Reverb Magazine - Issue 63

music, arts & culture monthly

central coast|hunter|north coast

FREE #063 Oct ’11

17C 17M 55Y 2K

Boy & Bear Deliver the goods

The Living End Back to the beginning

Cold Chisel It’s all for you

Wil Anderson Top of the class

The When four becomes one

Jezabels

Also inside: The Drones + Pete Murray + Dropkick Murphys + Funkoars + Naughty by Nature

Live at Yamba

bowLing CLub PARTY

PARTY PARTY 2011 TOUR

+ SPECIAL GUESTS MUPH N PLUTONIC THUNDAMENTALS LAYAL & DAZASTAH

DRAPHT

FRIDAY OCTOBER 14 TIX $30 PRE-SOLD DOORS OPEN 8:30PM

PHone us on 6646-2305 www.YambabowLingCLub.Com.au events@YambabowLingCLub.Com.au TICkETS CAN BE PURCHASED OvER THE PHONE wITH A CREDIT CARD. A $2.50 BOOkINg FEE wILL BE CHARgED.

Purchase tickets online via HOMEBAKE direct - at www.homebake.com.au or Ph.1300 762 545 - NB: this service is provided by Oztix Australia - www.oztix.com.au

VISIT THE WEBSITES www.homebake.com and www.facebook/homebakefestivalofďŹ cial

No. 63

Reverb Magazine is locally owned & published by The Lockup Garage.

Printed by Spotpress, Marrickville: sales@spotpress.com.au

index

contents

News 8-14 Pete Murray 16 Dropkick Murphys 17 James Thomson 18 The Drones 19 Jack Ladder 20 Boy & Bear 21 Naughty By Nature 22 Funkoars 22 The Living End 23 The Jezabels 24 Confession 26 Chain 26 Cold Chisel 27 John Waters 28 Wil Anderson 29 Motoring –

Mercedes SLS Roadster 30 Talking Shop 31 Cartoon 31 Horoscopes 31 Album reviews 32-33 Fashion 34-35 Coaster live review 36 Live reviews 37-38 Counter Revolution review 39 BigSound review 39 Film reviews 40 Craig Brewer – Footloose 40 DVD reviews 41 Gig guide 42-44

John Butler Trio

editor’s letter

Credits

It happens each year in September — the spring sun pushes aside the grey of winter, the midriff tops and cut-off shorts are aired, and the skin gets slightly tanned at Coaster — sure enough, it’s the beginning of the festival season. To be honest, festival season nearly runs all year round, with maybe a short, three-month breather in there somewhere. Bring it on, I say.

On the subject of album releases, aren’t the Aussies delivering the goods at the moment? Over the past month or two, we have seen stunners from The Jezabels, Boy & Bear, Gotye, and Leader Cheetah, to name just a few. It you haven’t already, get some Australian music into you.

Editor

Film reviewer

Stephanie De Vries

Madeline Smith

Editorial

Kevin Bull

Mark Snelson

Cameron Edney

Peter John Van Stee

kevin@reverbstreetpress.com or 0410 295 360

Sean Frazer

Chloe Webb Rod Whitfield

Much love guys, Kevin.

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magazine issue #063 — October 2011

Contacts

Sub-Editor

DVD Reviewer

Paul Frost

Kate Hamilton

Sallie Maree Pritchard

Matthew Glen

Sales, Newcastle & Central Coast kevin@reverbstreetpress.com or 0410 295 360

Shelby Houghton

Photographers

art director

Motoring writer

Charli Hutchison

Kevin Bull

Sales, North Coast

Cam Bennett

Peter Douglas

David Jackson

Sarah Chuck

stephen@reverbstreetpress.com or 0458 559 938

Roger Killjoy

Jim Graham

North Coast Mgr

Cartoonist

Nick Mackay

Ashlee Kellehear

Gig guide

Stephen Bocking

Tony Jenkins

Jamie Nelson

Kent Marcus

gigguide@reverbstreetpress.com.au

Simon Nicholas

Kiah McCarthy

Senior Writers

Writers

Amelia Parrott

Sam Paquette

Production

Matt Petherbridge

Kevin Bull

Max Quinn

Thomas Reid

cam@reverbstreetpress.com

Birdy

Cameron Clarke

Chelsea Reed

Melissa Roach

Josh Clements

Caroline Russo

Madeline Smith

Postal address

Mick Daley

Luke Saunders

Linda Wales

PO Box 843, Woy Woy NSW 2256

Liam Demamial

Jess Saxton

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Giveaways just email editorial@reverbstreetpress.com.au First come, first served

FAKER GET LOVED

3 copies

Three copies of Being Human, Season One, on DVD.

1 double pass

Win one double passes to Sunday Safari, featuring Bloc Party DJs, at the Brewery, Byron Bay, on Sunday October 9.

Faker is delighted to reveal details of their first national tour in three years. Kicking off in Byron Bay, the Faker: Live! national headline tour will take in 14 dates through five states and territories this October and November. Faker’s new line-up will feature for the first time, Chris Stabback and Liam O’Brian joining Nathan Hudson and Nichols Munnings. Slated for an October 7 release, the How Did We Not Get Loved? EP is a five-track collection that features two album tracks and three new tunes. It signals a departure from the band’s previous sounds, taking a look at the darker side of relationships and loves lost but retaining the catchy hooks and unique vocals that thrust Faker to stardom and saw the band become a household name. Faker perform at the Great Northern Hotel, Byron Bay, on Thursday October 20; Coolangatta Hotel on Friday October 21; Cambridge Hotel, Newcastle, on November 10.

5 double passes

Win one of five double passes to Floating Me, with Pirate in support, at the Newcastle Leagues Club on Thursday October 13.

BLOC PARTY DJS to play the BYRON BREWERY

Having officially announced their re-formation in early 2011, with members stating they’re working on new material for an album to be released in the next year or so, the upcoming Australian DJ set tour for Bloc Party DJs in October will be their first official shows since October 2009. Founding member Russell Lissack will be looking after tour duties with a sling of remixes and productions to his name. Some may be familiar with Lissack’s recent side project called ‘Pin Me Down’, a pop/rock/electronica collaboration with Milena Mepris. Their first release ‘Cryptic’ remains their most well-known track to date. With Russ having a foot in both dance and indie camps, crowds can expect to hear a mix of dance anthems with very special indie classics, edits, remixes as well as a bunch of Bloc Party favourites at the Byron Bay Brewery on Sunday October 9.

TAPPING THE BITTER AND TWISTED BEER FESTIVAL

From housing inmates notorious for their crimes to brews notorious for their quality, the former maximum security prison of Maitland Gaol will once again swing open its heavy gates to unlock an experience not to be missed by the discerning beer drinker - the Bitter and Twisted International Boutique Beer Festival. On offer will be some seriously twisted performers in the Beer Hall, international food, arts and regional produce stalls, food and beer matching lunches, home brew and meet the brewer master classes and tastings of over 50 boutique beers from around the globe. Centre stage there’s nationally recognised entertainment including Hungry Kids of Hungary, Afro Moses, Crooked Fiddle Band, Watussi, Mikelangelo & the Tin Star, Bowen and the Lucky Dutchmen, Kym Campbell and Zoe K & the Shadow Katz. The Bitter and Twisted International Boutique Beer Festival happens at Maitland Gaol on November 5-6.

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mag azine issue #063 — O ctober 2011

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PETE MURRAY SETS FREE

Pete Murray is back with his first Australian tour in over two years to support the release of his brand spanking new album Blue Sky Blue. The Free Tour will feature Murray’s hits, some new songs and a new band and sees him returning to the venues where many of his loyal fans experienced his early dynamic live shows. First single from his highly anticipated album Blue Sky Blue, ‘Always A Winner’, inspired by new chapters in his personal life, embraces Murray’s exciting new sound. Shooting straight to top 5 in the airplay charts around Australia, the single reflects a conscious change in his recording approach, with a new team of musicians on board, as well as US producer Tom Rothrock (Beck, Foo Fighters, Elliott Smith). Pete Murray performs at A&I Hall, Bangalow, on Wednesday October 26; Coolangatta Hotel on Thursday October 27; Newcastle Panthers on Friday November 4; Mingara Recreational Club on Sunday November 6.

XZIBIT to PLAY FANNYS

The return of hip-hop heavyweight Xzibit to our shores in November is sure to thrill hip hop fans. Recognised as a true west coast stalwart and ‘one of the most respected rappers in the game’ (Rolling Stone), Xzibit first came to public attention in the late 90s with his debut album At The Speed of Light (1996) and 40 Dayz & 40 Nightz (1998). He enjoyed his first major success when he joined Snoop Dogg on the Dr. Dre produced hit ‘Bitch Please’. The Dre association continued with ‘What’s the Difference’, ‘Lolo’ and ‘Some L.A. Niggaz’ on Dre’s seminal Chronic 2001 album, which led to Xzibit’s inclusion on what is arguably the most infamous hip hop tour of all time – Up in Smoke, alongside the likes of Snoop, Eminem, and Ice Cube. Xzibit performs at Fannys Nightclub, Newcastle, on Thursday November 24.

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HANGING FOR DELICIOUS

The team from Frou Frou, the north coast’s number one dance party crew, are gearing up for two of the most anticipated parties of the month. Firstly Beats, Bowls & Blingo on Sunday October 9, is a family-friendly afternoon shin dig at the Lismore Bowling Club in true Cracker Jack style with the addition of some very tasty beats, triangle sandwiches and a mighty wheel of cheese.

And the big one: Frou Frou’s flagship monthly party, Delicious, is also at the Lismore Bowling Club on Saturday October 22.

Delicious started in 2010, and has become part of the north coast’s staple diet of top quality underground house & nu disco. Resident DJs Lady K, Elscorcho & 1iSamurai get the party pumping and each month they are joined by a host of hot DJs. This monthly Saturday night soirée is all about quality.

AKOOSTIK FESTIVAL LINE-UP

With only a couple of weeks to go, we now have the full line-up for the Akoostik Festival. On top of the Forster Film Festival’s open air cinema Friday night, Saturday brings you Richard Clapton, Sara Tindley Band, Tracey Campbell, The Last Train, The Eireheads, Jeffro’s Blues Band, Peggy Van Zalm, Dave Wilkins, Up In Annie’s Room, Slickville Pickers, Sing Boo-larng, Ukulele Orchestra, Jazz Plus and The Gloucestor Connection. On Sunday you have Blake Noble, James Johnston, Hydrafonics, Floyd Vincent, Outside Diners, Sofiella Watt, Jay David Trio, Inside Outlaw, Funky Farmer, Purple Sheep, STRUK and Singas and Fellas.

Akoostik Festival happens at Central Park, Wingham, October 15-16.

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AN EVENING WITH comic legend JOHN CLEESE

Legendary UK comic John Cleese, in Sydney for the inaugural Just For Laughs festival at the Sydney Opera House, has announced his first Australian stand-up tour in 2012. Cleese, a force behind some of the most groundbreaking comedy of the 20th century, will appear live on stage in his brand new show entitled An Evening with John Cleese. Asked to describe his show, Cleese enthused “It’s an evening of wellhoned anecdotes, psychoanalytical titbits, and unprovoked attacks on former colleagues, especially Michael Palin”. Few comedy troupes have reached the fame of Monty Python, the success of which was largely due to Cleese’s impeccable timing and sense of humour. Master of everything from dry wit to slapstick humour, Cleese’s style can be enjoyed by everyone. John Cleese performs at the Civic Theatre, Newcastle, on Monday March 5.

BELTANE BURLESQUE AT TATTERSALLS

Beltane Burlesque, a cabaret like no other.

Indulge in an evening of light, love and lasciviousness, with burlesque style pole dancing, beautiful belly dance, a wicked wing dance, music, performance art... but we don’t want to give it all away! Featuring performances by Tri-Polar, Scarlett, Sahara and more. Prizes for the best-dressed and maybe a few surprises along the way, this is a night not to be missed. It all happens at Tattersalls Hotel, Lismore, on Saturday October 29.

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PHRASE TOURS BABYLON

SEEKER LOVER KEEPER LOOK TO THE HEAVENS

Seeker Lover Keeper, the hugely successful collaboration between Sarah Blasko, Sally Seltmann and Holly Throsby, returns to centre stage for a final series of intimate shows as part of the new Heavenly Sounds national tour this summer. For the first time in Australia, this unique tour will take place in some of Australia’s most beautiful historic cathedrals and churches, establishing the architectural mood for an amazing musical experience, as the three talented singers present a show filled with their beautiful harmonies, complimented by the rich acoustics and otherworldly ambience of the spiritual settings. Be sure to get in early to secure your spot for Seeker Lover Keeper’s Heavenly Sounds national tour which will certainly deliver a unique musical experience to cap off an astonishing year. Seeker Lover Keeper perform at Christ Church Cathedral, Newcastle, on Wednesday November 23.

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Phrase is set to embark on an extensive national tour to perform tracks from his critically acclaimed third album Babylon. Performing all dates with a full band, Phrase promises to deliver a world-class performance of his back catalogue, along with a selection of songs from Babylon. Backed by four of the best musicians in the country, Phrase boasts an even bigger sound live than what he achieved on his sonically groundbreaking album. Come and experience what critics have described as a “soulful, edgy album that’s screaming to be heard with full live band”.

Phrase performs at Newcastle Leagues Club on Friday October 14; Beach Hotel, Byron Bay, on Friday November 18; Coolangatta Hotel on Saturday November 19.

BIZOO BOOK LAUNCH

ARThive invite you to the launch of Bizoo: The Best, The Worst and The Trash That Never Made It, a free, carbon-neutral retrospective book that covers the highlights and lowlights of the music and arts zine, Bizoo. Bizoo grew up in Toowoomba, or as some of you might recall ‘Poo-woomba’. Over its 25 issues, Bizoo rounded up a tribe of 50 contributors from across the country and became an underground platform that supported the arts nationally. For five years, Bizoo woke up a sleepy town and brought to life a thriving arts community. It gave the young folk of Toowoomba an outlet to create, collaborate, and rant and rave together. Bizoo: The Best, The Worst & The Trash That Never Made It is the final word on music festivals, art shows and the shit-fights that followed. The retrospective book will be launched at ARThive, Newcastle, on Saturday October 1.

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LIVE MUSIC L I V E S P O R T, G R E AT F O O D OCT 8

SAT

SABRETUNG crimzon lake taberah

OCT 12

WED

l y n c h m a da INHALE THE SEA

dropbear

WATUSSI WHIP UP A CUBAN STORM

OCT 14

FRI

sYdnEy cIty t r A sh easy tiger Run Squirrel

OCT 15

SAT OCT 20

THU

OSMIUM GRID hazmat

FREE WILLY & the Grace Brothers

the gin club

UNDER THE TENT Line-up

OCT 21

FRI

MINDSET Taken by Force

OCT 27

THU

The Leadbellies

OC T 29

SAT ABSENCE OF STATE

ELEphAnt

Beaver Man horse bolted

Live It Up Karaoke

FRI SAT 9.30PM–2.30AM FRONT BAR

Monday Night Poker Tuesdays

$20 BUY IN CASH PRIZES

7.30PM BEAUMONT STREET’S ONLY POOL COMPETITION

Happy Hour

THURS SUN 4-6PM $3.50 SCHOONERS

2-6 BEAUMONT ST OPEN 9.30AM-3AM DAILY 10 reverb

Having sold out countless shows with blustering horns, party-fuelled rhythms and rocking roots bass-lines, 2011 has seen Watussi continue at a frenzied pace. Releasing their ‘Tu Te Vas’ single and 1000% Handsome EP early in the year, the band completed an extensive east coast Australian tour, along with dates in New Zealand, and supported their musical idol Santana on his recent tour to these shores. Watussi’s new album, titled El Olvido has just been released, and is accompanied by a full east coast tour. Watussi perform at the Hoey Moey Hotel, Coffs Harbour on Thursday October 6; Beach Hotel, Byron Bay on Sunday October 9; Bitter and Twisted Festival, Maitland on Sunday November 6.

mag azine issue #063 — O ctober 2011

02 4961 3852

The Lismore Show has delivered some nationally renowned touring artists over the last few years, and 2011 is no exception, with an eclectic and diverse mix that truly represents the best of the Northern Rivers and beyond. From moody, intense alternative sounds, to rockin’ psycho organ notes and electro-clash that wouldn’t be out of place at this country’s biggest summer festivals, the North Coast National is proud to present a line-up that features something for every music lover, from kids to kidults and grandparents. This year’s line-up includes The Gin Club, Screamin Stevie’s Australia, Christian Pyle, Shiny Shiny, Texas Tea and The CackleTaps. Under The Tent happens at the Lismore Show on Saturday October 22.

FROCKTOBER TAKES OVER THE JUNCTION

Attention all fashionistas, shopoholics and food lovers, finally a festival created just for you. Frocktober will be the biggest event The Junction, Newcastle has seen with models on catwalks in the car park and a live entertainment stage in the middle of the street. With fashion parades including by some of the amazing designers from Newcastle Fashion Week, children’s entertainment, market stalls, wine tastings and tasting plates provided by top Hunter restaurants. Frocktober is set to excite all the senses. Shopping and eating are two of life’s great pleasures. Now that the sun is finally out after a long winter, why should either of them be done indoors. Frocktober is the perfect family-friendly day out. Entry is free.

From 10am Sunday October 23 in the Junction, Newcastle.

EXCEPT SUN 10AM-MIDNIGHT Download Page

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THE TRUTH ABOUT MARK WILKINSON

Aspiring songsmith Mark Wilkinson never set out to be a singer. But the reluctant performer soon realised if he wanted his work to be heard he would have to get out there himself. Whether on the street or arena stage, Mark’s lyrical depth, gift for melody, and soulful voice have been connecting with fans the world over. With comparisons to Tracy Chapman and David Gray, Mark’s record sales now exceed 20,000 – a remarkable feat for an unsigned artist with two EPs and a new album to his name. Now Wilkinson returns to the road with ‘My Friend’, the second single lifted from his debut album Truth Came Running. He’ll be armed with his acoustic guitar and a limited edition 5-track EP entitled Sweet White Lies, featuring the new single and additional recordings not heard till now. Mark Wilkinson performs at The Treehouse, Byron Bay on Saturday October 8, and Lizotte’s Kincumber on Friday October 21.

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WILD ABOUT YOU: BOOK LAUNCH

ROCK OF AGES MOVES HOUSE

THE SHAKE UP all set to TOUR EAST COAST

In 2010 The Shake Up released their debut album ...if you have no shame to positive reviews and widespread airplay across Australia. Produced by Detroit’s Jim Diamond (White Stripes, Electric Six, Dirtbombs) and mixed in New Jersey by John Agnello (Sonic Youth, Dinosaur Jr, The Hold Steady), the album has spawned the singles ‘Makes Me Sick’ and ‘Everybody Loves It’ and three national tours. The Shake Up have spent 2011 writing and recording their second album. This tour offers a rare chance to hear the forthcoming album live, before its 2012 release. The Shake Up perform at the Lennox Point Hotel on Friday October 14; Hotel Gollan, Lismore, on Thursday October 20; Grand Junction Hotel, Maitland, on Friday October 21; Port Macquarie Hotel on Thursday October 27; Great Northern Hotel, Newcastle, on Saturday October 29.

Rock of Ages tattoo parlour has moved to a new home in the main street of Lennox Head, and to mark the occasion, owner Milly Loveknuckles, mistress and manager Maggie, Tom, Johann and Josh hosted a soirée last month.

