John Castle (The Boat People, Washington, The Cat Empire), Tim says it’s worked well with the way they operate as a band. “I think it’s a really good fit,” he says, “There was an immediate connection between the way he works and the way we work. It’s a good match.” Having toured with the likes of Ball Park Music, Loon Lake and YesYou, these bright young musicians have had the opportunity to gain some priceless knowledge about the industry into which they’ve launched headfirst. “Our first show with Ball Park Music was a sold out Hi Fi,” says Tim. “That was a year ago today. They had the curtains drawn so we couldn’t see the crowd when we were setting up – then we just had to start playing. A lot of them were singing along. That was the biggest surprising moment.” Of course there’s a lot of love for their new music, but with more already on the way, there’s simply no chance for fans to grow weary holding their breath. Cub Scouts are almost finished their second EP –featuring ‘Pool’ and with a whole lot more to promise.

texast kate jac

interview by liana turner

After you released your third album Sad Summer Hits last October, it hit #1 in the 4ZZZ top 20, and has received a whole lot of positive attention across the airwaves. Did you and Ben have high hopes for this album from the get-go? Yeah, we did. I think when we were writing the songs we were quite excited about them. We went in a different direction and had a bit of fun. It’s got a different feel; we really wanted to see how far we could go. There’s certainly some beautifully upbeat moments in this album. What sets Sad Summer Hits apart from your previous work? I think the song writing is a big part. We’re always maturing and getting better at it. It’s kind of like any job – you get better, more efficient, learn different ways of doing things. I think the lyrics are really good. I now listen to the first and second albums and – while I love everything – Sad Summer Hits is a bit more mature, more adult. There’s a bit less thought behind it – it came together easily. It’s more genuine. I think that shows in our work and the recordings. Not just the composition, but putting it out into the world. With the first album, we were terrified. This time, we knew what we wanted to do and just did it. Judging from ‘The Alphabet Song’ and ‘Heart says Yes’, is it safe to say there’s a bit of a theme going on throughout this album? It’s the thing we always talked about – the marrying up of happy emotions and sad. I was listening to a lot of Paul Kelly – and still do – he makes his songs the same. These conflicting emotions are the epitome of song writing. Everyone can relate to it, the heartbreak, the funny side of things. It’s partly about not taking love and heartbreak too seriously. The film clip for ‘The Alphabet Song’ is a bit of a Muppets meets PufnStuf Scenario – what made you include the quirkier details? Was it fun to put together? 20

It was really funny. I thought puppets really suited it. It’s a bit like a kid’s song. Street is just my favourite. It’s like my brain still thinks the puppets are real.

Oh my god, it was really fun. It was at this little creek in The Gap. We had to absail down this dirt cliff. We had a really small team of four or five people. After I got into my position, the cinematographer pointed out I was right next to a snake hole. Within the hour, there were baby ducklings. It was amazing. The clip was filmed during your Sad Summer Hits tour – how did you manage this? It was kind of a busy time. We had a couple of days off between shows and somehow managed to fit it in. It was really fun. You released The Alphabet Song just after spending some time at the Tamworth Country Music Festival. What was the most rewarding thing about being a part of this festival? We’ve been there before – three or so years ago. That time, we busked. When you busk, you go a bit carny. There’s no boundaries, no rules – you’re basically begging. You have to perform differently and really be engaging, lock someone’s eyes, make them stop. This time we played in a cafe. It was awesome. We stayed in a house with a pool. On one of the stages was the festival’s first alternate concert. They’re only just opening their arms to the alternate side of country. It was great to see some of the other acts like The Immigrant Union, The Perch Creek Family Jug Band – they’re an incredible band. It’s an exciting time for bands like us. If they can make it happen, it could be a really amazing festival. They need fresh blood, and to harness what they’ve got on offer. When we got up on the massive stage in this giant park to do our soundcheck, I think we were the most enthusiastic people in the history of music.