The crowd was serenaded by rockabilly singer/songwriter Brodie from Mother and Son, and everyone was left in awe of the beauty of the dancing stilt walkers. Rock of Ages is a bit of a stand-out in the tattoo world. Firstly, unlike your run-of-the mill tattoo parlour, Rock of Ages specialises in original works. You bring your ideas to the studio and they work with you to give you an absolutely unique tattoo. Secondly, and perhaps most importantly, these guys are truly artists, and that shows in their work. You will not find finer skin art anywhere in the country. But don’t take my word for it. Ask around, ask the people with the best tattoos you have ever seen where they got them, and odds are you’re going to find more than one happy Rock of Ages customer.

T.I.N.A. SUNDAY FAIR ZINE AND ARTIST MARKET

With This Is Not Art in full flight at the moment, it can be hard to decide which performance to take in. One event that is close to Reverb’s paper heart is the Sunday Fair — Zine & Artist Market. Sunday Fair will be a hive of creativity with loads of room to chat, trade ideas and just take in the atmosphere of passionate people who love what they do. There will also be music, performance, a roller derby exhibition and loads of great food to enjoy in the chillout zone. This Is Not Art’s Sunday Fair- Zine & Artist Market will take place at the NCC King St Carpark on Sunday October 2 from 11am-4pm.

PARRIS MacLEOD SOLO RELEASE AND TOUR

With a rich and respected musical history as a producer and musician, Parris MacLeod pours a special vitality and depth into music, featuring progressive world music elements, up-tempo feels, and jazz grooves, leading audiences on a roller coaster ride of musical exploration. Having performed with the likes of Jimmy Buffett, Chad Wackerman, Phil Emmanual and Phil Manning, and been awarded Producer Of The Year at the Blues Chain Awards twice, MacLeod is finally releasing his debut solo album. The Parris MacLeod Band (Parris MacLeod, Andrew Toner, Marika Hodgson, Gordon Rytmeister, Mark Atkins, Christian Marsh, Clare O’Meara) is an ensemble of master musicians, each player bringing impeccable credentials. Musicians of this calibre listen to each other with inner ears, communicate on a multitude of levels and no matter how complex the content, convey their message with amazing clarity. Together they touch hearts, and lead audiences on a wave of emotion. The Parris MacLeod Band performs at Lizotte’s Lambton on Thursday October 13.

Wild About You: The Sixties Beat Explosion in Australia and New Zealand (Verse Chorus Press) includes chapters on 35 key bands from the mid-60s including The Easybeats, Masters Apprentices, La De Das, Missing Links, and Newcastle’s own 4 Strangers/ Sunsets (later Tamam Shud). Recently described by the West Australian newspaper as “awesome”, Wild About You is profusely illustrated and includes a guide to the best 100 Australian rock, beat and R&B tracks of the era. Wild About You will be launched during the Newcastle Young Writer’s festival at 6pm on Sunday October 2 at Customs House, Newcastle. The event is free and will include a Q&A with author Iain McIntyre and screenings of rare 1960s clips and films, including footage of the Easybeats, Loved Ones, Sunsets and more.

CARTER-ROLLINS TOURS ONJUKU SUN

During their tour of Japan in 2010, CarterRollins took some time out to go surfing.

They headed down to a small coastal village in the province of Chiba called Onjuku, where they met up with Japanese longboarding champion Eugene Teal. It was the days spent with Eugene that helped shape and inspire the band’s new album Onjuku Sun. Spreading their flavour of surf, rock and soul around the country, CarterRollins will be hitting the east coast this October with talented Sydney singer/songwriter Ashleigh Mannix as special guest. They will be playing the Grand Junction Hotel, Maitland on Friday October 7, and Lennox Point Hotel on Saturday October 8.

A Thousand Mistakes DVD out October 7

Saturday October 8 CAMBRIDGE HOTEL Tickets:

www.thedrones.com.au or www.theatlasagency.com

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mag azine issue #063 — O ctober 2011

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What’s on at The Byron Bay Brewery, Buddha Bar & Restaurant

THUR

BRITISH

INDIA PARTY DRAPHT, PARTY HARD

PAPA VS PRETTY AND THE VASCO ERA TAG-TEAM

Sydney’s Papa vs Pretty and Melbourne’s The Vasco Era are joining forces this October for a special double-headline tour. Both bands will play songs fresh off their new albums in venues right across Australia.

With Papa vs Pretty enjoying critical praise for their debut album United in Isolation and The Vasco Era preparing to release their highly anticipated self-titled album, the time was right for both bands to jump in the tour van together. Audiences will see two of Australia’s most dynamic live bands under one roof – for the price of one. Papa vs Pretty and The Vasco Era perform at the Cambridge Hotel, Newcastle, on Thursday October 27, and Coolangatta Hotel on Saturday October 29.

THE STILLSONS set to TOUR IN EARNEST

Drawing deep from the country roots well, the long-awaited second album from altcountry roots darlings The Stillsons, Earnest, encompasses a full range of musical colours and styles. It not only captures the raw energy of their live performances, but also reinforces the unique sound of their debut album Circus. Lead singer-songwriters, Justin Bernasconi (guitar) and Cat Canteri (drums), remain at the core of the band’s songwriting and their rare male-female dynamic echoes the likes of Fleetwood Mac and Welch & Rawlins. Ben Franz (The Waifs) joined the group in January 2010 and adds his deft touch on pedal steel guitar, backing vocals and production. The Stillsons perform at the Beach Hotel, Byron Bay on Thursday October 6; The Federal Hotel, Bellingen on Friday October 7; Ocean View Hotel, Urunga on Saturday October 8; The Junkyard, Maitland on Sunday October 9.

DO YOU WANT TO PLAY MULLUM MUSIC FESTIVAL?

The Mullum Music Festival 2011 is giving you a chance to win a spot on the bill. Over three days, the Mullum Music Festival presents an amazing array of international, national and local musical talent, and you can be a part of the action. The winner gets to play a 45 minute set on the Sunday afternoon line-up on the Bowlo stage, alongside Ray Bonneville (USA), Declan Kelly and the Rising Suns, and Hussy Hicks. Interested?

All you need to do is send in a recording of an original composition that you have written specifically for this composition with the theme ‘small town’. The entries will be judged by Rhythms Magazine, the Mullum Music Festival and a festival artist. Application forms can be found at www.mullummusicfestival.com.

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It’s been one hell of a year for Australian hip hop artist Drapht, with his fourth album The Life of Riley debuting at number 1 on the ARIA charts (still the only Australian artist to do so this year!). As the man called plain boring old Paul would say, there is no point having a party by yourself, so after a short winter hibernation Drapht is getting his full live show and a travelling circus of friends and compatriots out on the road through spring for the Party Party Party Tour. It’s Drapht’s most extensive national tour yet and will bring the bounce to a bunch of iconic rooms, festival stages and regional centres, some of which have yet to feel the full effect of The Life of Riley in the live arena. Drapht, with Muph n Plutonic, Thundamentals and Layla & Dazastah in support, performs at Cex, Coffs Harbour, on Thursday October 13, and Yamba Bowling Club on Friday October 14.

FLOATINGME RETURN TO NEWCASTLE

With their new track ‘Breaking to Breathe’ about to hit the airwaves, Floatingme have announced a national tour. Since the release of the band’s self-titled debut album this year, the Sydney five-piece have supported Shihad, Dead Letter Circus and have sold out shows on a co-headline tour with Thousand Needles in Red. Support for the tour is Sydney’s avant-garde wonder kids Pirate.

Their long-awaited debut album, Left of Mind, an eclectic mix of technical groove rock with a delicate jazz-like touch, has drawn accolades across the country and earned them supports with acts as diverse as Closure in Moscow, The Crooked Fiddle Band, Sydonia and Darth Vegas. Inspired as much by the epic, intricate prog rock of King Crimson and The Mars Volta, as by jazz and fusion visionaries Miles Davis and Mahavishnu Orchestra, the band continue to produce uniquely progressive material.

Floatingme with Pirate in support perform at the Newcastle Leagues Club on Thursday October 13.

27TH OCT

BLOC PARTY DJ SET SUNDAY 9TH OCTOBER

LIVE MUSIC VENUE – TWO STAGES Sat 1st . . . . Tracksuit (WA) Indie Rock - free Sat 1st . . . . AFL Grand Final Live – $3 Schooners until Half Time Sun 2nd . . . NRL grandfinal - $3 schooners till half time Sun 2nd . . . Scottie Reh & White Line Gypsies – Free Wed 5th . . . Open Mic Jam Night – $250 cash giveaway Thu 6th . . . The Trews – Free Fri 7th . . . . . Richie Williams Band – Free Sat 8th . . . . Blues Plantation – Free Sat 8th . . . . Wild Marmalade CD Launch - $15 pre/$25 door w/ CD Sun 9th . . . Bloc Party DJ Set – $20 + bf Wed 12th . . Open Mic Jam Night – $250 cash giveaway Fri 14th . . . . Postmortemists – Free Fri 14th . . . . SAE End of Trimester party – Free featuring ‘Alice Blu’ Sat 15th . . . Tres Hombres Sun 16th . . BSANE Group – Lock the Gate After Party – Free from 5pm Wed 19th . . Open Mic Jam Night – $250 cash giveaway Fri 21st . . . . Invisible Friend – Free Sat 22nd . . KRASH (Ash Grunwald & Kram from Spiderbait) Sat 22nd . . Ruby Blue Wed 26th . . Open Mic Jam Night – $250 cash giveaway Thu 27th . . British India – Tix $28.60 Fri 28th . . . Ninth Chapter – Free Sat 29th . . . Regrooved Feat FUNK FERRET & MC KITCH Sat 29th . . . The Clues & Polaroid Fame – Free

THE GETAWAY PLAN RETURN WITH REQUIEM

Almost four years since the release of their debut album Other Voices, Other Rooms, Melbourne four-piece The Getaway Plan are set to release Requiem – the first album since the band announced their return in November 2010. Requiem is the product of four months spent in Toronto earlier this year with multiple Grammy award-winning producer, David Bottril. Bottril’s previous work on notable releases from Muse, Placebo, Tool and Silverchair, to name but a few, has seen him become one of the most sought after producers in the world. The Getaway Plan, with Break Even and Gatherer in support, perform at the Cambridge Hotel, Newcastle, on Saturday November 26.

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1 Skinners Shoot Road, Byron Bay Phone 6685 5833 www.byronbaybrewery.com.au Courtesy bus pickup, call 0429 603 102.

Wed, Thur, Fri & Sat only.

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reverb magazine issue #063 — October 2011 13

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PUT ON YOUR SMOCKS

JOSH THOMAS PLAYS THE CIVIC theatre, newcastle

Join award-winning comedian Josh Thomas as he tours the country this October with his solo stand up show. This is a show that will see Josh talk about everything that has ever happened. Ever. A stand-up veteran at just 24, Josh has performed at festivals around the world including Smithwicks Cat Laughs Comedy Festival in Kilkenny, Ireland and the Geel Comedy Festival in Belgium, curated the Brisbane Comedy Festival (twice) and is the Gen Y Captain on Network Ten’s Talkin’ ‘bout Your Generation for which he was nominated for a TV Week Logie Award for Most Popular New Male Talent.

Josh Thomas performs at the Civic Theatre, Newcastle on Friday October 21.

MANTRA SPEAKING VOLUMES

After setting a new bench mark with first solo effort Power Of The Spoken, Melbourne emcee Mantra is back with an explosive new release entitled Speaking Volumes. Combining both musical proficiency and articulate character, Mantra has delivered a seamless, holistic album. To celebrate the release of what is sure to be one of the Australian hip-hop releases of the year, Mantra is hitting the road with a brand new live show.

Widely regarded as one of the best live performers in the country, he will be performing tracks off the new album, as well as some old favourites. Mantra performs at the Newcastle Leagues Club on Friday October 28.

People of the world have had their cordial introduction to the debut album, Smocks!, from Brisbane’s folk-pop ensemble Pear & The Awkward Orchestra. This October, the brain behind this whimsical mini-orchestra, Stephanie Barros Lees, takes to the road sans band, for the Put On Your Smocks Tour.

“I adore my band and love what they bring to the sound, but this is about asserting that the songs can stand on their own. Touring solo is about the essence of the songs, being clean and clear and completely honest and direct,” muses Barros Lees. Stephanie Barros Lees performs at the Grand Junction Hotel, Maitland on Thursday October 20.

TRANSVAAL DIAMOND SYNDICATE TOUR THE EAST COAST

Passengers are ready. The carriages are loaded. Coals have been poured on the fire.

The train’s a’comin’. On board are Brisbane blues/rock act Transvaal Diamond Syndicate as they make their way down the East Coast of Australia for the ‘Sins of The Blessed’ East Coast Tour. TDS hit the tracks to promote the release of their new single ‘I’m Your Ticket’, a swampy, garage-rock anthem which will highlight some diversity for the band, renowned for their stomp-blues tunes. Transvaal Diamond Syndicate perform at the Port Macquarie Hotel on Thursday October 13; Great Northern Hotel, Newcastle on Saturday October 15; Grand Junction Hotel, Maitland on Sunday October 16.

DIRTY UTILITY LAUNCH EP

With two former members of Vinyl Craze teaming up with both the front-man and bassist of Twist of Fate, Dirty Utility is the result of two great bands combining to create one unique rocking sound. In December 2010, the Central Coast band entered Electric Sun Studios (Cog, Town Hall Steps, Heroes for Hire) to record their debut E.P., and now, close to 12 months later, that E.P. get’s its launch. Dirty Utility perform at the Beachcomber Hotel, Toukley on Saturday October 22.

THE DEAD LEAVES BLOW INTO THE NORTHERN STAR

the guppies

ALL AGES, AND extremely TWISTED

Established in response to the limited opportunities for local under-18 performers and audiences, Twisted is the first in a regular series of all-age events at Newcastle Leagues Club. Sure to be a highlight on the day is The Guppies. Recent finalists in Triple J’s Unearthed High competition, The Guppies are not one for catch and release.

Though eventually pipped for the top spot, their infectious, individual sound attracted the attention on industry insiders and tastemakers. Another new talent shining at Twisted will be The Dynamics. The Dynamics were born in the frontman’s garage, where they create musical fusion. They have their own distinctive sound and at the tender age of 16 are ready to explode on to the Australian music scene. Rounding out the line-up are Corrupt Society, Fingers Crossed, Ground Zero, Ravaged and The Calavek Blowfly. The first instalment of Twisted is on Saturday October 1.

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Great bands are born in the tantalising unknown — the grey area between well-laid plans and mystery. Matt Joe Gow spent years envisaging what The Dead Leaves might be. Gow is a journeyman songwriter from Melbourne via Dunedin who’s drawn from every well from Joy Division to Johnny Cash. With the release of their debut album, Cities On The Sea, just around the corner, The Dead Leaves announce an east coast tour to launch the majestic first single, ‘If The Shoe Fits’. The Dead Leaves, with The Owls in support perform at the Northern Star Hotel, Hamilton on Friday October 7.

MALAKYE GRIND BACK AFTER 15 YEARS

Malakye Grind, the premier band on the Central Coast in the 1990’s, return with their first performance in 15 years. In their day, they performed with Ratcat and Tumbleweed in front of 5,000 people at the inaugural Mark ‘Sanga’ Sainsbury Memorial Surf Classic at Avoca Beach, as well as support spots with Def FX, Skunkhour, Caligula, Scary Mother, Spy Vs Spy, the Choirboys and Front End Loader, as well as a number of openers for the Screaming Jets at Newcastle. Malakye Grind, supported by 00’s staple, Field Day, perform at the Erina Leagues Club on Friday October 21.

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RISE UP FOR THE HOMELESS

Last year’s Rise Up event did a wonderful job in raising awareness and much-needed funds for the plight of the homeless on the Central Coast. With that success behind them, the Rhythm Hut in Gosford have announced Rise Up 2, an eight-hour all local and all original music festival. This year’s lineup includes The Rhythm Hunters, Rocwater, Sarah Humphreys, Kiam Robertson, Jake Cassar & the Deadly Nightshades, Paul Eagle, Micheal Peter, Kristi Bennett, and 5 Lands Band. On top of this, there will be guest speakers, plenty of kids’ activities, market stalls, open mic stage, buskers, loads of prizes to be won, multi-cultural performances, yummy food and refreshing drinks to keep you going for the day. Rise Up 2 happens at the Rhythm Hut, Gosford, on Sunday October 16 between 11am and 7pm.

Entry is by donation.

SPEEDLAB TOUR EAST COAST

Drawing influence from classic punk and metal such as SNFU, Refused and Slayer, Australia has a new addition to the punk rock lexicon in Speedlab. From the outset the aim of the band was simple: play fast and keep true to the live show. With their 2011 debut EP release Degenerates they have managed to translate their fast live energy into five fast catchy anthems of hooky vocal melodies, well-delivered harmonies, raw-asfuck screams and a well-executed musical assault, guaranteed to turn some heads and piss some next door neighbours off. So get your livers and ears ready, it’s time to party on the Santa Cruz Degenerates tour with Speedlab performing at the Cambridge Hotel, Newcastle on Wednesday October 12; ECP Studios, Central Coast on Thursday October 13; Manning Entertainment Centre, Taree on Friday October 14; Hoey Moey Hotel, Coffs Harbour, on Friday October 28.

LIVE & LOCAL AT LIZOTTE’S

There’s plenty of local music to be had at Lizotte’s this month. Lambton Lizotte’s: Wednesday October 5, Elisa Kate, Hip Sister, Hats Bennett, Jupiter Menace; Wednesday October 19, The Humm, Solver, Harry’s Lookout; Thursday October 20, Bob Corbett & the Roo Grass band CD launch. Kincumber Lizotte’s: Wednesday October 5, Dom & Brandon, Jessica Lord & Lachlan Roberts, DecembeR, Rocwater; Thursday October 6, Slide Albatross CD launch; Friday October 7, Kim Cannon CD launch; Wednesday October 12, James Duncan, Dominique Morgan, Tiali, Taylor & The Makers; Thursday October 20, Mike McCarthy CD launch; Wednesday October 26, Mojo Juju.

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Pete M u rr a y

Under A Bright Blue Sky As his die-hard fans would already know, Pete Murray going electric is nothing new. Taking it up a notch on new album Blue Sky Blue, the Byron Bay singer-songwriter was on a mission to create something strong and groovy that was fun to play, as he explained to Birdie.

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“The only reason I’m more well-known for acoustic stuff is because the singles that get picked for the radio have always been mellow acoustic tracks,” Murray points out. “I’ve always had people who come to the shows tell me afterwards that they were really surprised by how much more dynamic and rockier the live show was than what they were expecting!

That’s because I get to play more than the handful of singles that get rotation on the radio. Even with this album — management was pushing for [second single] ‘Free’ to be the lead single, but I said no way because it just wasn’t different enough! I told them ‘Always A Winner’ was going to be the single and they told me it wasn’t going to be a hit, to which I said, ‘I don’t care because it represents and establishes what I’m doing now’.”

Fully aware of the power of the lead single, Murray firmly stuck to his guns when it came to current radio hit ‘Always A Winner’ — and learned a valuable lesson along the way. “Trust your instincts,” he says. “The first song you put out is always going to be the one that will make people either yawn and go, ‘heard that before’, or they’ll go, ‘wow that sounds different, I might check that out!’.

You’ve got to love what you do for a living, and making a bit of a change and giving it a bit more groove was necessary for me. My main goal was to write an album that I would absolutely love playing each and every song off of — which is something I can’t say for some songs I’ve written in the past!

There’s a handful that I now refuse to play because they’re either too slow or I’m just not into them anymore… I just wanted a strong album.”

“A lot happened in my life before I started working on this album. I went

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through a major breakup which definitely influenced my approach. I just remember thinking when Feeler came out, it was quite a deep and dark album if you think about it, and I just didn’t want to go back to that stuff anymore! I wanted to do an album that would be really good fun for me to play and have a bit more of a positive vibe. Because that’s my priority these days — hanging out with my two boys, surfing and just enjoying life. Well, having a normal life, I should say. I’ve been trying to lay low in Byron but even there you can’t escape!”

“Every time I’m out and about, I’m being asked if I’m Pete Murray or people will go, ‘you look like that Pete Murray guy’. I went into the chemist one day and you could just see the look on the girl’s face, and she goes, ‘you look like someone — like that Pete Murray guy’. I said “oh God, that guy is such a wanker!’.”

But those who have met Murray in person beg to differ. Known as one of the nicest guys in the Australian music scene, Murray reckons there was a time he considered racking off to Europe. “If I didn’t have the boys here, I would have left for a while,” he says. “At the very least, it would have been nice to spend six months in Europe then six months here and just go back and forth playing shows… I also really enjoyed LA this time around. I went to record there but I got out a lot, made some friends, and got to see the local side of the town. I hadn’t done that before, so I appreciated it a lot this time.”

Pete Murray performs at the A&I Hall, Bangalow, on Wednesday October 26; Coolangatta Hotel on Thursday October 27; Newcastle Panthers on Friday November 4; Mingara Recreational Club, Tumbi Umbi, on Sunday November 6.

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d ro p k i c k m u r p h y s

I wanted to start by talking about the new record. It’s something of a 13-part narrative. Where did that idea come from?

The first song we wrote for the new album was the song that ended up being titled ‘Going Out in Style’. We discovered the character Cornelius within that song, and we thought it would be cool to trace his whole life through the record.

Was it difficult to sustain that one overarching concept over a whole record?

I think it kind of happened really organically. The music was developing at the same time as the character – the music influenced the character as much as the character influenced the music.

It was quite a while between records. What was happening there?

Time just got away from us. We put a live record out so that it wasn’t four years between releases and so we didn’t disappear completely. That was really creatively draining as far as getting down to writing the new record was concerned. We had to go through all of this technical shit that we didn’t really think about to get [the live record] out there. We kept touring and touring and then the next thing we knew we were like, ‘Shit!

Time to write a record!’

Discovering Cornelius

Dropkick Murphys, Boston’s finest no-good Celtic punks, are set to bring their fierce live set down under for the second time inside 12 months. Max Quinn tackled the thick Noo Ingland brogue of Murphy vocalist Al Barr to talk about the band’s new record and their string of Australian dates in October.

Were you surprised to see it debut at #6 on the Billboard charts?

Totally, man. That was completely unexpected.

The industry at this point is further in the toilet than it was four years ago, so we expected to do worse than we did with the last record. It was incredible to see it do so well.

Does it still feel like you’re on the up-and-up, 15 years in?

We grow a little bit with each new record.

With this latest one, it really does feel like a new lease on life for the whole band. We plan on writing a new record already this fall.

It’s all about inspiration — if you’re inspired, you make the best record of your life time and time again, and if you’re not, people think you’re boring.

You had a couple of really interesting cameos on the record as well. Tell me about working with Bruce Springsteen.

We met Bruce a few years ago. We had heard that he was a fan of the band, and we invited him to see us. He came out with his son, and he was a super-cool guy. He had us come up to one of his shows and a bunch of the guys played with him. So when it came time to record, we knew him, so we could ask him. But we never thought he’d do it. For the mega-star that he is, he’s really down-to-earth.

The last time you were over here was at the end of last year for the No Sleep Til festivals. How were those shows for you?

They were awesome, man. Being such a vast place, Australia is kind of different. It’s nice to play club shows, but it’s also great to get out and play to more people at festivals. You catch listeners who have a variety of tastes.

Maybe you’re going to the festival to see Megadeth and you come away a Murphy fan.

Given that it hasn’t been that long since you were last here, do you have any expectations for how it will play out this time?

We’re just looking forward to getting out and playing the new record. I hope that people have familiarised themselves with the new songs, because we’re going to be playing ‘em!

Dropkick Murphys, with Lucero and The Rumjacks in support, perform at the Newcastle Panthers on Friday October 21.

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reverb magazine issue #063 — October 2011 17

J a me s T h om s o n

About Last Night Having recently taken out the Great Northern Hotel’s Open Mic competition in Newcastle, James Thomson has dived headlong into the release of his debut album. Kevin Bull speaks with Thomson about his development as a musician.

Your debut album is about to be released, and is currently untitled. What options are you considering and what significance do these titles have?

Yeah I’m excited to have it finished. In terms of the title and the cover art, I guess I was concentrating more on the songs and the overall sound of the album. For me the image and the package and all that stuff comes later. I really don’t think it can be forced — it has to be a natural thing or it’s not genuine, for me at least. I was going to leave it selftitled, [but] thought maybe something will come to me that sticks in my head, and in the end that is what happened. The album is going to be called Last Night In Town.

Being your debut album, did you have a backlog of songs that were considered for inclusion?

There’s only really one song on there that is from a while back, ‘Odds & Ends’. The rest of the songs were written in a period of a couple of months, earlier this year. I’ve been writing songs for a couple of years now and I think I outgrew some of those earlier songs – they just didn’t fit anymore and luckily enough I had a bunch that came to me pretty easily.

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Where was the album recorded?

The studio is called Leisure Suit Studios.

It’s on the Hawkesbury River. It’s a great spot — very quiet and peaceful. It feels like you’re removed from everything and it’s sometimes nice to record music in a place like that. Grant Shanahan, who recorded the album, was great. I figure I was pretty lucky to have someone like him helping me out.

He’s got a real knack for recording and he’s a great musician himself, so that all helps.

Did the songs change much once you entered the studio?

For the most part they didn’t. That was a recurring thing throughout the recording of this album — it had to be honest. I had to be able to play it live and not have the songs sound stripped. The melody, the lyric, the mood of the song is what tells the story, as far as I’m concerned and I wanted to let those things have their own space to exist in.

Even though you only picked up the guitar six years ago, you spent time in local cover bands prior to your solo outing.

As far as I can tell, everybody pays their dues in some type of garage band when they first start out. I think we had a new

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drummer and a new name every time we played a gig which was probably once every 2 or 3 months, if that, for about a year.

It wasn’t strictly speaking a cover band, we were just three, sometimes four, friends who all played instruments at varying levels and just hung out and had some fun.

Thankfully it made me interested in writing songs so I started doing that.

Playing live, who is on stage with you?

A lot of the music I love, like the early blues, folk and country singers, most of it is just vocals and a guitar. So I’m on stage alone most of the time. At the moment I prefer that.

You have mentioned that there are talks

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with a record company in the works. What are you hoping will come out of this?

Well there’s something in the works with Laughing Outlaw Records. Stuart Coupe is a very well respected, knowledgeable person in this game – but most importantly he genuinely loves music. Up to a certain point, whether you are a songwriter, or a painter, or a poet or anything like that, there is going to be some kind of apprehension about sharing your creations.

After that though — and it can be quite sudden — you realise you want as many people as possible to hear and listen and respond to what you have created. Not in any kind of egotistical way, it’s just the song or the poem or the painting needs to breathe. In a sense, they need a reaction to completely exist and if they stay hidden away in a notebook as sketches they ain’t gonna get that.

James Thomson performs at the Lass O’Gowrie Hotel, Wickham, on Friday October 7; the Croation Club, Wickham, on Sunday October 9, 16 and 23, and the Great Northern Hotel, Newcastle, on Saturday November 5 for the launch of Last Night In Town.

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Poolside at a Brisbane hotel in balmy spring sunshine is not, perhaps, where you’d expect to find Gareth Liddiard, Australia’s poet of existential wrath and melancholy.

But encouraging daft stereotypes was never his forté, either, and the frontman of The Drones is having a welcome day off.

After finishing a 12-date Australian tour and a hasty European jaunt to launch his sombre solo album, Strange Tourist, Liddiard and the Drones have been locked into their daunting DVD project. “It’s been a huge head-fuck,” Liddiard drawls. “We’ve made a million albums and we know how to do that, but for me and Fi (Kitschin, partner and bass player) it’s our first time putting together something filmic.”

Those ‘million’ albums have won one Australian Music Prize and been shortlisted for several more, as has Liddiard’s astonishingly bleak and literate solo album.

All share that excoriating Drones bareknuckle signature. The DVD, however, promises even less compromising Drones flavours. “The main premise is — we did a bunch of songs that we never usually play live, kind of because they’re too hard to slot into a set in a dynamic way. The instrumen­ tation is too hard to do live, because you know, if we took a church organ on tour Qantas would sting us to death. [And] we based this upcoming tour around that particular set in the DVD. It’s not going to be the same Drones rock and roll bonanza.”

Australia, however, seems to be lapping up this resolutely tough, unadorned rock and roll — the kind of music that makes say, The Cosmic Psychos, look polite. It’s an Australian theme, Liddiard says. “We’re ripping off a bunch of stuff — Kim Salmon, Beasts of Bourbon, bands like that, but then

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Making No Mistakes With a slew of critically-acclaimed albums behind them, Gareth Liddiard and his band of rock anarchists, The Drones, have tackled a new project, a live DVD, A Thousand Mistakes. Liddiard explains to Mick Daley why Australians love his strange mistakes. going a bit further with it. If Australia does have a tradition, it would be that Roland Howard or Angus Young cut-your-head-off nasty guitar sound. We took that vicious American rock to the nth degree. Even the early Go Betweens was pretty gnarly sounding.”

The band will tour A Thousand Mistakes nationally throughout October, in keeping

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with that relentless live tradition. It’s been paying off, with the Drones winning Best Live Act at the inaugural Australian Rolling Stone Awards in 2010, and the 2009 AIR Awards for Best Independent Album of the Year and Independent Artist of the Year. Back-to-back tours of Europe have established a major fanbase there, with shows at the prestigious All Tomorrow’s

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Parties Festivals in the UK, among countless other European and North American festival tours. Liddiard is frank about this startling artistic success.

“We’ve been moving up a very mild incline for a long time and that was kind of the plan. I knew when I got started that if I got good musicians together and made quality music, then eventually that small part of the population that actually like music a lot will find us. And so, rather than having a big promotional machine or a gimmick, it will spread itself out, take a long time and always grow. Which [is what] we have done. And in Australia it’s a lot easier than it is in America or Europe because the songs are by a guy who was born in this country, so if you’re born here too you’ll probably see things in it that foreigners wouldn’t.”

The songs on Strange Tourist certainly chimed with Australian audiences, to judge from reverent reviews and sold-out shows across the east coast. “It did remarkably well.

People were really quiet and attentive,” Liddiard concedes. “It was bigger and more successful than I expected from a grumpy little album.” But he’s happy to shelve that storytelling style of music for a while and get back to rocking, in his own inimitable way. “I’m looking forward to picking up an electric guitar again. I’ve been carting around an acoustic and it’s like three kilos as opposed to seven kilos, but the electric is a hundred times easier to play – it’s like playing a rubber band as opposed to playing a high tension wire.”

The Drones, with Adalita in support, perform at the Cambridge Hotel, Newcastle on Saturday October 8.

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j a c k l a d d er

A World Of Hurt

of ‘Cold Feet’, the lead line if you will, is all digital metalliser. They went out of print about a year after they started making them.

Jack Ladder has tapped into a world of pain and solitude with his third record, Hurtsville. On the eve of his Australian tour, Ladder speaks with Matt Petherbridge about the growth of his songwriting, 80s effects pedals and being compared to the Australian lord of darkness, Nick Cave.

Hurtsville was recorded in Blackburn Estate in Yass with producer Burke Reid (Gerling). Did you work productively?

It started out very workman-like. We kept regular hours, got up at 8am, had breakfast, started at 9am, had lunch and went to bed around midnight. But by the end, things spiralled out of control. We were up at all hours of the night; people were coming and going from the castle; photo shoots; friends wanted to stay over. It just turned into a bit of a monkey house.

Did that constant flow of people in and out affect the making of the record?

It’s hard when there’s a party going on in the other room. I always thought it was funny when people would come, thinking they were going to have a nice relaxing weekend, and at 4am, we’d be blasting these insane… grating guitar sounds (laughs).

When you go to bed after making really intense sound and you haven’t really taken time to recover from that, you wake up feeling like you need to be de-pressurised.

There’s a real weight that comes with that and I felt like I had the bends by the end of it; like I came up from the deep too quickly.

It was quite insane.

You’ve been compared by a lot of lazy music journalists to Nick Cave. What’s your take on it?

I was trying to create my own world and when people say that, it’s shut down in seconds. I mean, I don’t think Nick Cave has ever used keyboards on his records, let alone these chorus-y guitar sounds. It’s a very different sonic palette. And Nick Cave, he’s got his own myth; he’s a true legend. To compare a young guy of three records to him... it’s quite unfair. But strangely flattering at the same time.

Most journalists want to tell people what music sounds like in one sentence, for example, “it’s kind of like punks making dance music”. If you described my music to someone, it would be more complex than “it’s kind of like Nick Cave”. It means that people don’t have to think too much.

How has your creative process changed from your previous record Love is Gone to your latest record, Hurtsville?

Hurtsville was about trying not to conform to general structures and conventions of rock music. To make music with what the song needed. They start and end when I need them to, not because the chorus has to fit into the song because people get bored and want to change the radio station.

I started working with a drum machine and on longer, open-ended type song structures.

On Love is Gone, I was listening to 50s rock and roll [which] doesn’t have any effects and that music sounded better to me than anything Brian Eno did. It was a real exploration in what could be done without it.

Well... enough of Nick Cave. What are five records that inspired you during the making of Hurtsville?

I played Depeche Mode’s Songs of Faith and Devotion in my car for about nine months; Bill Callahan (he’s in a band called Smog) has a new record called Apocalypse; Iggy Pop’s The Idiot and Suicide’s debut record. I also found Leonard Cohen’s I’m Your Man really inspiring.

Much has been made of your return to effects pedals. Could you tell us what some of your favourite pedals were?

The sound of Hurtsville was this 80s Boss VB-2 — a vibrato pedal. It’s really cool.

There was also an 80s Boss digital metalliser that gained notoriety when David Gilmour started using it in A Momentary Lapse of Reason. It’s a really heavy fuzz pedal. It’s got a vibrato in it, so it’s got a really wonky sound. The guitar that comes in at the end

Jack Ladder performs at the Gallipoli Legions Club, Hamilton, on Friday October 7, and Great Northern Hotel, Byron Bay, on Sunday October 16.

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Full Moon Fever At risk of jinxing their debut album before it hit the shelves by naming it after “the world’s worst movie”, Boy & Bear’s Moonfire is turning out to be one of the standout releases of the year for the Sydney indie/folk lads. It was risky business, as guitarist Killian Gavin tells Birdie, but the name stuck.

“At first we were just kidding about it because we couldn’t think of a worse possible piece of art we’d ever seen,” laughs Gavin.

“It was this movie called Moonfire and it literally was the world’s worst movie ever made. We were joking about how we should call our album that. But then after we finished recording in the States it came to the point where we seriously needed to think up a name for the record as soon as possible… Everyone was so used to that name by then that we just couldn’t part with it, so we called it Moonfire!”

Unlike the film it was named after, Boy & Bear’s debut full-length is already getting high radio rotation and critical acclaim for its impressive blend of atmospheric anthemic pop. It’s as much rock as it is folk this time around, Gavin adds, with Boy & Bear taking significant steps away from their 2010 EP With Emperor Antarctica. “The darkness of the record was something we knew we wanted to achieve,” says Gavin. “I think that’s a bit different from the EP. We wanted a moody undertone from start to finish, and I think maybe the experience of the recording process itself might have something to do with that. At times it was quite interesting, I guess you could say…

We had a lot of fun working with Joe [Chiccarelli, producer] but there were moments when we questioned whether he was the right guy for the job. Because, even though 80 per cent of the time he was amazing as an engineer, the rest of the time there were fights. Sometimes there were issues about ideas. Every band that brings in someone from outside the group isn’t always going to get smooth

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sailing. It can’t be roses all the time! So it was challenging, but it was also fun.”

So much fun that the band are planning to relocate to America sometime in the next year. With Moonfire recently released in the US, the band’s already-growing international fan-base is set to skyrocket, and the boys want to capitalise on their success. “It’s been really good overseas for us,” enthuses Gavin. “We went to the States for a while and did some shows and festivals and we were really surprised how many people came out to watch us play!

The fan-base isn’t in the league of here in Australia but the album just came out in the US and we’re doing more touring over there next year. We definitely need to spend some significant time over there the same way that we did in Australia. It makes sense to move over there so that we can tour pretty consistently.”

Besides, there’s something magical about hitting those dusty desert highways in a van with a bunch of mates, says Gavin. “It’s almost like the cliché that you see on television!” he laughs. “I think it will be good for us. I think we should at least try it, if nothing else. But it’s not like we enjoyed every part of the US because Nashville was probably the most boring city in the whole world! We were there for eight weeks to record the album and we couldn’t even find a place to get good coffee! It was so hard if you love your coffee. I honestly can’t see much of a reason for someone to want to voluntarily live in Nashville. It’s a cool city to visit for like three days, then once you’ve seen all the country clichés and maybe gone out and gotten drunk for the night, there’s not

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much left to do.”

Though travelling to Nashville to record Moonfire with Chiccarelli [My Morning Jacket, The Shins, The Strokes] didn’t make it to Gavin’s list of career highlights, hearing Boy & Bear’s songs on the radio gives him butterflies every time. “When you hear your own song on the radio, it’s definitely a bit of a moment! It’s very cool.

The other thing would be our live shows because as time goes on, the shows are getting bigger and bigger every night. You notice it when the crowd no longer cheers — you actually hear them roar!” Not much of a surprise considering the band’s pedigree.

Initially starting as a solo project for songwriter Dave Hosking, fellow songwriters and ex-frontmen of various other bands — Jake Tarasenko, Tim Hart and Gavin — wanted in on the action, finally adding Jon Hart to the fold in the band’s later stages.

“I think it works really well,” says Gavin.

“Dave has a really good grip on melody and arrangements and ideas, and I’m just stoked that I’m playing music with him and the boys. We run the band very democratically so it’s a slower process and takes a lot longer than it probably should, but we definitely give everything a go before we wrap something up. If someone has an idea, we always embrace it; we’re happy to roll with it if it sounds good. Who comes up with the idea doesn’t matter to us, keeping the egos out of it is pretty much the key.”

Boy & Bear perform at Newcastle Panthers on Wednesday November 2, and the Coolangatta Hotel on Thursday November 10

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www.tattshotel.com reverb magazine issue #063 — October 2011 21

N a u g h t y B y N a t u re — t h e F u n k o a r s

Reaching a two-decade milestone is a good enough reason to do a world tour.

But a brand new album, entitled Anthem Inc, that sees DJ Kay Gee, Vin Rock and Treach reunite as Naughty By Nature is even better. They may have had their differences in 2000, resulting in Kay Gee exiting the group for a good part of the last decade, but time has healed old wounds and the trio is back on form, as Vin Rock explains to Birdy.