tea cobson

What sort of challenges do you face as a duo – having a limited supply of hands (and feet)? It’s definitely a challenged but as a duo we get around it – Ben uses a kick drum and I play tambourine on a high hat stand. But we’ve started playing with an actual band now. As a duo, if you make a mistake it’s just there for everyone to see. When you add bass and drums, it’s an awesome blessing. It’s like I just need to sing – just relax and perform – and if it’s a bit out it’s okay. On the other hand, can it be even more rewarding when you manage great things with only two people? We’re songwriters, so we love to show what we can do. It’s a real partnership. Ben and I are like brother and sister – we depend on each other in a band sense. There’s a lot of trust and respect; we’re very much equals. That’s one of the great things about being a duo. It’s really close knit – and we never fight. We just don’t do that. Quite recently, you signed to ABC Music Publishing. Do you feel this could mark a significant milestone for Texas Tea? Yeah, it was a really big goal for us, and we’ve been described as cinematic with our recordings. It’s something both of us wanted – to be writing music specifically for television. It’s a good partnership. They’re the kind of company we want to be with. I feel this represents what we are. There’s been talk of an east coast tour, as well as a European one, this year. Has there been any development on this front? We’ve now got confirmed European dates. There’ll be a quick east coast tour to Sydney, Melbourne, Brisbane and the Sunshine Coast. We intend to play some regional shows as well.

TIAN TAIQUAN at

Hayward Fine Art

626 Brunswick Street

until April 27

NGAIIRE - LIANA TURNER YOUR NEW SINGLE ‘DIRTY HERCULES’ HAS BEEN DESCRIBED AS A “COMMANDING ENTRY INTO THE MUSIC WORLD”. WHAT’S YOUR VIEW ON HOW THE SONG’S BEEN RECEIVED? I feel it’s been received how I wanted it to be received which is a victory in itself. When I finished working on the track I felt something I’d never felt with anything I’d ever written which was satisfaction. I am a music snob and more so with my own music. I’ve released things in the past that I’ve always been in two minds about and haven’t been fully settled within myself but Dirty Herc and the rest of the album is definitely something I am over the moon about. I think that is coming across with how it’s generally been received so that makes me very happy. YOUR DEBUT ALBUM LAMENTATIONS, DUE OUT IN JULY, WAS PARTLY WRITTEN IN A BAR ON THE OUTSKIRTS OF TOKYO; WHAT IMPACT DOES THE SURROUNDING ENVIRONMENT HAVE ON YOUR MUSICMAKING? I find I am happier when I’m evolving and my surroundings are also evolving and changing. People naturally need to grow mentally, spiritually emotionally etc and putting yourself in situations that can encourage that can only be a good thing. Seth Green said once, ‘If it scares you it might be a good thing to try’. Tokyo can be a very scary place travelling there alone. For a city thats so advanced it’s not very English friendly. Luckily I had Aaron (who I wrote part of the album with ) who spoke fluent Japanese but there’s only so much looking after he could do before I had to swim alone. The way your mind works in that kind of isolation means you could have a really horrible time feeling sorry for yourself or you can allow yourself to learn and be inspired by the simplest of things like Ramen soup.