“We’d been together in a group since we were kids, like 15 years old,” says Rock. “By the time it got to around 2000, we were all getting on each other’s nerves. Kay Gee decided to take a break from the group so me and Treach put together an album [Illcons, 2002]. But then we hooked back up with Kay Gee and decided to make another album. We were coming up on 20 years by that time anyway, and we knew we had a lot of fans out there, so we decided to do it for those two reasons. Time heals all wounds anyway and our friendship and making

half is brand new songs,” Rock explains.

“We were going to do a full album of all original material but we decided that with the re-formation and everything we would remake six songs from our biggest records and then do seven brand new songs. I guess we wanted it to be a record that represents the ‘then’ and ‘now’. Our production has gotten so much better over the years because you’ve got to remember that when we first started we were just teenagers and Kay Gee was just a young aspiring DJ. The earlier stuff was probably

Naughty Boys music was more important than holding grudges or whatever.”

With the group’s Australian tour coming up, Rock warns that fans should not expect to hear much material off his and Treach’s Illcons album, as it wouldn’t be fair to Kay Gee. Instead, the audience can look forward to the rest of Naughty By Nature’s back-catalogue, and of course, new material from Anthem Inc. “Anthem Inc is a special album because it’s one-half classic Naughty By Nature tracks and the other

Decidedly sober for 11am on game day for The Quickening, Trials roll-calls the other Funkoars members: “Well, Hons (Matt Honson) is in Bali and we haven’t heard from him since he found this batch of mushrooms so we don’t really know what he is up to. I think he might be re-enacting some Leonardo Di Caprio The Beach shit right now. Sesta (Adam Baker) is probably playing Fallout. He woke up pretty early this morning so I know he’s on that. And Flashy (DJ Reflux, Daniel Yates) is refreshing the internet furiously.”

The fifth most important person in this line-up is Funkoars manager for the past year DJ Flagrant, whom Trials credits with hooking them up with New York rap royalty. The Large Professor beat on The Quickening is one of the album’s standout features. “Nate has a lot of connects over in the States, [from when] he lived there for a 22 reverb

magazine issue #063 — O ctober 2011

a bit amateur compared to what we are now, just a lot of repetitive loops and not many changes from song to song. But after the first two albums, he really started working hard and made some great friends with R&B guys and a lot more producers.

Even the songwriting got a lot better, so the quality of the entire group increased in more recent years.”

According to Rock, Naughty By Nature owe a lot to hip-hop and film star Queen Latifah, who championed the group from

day one and played a mentoring role in the trio’s early days. After releasing their album Independent Leaders, still under the old moniker New Style, Queen Latifah managed to get the trio signed to recording label Flavour Unit and the rest, as they say, is history.

“Meeting Queen Latifah was a huge blessing and getting her to sign us was a super highlight for me!” Rock recalls.

“Once that happened, it really felt like half the battle was won already. We knew we had the talent but there are a lot of talented

Hazardous Materials Earlier this month, Adelaide’s not-so-favourite sons, The Funkoars, dropped their fourth full-length album, The Quickening. Expect hundredplus beat tempos, malicious riffs and more of those debauched ’Oars verses we have come to know so well. Producer extraordinaire, Mr Trials (Daniel Rankine), spoke with Cameron Clarke to discuss all things dangerous. little while. When we took him on board as a manager the first task we assigned was a wish list of things we wanted. Number one was working with Large Pro — it’s always been a dream of mine as well as Sesta. Within a week we were talking and we sent some of our tracks, typical ’Oars shit. He got back to us with a custom-made beat, it was perfect.”

Trials says the creative link between the two parties was evident from jump street.

“It’s just the universal language of

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boom-bap really. You could give that to any producer in any part of the world and they would pick up on that universal sound. We hope so anyway because that’s how we perceive our own sound.”

The Funkoars also had the privilege of working with another New York legend several years ago when Masta Ace contributed a verse to their album, The Greatest Hits. Trials talks of future ambitions on the collaboration bucket-list. “The big one we want, the holy

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people out there that just never get that chance, so we were very lucky too. Once that happened, things just started getting better and better for us – we got a Grammy in 1995 for Best Rap Album by a Group, and now we’re back together again 20 years later and we’ve got a new album.

We’re still in touch with Latifah - she’s actually on this record too. She was just in the studio with us last week putting her touches on one of the songs.”

A big fan of Drake and Kanye West, Rock lists both artists on Naughty By Nature’s wishlist for future collaborations, due to their versatility and ability to sing as well as rap. “I really like Drake because he’s very musical, more than most hip-hop artists. I love the fact that he mixes singing and the harmonising into his stuff. It reminds me of our earlier stuff, for sure. I also really like Kanye West and I’d love to collaborate with him as well, especially on some beats and production. He’s also not afraid to experiment and to step outside the box and just do something completely unexpected with his voice other than just rapping. There’s a lot of good stuff out there, maybe it’s not in the majority, but there are some great artists out there if you take the time to pay attention.”

Naughty By Nature perform at Fat As Butter, Newcastle, on Saturday October 22.

grail, is DJ Premier. We tried really hard to get it for this album but unfortunately it just didn’t work out, time was against us. But we are really, really looking forward to trying to get that one in the future. Anyone that likes rap knows that’s what you are aiming for when you start out; to rap on your own Premier beat. Everyone rhymes over his instrumentals and uses them live, but to actually have your own, to sit down and write a rhyme to that… it would be classic.”

While the ’Oars are thrilled with their new manager, Trials credits former manager Kirk Wray with making them who they are today. “Kirk pretty much nurtured us from the start. He is responsible for a lot of my hip hop knowledge. I wouldn’t know shit without that dude. After Kirk went his own way, back to the real world of an actual paying job, we coasted for a little while by ourselves before eventually taking Nate on board because he showed a lot of interest.

We were always aware of his professionalism after touring with Phrase.

We really like his work ethic. Nate is very much a businessman so it’s nice to have someone like that on your side. We fuck around a lot - we are anti-businessmen so Nate is really good to have around.”

Hedonistic party animals or not, these guys know what they want and plan to get it. “We are a pretty hands-on band. We have pretty much learnt the ropes through Hilltop Hoods. They run their own shit how they want [and] they don’t compromise for anything. That has definitely rubbed off on us.”

The Funkoars perform at the Fat As Butter festival, the Foreshore, Newcastle on Saturday October 22.

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t h e l i v i n g e n d

“We’ve

really made the record that we wanted to make,” says Cheney. “You just don’t know how it’s going to turn out, when you’re writing it. You’ve got this idea in your head of how you think it’s going to sound, and how you think it’s going to flow and all that.

It can go the opposite and turn out completely different. But this one… we were just so stoked. When we were making it we were like ‘fuck, it’s sounding really good, sonically’, and I think we picked the best batch of songs from the 30 or 40 we demo’d.

Vocally I was pretty happy with the way it was coming along. And when it was completely finished and mixed, we were just like ‘fuck yeah!’. We were sure people were going to like this. We just felt like this was our best record.”

“We basically started demo’ing the album in January last year and I don’t think I took more than a day away from the writing, for the entire year! I lived it and breathed it 24/7. There were lots of ups and downs in the writing — we had some really

“... some things have to end in order for other things to evolve and regenerate.”

From End to Beginning After almost 20 years together, Melbourne rock institution The Living End have just about seen and done it all in the Aussie music scene, recently releasing their sixth studio album. Lead vocalist, guitarist and main songwriter Chris Cheney joined Rod Whitfield recently for a chat about the new record with its rather puzzling title and other TLE-related stuff. good songs in January, and by around March or April we were sitting around in our rehearsal rooms staring at each other.

We kind of felt like we’d run out of ideas. I started to feel burnt out. It was kind of like ‘shit, we’re only half way through the writing’. But we pushed through that. The thing about The Living End is that we’ve got this work ethic — we just get on with it, and we push ourselves, because we want the result. I think that’s the reason we had the down time, we were searching for something that didn’t exist, something special that we had in our minds. I really

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felt like three weeks after that, I dug deep and came up with a whole batch of songs.”

The album is entitled The Ending is Just the Beginning Repeating, which has caused some consternation amongst Living End fans. But according to Cheney, the title does not foretell the band’s demise. “A lot of our fans were shocked,” he laughs. “It’s not a very Living End sounding album title, they’re usually short, sharp and direct. But that’s kind of what drew me to it. And I guess for me it’s a statement on life cycle, I suppose. There’s a real thread that’s going through this album that’s asking a lot of

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questions. There were a few things that were going on in my life during the recording and writing of this album — a lot of personal stuff. I really felt like I was in a difficult place, and I was hoping that would end! And that I would grow from it if I survived it. It just seemed a very powerful statement — some things have to end in order for other things to evolve and regenerate.”

According to Cheney, his personal journey has shaped the whole feel of the album. “[It’s] just a massive question mark, really. Me being the age that I’m at now, with two little kids, and the band being

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through everything we’ve been through, you get to a point where you start analysing things a lot more, and what does it all mean? My life’s changed an enormous amount in the last six months, and I guess what you’re going through always makes its way through to the songs.”

The Living End storm the Fat as Butter Festival in Newcastle on Saturday, October 22, alongside Empire of the Sun, Cloud Control, British India, Calling All Cars and many, many more. Cheney and the band are jumping out of their skin to play such a massive show. “We pride ourselves on being a live band,” he says. “Once we get the album right, it’s basically a chance to get out and play [it]. To have 11 new songs to go out on the road with is super exciting for us, particularly because they sound so much better than our old songs. They just work — they flow, and they sound tougher and bigger.”

The Living End perform at Fat As Butter, Newcastle, on Saturday October 22.

reverb magazine issue #063 — October 2011 23

T h e J e z a bel s

You just got back from Splendour in the Grass. I heard the festival was pretty crazy.

Any good stories come out of it?

Yeah, it was really good. I actually had my birthday on the Saturday.

Fantastic. What did you do to celebrate?

Just drank a lot (laughs), and the band surprised me with a cake, so that was cool.

We had a really awesome show as well, so that was the highlight.

Art in Progress In late 2009, Triple J ‘unearthed’ a four-piece band of Sydney uni students called The Jezabels.

The band has since released three highly acclaimed EPs, toured the globe relentlessly and quietly risen to the upper echelon of Australia’s most popular rock bands. Keyboardist HEATHER SHANNON spoke with NICK MACKAY about their whirlwind rise to the top and the excitement behind the release of their debut album, Prisoner.

The band has had a pretty whirlwind trip since you were ‘unearthed’ by Triple J in 2009. Have you had a ‘holy-crap-this-is-areally-big-deal’ moment yet?

I feel like our journey started a long time before we were ‘unearthed’ so it has felt very gradual. But at the same time I have sort of said to myself, “what the hell are we doing?

I’m living out of a suitcase here.” But I think when the album comes out it might hit me then and I’ll be pretty shocked.

common sounds throughout the album, so it has that unified through-line even though they are very different songs. I think the order of the songs was very important too.

If we got that wrong I’m not sure it would have read properly.

You mentioned living out of a suitcase — you guys have been on the road an awful lot the last year or so. How have you even had time to record an album with so much time on the road?

It was pretty hard, actually. From March until June we had two major tours overseas so it [the record] was done very quickly and under a very big time restraint. So it feels like a bit of a miracle that it got done actually. Now we’re out on the other side it’s very relieving.

Was there a lot of going back-and-forth about the order of the songs, trying to get them right?

We tried a couple of different orders and they didn’t really work and there was a point where we thought, “oh God, this one doesn’t fit”. At first we tried to pair up certain songs that we felt went together well. At the beginning of the album we have all our ‘songysongs’ and towards the end of the album it gets more chilled out and kind of falls apart sonically and drifts off.

Was there a general idea within the band about how you wanted the record to sound?

We never really sat down and talked about it.

It all happened very intuitively. One song goes in one direction and another song goes in another direction. We use some

You’ve taken a different approach to most bands — putting out three EPs first and touring those before releasing a full album.

What was the reasoning behind that?

It just felt right to us. I don’t think we ever really thought about it. We didn’t really feel like we were prepared to put out an album

24 reverb

magazine issue #063 — October 2011

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“ We like the idea

of art in a progressive state.

It doesn’t have to have this big sheen about it…”

after the second EP and we had this idea after the first EP that we would link the three together. We like the idea of art in a progressive state. It doesn’t have to have this big sheen about it and it can be a work in progress and a snippet of what we’ve done to a certain point. As an independent band it was also cheaper for us to go into the studio for a short time and record five tracks rather than 12 or 13.

You’re a classically trained pianist. Can you tell us a little about how you came into music and how you came to play the piano?

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I started learning piano at a really young age and I did all my AMEB (Australian Music Examination Board) exams, which are very dry, classical music exams. But I really loved them. Then I was exposed to different types of music and things that my friends were listening to at the time and, ever since then, that’s been mainly what I’ve listened to and what I like to play.

All four of you seem to bring something different to the band because of your different musical backgrounds. Do you think this is what makes your sound so unique?

Totally. I think at times we actually struggle against each other but then we all complement each other as well. You can hear that in the music, especially in a song like ‘Nobody, Nowhere’. Haley (Mary, vocals) is trying to break out of a very strict rhythm and she ad libs over the top of everything. I like how it comes together and it doesn’t really make sense.

What are the goals for the band over the next few years? Do you set goals or do you like taking things as they come?

It’s a little bit of both. We’re all very aspiring people so we’re really in it for the long run. We don’t really know where that is headed but it’s going to be a lot of touring, for sure. Hopefully we can keep writing and get better and better. As long as it stays fun, that’s all that matters. We’re exploring together and we’re not sure how it’s going to turn out. But then you get a song out of it and everything is alright.

The Jezabels perform at the Great Northern Hotel, Byron Bay, on Wednesday October 12; Coolangatta Hotel on Saturday October 15; Fat As Butter festival, the Foreshore, Newcastle on Saturday October 22.

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reverb magazine issue #063 — October 2011 25

co n fe s s i o n — C h a i n

If there is one Australian hardcore vocalist that isn’t sitting around waiting for things to fall into his lap, then it’s this man. Michael Crafter, veteran of the Aussie hardcore scene, is back on the road in support of Confession’s brand new album, The Long Way Home. But, as he told Cameron Edney, home is where his heart is.

You must be really proud of the new album?

Oh, yeah. The songs are better than anything we’ve ever done! I think when we started writing early on, we had this idea in our minds.

We knew exactly how we wanted the album to be and I think we’ve achieved that in every way that we possibly could. We’ve always wanted to be as melodic as we are heavy; we really wanted to have that heavy fuckin’ brutal intense side as well as

Having spent so many years in this industry.

What do you feel has been the single most important lesson you’ve learnt?

Don’t sign anything! Don’t sign a record deal or anything that might get you fuckin’ ripped off in the long run. There are so many sneaky bastards in this scene. Here in Australia there are promoters that are scumbags; there are labels that are scumbags. I don’t even see the point of signing a record deal

The Confessional emotion and melody. We want our music to have catchy parts as well as lots of breakdowns. I guess when we wrote this album we added all those elements.

You recorded the new album with Swedish metal producer Fredrick Nordström who you’ve worked with in the past. How did you find the experience this time around?

You listen to the stuff that Fredrick has done in the past 10 to 15 years and he just knows what works! He was so positive, so happy, always joking. [But] if someone would stuff up, he would burn them and give them heaps of shit. He was so good to work with and he understands what you’re trying to do. Fredrick and his assistant pushed us and made us and the album a lot better than we thought [it could be].

in Australia. Signing deals in the past has fucked bands I’ve been in.

You left Australia to break into the States and spent some time in (Boston metalcore band] Bury Your Dead. How different did you find that experience to how things are done here in Australia?

At that time [Bury Your Dead] had been put up on a pedestal. They were about to go to that next level [and] start playing stadium metal shows. It put me back on my own two feet and made me realise a lot of stuff. I knew I didn’t really want that, I just wanted to have fun with my mates. This was just a bunch of dudes that I am now friends with, but at the time I didn’t really know, and I felt awkward.

It just wasn’t for me, I guess. I learnt a few lessons and it just made me strive to make this

band a lot better!

Doesn’t that worry you? What happens if this new album is the one that takes off for you and, next thing you know, you’re billed for stadium-style shows?

When you’ve had a goal from the first day of playing live and having fun with your mates and you get bigger, that’s different from being in Bury Your Dead where everything was handed to me. I started this band and I’ve done everything myself to get it to the point that we’re at now. I still do 95 per cent of this band’s organisation. We don’t have a manager. We have a great booker in Graham [Nixon, Resist Records] and he helps us out in a management sense but I still do a lot of the work myself.

Just before we wrap it up, the new album is hitting the shelf, and you have some tour dates coming up. What other immediate plans do you have in place?

We have a couple of things at the end of the year. We’re going to try and put together a metal/hardcore festival in either Sydney or Melbourne for a lot of the newer bands. We’re also off to Europe again early next year and my girlfriend is having a baby early next year so I have to juggle that [laughs] and try and make everything work.

Confession performs at the YAC, Byron Bay, on Thursday October 13; Newcastle Panthers on Saturday October 22; Oasis Youth Centre, Wyong, on Sunday October 23.

Links in the Chain When rockin’ Aussie blues legends Chain were at the height of their career in the 70s, founder and guitarist Phil Manning longed for an outlet that would let him explore his mellower side. These days he’s got his cake and he’s eating it too, not only managing to keep the new, edgier Chain alive and well, but also successfully recording and touring as a solo artist. In the lead-up to the Sydney Blues and Roots Festival this October, Manning is putting his blues hat on as Chain hits the stage with their classic tunes, including the number one single and crowd favourite ‘Black ‘n’ Blue’. BIRDY reports.

“We have stuff that we play from the 70s but we also play more recent songs,” explains Manning. “Basically, the Chain audience is incredibly loyal and we know they wouldn’t let us get away without playing certain things, like ‘Black ‘n’ Blue’, for example, and the material off the Toward The Blues (1971) album. If we didn’t cover stuff like that, they would get pretty annoyed with us! We’ve done so much recording over the years, though, that there really is a lot of material to get through.

Our most recent album was Sweet Honey and we’re featuring quite a lot of material off that in the live show. Chain has never been a strict sort of band, we have a lot of parts in our songs that give us a chance to improvise and jam if we want.”

It’s the ability to improvise yet remain incredibly tight musically, that makes for Chain’s trademark in Australian blues. It’s about striking a balance between freedom and technique, according to Manning. “It’s also about the interaction between me and Matt Taylor (vocals, harmonica),” he says.

“We’ve worked together on and off since 1967 and we’ve always had an amazing chemistry. Matt’s worked with other guitar players and I’ve worked with other 26 reverb

mag azine issue #063 — October 2011

harmonica players, but when we get together with one another, there just seems to be something special — you can tell that the audience really love it. They get off on it!”

Manning equally attributes Chain’s unique sound to the band’s influences which, unusually, spring from both American and British blues mixed in with an Australian brand of rock. It’s a combination unlike any other, he says.

“The way that Matt plays his harmonica is also very unique. Certainly, in my case, I was listening to bands like The Rolling Stones, The Yardbirds, The Beatles and then that led me onto Eric Clapton. As I went along, I found out more and more about other music and I started to discover the roots of it and the American side of it.

A band like Chain were influenced by both sides of the coin, whereas I think most other bands lean towards one side or the other. Chain was just as much influenced

by Cream and Jimi Hendrix, as by Chicago blues like Buddy Guy and Junior Wells.

Somehow all of that got mixed up in our music and in the end we mixed it up even further with Australian blues, so it ended up being a whole new thing rather than some derivative project.”

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But a solo career was something Manning often yearned for, even at the height of Chain’s popularity in the 70s.

Although he appreciated the success that came with the band, he claims he also felt much of his songwriting didn’t fit the Chain template of blues/rock. In recent years, Manning has devoted the majority of his time to touring his acoustic project in Australia and internationally.

“I just started getting really frustrated because I found myself writing really good material but never being able to fit it into the band context,” he says. “It was also frustrating back in the 70s and 80s if you wanted to be a solo artist because you had very limited places you could tour, and the only way you could work in those days was to just keep playing! There was never the

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amount of festivals, or even clubs, back in those days as there is now. That’s changed for the better and you can tour bands all the time now. There are these fantastic festivals like the Blues and Roots and there are some great restaurants and cafes which are perfect for solo artists.

“Chain is my hard-edged rock/blues band, but my solo stuff is my acoustic frame, where it’s just me and a guitar. I play slide on occasion and I’ve got a stomp box, so it’s quite a different sound. The best part about it is that now a lot of the time when Chain performs, I get to open the show as a solo support act and then I get to be in the band as well!”

Chain performs at the Sydney Blues and Roots Festival, Windsor, October 27–30.

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col d c h i s el

“37 dates in 60 days is definitely going to push our limits, that’s for sure.”

After making music together for almost 40 years, legendary pubrockers Cold Chisel take a trip down memory lane with the Best Of Cold Chisel: All For You, including 18 classic tracks as well as hours of rare and previously-unreleased DVD footage. But it’s not all ancient history with the band’s new album on the horizon and their biggest national tour in eight years. BIRDY spoke to Cold Chisel guitarist Ian Moss about revisiting the band’s early days and hitting the road again after the sudden loss of friend and bandmate Steve Prestwich.

All For You “Going through old videos has really brought back some mixed feelings,” says Moss. “I’ve felt a lot of amazement because I hadn’t seen any footage in a very long time.

To some extent you don’t realise how much you’ve achieved when you’ve never taken the time to stop and smell the roses and take it in properly. Watching the footage, though, I found myself making comparisons between now and then. In some ways it’s been a pretty good eye-opener, especially with my guitarplaying. So many times I’ve been like, ‘wow, I was doing that pretty well back then!’, and then other times I’ve been like, ‘geez, I see why I needed to keep practicing there!’.”

The biggest surprise for Moss was the sheer number of recordings dug out of the archives by the band’s management. “Our management are also massive fans of the band which helps when you’re putting something like this together and investing all that time and effort. For a long time we’ve had to listen to them consistently saying things like, ‘oh, Find us on Facebook

remember that show you guys did at such and such?’, or, ‘I’ll never forget such and such a gig’… Then they started saying, ‘you know, there were cameras there that night, I remember seeing them very clearly, do you know what happened to the footage?’ And honestly, it’s hard to keep track of what’s being filmed. This management, we’ve had them about three years now and they did a lot of digging and a lot of preparation to get this package happening. But even the older management we had before them also did a hell of a lot of archiving and digging up, too. It’s just amazing how much valuable stuff can build up over the years while you’ve got your head down and in your mind you’re just getting on with the job!”

Clearly nothing has changed, because on top of Cold Chisel: All For You the band are about to set off on their 37-date Light The Nitro tour, all the while attempting to wrap up their new album. And while it’s ‘all systems go’ for Cold Chisel in 2011, it’s

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been a bitter-sweet return for the band after losing drummer Steve Prestwich to a brain tumour in January this year.

“The new songs have just been recorded and mixed and mastered, so they’re pretty much ready to go,” Moss announces. “It’s just a matter of doing all the artwork and giving it a title and things like that before we get it out there. This one is definitely not going to be digital-only, unlike the Best Of stuff, so we’re aiming for early April next year to have it out. When we got started on it, Steve was still around and we’ve actually got him on two or three tracks. There is some of his fabulous songwriting on the record. After he passed away, we were wondering what to do and whether we should just pack it in.

We were just blown away that it happened so quickly — he’d only just discovered he had symptoms and about ten days later, he was gone! We realised though, that it was important to keep going because he’d made an effort with his input in the songs and in

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a lot of ways the record’s turned out to be a tribute to him now. The drummer we’ve got now is Charley [Drayton], who’s also Chrissie Amphlett’s husband, and he’s doing a great job but every now and then I quietly think about Steve. It’s hard not to let it upset you but you’ve also got to keep going.”

According to Moss, the upcoming national tour is the biggest thing the band has attempted since The Ringside Tour in 2003. “That was a fairly large tour but this one is going to be even more intensive.

There is a lot to get through — 37 dates in 60 days is definitely going to push our limits, that’s for sure. But we’ve been rehearsing hard for a while now and putting some good time into it. In a sense it’s almost become automatic because we can now relax enough to take care of ourselves but also play well.

I think the adrenalin and the excitement is the big thing about performing live — that alone should be enough of a kick to power us throughout the entire tour!” reverb magazine issue #063 — October 2011 27

jo h n w a ter s

Lennon and the Glass Onion If you’ve never heard of John Waters, you may have missed out on a fundamental part of childhood. A Play School regular for years as well as an esteemed actor and singer, Waters is also known for his unique ability to turn on a thick, Liverpool accent and sound decidedly like John Lennon.

His Lennon memoriam/stage play, Looking Through a Glass Onion, is back for another string of sure-to-be-sold-out shows this month. Waters chats with Max Quinn about life as Lennon.

I thought it might be interesting to start by talking about where you were when John Lennon died.

I was at home in Sydney — Lennon’s death fell, oddly enough, on my birthday, December the 8th. But because of the time difference in New York, it was the morning of December 9 here in Australia. I was in my kitchen listening to the radio, and the first mention of his attack was something along the lines of: ‘John Lennon has been shot’, and I remember thinking that that was terrible and hoping he was all right.

When the reporter said he had been shot, I didn’t associate it with his death. Then 20 minutes later they confirmed that he had died, and I sat there stunned.

Everybody who was alive back then has a ‘where were you when John Lennon died?’ story. Why is it so compelling?

I think it’s amazing [that] a working-class teddy-boy from Liverpool touched so many people very deeply. When someone like that is alive, sometimes you strangely don’t regard them as highly as you do in death.

It’s the difference between [thinking] ‘oh, I really like him!’ and realising how much you loved him for the profound effect he had on the music industry. That’s what creates this huge upsurge of emotion.

For me he was an older brother figure.

I was a teenager at the time the Beatles became prominent, and their music was everywhere. It was right at the time of the British rock revolution that I became a part of, like a lot of other people. The whole crux of my life was singing songs that meant a lot to me — a raison d’etre, if you will.

Tell me about that part of your life.

It’s hard to explain how much it was not just the music. It was part and parcel of a massive sociological revolution. I think that your generation and even the intermediate generation find it difficult because they think ‘oh, well there are big pop groups’ — like Nirvana were a really

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magazine issue #063 — October 2011

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prominent group. But nothing I’ve seen has taken off like The Beatles [did]. They were news for reasons other than music; they were news because they were a phenomenon.

By 1964 they were on the front page of every newspaper every day, and that’s not an exaggeration. They were always there or thereabouts. Every time they made an album, they made a major breakthrough in terms of sound and songwriting techniques.

When you consider that their recording career only spanned seven years, it’s extraordinary to think about how far they advanced contemporary notions of what it is to make an album.

At what point, then, do you turn around as a singer and as an actor and realise that you are somebody who can really channel Lennon?

When I started singing in bands, people started commenting about how I had a similar timbre to my voice to John Lennon.

It was a white, British way of doing rock and roll. It borrowed a lot from the Buddy Holly sound that we loved in England. I had a guttural sound that, even as a teenager, meant that I could sing ‘Twist and Shout’ the way that Lennon did. At school I used to amuse my friends by putting on a Liverpudlian accent, because we thought that they talked funny up north. But Lennon changed all of that. He intellectualised what it was to be a pop star. Before Lennon, pop stars would only say that their favourite drink was Coca Cola and that they ate Cornflakes for breakfast. He made bolshy comments about everything under the sun, and it was a great thing because it broke down so many class barriers in Britain.

John Waters’ Looking Though a Glass Onion performs at the Civic Theatre, Newcastle on Friday October 14, and Twin Towns Services Club, Tweed Heads on Saturday November 26.

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W i l A n d er s o n

“...ya know what your show is about mate? It’s what you reckon about stuff, why you reckon it, and why you reckon you might be wrong about reckonin’ it!”

“Well, a particular reviewer said that once,” recalls Anderson. “I’m not too sure, to this day, if they were trying to be a smart arse!” he laughs heartily. “There’s similar things in some ways, but as every comedian will tell you, the one thing that every single comedian in the world is jealous of, when it comes to rock stars, is the idea that if you have a good song, people want to hear it over and over and over again. Whereas if you’re a comedian, you never come out on stage and [hear] - ‘dude, do klim is milk spelt backwards from 1999! We’ll all sing along and hold up our lighters!’ No. So, it’s always about new stuff.”

Wil is smack bang in the middle of a tour that is taking him across almost the entirety of this wide brown land of ours.

And, as he has been for many years, he is giving audiences a rollicking-good time.

“I’m kind of in the middle of it, actually. I’m doing the Sydney run of it at the moment.

It started in February. I went to Adelaide; it’s been to Brisbane, New Zealand, London, Ireland. And then when Sydney finishes it gets to the more interesting parts of Australia! I’ve got a bit of a random schedule, because we do Gruen during the week. So basically it’s places I can get to on the weekend. I’m going to Townsville, Port Macquarie, Newcastle, Canberra, and smaller places — Nowra, I go Sale, which is where I’m from. Some of them are massive, and some of them are little. A lot of them

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Rock Star Comedy Wil Anderson has been described as the ‘rock star of the comedy world’. However, as Anderson tells Rod Whitfield, there is a marked contrast between the lives and careers of a famous comedian and a high profile musician. are weekend trips.”

Punters who come out to Anderson’s live shows can expect, among other things, more swearing than they see on television. “That’s the warning I like to give to people… in the past, if people came to see me do stand-up, they had a pretty fair idea of what they were going to see. Whereas these days you do get some people who are like ‘oh well he seems lovely on the television’. And then they come to the show and they’re like ‘ooh, he doesn’t say fuck that often on Gruen!’

“Stand-up comedy is what I do for a job.

So basically it’s the ‘true’ me; the most fun me I guess, in many ways. The show itself was summed up by a punter when I was doing my Queensland run, and I hadn’t really put into words what the show was about… This guy came up to me, in the roughest, proper Queensland accent and went ‘ya know what your show is about mate? It’s what you reckon about stuff, why you reckon it, and why you reckon you might be wrong about reckonin’ it!’. And I was like ‘that’s exactly

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what the show’s about!’. I wouldn’t have summed it up that way. I would have said it was about the complexity of modern decisions, and how we all live in an ambiguous and grey world, and everything needs to be absolute but most of us are hypocritical.

But you know what? I reckon he said it well!”

So that also begs the question, how does Wil keep his comedy fresh? “I guess that’s the hardest thing,” he muses. “Because, as we joked about at the start, comedy audiences are voracious audiences, they always want new material. I do one tour a year, so I write a new show every year. I tour nine months of the year and I have three months where I don’t tour. And that three months is my writing and conceiving of the tour time. So that’s the most important time…

I could sit down and write an hour of jokes that I can use and references that would amuse people enough for them to enjoy themselves and they wouldn’t complain and want their money back. But I don’t really write with that in mind. I write [thinking] that I’ve got

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to say this stuff for nine months; I’m going to say this stuff 200 times. What would I be interested in talking about every night for nine months. Because the minute I’m not interested, then the audience won’t be interested either.”

It’s a long way from a tiny rural Victorian town to touring Australia and the world, hosting TV shows and the myriad other endeavours Anderson has on the go. “I’m a country Victorian, originally,” he says, “born and raised on a dairy farm down in East Gippsland. My dad lives on the road he was born on; my grandfather built the road, and it’s called Andersons Road, named after [him]. My brother’s back on the farm as well. But I’ve lived in Sydney for 11 years, I guess. I came up here when I started doing the Triple J Breakfast show.

Then the next job I got was doing the Glasshouse, which was out of Sydney. We did that for six years. Then the next job was at Triple M, doing the radio, and that was out of Sydney. Now I’m doing Gruen which is out of Sydney. It seems like I came for a weekend and stayed for a lifetime. I get, from all my Melbourne friends, ‘when are you moving back?’. Now it’s a bit more like ‘are you ever moving back?’.”

Wil Anderson performs at the Civic Theatre, Newcastle, on Thursday October 27, and the Glasshouse, Port Macquarie, on Friday October 28.

reverb magazine issue #063 — October 2011 29

g e n er a l motor i n g

“ It was a dream drive on a

Rockin’ Roadster It’s been a feast of supercars over the past month so forgive me for thinking I’m King Dick with a wad of ‘gorillas’ (1000 buck notes) in my wallet. How deluded. But hey, would you complain if someone offered you a drive of first, the Lexus LFA followed by the new Benz SLS roadster? I don’t think so. Better yet, they let me drive the Benz — the drop-top version of the ‘Gullwing’ SLS, in the South of France, based out of Nice, and up into the Italian Alps along a sinuous mountain road to a place called Col de Brouis. It was a dream drive on a dream road in a dream car that costs nearly half a million bucks. The grin is nearly permanently etched on my face.

While the Gullwing commanded all the attention when it arrived late last year, this new drop top is arguably a better thing — easier to get into and out of, better looking, sounds better from inside the car and just as potent. The Gullwing model just seems a tad gawky compared to the sleek roadster — with the roof on or off. But Benz hits you in the pocket for the drop top — an extra $50k, taking the roofless version close to half a million bucks. It leaves you wondering why, because the Gullwing’s doors require special engineering, while the roadster has a relatively simple automated folding vinyl roof.

The price is even harder to explain based on its European price of €200,000, or about $250,000 Aussie. The extra dosh goes primarily to the federal government in the form of taxation and a little bit more for Benz.

It won’t make any difference to the people who buy an SLS roadster — they don’t have money problems like us mere mortals. And in this particular car, they are getting something truly wonderful — a car with heaps of character, 30 reverb

magazine issue #063 — October 2011

brutal performance, razor sharp dynamics, lavish luxury and an exhaust sound to blow you away.

The lithe, muscular roadster is a handsome brute, something underlined by the huge impression it had on the posh residents of the Riviera who you’d think would be accustomed to seeing supercars day in day out. They jumped up out of their seats, spilling their macchiatos and grappling for their phones to take a pic of the beastly Benz.

Quality drive time in the SLS roadster provided an opportunity to actually feel the thing and explore its vast sporty prowess in an ideal environment with the roof on and off. It’s particularly handy to be able to deploy the roof at speeds up to 50kph. It meant we could whip it off coming into some of the numerous tunnels in the Riviera region to enjoy the blatting exhausts. The sound is indescribable, frightening the unwary, stirring the soul of the mechanically attuned.

We liked it so much we actually sought out tunnels for aural appreciation sessions.

Power comes from the same engine as the Gullwing, in fact all underpinnings are identical in the two cars, apart from additional reinforcements to the aluminium space frame on the roadster. It’s a naturally aspirated, 6.2-litre, petrol V8 kicking out a handy 420kW and 650Nm. Redline is up around the 7500rpm mark where a soft cut-out comes into play. With this amount of power and torque, the 1660kg SLS roadster has a respectable power-to-weight ratio demonstrated by 3.8 seconds for the 0-100kph sprint time and 317kph top end.

The engine is front-mounted behind the front axle for balance and steering accuracy and feel. The seven-speed dual clutch ‘auto’

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r e vi e wed

Mercedes-Benz SLS Roadster r e vi e wed by

Peter Douglas

transmission is mounted, trans-axle style, at the rear, with power feed via a lightweight carbon fibre drive shaft. The engine has a dry sump for better oil cooling and scavenging under heavy g forces and to facilitate a low bonnet line.

Fuel consumption in such a car is irrelevant but Benz reckons it will do 13.2-litres/100km — entirely possible if you can resist the right pedal. Four transmission modes are provided, ranging from cruise to sport plus, as is the case with the suspension offering three modes — comfort to race. A race start mode is also provided to hose those pesky Lambo Gallardos away from the lights. The blip function on down changes in sport mode is a real bonus, smoothing the drive and making it seem like the driver knows what he or she is doing.

Reinforcements add 40kg to the roadster over the Gullwing which makes no difference to performance at all. And the chassis is rock solid with the roof on or off.

Suspension is by aluminium double wishbones at all four corners, while the wheels are 19-inch at the front, 20 at the rear.

The gorgeous red test car had optional carbon ceramic brakes with six piston front callipers that should be standard on all SLS models and not cost an extra 30 grand. As expected, their stopping power is enormous, pulling up the big Benz with consummate ease and absolutely no fade

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dream road in a dream car that costs nearly half a million bucks.” time after time — even on the mountain switchback road to Col de Brouis. Handling responses are sharp for such a big, wide car but therein lies the secret — its width and those wide tyres. Though a rear driver, it’s so wide that cornering is near race car level, aided by numerous electronic controls that can be pre-set and saved or disengaged if you think you can do better.

Just to see what it was like, we even drove the SLS roadster in cruise mode to prove it was capable and composed.

There’s plenty of kit in the car — electronic and otherwise, with buyers able to customise their SLS roadster right down to the colour and type of leather upholstery.

The audio is superb and the multimedia unit has full connectivity, including the internet, phone and audio streaming.

There’s a virtual read-out meter displaying info like lap times, power output, lateral forces, linear acceleration and other engine data — like the system use by HSV. All the info can be downloaded on to a USB drive for later perusal. The cockpit-style dash has everything at your fingertips and large gear change paddles on the wheel.

It’s a superb thing to drive with a raft of brilliant attributes — the engine, handling, luxury, heck, even the exhaust which is better than those legendary V8 muscle cars. It will show a clean pair of rear tyres to most other cars and can be absolutely breathtaking on the right road. The only real complaint is the lack of seatback recline angle due to the smallish two-seat cabin. SLS roadster is big and bad to the bone, a sports car’s sports car and arguably one of the best. We’d have one in a flash — who wouldn’t?

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toe n a i l cl i p p i n g s — cr u n c h y fort u n e s

TALKING SHOP Profiling music industry professionals

Name? Craig Elliott For whom do you work? TAFE NSW Kingscliff campus Current position title? Head teacher, graphic design & freelance designer How long have you been in this position?

1 week & 20+ years What are the main responsibilities of your position? Designing stuff that looks good, making my students feel they are getting their money’s worth.

fortunes

How did you get involved in the industry? By getting in there, listening, learning, making mistakes, being selfanalytical, trying harder and being an all-round good guy, who knows what he wants to get happening (and sometimes doesn’t).

Steve Burrito’s crunchy fortunes

Libra — I can see your house from here. You don’t have a lucky anything this month, but the people of Ghana send their love. That’s nice don’t you think.

Avoid vowels and anything that rhymes with the word fastidious.

Aquarius — The next time you go to see Korn, check the spelling, Woolworths have a no-moshing policy. Your lucky bodily function this month will be peristalsis, and your lucky form of transport will be gluing birds to yourself.

You’ve never been very practical, have you?

Gemini — Good news. The mojo you thought you’d lost has been behind the couch all this time. Your lucky mantra this month will be “rugby league is for wankers”. Yell it loud and proud. Your lucky hairstyle this month is the beehive.

Proudest moment? To have helped shape the futures, ideas and possibilities of students of mine.