COULD YOU EXPLAIN THE IDEAS YOU’RE HOPING TO COMMUNICATE IN ‘DIRTY HERCULES’? When I wrote Herc, it was written about someone who was in a touring party I was with when I was in the States. They had a strange personal vendetta against me which I didn’t understand and which I found disheartening seeing as they were in a position of power. It always interests me why people do the things they do and it got me thinking about a whole gamut of things especially about the way we view ourselves in relation to what society or people around us see ourselves. The world can be brutally delusional and we can react in ways that at the time can seem ok but then later bite us in the arse when our coping mechanisms reveal themselves as just a cheap way of dealing with our short-comings. I can be a dirty herc. WHAT DREW YOU TO EXPLORING THIS IDEA? I’m just like every other person. I have short comings. I overcompensate. I deal with things on a whim or the best way I know how. I’m at the age where I’ve started thinking about why I did certain things in my past, how I want to be in the future and what friendships I want to genuinely cultivate. As a self-managed artist I’m having to drive this ship myself and being able to read people well and decipher the sharks from the true people has been really important to me. Everyone’s out to get theirs in this industry and I thought it’s been a big lesson for me to learn the art of balancing out how to still be personable and graceful in whatever I do professionally yet hard nosed when circumstances call for it. It’s a continous battle and I admire those who have it sorted. THE SINGLE FEATURES ‘NAI PALM’ OF HIATUS KAIYOTE; WHAT WAS IT LIKE TO WORK WITH NAI? Our friendship is quite young but I’ve always been drawn to people like her who have clearly got stories to tell. We have a great mutual respect for one another so I was so thrilled she said yes to singing on the track. I’m very much inspired by her intuition as a singer. YOUR MUSIC IS DEEPLY SOULFUL. WHAT ARE SOME OF THE GREATEST THINGS WHICH INSPIRE YOUR PASSION? Many things but the greatest would be Death. What comes before that. What comes after. Who we are when we aren’t thinking about it. Who we are when we do. The natural cycle of things. What makes us love to the point of death. What makes us love at all. It all really fascinates me. JOHN BUTLER DESCRIBED YOUR MUSIC AS: “A SOULFUL MASSAGE TO MY EARDRUMS”. HOW WOULD YOU RESPOND TO THIS? I always laugh when I read that. Makes me think I’m in a Ren and Stimpy episode. John was very kind to say those things. I cannot say enough good things about him and his wife Danielle. To hold the status that he does and still be able to look you in the eye and talk to you like he’s known you your whole life is a feat worth more than the albums he’s sold. And Danielle. The strength of that woman is astounding. I am eternally grateful for the support they’ve given me over the years through The Seed. TOMORROW YOU BEGIN YOUR TOUR ALONG THE EAST COAST TO CELEBRATE THE RELEASE OF THIS SINGLE. WHAT DO YOU MOST LOOK FORWARD TO ABOUT THE UPCOMING TOUR? I’d be lying if I didn’t say I was looking forward to seeing how many people will come or won’t come to the shows. It’s my first headlining national tour ever so there are definitely some nerves in that department, however, I’m glad I’m doing it now so I can at least have an idea as to what towns/cities need more work in getting the music across better. WITH SUCH STRONGLY EVOCATIVE MUSIC, DO YOU TEND TO FEEL A CONNECTION BETWEEN YOUR AUDIENCES AND THE MUSIC YOU PLAY? 26

Sometimes I do and sometimes I’m not sure if I’m taking the trip all by myself. Singing is an almost spiritual thing for me. Sometimes I sing and I feel things move inside of me that at times bring me to tears. Those moments are when I know that this thing that I do, singing, is not mine and it was meant to give to people. It’s quite a powerful thing when the audience is vocal with what they’re feeling when you’re taking a trip somewhere or when someone tells you they felt what you were singing. That’s when I know they’ve taken the trip with you and when I know I’ve succeeded in my job. WHILE IT’S RIDDLED WITH BEAUTIFUL COMPLEXITIES, HAVE YOU WITNESSED PEOPLE REALLY DEEPLY RELATING TO YOUR MUSIC? WHAT DOES IT FEEL LIKE TO SEE THIS ASPECT OF YOUR MUSIC SHINE THROUGH? There was an occasion where I’d gotten up to sing one of my songs ‘Glorious’ with two of my dear friends Billie McCarthy and Anita Meiruntu. They’d done backing vocals for me in the past before Anita got busy with her own stuff and we hadn’t sang together for quite some time since then. Singing with these two is like seeing an old friend you always lose touch with but whenever you come together the connection is just the same. While we sang it was like the heavens opened up and then when it was over we all looked at each with that, ‘Wow did you feel that?!’. When we got off stage a lady in the audience came up to me clearly emotional and said she’d felt the same thing. She’d also just lost someone in her family and that the deceased member of her family was with her in that instance. Those are times when I equally freak myself out but become more aware of what impact I can have on people and what that responsibility means. YOU MOVED TO AUSTRALIA AT THE AGE OF SIXTEEN; UNTIL THEN, WHAT WAS IT LIKE GROWING UP IN PAPUA NEW GUINEA? Growing up in PNG was one of the happiest and interesting times of my life. I spent most of my childhood in a town called Rabaul. To come to think of it as an adult, it was like a little paradise on earth. It had a booming tourism industry and one that was easy to sell. As a kid I was so used to Rabaul being so beautiful and the community being so vibrant and happy but I can appreciate it more now as one of the most stunning places I’d ever been to. In 1994, however, we had a major natural disaster. Rabaul town was built around a large extinct volcano which on top of that had other smaller dormant volcanos sprinkled around it. 1994 saw the eruption of two of those volcanos Mt Tavurvur and Mt Vulcan and the whole town was destroyed. We lost everything. We’d escaped piled up in the back of a ute with 15 other family members, my grandmother, nothing but a few changes of clothes, our dog and a loaf of bread. We’d joined a huge line of people who’d started this exodus out of town. Some walking, some driving and all travelling away from this monster mushrooming cloud that was covering everyone in ashy mud as it came down with the rain. Pandemonium only struck when the 2nd volcano erupted in the direction we were heading and no one knew which way to run. For my siblings and I, it was quite the adventure travelling from one refugee camp to the next completely unaware of the extremities of the situation always believing that the older ones would somehow find you food and water. This is one memory of growing up in PNG as a child but there are many others like it. IS MUSIC SOMETHING DEEPLY ENSHRINED AND CHERISHED IN THE CULTURE THERE? It is definitely an important part of culture as I’m sure it is with a lot of other ethnic cultures although I miss the singing in PNG very much. I think the people of PNG know no other way to sing then deep down in their guts and there is great honesty in being able to sing like no one’s watching and with not having the concerns of hitting the right notes or wanting to get a record deal . My mother comes from the highlands region where people very much wear their hearts on their sleeves. When you cry, you CRY. When you dance, you DANCE. When