Scorpio — Your dream of joining a cover band and touring the dizzy heights of Woy Woy may finally come true. And hey, they said you’d never make it. It’s only a matter of time before you start singing ‘My Sharona’ and living almost exclusively on chicken parmigiana.

Pisces — Say cumquat really slowly. Cumquat — oh yeah, baby. And remember, kiddies, cigarettes are just like hamsters — they’re perfectly harmless until you put one in your mouth and set fire to it.

No matter what you do, don’t believe anything you think

Cancer — Your new DJ name DJ Gavin just doesn’t seem to be cutting it with the crowd, but your mum loves it. Your lucky foodstuff this month is Vegemite toast and a white tea with one sugar. When you’ve got that together bring them around, I’m hungry.

Favourite venue? Phoenician Club, Broadway, Sydney.

Sagittarius — A mystery could be revealed to you. But, on the other hand, it might not. In fact, the odds of a mystery being revealed to you are slim. Forget I mentioned it. No, really, there’s no mystery.

None at all. Stop thinking about it. It’s nothing. Fuck, that was close.

Aries — This month, Charlie Sheen will start to worry about you. Your lucky substance will be illegal and your favourite sensation will be cool.

Mmmm – cool. You will soon be plagued by a vague fear of the flathead and Ikea furniture.

Leo — Driving the Sigma of complacency, you will be passed by the Commodore of doubt. Indicate and merge left. The suitcase of regret is in the boot.

Your lucky instrument this month will be the clavichord. Rock on.

Capricorn — Aliens have been probing you again and the pushie suckie machine has a full bag. What’s going on at your place? Your lucky flavour this month will be awesome, but you still haven’t figured out what the hell decaf coffee is for?

Taurus — This month you’ll decide that all one-legged seagulls should be called monopods. Your lucky dance move this month will be the sprinkler and your lucky sensation will be wet. If you find a small white dog, your missing car keys are inside

Virgo — You will be easily distracted this month and... ahh... um, oh look, something sparkly. Your lucky feeling will be stiff. And surprise surprise, you will finally grow your own boobs. It’s about time too. Show everyone.

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Best live show you’ve been to? The alltime stand-out is a band called NO! – Ollie Olsen’s brilliant thrash, sample, hardcore mash-up circa 1989, Max’s, Petersham, Sydney.

Favourite musical instrument?

Harmonica, feedback.

To whom should we be listening?

Gorillaz – Plastic Beach – excellent.

Anyone you’d really like to meet? (alive or dead) David Bowie or Prince.

Best way to spend a Sunday morning?

Bacon, eggs, hash browns, fried ripe tomatoes and an effin’ good espresso.

Any advice for people trying to break into the industry? Be enthusiastic, willing to learn, humble, passionate about what you love, don’t give up, improve what you do, love what you do, have fun.

reverb magazine issue #063 — October 2011 31

album Reviews Feature albums

Boy & Bear

Wilco

The Drums

Island/Universal

dBPM/ANTI/Warner

Universal

I’m With You

4.5/5

4/5

3/5

Warner

Moonfire

A slightly darker release from Boy & Bear, Moonfire is music for the heart and soul; exploring the wonder of being alive and the mystery of death through intricate folksy melodies and smoothed-over tribal beats, laced with the melting vocals of Dave Hosking. From opening track ‘Lordy May,’ an ode to death and the afterlife, it’s clear this album is more mature than Boy & Bear’s last, while continuing to embody the cool, highland folk of previous releases. Banjo’s battle guitars and vocals harmonise, while beating drums steadily guide you.

While most of the album is quite reflective, ‘Golden Jubilee’ immerses the listener in the wonder and ecstasy of living, denying the inevitable fate awaiting us all. Densely layered with melody, Moonfire reveals more with every listen. ~Jess SaXton

Kimbra Vows Warner

4.5/5

The brassy and classy sounds of NZ-born, Melbourne-based Kimbra are finally here. Vows is a bring-you-to-your-knees, angular romance, encompassed by tingling strings and harmonic idiosyncrasies. ‘Settle Down’ takes us in circles around and around a luscious voice, which has been proficiently looped – a defining feature of the 21-year-old’s musical operation. Kimbra’s song writing, across the 11-track album, has an eloquent wit, dancing through the different aspects of lustrous love. ‘Good Intent’ is sultry and sugary as a Bond theme, while a cover of Nina Simone’s ‘Plain Gold Ring’ is a befitting choice.

In the enticing ‘Call Me’, electric riffs and jazz beats clothe Kimbra’s soulful femme. Perfectly thought out and delivered; I’d settle down with this gal any day. ~Jamie Nelson

Fountains Of Wayne Sky Full Of Holes Other Tongues

4.5/5

With a strike rate of one record every four, Fountains of Wayne have a less-than-prolific output for a rock band with such immense commercial potential. But what the New Jersey power-pop quartet lack in quantity, they more than make up for in quality. Sky Full Of Holes is my odds on bet for best album of 2011. Taking a private eye to 13 tales of (sub)urban bohemia, Sky Full Of Holes is a classic storyteller’s album – think Randy Newman meets The Cars – whisking listeners into the warped worlds of wayward businessmen (‘Richie and Ruben’) and New York transport (‘Acela’), and penning the most exquisite military funeral march you’ve ever heard (‘Cemetery Guns’). Not bad for the fellas who wrote ‘Stacy’s Mom’. ~Max Quinn

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magazine issue #063 — October 2011

The Whole Love

Portamento

With their last album scoring a Grammy Award nomination, you wouldn’t think now would be the time for Chicago five-piece Wilco to release an album independently. But, that’s what they’ve done. The Whole Love has been released through the band’s newlyestablished dBpm label, with singer Jeff Tweedy and guitarist Patrick Sansone producing, with help from award-winning producer Tom Schick. And it works. Wilco have created an album that perfectly showcases their wide-ranging musical prowess. The album opens with ‘Art of Almost’ which, at just over seven minutes long, begins with hard synth, drum loops and lush strings before giving way to Tweedy’s soulful vocals and finishing with a climactic guitar and drumbeat that edges you forward into the album. It is the perfect opener to what is a very varied record.

From the tinkling piano and snyth undertones of ‘Sunloathe’, to the fingerpicked acoustic and steel-string guitars of ‘Black Moon’ and the honky-tonk vibe of ‘Capitol City’, Wilco manage to master every sound they put their hand to. The move to independence has resulted in a truly unique record for Wilco. Clocking in at just over 56 minutes, The Whole Love is certainly a long player, but it’s likely to be the most varied and creative 56 minutes of song you’ll hear in a while. ~Amelia Parrott

Little barrie

King of the Waves Shock

3.5/5

UK power trio Little Barrie are back with a third album of fun, edgy rock. King of the Waves sounds refreshingly loose, like three lads having a good time, whilst displaying their tight musicianship and winning chemistry. The 11 tunes pack in raw, energised garage rock with ample doses of funk, soul and a bluesy, chilled out twang during the more restrained moments. The songwriting swings from the raucous swagger of ‘Surf Hell’ and ‘I Can’t Wait’ to the soulful tones and lilting melodies of the title track and the dark, moody pop of ‘Dream to Live’.

Barrie Cadogan (vocals/guitars) is a charismatic frontman with greater depth to his delivery than is first apparent. His vocals hit the perfect balance of rock ‘n’ roll arrogance, sleaze and soul, fitting the changing vibe and texture of the songs.

The vocal hooks and creeping melodies colonise the brain for days to come.

Cadogan’s diverse, punchy guitar interlocks tightly with the busy drumming of Virgil Howe and the solid bass tones of Lewis Wharton. King of the Waves is a fine rock album, with a healthy nod to the past while maintaining a no-frills modern sheen and superior songwriting. ~Luke Saunders

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Musically, ‘portamento’ means to slide from one pitch or note to another. The cover art on The Drums’ new album, of a devilish child in front of a wall with a cross on it, and the title of the opening track, ‘Book Of Revelations’, may incline one to think that The Drums have transcended into some sort of Christian surf-pop. But fear not, the lyrics from the first song (“I’ve seen the world and there’s no heaven and there’s no hell”) indicate the opposite. However the Brooklyn four-piece have certainly changed their sound. This is not another wave and sand record, but instead a heartfelt musing on negativity.

Jonathan Pierce’s voice seeps out every melancholy lullaby in front of their usual dance design, but the lyrics seem opposed to the sweet tambourine and beats.

‘Searching For Heaven’ starts off with eerie synth and an odd sound not previously heard from The Drums, whereas ‘How It Ended’ is more reminiscent of their old sound. These dozen tracks will prepare the listener for a forlorn life with no heaven (or hell) at the end of it. ~Jamie Nelson

Dangerous!

Red Hot Chili Peppers 3/5

Nowhere near as adventurous as the last Red Hot Chili Peppers regrouping, after guitarist John Frusciante first left the band (1996’s blistering, darkly psychedelic One Hot Minute), I’m With You is less a reinvention of their sound and more a “hey let’s hope they didn’t notice John left again”. First track ‘Monarchy of Roses’ threatens distortion and dirt from the outset but quickly breaks into glimmering, polished 70s funk. There’s liberal borrowing of the sounds of other decades and genres: ‘Factory of Faith’ with a piano sound that evokes Dexy’s Midnight Runners and ‘Dance, Dance, Dance’ reminiscent of the minimalist stadium rock of Kings of Leon. The album feels overly long. The youthful energy that carried albums like Mothers Milk 13 songs deep is no longer there; a matured endurance replacing the blinding burn. Overall it’s more of the same from the later day Chili Peppers. ~Roger Killjoy

Black Devil Yard Boss Black Devil Rising

Teenage Rampage

Independent

Warner

3.5/5

3/5

Describing their sound as ‘heavy mental’, Dangerous! introduce their debut album of cocaineand speed-induced rock ‘n’ roll designed to stick it to the man. Teenage Rampage brings on quality pop melodies laced with raspy, aggressive vocals and erratic guitars, which never break from the curriculum of assaulting your eardrums. Single ‘Movers N Shakers’ is a trashy summer party anthem, while opening track ‘Not One of You’ is the obligatory rebel yell. The album’s only downfall is the difficulty of deciphering the lyrics, which took me a few spins. The album does get a bit intense towards the end, with the strong, consistent dynamic. If you’re a fan of The Hives and The Vines, this is for you. ~Charli Hutchison

Sal Kimber and the Rolling Wheel Sal Kimber and the Rolling Wheel Vitamin

4/5

Part of a rising wave of strident Australian folk/country divas, (see Leah Flanagan, Liz Stringer, Gleny Rae, Jackie Marshall and Lucie Thorne for starters) Kimber’s 13 songs touch on familiar territory, with freight trains, mountains and small towns figuring large in her love-lorn landscapes. But it’s her band’s mighty hand at fitting sounds to her soul that distinguish this record. Shane O’Mara’s production captures slide guitar, squeezebox, bull-fiddle, anguished vocals and languid angst in a near-perfect vaseline-smeared lens. Sensuality rolls off it like steam – if Kimber gets any hotter than this she’ll be relocating her fullthroated, sultry country-blues with more than a touch of jambalaya to a Louisiana swamp. ~Mick Daley

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The name Black Devil Yard Boss brings to mind a rogue lawnmower with a taste for blood, and judging from these dark lyrics about anger and revenge, somebody died.

Former Mammal members, Pete Williamson and Zane Rosanoski, have re-invented themselves here with bluesytoned riffs veiled by a heavy metal edge.

The first handful of songs are spat out at the same level, leaving the more guitarheavy and rambunctious breakdowns for the last quarter. Screaming guitar and the intricate and inimitable drumming style of Rosinoski roll out consistently throughout the album, particularly in ‘Mistakes’ and ‘One Dead Letter’, which kick some mean solos out from underneath the rug. ~Charli Hutchison

Jacob Pearson Crumbs of the Rendezvous Independent

4/5

What makes an artist?

Is it solely talent, or is it also the ability to take the audience on a journey into the depths of another’s mind, soul and spirit? Twenty-year-old Central Coast musician Jacob Pearson bears all the marks of a true artist, with his six-track EP Crumbs Of The Rendezvous exceeding all expectations of a debut release, creating an enchanting sound he can, in all honesty, call his own. While the lyrical content of ‘The Traveller’ and the title track is impressive, it is opener ‘Crowded Rock’ that introduces and highlights Pearson’s pleasantly haunting, charismatic vocals, combined with smooth, mysterious melodies, which make for an extraordinary listening experience. This could be the start of something spectacular. Don’t blink, I assure you this is one space to be watched. ~Chloe Webb

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album Reviews album of the month

Feist

The Jezabels

A Different Kind of Fix

Universal

MGM

Never Trust A Happy Song

Island UK

3.5/5

4.5/5

Warner

bombay Bicycle Club 4/5

To date, the wayward melodies and endearing lyrics of boy romantics Bombay Bicycle Club have charmed their listeners and A Different Kind Of Fix is no exception.

‘How Can You Swallow So Much Sleep’, featured on the Twilight: Eclipse soundtrack, begins with echoing vocals and exquisite guitar. You may associate it with sparkly vampires; try not to. Think of it as an introduction to the band’s development since last year’s slower, acoustic album Flaws. A Different Kind Of Fix has a different drive (fix) to both of the London band’s previous offerings, sitting closest to the hypnotic sound of I Had The Blues, But I Shook Them Loose. ‘Your Eyes’ immerses the listener in a smooth diminuendo, with Jack Steadman’s voice harmonising along with the strings and light piano. ‘Shuffle’ is the perfect kick mid-album, picking up the tempo in a jangling pavement-pop manner.

If elephants could dance, they would to this album. ~Jamie nelson

Eskimo Joe

Ghosts of the Past Warner

3/5

There are few words short of ‘legendary’ to describe Fremantle trio Eskimo Joe, who are rapidly becoming one of Australia’s favourite homegrown acts. With their fifth studio album release, Ghosts of the Past, the band have taken a step in a different direction from their previous record, Inshalla, leaving out the Turkish instrumentation and processed beats, and returning more to their original sound, reliving the ghosts of their own past. The latest singles ‘Echo’ and ‘Love is a Drug’ revive memories of the band’s traditional rock sound, employing far more electric guitar and piano layers, used to great effect in hit single ‘From The Sea’, on their 2004 album A Song Is a City.

Unfortunately, Ghosts of the Past doesn’t have the impact of Eskimo Joe at their best. But if nothing else, they have honed in on the sound that best suits them, which bodes well for future success. ~Josh Clements

Lanie Lane To The Horses Ivy League

3.5/5

To The Horses, the debut long-player from self-described exponent of ‘sultry sounds of a bygone era’, Lanie Lane, chugs along from the get-go.

Opener ‘Bang Bang’ showcases the bouncy upright bass that drives the album from sass (such as the attitude-soaked ‘Like Me Meaner’) to surf-esque (on the boppy ‘Jungle Man’, where Lane’s vocals cheekily play against retro trebley guitar). The album sometimes feels like a best-of tour of the much revered musical styles of time gone by, but is nonetheless enjoyable.

Lane’s vocals are a thing to behold and the old-timey arrangements are clearly intended to showcase her significant talent. ~Liam Demamiel

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Prisoner

Metals

In 2007 the geniuses at Apple decided to pair their Ipod Nano promotion with a little piece of bubblegum pop perfection called ‘1,2,3,4’ - Feist had arrived. Metals, in contrast, is an album bursting with sombre, downbeat ballads relying heavily on gentle guitars and piano, deep tempo changes and Feist’s extraordinary melancholic vocal range.

‘Cicadas and Gulls’ and ‘Caught a Long Wind’ are dense and delicate tracks reminiscent of Beth Orton or Cat Power.

Only occasionally does she get the lead out like in the thumping chorus of ‘Comfort Me’ or the bluesy doo-whop of ‘How Come You Never Go There’. And while the album is all the better for these foot-tapping shifts in style, it’s clear Metals is about deep longing and sorrow, no sequential numbers in sight. ~Nick Mackay

The Kooks

Junk of the Heart Astralwerks/Virgin UK

3/5

A British pop-rock sound and one of the best English accents around (from vocalist Luke Pritchard) make The Kooks one of those great go-to bands.

After a three-year hiatus they are back with their third album and it pains me to say: it’s just not as good. Their first release was playful indie-pop; second album Konk showed some depth and development to their sound. But here there are no defining features, just an album running on old steam.

There are some decent moments - ‘Junk of the Heart’ and ‘Eskimo Kiss’ capture the essence that made this band, and the violins in ‘Time Above the Earth’ are pure melodic bliss. But that said, a band is only as good as their last album. And if this is what The Kooks will be known for, it’s a bit of a shame. ~Charli Hutchison

mutemath Odd Soul Warner

3.5/5

New Orleans rock quartet Mutemath has mastered the skill of fusing genres to create a smorgasbord of sounds on their latest album Odd Soul. Their blues sound, prevalent in many of the tracks on Odd Soul, is at times combined with elements of indie-pop and classic rock. Their use of lo-fidelity recording techniques adds to the rough and earthy texture required for proper execution of the blues. Versatile lead singer Paul Meany sounds at times like Jonsi and at others like Dan Auerbach. A great listen, with enough variation to suit multiple audiences, this is without a doubt some of Mutemath’s best work yet. For Fans Of: The Black Keys, Gomez, Spoon. ~Josh Clements

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The Jezabels, a band on many pundits ‘next big thing’ list, have transcended the promise they laid out with their trilogy of EP releases. Their debut album Prisoner is an evocative gem, brimming with restrained, yearning anthems that reward repeat listening. The slow-burn desire and percussive attack of the album’s opening title track set the scene for what is to follow, an ethereal swathe of sound punctuated by the roaring ascendency of lead single ‘Endless Summer’. Vocalist Hayley Mary conjures a lilting post-gothic feel as the soundscapes behind her swell and weave, their densely layered sound echoed by lyrics lamenting loss and celebrating new awakenings. From the anthemic hold of album highlight ‘Long Highway’ to the meditative album closer ‘Catch Me’ – each song holds you in its grip, a reminder of the energy and presence that The Jezabels wield.

This is an album of artistic merit that will also appease the masses – a contemporary symphony of indie pop perfection. ~Paul Frost

Dead Letter Chorus Yearlings

ABC Music/Universal

3/5

The sophomore album from Sydney indiepop quintet Dead Letter Chorus is an accomplished, mature effort, brimming with confidence and lush production. Dual vocalists Cameron Potts and Gabrielle Huber harmonise beautifully over the jangly musical backdrop and varied instrumentation. The special interplay between the vocalists is complimented by thoughtfully pieced together songs, layered with subtle electric and acoustic guitars, delicate strings, percussion and piano. The folk-infused pop songs and heartfelt ballads tell the story of a love affair – a rollercoaster ride, carrying an emotional weight brilliantly conveyed by the two vocalists. ‘Covered By Snow’ features the sublime harmonising that is executed so effectively throughout the album, building tension to a soaring climax. ‘All Mine’ is a superb slice of emotion-charged pop, in which Huber’s layered vocals take control. Though not without its highlights, including the catchy, country twang of ‘Ýellow House’ and the urgent ‘Poet and the Thief’, the balladheavy second half of the album lacks the pop charm and undeniable hooks of the earlier tracks. Yearlings is a well-crafted easy-listening album that showcases a young band on the rise; enjoyable and catchy although lacking a truly remarkable, cutting edge. ~Luke Saunders

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Grouplove

3.5/5

The debut album from LA-based alt-pop quintet Grouplove gets the endorphins pumping with its carefree vibe, euphoric melodies and catchy choruses. ‘Lovely Cup’ begins with lovely lyrics, “You’re such a lovely cup/ why don’t you fill me up”, and a pretty guitar riff. Amid the easy tunes and shiny rays of percussion, are Christian Zucconi’s edgy vocals, complemented by Hannah Hooper’s feminine back-ups.

‘Colors’ and ‘Naked Kids’, both hits from their cutesy self-titled EP are featured on the album. ‘Slow’ and ‘Love Will Save Your Soul’ serve as a heart-stretching cool down, breaking up the business of the album effectively. Their name and songs reflect Grouplove’s BFF dynamic as a band (predominantly platonic, although Hannah and Christian are dating), riffing on the joys of companionship and good times. ~Jamie Nelson

Husky

Forever So Liberation

3/5

Melbourne outfit Husky have stepped up a notch in popularity after recently being ‘unearthed’, making new album Forever So a well-timed release. With obvious influences from late 60s folk, Husky Gawenda’s vocal melodies also evoke more than a hint of new folk-ies Fleet Foxes, Mumford and Sons, and Boy & Bear. The album features moments of lyrical beauty, showcasing Gawenda’s strong songwriting potential, with current single ‘History’s Door’ a standout. But as a whole the album lacks soul; it’s all very pretty and airy, but doesn’t quite strike a chord emotionally. This may be due to the production of the album, which doesn’t really aid the vocals, or a lack of confidence in the songs. As trendy as it is to be an earnest, guitar-strumming, folk-poet at the moment, let’s hope Husky’s passion for the music is genuine and not just a cynical analysis of the Triple J charts. ~Chelsea Reed

Wooden Shjips West

Thrill Jockey

4/5

Psychedelic San Franciscan four-piece Wooden Shjips take their obsession with Americana to dizzying heights with West. Recording outside their rehearsal space for the first time, the end result is a focused and more mature representation of the band’s thoroughly enjoyable psych-drone blend. ‘Lazy Bones’ evokes early Suicide with its to-the-point rhythm and repetitive pulsing. ‘Black Smoke Rise’ features equal parts gritty bass and ghostly organ, driving along until broken by an utterly transfixing and nostalgic effect-altered guitar solo. Spooky reverb-laden vocals figure throughout what is an album of dense and free sonic experiments. Wooden Shjips have truly outdone themselves, producing their most lucid release to date. ~Liam Demamiel

reverb magazine issue #063 — October 2011 33

f a s h i o n — p h oto g r a p h y b y k e n t m a rc u s

Dandelion maxi with indian feather print by Hussy, $329. Bullion coin strand by Mimco, $149.

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all images ©Kevin Bull

coaster Review

potbelleez

strangers

nina las vegas

tim and jean

something with numbers

one dollar short

coaster Gosford Showgrounds Saturday, September 17

Despite a downsized festival area and a step away from international bands this year, Coaster reminded everyone why they should be getting excited for summer. Perfect weather and a distinct summer festival vibe created a great atmosphere (marred a little bit by under-aged kids under the influence of way too many substances and behaving accordingly), and the bands did not disappoint.

First up for myself were One Dollar Short and Something with Numbers, who have both spent a while away from the music scene but made triumphant returns here.

The Potbelleez did what they do best and hyped the crowd up admirably, while Jebediah summed up what this reviewer was thinking when Kevin Mitchell said “most of you were probably conceived to this song” before playing ‘Harpoon’.

Jebediah played all of their indie anthems of the 90s to an adoring crowd and left new song ‘She’s Like a Comet’ until last, where it got the loudest sing-along.

Next it was time for some DJ action at the Red Stage, where Ajax kicked some serious arse. Standout moment of the festival was Ajax spinning his mix of Adele’s ‘Rolling in the Deep’, which mixed amazingly well with some deadly wobble bass (who would’ve thought?). After this was a snippet of Bag Raiders, who took a tad too long to warm up the crowd and lacked punch. John Butler Trio wrapped things up with some godly guitar skills and mass sing-alongs, and then it was time for the long trek home. Festival season is here. ~Matthew Glen

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live Reviews The Herd

The Vines

Bonjah

Birds of Tokyo

Coolangatta Hotel Friday, September 2

Cambridge Hotel, Newcastle Friday, September 2

Great Northern Hotel, Newcastle Friday, September 2

Newcastle Panthers Wednesday, September 14

©Kiah McCarthy

©Jim Graham

©Madeline Smith

Melbourne-based Bonjah pulled the punters into the Great Northern Hotel for the release of their Go Go Chaos album.

Beginning their set with a catchy reggae number, the band swiftly changed into pop-rock songs, with a blues and roots influence of consistent rolling bass lines, bongos, cowbells and occasional harmonica. Reggae grooves met with ambient guitar solos and charismatic frontman Glenn Mossop had the crowd captivated, as they sang along and swayed happily. Sleepy ukulele tune ‘Bring Back the Fire’ was sweet and soulful, while a rendition of Massive Attack’s ‘Teardrop’ impressed the fans. Unfortunately, the sound quality let Mossop down, with excessive reverb on the mic making it hard to hear the lyrics, although his delicate vocals shone through at times. The energy erupted later in the set, transforming the laid-back atmosphere with bangin’ bongos and heavy, descending breakdowns.

Support act The Joe Kings were then invited back up to the stage for a jam of ‘Twist and Shout’, creating an explosive encore of infectious, funky grooves, which the crowd ate up. ~Charli Hutchison ©Mel Roach

©Jim Graham

©Madeline Smith

It was no surprise that fans were outside the venue early to line up for The Herd’s soldout show at The Coolangatta Hotel. The Herd have a history of selling shows out with all of their tours and this was no exception.

The venue filled quickly, with people guarding their place against the barrier.

The band members filtered on to the stage one by one; with the explosive Urthboy finally emerging, completely in his element on a busy stage in front of a screaming crowd, and the band erupted into ‘2020’ to open the set.

Urthboy and Ozi Batla perfectly complemented each other’s style, reflecting lyrics on to each other, mellowed by Jane Tyrell’s soft vocals. ‘2020’ was followed by other crowd favourites such as ‘77%’, ‘I Was Only 19’ and ‘Burn Down The Parliament’. The Herd are not just another band with just another love song. Ten years on, they still have a reputation for driving their political message into every lyric. However, I did wonder whether the drunken crowd who filled this venue really heard the lyrics or if they were just repeating the songs they knew so well on record. After returning from a short break for the encore, The Herd came back to give punters a couple of final songs. Even after a fairly long break from the music scene, The Herd have returned empowered, rewarding fans with a great live experience. ~Madeline Smith

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If you’re like me, you may have found yourself wondering of late, “Whatever happened to mosh pits?” Well, if the Vines’ recent show at the Cambridge is anything to go by, the mosh pit is back in a big way. Frontman Craig Nicholls had the crowd in a frenzy (and the ladies swooning) when he and the rest of the band kicked off the night with the highoctane title track from their new record, Future Primitive. Old favourites ‘Anysound’ and ‘Highly Evolved’ followed, before more new material in the form of the infectious and adorable ‘Candy Flippin’ Girl’. By this point things were getting pretty wild and crowd surfers were becoming a handful for security.

Cue the calming laid-back tempo of ‘AS4’.

The Vines should be credited for their ability to craft a fluid set, seamlessly blending old and new material with crescendos in every track before pulling back from the brink with an acoustic number to give fans a break.

The rest of the set featured crowd pleasers, ‘Outtathaway!’, ‘Get Free’, ‘Animal Machine’ and ‘Ride’ as well as new tracks, ‘Gimme Love’, ‘Weird Animals’ and ‘Black Dragon’. They even threw an early B-side into the mix.

The night was capped off with a three-track encore. Nicholls was welcomed back for an impressive solo performance of ‘Leave Me in the Dark’ before being joined by the rest of the band to perform ‘He’s a Rocker’. The show finished with the obligatory stagetrashing to ‘FTW’, a suitable end to a wild and rowdy night. ~Amelia Parrott

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Josh Pyke Cambridge Hotel, Newcastle Thursday, September 8

©Ashlee kellehear

It was halfway through the set when Josh Pyke launched into one of his biggest hits, ‘The Lighthouse Song’, to the delight of the sold-out Newcastle crowd, who joined in the chorus with obvious relish: ‘I’ll just hold you tight and we’ll not let those fuckers in.” And so it became a theme for the night — the punters trying to out-bogan one another, along with some witty banter from Pyke, as he recalled some of his experiences in Newcastle over the years. Returning to the stage solo, for the first time in over a year, Pyke played a mix of new songs and classics to keep his fans happy. Pyke closed the gig alone on stage, armed only with a guitar and a loop pedal on his mic, layering at least six different harmonies before walking off, leaving only his voice echoing through the Cambridge. ~Shelby Houghton

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An eerily dark room, a stage lit blue, the faint sounds of screaming and a wobble bar set the mood as Ian Kenny and Birds of Tokyo entered the stage. Following on from their chart-topping self-titled album, the Perth band treated Panthers Newcastle with a vintage set list, beginning slow and sweet with ‘Broken Bones’; Kenny inhabiting his trademark beat- and riffdriven dancing persona and the crowd beginning their 90-minute swoon. Pitchperfect as always (that goes for when he performs with Karnivool, too) the crowd chanted and grooved along to Kenny’s beautifully executed ‘Armour For Liars’ and needed no encouragement when the harmonic opening to ‘Circles’ began.

Matching Kenny’s soaring vocals, Glenn Saragapany went all-out on his flawless keyboard melodies, especially on the older songs. Their hyperactive stage presence indicated Birds were as happy about playing as the audience was hearing them.

The ending crescendo to ‘Eduardo’ had fans kicking and swaying along with Kenny’s sensational (and trippy) strobe moves. When the acoustic was out, a mellow wash came over the entire venue, creating a lukewarm intimacy for ‘Wild At Heart’. With the aim of the tour to play smaller venues, in order to get closer to the fans that were loyal before the triumph of their latest album, this is the Birds’ last tour before they record over the summer. Well established from the beginning, this band has only become more breathtaking. ~Jamie Nelson

reverb magazine issue #063 — October 2011 37

live Reviews The Trews

Wollombi Music Festival

Stonefield

Eskimo Joe

Great Northern Hotel, Newcastle Wednesday, September 14

Wollombi Saturday, September 17

Beach Hotel, Byron Bay Thursday, September 15

Bar On The Hill, Newcastle Uni Friday, September 23

©Sarah Chuck

Wollombi Music Festival is a small and intimate day/night festival featuring fantastic funk, rock, blues and reggae artists from around Australia. Set in the lush Wollombi Valley, and with the temperature soaring to almost 30 degrees, we knew that once again we were in for a treat. With the tents set up we headed into the main festival area where most of the punters were seeking refuge from the heat in the shade around the outskirts of the natural amphitheatre facing the stage. We briefly left our shady spot to catch the Merchants of Venice belting out a mix of funk and rock. Next on the stage was local Newcastle act Benjalu who brought out the good summer vibes with a funky set including an appropriately themed song about backing up Friday’s hangover. We enjoyed Benjalu’s beats so much we purchased their new EP Shadows In The Sun. The Rhythm Hunters took to the stage after dark, and as always delivered a highly energetic set combined with an amazing show of technical drumming skills that got the crowd jumping around. Marshall and the Fro were next on stage and also delivered a pumping set that had the crowd rocking out. As always Wollombi Festival delivered the best in local Australian music, set in amazing surroundings and attended by a chilled and friendly crowd. We will be back again next year. ~Stephanie De Vries

An open letter to Amy Findlay, vocalist and drummer for Stonefield: Dear Amy, Let’s get married. I know, I know, it’s sudden and this is all probably a great shock, but hear me out because I think it could work.

You’re probably taken already, and, to be fair, I understand that a weedy wannabe journalist doesn’t have much to offer. But it’s all about potential — everybody knows that the freelance music journalism industry is where the money is (right?), and if the end-of-semester reports from my fledging stint at university are anything to go on, potential is something I have in spades.

Sure, if you read the reports, you’ll probably find the word ‘potential’ used adjacent to the phrases ‘you’re wasting your’, ‘vastly untapped’ and ‘for a harassment lawsuit’, but you can rest assured it’s there.

It’s a lot like the potential people see in your band. Unearthed High winners in 2010, a couple of monster singles under your belt, and now you’re packing out venues like The Beach Hotel in Byron Bay. Killer set, by the way. To be honest with you, I’d forgotten what a guitar solo was supposed to sound like. I’d forgotten how powerful a big, female voice could be. What an extraordinarily strong hour of deafening music. I don’t usually get my rocks off on the cutting, Zeppelin rock that you have appropriated and harnessed, but there’s something about four strong, powerful women with instruments that is absurdly pleasing, undeniably moving and strangely ballsy.

What you have collectively is a gift from God. What I have is a gift from my editor: to go see fabulous live music all of the time for free, to get blown away, and every so often, to fall in love.

Therefore, if I have so convinced you (or one of your sisters…), marry me. You can name the children as long as it’s not something weird like Sparkle or Persephone.

Sincerely, Max Quinn

Thursday night at the Civic Theatre and all who attended got a rare opportunity to witness one of music’s true icons. Dressed in jeans and a black shirt and sporting a top hat, Bryan Adams took the stage at 8.15.

What happened in the next two hours was very special. Beginning with the hit ‘Run To You’, Adams’s voice echoed through the theatre. His voice was amazing, captivating a sellout crowd to a point where you could hear a pin drop. Two songs into the show and the rest of the band was introduced.

Pianist Garry Briet provided a powerful support but no backing vocals and that is what was most impressive — one man, one

acoustic guitar, the occasional harmonica — completely entertaining.

Throughout the evening there were anecdotes, reflections and even time to calm the loudest of Novocastrian fans. This evening showcased Adams’s song writing abilities and no album was left untouched.

Highlights included ‘Cloud Number Nine’, ‘Not Romeo, Not Juliet’, ‘Cuts Like A Knife’, ‘Heaven’ and of course a killer acoustic version of ‘Summer Of 69’. To finish, an eight-song encore culminating with ‘Straight From The Heart’ satisfied the healthiest music appetite. Overall, an excellent evening. ~David Jackson

©Thomas Reid Benjalu ©Linda Wales

Catching The Trews at the Great Northern this month was an experience that comes by far too infrequently. A world class band, The Trews are extremely popular in their home country of Canada They’ve supported The Rolling Stones, Robert Plant, Guns ‘n’ Roses and Kiss, and here they are in Newcastle performing to 20 people. Delivering their own brand of hard rock with a commercial slant, there is no doubting the professionalism displayed on stage, something that only comes from a decade in the business. This was stadium rock in a small pub, and it was glorious. Delivering what was essentially a greatest hits set, highlights included Den Of Thieves’ ‘ Poor Ol’ Broken Hearted Me’, No Time For Later’s ‘Hold Me In Your Arms’, and ‘If You Wanna Start Again’ from their latest release, Hope and Ruin. Sound quality was impressive with brothers Colin MacDonald’s vocals and John-Angus MacDonald’s guitar work cutting through clearly, something that you don’t expect from a small pub sound system. To be honest though, it did not matter whether you knew any of the songs or even knew who the band was, the real joy came from just being there to take in high class music in such an intimate environment. For those who missed it, you are in luck — The Trews will be back at the Great Northern on Wednesday October 12 after visiting the Brewery in Byron Bay on Thursday October 6. ~Kevin Bull

Bryan Adams Civic Theatre, Newcastle Thursday, September 22

©Courtney Fitzsimmons

Fresh off the festival circuit and the release of their latest album, Ghosts of the Past, WA three-piece Eskimo Joe stepped into Newcastle in fine form – launching into ‘Sarah’ and ‘New York’ from third album Black Fingernails, Red Wine, before touching upon their latest single, ‘Echo’.

The Eskies reminisced about old times at the Bar on the Hill, singer/bassist Kav Temperley told a story about “making out for hours with a Norwegian foreign exchange student”, before jokingly outing some poor guy up the front as said foreign exchange student.

Only three songs from Inshalla made the set-list (sad face), ‘Foreign Land’, a stripped-back ‘Don’t Let Me Down’ and ‘Childhood Behaviour’, which ended in a real Fleetwood Mac-esque jam out. The band deflected fan requests for their veryearly fan favourite ‘Sweater’ with a simple “fuck off!”, instead powering through a number of tracks from Ghosts of The Past.

Ghosts... is a strong album built for live performance – big performances came in the form of ‘Gave It All Away’, ‘Speeding Car’, ‘When We Were Kids’ and big single ‘Love is the Drug’. Golden oldies from A Song Is A City, ‘Older Than You’ and ‘From The Sea’ brought rowdy cheers, as did the encore of ‘Black Fingernails, Red Wine’.

Overall, it was a mighty performance by one of Australia’s most ambitious pop-rock bands. ~Matt Petherbridge

©Kevin Bull

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live Reviews

funeral for a friend

all time low

The Getaway Plan

bigsound we are the in crowd

counter revolution Luna Park, Sydney Sunday, September 25

We all know that the Counter Revolution festival was created by the organisers of Soundwave to counter the bitter disappointment that fans felt when their attempt at having two Soundwave festivals in the one calendar year failed.

The festival attracted a large crowd but failed to sell out the Big Top Luna Park.

We Are The Ocean, The Swellers ,This Providence and Face to Face hit it off the earlier slots, nailing a bunch of powerfully delivered sets, filled with punk hooks to hype up the early attenders.

Yellowcard got the circle-pit in motion, leaving the audience with a few dizzy and dusted heads as the festival led into the night.

As All Time Low took to the stage, the fathers of an overly populated crowd of 14 year old girls were about to be serenaded with the reason they were dragged along.

These guys put on a great show, but the addition of an extra guitarist and vocalist hiding behind the amplifiers took the shine off granting their live abilities as anything else but ‘putting on a show’.

Craigery Owens’s newly formed rock group DRUGS pleased the ears of the heavy rock punters. The range of Owens’ voice is incredible and second to none in comparison to the other acts on this tour.

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the swellers photos ©asklee Kellehear

At times Owens sounds like the devil’s interpreter, yet he could also be referred to as sounding almost girl-like, as his voice sways up and down some freakish notes, like a finger running along the keys of a piano.

Panic! At The Disco were real eye openers considering their musical genre has jumped all over the place these past few years, a headline slot at a heavily punk orientated festival would soon determine where they would stand. They were brilliant. Brendon Urie is an exceptionally talented vocalist and musician, Urie has perfected the art of putting on an incredible show as the band brought the house down. Playing crowd pleasers ‘Nine In The Afternoon’, radio hit ‘Mona Lisa’ and his mother’s favourite (and ringtone for the past 6 years) ‘We Write Sins Not Tragedies’. ~Sean Fraser

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Fortitude Valley, Qld September 7-9

This year, Bigsound celebrated 10 years as the most significant music event in Brisbane, delivering some of the best local and international live acts on offer. Fortitude Valley’s clubs and bars were packed as the public squeezed in to get a glimpse of their favourite musicians. The three-day event was understandably a sell-out, receiving praise from music legends like Michael Chugg, who gave all the showcases a big nod.

Bigsound has a reputation for pulling in quality speakers. This year Tony Harlow of Warner Music and Tim Clarke of ie:music discussed recent topics and tackled some of the issues facing the Australian music industry.

The conference proved that not only was producer Q Music putting on an awesome show for the public, but also focusing on boosting the Australian music industry.

Emma Louise performed to a packed out crowd on the Wednesday night at the Zoo. She has been tipped by industry professionals as the next big thing in acoustic music circles, and after witnessing the vibe on this young talent and hearing her glorious voice, I must agree. She has since been signed to a joint venture with Universal Music Germany and B1M1 Recordings for continental Europe.