YOU’RE KNOWN TO FAVOUR FLAMBOYANT ATTIRE ON-STAGE. WHAT HAS INFLUENCED THIS DECISION? WHO CREATES YOUR OUTFITS? Traditionally PNG people are naturally flamboyant dressers. Highlanders in particular are some of the more vivaciously attired. Lots of brightly coloured body paint, feathers and beads – very similar extravagance to Native Americans. My mother also used to run a fashion label in PNG and still makes a lot of my stage outfits so I guess I don’t know any other way to dress. BEFORE MOVING TO SYDNEY AND TOURING WITH BLUE KING BROWN, PAUL MAC AND MONSIEUR CAMEMBERT, YOU STUDIED JAZZ AT THE CENTRAL QUEENSLAND CONSERVATORIUM OF MUSIC. WHAT INSPIRED YOU TO MOVE TO SYDNEY? I didn’t want to be stuck in Mackay, pregnant and a could-have-been before my time. The Con was good for what it was. I got a lot of gig experience in but there’s only so much you can do with a Jazz degree. I knew a few people in Sydney already and both my boyfriend at the time and I knew that there was nothing in Mackay for me so he threatened to leave me if I didn’t move to Sydney. He eventually left me any way when the distance became too much but it was definitely the best decision I could have made! SINCE THEN, I UNDERSTAND YOU’VE BEEN SETTLED BACK IN SYDNEY TO REDISCOVER YOURSELF AND FOCUS ON YOUR INDIVIDUAL MUSICAL PURSUITS. HAS IT BEEN A REFRESHING OR ENLIGHTENING EXPERIENCE – TAKING THE TIME TO FOCUS ON YOUR OWN THINGS? It’s been a journey and a half. Everyone who I’ve worked with have all been supportive of my solo project and though it’s been a long time coming it’s been a great test of who is still standing by my side despite the time that it’s taken and an interesting revelation of who turns into a shark when things start taking off. Musically I know I’ve settled on something that’s more me production-wise. I have a habit of liking ALOT of music despite the genre which is very confusing when you’re trying to find your own sound but I think I found it, or at least I feel like I have and I’m going to enjoy it for as long as I can before I get itchy feet again. I BELIEVE THERE HAVE BEEN SOME DIFFICULT TIMES THROUGHOUT THE MAKING OF THIS ALBUM. HAVING GOTTEN THROUGH THESE EVENTS, WHAT HAVE BECOME THE MOST SIGNIFICANT ASPECTS OF THE ALBUM, FOR YOU? Realising that as self-centred this industry is, it’s not all about you. The minute you make it entirely about you, becomes the minute you start to lose yourself.

NGAIIRE

you get angry, GET ANGRY. Who cares if the whole village knows that you’re sad or angry or happy. As long everyone knows where you stand. On the same token, when you sing, you SING.

Mustered Courage -- Nick Keeling

INTERVIEW BY LIANA TURNER YOU RECENTLY RELEASED ‘CRUEL ALIBIS’, THE LEAD SINGLE FROM YOUR FORTHCOMING ALBUM. WOULD YOU SAY IT’S A BIT DARKER THAN SOME OF YOUR OTHER WORK? Yeah, it’s a little bit darker. It depends on how you interpret it. It’s kind of a disguised song about having to kick a band member out of the band. It’s not easy. YOU MET JULIAN IN CANBERRA WHILE STUDYING JAZZ – AND THE TWO OF YOU FORMED A HIP HOP BAND. DID YOU ALWAYS HAVE A BROAD TASTE IN MUSIC? I grew up playing music. My grandparents said “You can’t do music!”. I was into jazz and classical music and was playing trombone. Julian was in punk bands. GROWING UP, WERE YOU SURROUNDED BY AN ABUNDANCE OF MUSIC? My parents were both in bands. I was in the school’s band. I never didn’t play music. YOUR UNCLE PLAYED BANJO FOR THE GEEZINSLAW BROTHERS – ARE YOU MUCH OF AN ELVIS FAN? He never actually played while I’ve been alive. He quit to be a dentist because he wanted to make some money. He’s in his mid 80s and he’s got some great banjos. When he does go, I sure hope he leaves them to me. No one else would use them.

YOU HAD YOUR SECOND APPEARANCE AT TAMWORTH COUNTRY MUSIC FESTIVAL LAST YEAR; WHAT WAS IT LIKE TO PLAY 30 GIGS IN TEN DAYS? It was just as hard as the first time. We played 14 festivals last year. We’ve already got five or six this year. YOU’RE ON TOUR AGAIN TO CELEBRATE THE LAUNCH OF ‘CRUEL ALIBIS’. HAVING JUST FINISHED THE VICTORIAN LEG OF THE TOUR, HOW IS IT GOING? It’s going pretty well. We’ve just launched the video clip and we’re going to be shooting for another song. We just want to get our work out there. WOULD IT BE FAIR TO SAY MUSTERED COURAGE HAVE A STRONG AND ENERGETIC STAGE PRESENCE? Yeah, I think so. We rock out but we still maintain our technique. It’s fun, when the sound is good. It can be a bit hard at places that are used to rock bands. It needs more delicate amplifying. WHAT IS THE MOST REWARDING THING ABOUT BEING ON TOUR? All the moonshine we get given.

WHAT HAS INFLUENCED YOUR MUSICAL STYLES? I listen to a lot of modern bluegrass from the US. We fit well into the genre there. There’s nothing like it here in Australia – no real bluesgrass/jazzgrass scene. Our mandolin player is really into Greek music. He’s one of the best – and he’s not even Greek. Our bass player is into Brazilian music. I think we’ll have to wait and see. With this scene, if you’ve got some good songs, you have half a chance. You have to break through the barrier. Mumford and Sons are a band that’s done this really well, by incorporating the banjo. The novelty factor is another part of it. We like making fun – it’s a bit tongue-in-cheek. We wanted to dispel the image of overalls, when mainstream country was a big thing. YOU AND JULIAN DECIDED TO START A BLUEGRASS BAND AFTER MOVING TO MELBOURNE – AND YOU DECIDED TO RECORD AN ALBUM BEFORE YOU ACTUALLY HAD A BAND. WAS THIS A SPUR-OFTHE-MOMENT DECISION, OR SOMETHING THAT WAS BREWING FOR A WHILE? WAS IT DIFFICULT LOOKING FOR THE RIGHT PEOPLE BEFORE JOSH AND PADDY CAME ALONG? It is difficult in this scene. Folk is pretty big in Australia, but there’s a generation gap. There’s very few up and comers. When we first got to Melbourne we were like chickens with our heads cut off. We were so excited, we forgot to be a band. Then Julian had written all these songs, so we decided to record. It wasn’t that long ago – maybe five years ago – we had our first open mic gig at some house party. It was hard finding the right people, but now we’ve got a really strong team. We’ve got easily the best mandolin player in the country. YOUR 2011 SELF-TITLED DEBUT RECORD WAS ALBUM OF THE WEEK ON ABC RADIO. HOW DID IT FEEL TO GET A LOT OF RECOGNITION WHEN YOU WERE STILL FAIRLY YOUNG AS A BAND? It was good we went with the label. We’re releasing the new album independently, but at the time it was important to get the gigs. It all helps. When you’re just starting out, gigs are the keystone to getting fans. Reviews help with getting into key venues. It really did help us get to the next level. 29

THE GRISWOLDS - CHRIS WHITEHALL LIANA TURNER

Could you tell me a bit about how The Griswolds came to be? It was actually Dan’s idea (the guitarist). We were in six or seven bands each. We hated everything and never went anywhere. I guess, we’d never worked together before, and we wondered why.

Is it true your band name was created during a drunken night in the studio? We had our first gig coming up in two weeks, we were finishing up recording our EP. We had no idea – so we were getting really drunk and it just happened.

You kicked off this year with the release of your single ‘The Courtship of Summer Preasley’ – how does it compare to your other singles so far? I think it’s relatively similar in terms of how people have reacted. It’s an upbeat, happy song. We really just want to make music that we love. Before we were songwriting, we never felt fully in control. We just work together – with really good outcomes. Our music might go down a more emotional path – maybe later.

This month, you’re touring to support the single’s release. What’s the best thing about being able to play new music to your fans for the first time? It’s great when a lot of people are hanging out to hear our new stuff – it’s like they’re hanging on your every word. It’s really exciting. With new songs the crowd really goes wild.

After your Australian tour, you’re heading to the US, the UK and Europe. What do you most look forward to about such a big tour? We haven’t done it before, so we don’t know what to expect – but we’re pretty excited to go find out how they’ll react to us over there.

In between your Australian headline shows, you scored a spot at the under-18 Live It Up festival. Do you feel it’s important for young people to get that opportunity to see their favourite bands live – when that’s not often possible? I think it’s ridiculous. There’s not enough opportunities for under-18s to see live music. When I was growing up, there were always all-ages shows. It sucks there’s not that many opportunities to do that. The venues don’t accommodate for it, if it was up to us… In the future – with our next tour – we’ll be trying really hard to get all ages gigs in every city.

shining reviews for your debut EP. When you then won Triple J’s unearthed Parklife competition, what were your first thoughts? We were over the moon. We were so happy, we couldn’t believe it. We were at rehearsal when we got the phone call. It’s every young band’s dream. It was really massice.

Going to Parklife meant you’d play alongside some incredibly talented and successful acts – was that a bit daunting? We were freaked out. It was out first festival, we’d just played a couple of shows. It made us realise we had so much to learn. Groups like Tame Impala and Passion Pit really taught us a lot about being more professional.

As a band, you’ve had it pretty sweet from the getgo. Having supported the likes of Last Dinosaurs and San Cisco from early on, was there a single moment when it became clear just how well you’re doing? Yeah, no. I don’t think it’s once caught up with us yet. It’s still shocking. We just keep getting good news, and we’re shocked and surprised day by day.

Judging from the ‘Heart of a Lion’ film clip, you seem to be pretty big fans of coloured dyes. Whose idea was it? Was it a lot of fun making the video? We came up with the idea at a holiday house – it was someone’s birthday and we were all really wasted. There was always a camera rolling, and there was this powdered dye. The next day we looked at the video footage – and it was like Bedlam. Making the video, it was the best time, the best day. All of our best friends, craploads of sangria and coloured powder makes for a pretty good day.

Are you videos any indication of what your live shows are like? I think that’s just what we’re like – bright, colourful, bubbly. It’s represents our personalities.

After all the shows you’ve got ahead of you, is there any chance of hearing some new music from The Griswolds soon? We’re trying to write our new album. We’ve got a lot of ideas. It’ll be a bit psychedelic – a bit inspired by Tame Impala, MGMT and Devendra Banhart.

Last year you made a pretty big splash in the Australian music scene with your singles “Mississippi” and “Heart of a Lion”. You also received 31

NINA SIMONE

TRIBUTE BAND – Phil Eizenberg LIANA TURNER When Nina Simone lost a battle with breast cancer in 2003, hundreds of talented musicians mourned for her. To her funeral, Elton John sent a floral tribute which pronounced: “You were the greatest and I love you.” Since then, a similar sentiment has been held by many of her fans. Some – such as the Tweed Valley’s own Nina Simone Tribute band – dedicate hours upon hours appreciating – and striving to recreate – her unique music. In what could be described as the ultimate homage to a musical hero, the Nina Simone Tribute Band reflects on the musician’s life work, continuing to delight audiences with her music long after her time has passed. When Phil Eizenberg was nine years old, he knew he wanted to be a saxophonist. While his dreams may have changed over time, it’s true he was destined to be a musician. At age thirteen, his notions of brass were tucked away; having picked up a guitar for the first time, he was enchanted. Not once has he looked back. “My father used to play piano,” says Phil, “He played comedy songs, English war songs. I always knew I wanted to play music. My family had a piano. I was the youngest of three children; my brother and sister learnt to play piano, then when it was my turn they sold it. I was distraught. I said “But it was my turn!” but they had no idea.” “My sister was going out with a young medical student. He played a lot of classical guitar and when I was thirteen, he gave me a beaten up little guitar to play with.” “I’ve never worked as a musician, but I’ve always been able to make a living from it. Making music for a living is totally boring. It’s better when you do it for the passion and for the love of music.” Over the years, Phil has been involved in a great number of projects over the years. Having played alongside the likes of Little Pattie, Judy Stone and Jon English (just to name a few), he reflects on his musical experiences with great joy. “Now, you have people like Justin Bieber and everyone thinks they’re so young, but it’s always been that way,” says Phil. “Little Pattie was a fourteen year old pop star,” he says, recalling her being too young to perform at many of the typical

venues. “Getting to perform with these people and work as a musical director… it was very humbling,” he says, “They’re all stars. They’ve got charisma, incredible talent, they walk onto the stage and it’s electrifying.” “Then there’s Judy Stone,” he continues, “She’s only 5’4” – she fits into children’s clothes, but when she’s on stage she’s enormous. The crowd knows everything about her, because they’ve followed her throughout her career.” Upon moving to the Tweed Valley in 1998, Phil established the Bilambil Blues Club with Dave Ovenden. They had felt there was a bit of the gap to be filled, and sought about amending this. “We set it up as a place for people to come and jam,” says Phil, “And of course a place for us to play also, because we just love playing. If you can’t play the blues, you can’t play! [laughs].” Phil also has a studio set up in Stokers Siding. This is a space for creating his own music, as well as working on other local musician’s projects. A bit of an all-rounder musical guru for the people of the Tweed Valley, Phil has created something for those local musicians who need a support network and a helping hand. “Having a lot of skill and a lot of experience, it’s good to be able to pass that on to others,” he says. The Northern Rivers has an abundance of creativity – something which can only be beneficial to the process of creating music, says Phil. “You can do things in this area that you cannot do in the city,” he says, “There’s more space.” Even as we chat, Phil remarks on the significant impact his current environment has on his creative process. “In the city, you could go to Centennial Park or High Park, but it’s different. It’s more conducive [to creativity] here. It’s like a proverbial flood.” “I can understand writers who go off into the mountains to find solitude,” says Phil. “It’s also important to understand creativity doesn’t happen overnight.” The Nina Simone Tribute Band wasn’t a spur-of-the-moment decision, but one many years in the making. Phil recalls his childhood discovery of a mysterious door underneath his block of flats. “It led underground, but was always padlocked,” says Phil. “One day, the padlock was gone. Being inquisitive, I went and found some wooden boxes – full of LPs.” This moment marked the beginning of his passion for jazz music. “There was some Nina Simone – and all the great jazz artists, which I’d never heard before,” he says. “I raced up to my bedroom and the music just captured me. I just fell in love with it.” “From that moment, I’ve owned every record Nina Simone ever made. I’ve been following her music all the way through her career. She tells stories through songs, and performs in a way that’s theatrical.” 33