Other artists and groups to attract attention over the two nights were Bleeding Knees Club, Eagle and the Worm, Velociraptor, World’s End Press, Dubmarine, Jakarta, The Getaway Plan, and Jordie Lane who shined, playing popular tracks like ‘War Rages On’ and ‘Girl in a Bar’. One finale hit had to be Floatingme whose performance topped off

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Dubmarine

the night. I stayed on the advice not to miss them and they rocked out, showcasing everything Bigsound was about.

Over all, the talent was brilliant and Brisbane Valley sure did party hard over the few days but what a well-oiled event.

Bring on next year as I am sure it will just get bigger and better. ~Caroline Russo

reverb magazine issue #063 — October 2011 39

Film Reviews

cr a i g brewer

Fire and Brimstone r e vi e wed

Red State r e vi e wed by

Mark Snelson r ated

3.5/5 To say Kevin Smith has headed in a new direction with Red State would be an understatement. The director of cool and hilarious indie flicks like Clerks and Chasing Amy has done a completed turnaround, bringing us a violent and dark thriller about a right wing religious cult, armed to the teeth and taking their twisted idea of justice into their own hands.

The premise is quite simple — three teenage boys find a middle-aged woman online, who is local to their area and advertising sexual services. Their raging hormones lead them to her remote trailer where she offers them beers before getting down to business. But their drinks are spiked. When they awake they find themselves bound and caged inside the chapel of Pastor Abin Cooper (Michael Parks), a scary hybrid of Fred Phelps and David Koresh, only more extreme. His fire and brimstone sermon on the deterioration of humanity and end of days is delivered with such conviction and passion that it is almost easy to see why his small but faithful flock

have fallen for him, until it ends with the cold-blooded murder of a homosexual man.

The captured boys know they are next in line and make a desperate attempt to escape.

Meanwhile, the ATF — led by Joseph Keenan (John Goodman) — turns up after a tip-off about a weapons cache. But Cooper and his small clan are not going down without a fight and things quickly escalate into a Wacostyle shootout.

Red State is shot in a gritty hand held digital format that is very effective in adding to the urgency. The acting is top notch, but the movie belongs to Michael Parks whose performance is utterly captivating and chilling. The screenplay is unpredictable and does not bow to Hollywood rules and Smith builds the suspense early on, rarely letting up on the tension.

While not perfect, Red State is an engaging and suspenseful action thriller. Its sinister tone and fierce violence are unlike anything Smith has done before with, so don’t expect Jay and Silent Bob to pop up anywhere.

The Evil Trade r e vi e wed

The Whistleblower r e vi e wed by

Mark Snelson r ated

4/5

The Whistleblower is the directorial debut from Larysa Kondracki and is a harrowing real-life drama detailing the hideous trade of humans in post-war Bosnia.

The movie is based on the true story of Kathryn Bolkovac (played by Rachel Weisz), a Nebraskan police officer who accepts a six-month contract assisting the UN peacekeeping mission in Bosnia. Once there she discovers that a local bar also runs a very profitable sex trade using girls who have been forced into prostitution under false pretences. Digging deeper, Bolkovac gets more than she bargains for when it is learned that many of the clientele are American peacekeepers and

40 reverb

magazine issue #063 — October 2011

some have even become involved in assisting the perpetrators. As Bolkovac uncovers more and more dirt, her investigation becomes risky and even lifethreatening. But when she meets a couple of victims, she becomes even more determined to get the story out.

Given that this is a feature-length debut and shot over 36 days, it is a very accomplished film that is sealed by an outstanding performance from Weisz. At times the violence against the women is almost unbearable, which may alienate mainstream audiences. But rather than being exploitative, the violence is necessary to give voice to the victims of the trafficking.

The Whistleblower is by no means a date movie but it is a powerful story that needs to be told. It will fill you with rage and frustration at the bureaucracy that protects those sent to Bosnia as peacekeepers who become involved in one of the most hideous crimes against humanity that there is.

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Fancy Free Craig Brewer’s remake of the 1984 classic, Footloose, exudes warmth and charm. We emerged from the screening into miserable weather feeling warm and fuzzy, uplifted, even transformed. It’s no surprise that Craig Brewer, who himself has a powerful old-fashioned charm, was fuelled by a passionate desire to nurture the original film, creating a remake that is heartfelt and infused with love (sigh!).

Craig Brewer’s previous movies include Hustle & Flow, about a Memphis pimp who becomes a hip-hop MC, which won the Audience Award at Sundance 2005, and Black Snake Moan about a blues man who takes in a wild child who’s looked for love in all the wrong places (including Memphis, Tennessee), which gave Justin Timberlake one of his first big screenacting roles. These movies showed Brewer to be an innovator with young talent and a master at reworking music and at letting the audience feel the love. He was an inspired choice as director of Footloose and accepts the compliment with grace.

“I feel that my movie is still standing on the shoulders of the 1984 version. We were inspired by everything from that movie not just the script, the story [and] the music, but camera angles, grain texture of the film, the way colour was used. My generation, whether it’s right or wrong, is not so much into books any more. They get their ideas from movies. The first Footloose was so important to me for so many reasons, and this time round I wanted to dazzle people with music moments [as] I was able to do in Hustle & Flow and Black Snake Moan.” Brewer also says he had a very specific idea of how to do “the angry dance”, which Kenny Wormald’s character Ren does with spectacular panache and show-stopping precision.

“If I were to really target the area where most work went in, it was the banter between the friends,” says Brewer. “When you see these guys hanging out, I wanted it to be that no matter who you are you wanted to have a friendship like that. At the end of the movie there is the fight scene,

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because guys have this fantasy that if you are in a fight, no matter what it’s about, your friends are going to come up behind you; they’re not going to ask why they’re fighting, they’re just going to be fighting on your side, backing you up. That’s a male fantasy.”

Brewer stresses he wasn’t looking for performers who looked like they’d been dancing their whole lives. “They didn’t have to have dancers’ bodies. It’s about a certain feeling of abandonment. That’s what high school was. You feel you are invincible and can take on the world. It’s that last hurrah before you have to start working like everybody else.”

Brewer’s Footloose soundtrack is incredible. I wanted to go straight out and buy it. “It’s been a long time since I’ve seen a movie and immediately needed the soundtrack,” he says. “You saw Purple Rain and knew you had to buy the soundtrack.

You wanted to relive the experience of the movie by listening to it and that’s what I wanted to create.” ‘Holding Out For A Hero’ is sung by Ella Mae Bowen - a 16-year-old country star with a pain-soaked voice, a complete contrast to the original disco version by Bonnie Tyler. It was a risk and has caused controversy. “I’m hurt by this. I would assume that people would know, by the movies I’ve made, I want them to have a certain element of trust in me.”

Brewer agrees there are challenges with remaking a well-loved classic. “I came at it with sincere hopes to protect what I think is special about the original and, dare I say, improve it or at least make it right for a new generation.”

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DVD Reviews

TV Marathon

Modern Times

How I Met Your Full House, Where Everybody Knows Who’s The Boss They say the family of the 21st century is made up of friends, not relatives. And if that’s true, then you’re the best aunty I’ve ever had. Tim Bisley, Spaced The situation comedy, or sitcom, is a staple when it comes to American popular culture. Characterised by its focus on the lives of a small group in a set location, TV sitcoms disrupt then re-establish the status quo, in 30-minute episodes every week. Early sitcoms revolved around the family, and not much has changed, with groups of friends, colleagues, bar patrons or married couples also ripe for sitcom success.

The following series are some of the best.

r e vi e wed

Modern Family Series Two r e vi e wed by

Sallie Pritchard r ated

4/5

Modern Family is the story of three families and their daily struggles in the modern age. The series revolves around Jay and Gloria Pritchett and Gloria’s son Manny; Jay’s daughter Claire who is married to Phil and has three children, Hayley, Alexandra and Lucas; and Jay’s son Mitchell who has an adopted daughter, Lily, with his partner Cameron.

In Series One, Jay and his family and their respective families, dealt with cultural and language barriers, what it means to be a stepfather, what it means to be a gay parent, teenage daughters, and keeping romance alive in a marriage. In Series Two, not much has changed. Jay and Gloria still clash, Phil and Claire wonder if their

children are okay and if their marriage is solid, and Cameron and Mitchell are still trying to adjust to life as parents. Despite the exaggeration, these situations and characters are reflective of the real issues faced by many modern families. The show’s writers have taken time to develop the characters and their conflicts, such as Jay and Manny’s father-son relationship and Jay’s growing acceptance of Mitchell’s partner Cameron.

Individual episodes stick out from the series’ overall brilliance: Alex’s graduation from junior high school, mother’s day and Jay’s birthday provide laugh-out-loud moments. Though Mitchell and Phil are among the most consistently funny characters, the show’s strength is that it’s

very much an ensemble comedy — there are no weak links.

How does the modern family reconcile its status as such? How does it bridge the gap between tradition and changing attitudes?

In order to begin to answer these questions, the show starts with three representations of family. We have the rich older man with the much younger wife; the ‘traditional’ family with the stay-at-home mum and three kids; and the gay couple with the adopted baby.

The success of this series is its ability to subtly enact, disrupt and question the viewer’s assumptions and judgements. Popular and critically engaging, Modern Family asks us the audience to question what family means to us. And it’s still funny as hell.

Friends as family Friends — although they overstayed their welcome by about five seasons, Friends was funny, touching, and the coffee-drinking 20-something equivalent to Cheers. Sometimes you just want to go to a place where everybody knows you’re a tall, skinny, decaf cappuccino with half foam.

How I Met Your Mother — a wise friend once said this show’s premise was also its flaw: how will the writers resolve the problem of a finite storyline? The answer is: with a fun approach to narrative structure, genuinely humorous characters, and NPH. This series also introduced the best game of the modern age — slap bet.

Colleagues as family The Office — generally recognised as an inferior US remake of a quality British series, the world of Michael Scott and his team is nonetheless a lot of fun to watch. Their weekly meetings are more awkward than the most painful family gatherings.

A Study in Laughter

Parks and Recreation — a gentler version of The Office that pokes fun at bureaucracy while highlighting some familiar office characters, especially for those who work in administration.

r e vi e wed

Community Series Two r e vi e wed by

Sallie Pritchard r ated

5/5

In episode one of the second series of Community, lovable Asperger’s sufferer and television analyst (or addict), Abed, sets the agenda for the new series: “I’m hoping we can move away from the soapy, relationship-y stuff, and into bigger, fastpaced, self-contained escapades”. This is the blueprint for the remainder of the oddball study group’s second year at Greendale community college.

For those new to the show, Community is the story of Jeff Winger, a former lawyer disbarred after his degree was revealed as a fake, and his attempts to set up a Spanish study group at the community college he now attends to hook up with a girl in class.

He fails miserably with the girl but ends up being part of a real study group, learning Find us on Facebook

the value of friendship along the way. Well, sort of.

Much has changed in series two. Spanish has been replaced with anthropology; Jeff’s role as protagonist has shifted slightly for a more ensemble feel; the ‘will they-won’t they’ tension between Jeff and Britta has been mostly pushed to one side; and Greendale now has a rival in City College, headed by the diabolical Dean Spreck. The self-contained escapades alluded to in episode one are numerous and hilarious, including a spacesimulation adventure, a seven-hour political campaign, and another paintball challenge, spanning two episodes (and genres).

A zombie-themed Halloween episode goes some way to defining the show’s current

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status as the best US comedy around. But the best episode of the series revolves around Abed’s birthday. Directed by Richard Ayoade, best known as Maurice Moss from The IT Crowd, ‘Critical Film Studies’ uses an obvious pop culture pastiche as a red herring, giving way to an atmospheric and nuanced homage to an obscure film.

Where previously the series funnelled its reflexivity through one character, now the entire series seems focused on a critical analysis of film, television and pop culture.

This approach has taken Community beyond solid comedy into the realm of legitimate television text. Not only that, it has Betty White discussing Inception and drinking her own urine. Community Series Two has truly surpassed its predecessor.

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Family as family Family Ties — some of the best sitcoms reflect the family concerns of their time, and this series tackles politics and the generation gap along with the daily goings-on of an American family in the 1980s. Two flower children raise (possibly to their horror) a Reaganloving conservative and a shallow Valley-girl. Hilarity ensues. Luckily, Alex P Keaton didn’t have to go back in time to meet Elise and Stephen. He may never have been born.

Raising Hope — much like Modern Family, this series is a look at changing family dynamics in the 2010s, and is a hilarious example of babies having babies. Or to be more specific, a baby being raised by her crazy grandmother, complete with hopeless parents (one of whom is a convicted serial killer) and featuring a day care centre that caters for children, dogs and old people. ~Sallie Pritchard

reverb magazine issue #063 — October 2011 41

NEWCASTLE Don’t forget — Live & Local every Wednesday night

gig Guide Newcastle Sat, October 1

Fri, October 7

Wed, October 12

LeagueS Club, Merewether

Avoca Beach Hotel

Belmont 16ft Sailing Club

Cambridge Hotel, Newcastle

Stag & Hunter Hotel, Mayfield

Chris Byrne

Daryl Braithwaite

Bateau Bay Hotel Art vs Science, Abbe May

Cambridge Hotel, Newcastle

2 Oct 6 Oct 7 Oct

Stevie Ray Vaughn

Scattered Order + DomeykoGonzalez,

birthday w/ Mal Eastick

Strangers v Strangers, Gentle Hurst,

Sarah McLeod Spy Vs Spy feat. Paul Greene

12 Oct

Tex Perkins

13 Oct

Parris McLeod Band

Mondo Phase Band

Enmore Theatre, Sydney Simple Plan, Tonight Alive, New Empire Ami Williamson

14 Oct

The Backsliders

20 Oct

Bob Corbett

Lass O’Gowrie Hotel, Wickham

21 Oct

The Whispering

The Owls, Radio National, Hells

Lizotte’s, Kincumber Sarah McLeod, Nicole Brophy

Newcastle Leagues Club Twisted w/ The Guppies, Ravaged,

22 Oct

Deni Hines

The Dynamics, Corrupt Society,

23 Oct

Lior

Fingers Crossed, Ground Zero, The Calavek Blowfly

Rhythm Hut, Gosford

28 Oct 30 Oct 3 Nov

Phil Jamieson

5 Nov

South Newcastle Rugby LeagueS Club, Merewether Wellsy

Stag & Hunter Hotel, Mayfield Thread

Perspektiv The Harbour Masters

Lass O’Gowrie Hotel, Wickham Lizotte’s, Kincumber

Chris Byrne Mono, Chrome Dome, Bare Grillz, Caught Ship

Civic Theatre, Newcastle

9 Nov

Julia Morris

10 Nov

Elixir (Katie Noonan)

Dan Granero Queen - It’s A Kinda Magic

Fannys, Newcastle Long Weekend Foam Party

My Friend the Chocolate Cake

Lizotte’s, Lambton

Dave Tice and Mark Evans

18 Nov

Phil Jamieson (Grinspoon)

19 Nov

Ross ‘The Boss’ Wilson

23 Nov

Rai Thistlethwayte (Thirsty Merc)

Zoe K & her Band of Lost Souls, Galleri Mal Eastick, Daniel March

Terrigal Hotel Toukley Golf Club Blues Harp Showcase

Wed, September 5 Cambridge Hotel, Newcastle Tracksuit, Dalis Angels

24-26 Nov Diesel 27 Nov

Lizotte’s, Kincumber

Merewether Fats

Jessica Lord & Lachlan Roberts, Rocwater

information, phone (02) 4956 2066 or visit lizottes.com.au

Lizotte’s, Lambton Elisa Kate, Hip Sister, Hats Bennett, Jupiter Menace

Parris Macleod Band, Rein Room

Loft, Newcastle The Dynamics, My Flying Machine, Free Willy & the Grace Brothers, Room 13, Piecemeal, Carousel

Newcastle Leagues Club Floating Me, Pirate

Newcastle Panthers Cold Chisel, Even

Fri, October 14 Cambridge Hotel, Newcastle Def Wish Cast

Civic Theatre, Newcastle

No Pressure

Looking Through a Glass Onion

Grand Junction Hotel, Maitl.

Bimbadgen Winery, Hunter Meat Loaf, Thirsty Merc,

Cambridge Hotel, Newcastle

The Joe Kings

Great Northern Hotel, Newc.

Half Nelson

Hamilton Station Hotel, Isling.

Sydney City Trash, Easy Tiger,

Grand Junction Hotel, Maitl.

Run Squirrel

Kincumber Hotel

X

Great Northern Hotel, Newc.

The Havelocks, The Family Clam,

The Chill

King Street Hotel, Newcastle

Post Paint

Toneshifterz

Hamilton Station Hotel, Isling.

Lizotte’s, Lambton

Taberah, Sabretung, Crimzon Lake

King Street Hotel, Newcastle Lizotte’s, Kincumber

The Backsliders

Newcastle Leagues Club

Thur, October 6 Cambridge Hotel, Newcastle Bats & Battleships, Nothing Is Sacred

Grand Junction Hotel, Maitl.

King, Cain and Calloway

Lizotte’s, Kincumber Slide Albatross

Elisa Kate

Sarah McLeod, Nicole Brophy

Stag & Hunter Hotel, Mayfield

The Amity Affliction, Skyway, Asking Alexandria

Royal Exchange Hotel, Newc.

24 Hours

South Newcastle Rugby Leagues Club, Merewether

MamaTone

Sat, October 15 Belmont 16ft Sailing Club Adam Brand

Cambridge Hotel, Newcastle

Stag & Hunter Hotel, Mayfield

Bacardi Band Search w/ The Virtue, We The Keen, The Tillegra Damned

OMG!

Sun, October 9

Cessnock Supporters Club Shannon Noll, Tim Chaisson

Great Northern Hotel, Newc.

Croation Club, Wickham

Transvaal Diamond Syndicate, Ngariki

Hamilton Station Hotel, Isling.

Grand Junction Hotel, Maitl.

The Stillsons

Osmium Grid, Hazmat

King Street Hotel, Newcastle

Kincumber Hotel Kerry

Kato

Lizotte’s, Kincumber

Garside

Lizotte’s, Kincumber Spy vs Spy, Paul Greene, Sepora

Deni Hines

Manning Bar, Sydney

Lizotte’s, Lambton

New York Dolls, Straight Arrows, Bonvines, Fait Accompli,

Yeshe

Newcastle City Hall Tom Gleeson

Lizotte’s, Lambton

Phrase

Northern Star Hotel, Hamilton

Dragon

Newcastle Panthers

James Thomson

Bacardi Band Search w/ The Atlantis,

mag azine issue #063 — O ctober 2011

Lizotte’s, Lambton

Warners At The Bay

Pete Getzinnis

Dom and Brandon, DecembeR,

For bookings and

Little John

Hook N Sling

Kym Campbell, Troy Henderson

Great Northern Hotel, Newc.

Mental As Anything

Grand Junction Hotel, Maitl.

The Drones, Adalita

Grand Junction Hotel, Maitl.

17 Nov

Speedlab, Elliot The Bull

The Choirboys

Mojo Juju

John Hammond Jnr – USA

ECP Studios, Bereley Vale

Allay The Sea

Kotadama

Cambridge Hotel, Newcastle

6 Nov

16 Nov

Bacardi Band Search w/ Tired Minds,

Northern Star Hotel, Hamilton

Sat, October 8

The Salvagers, Bloody Lovely Audrey

Royal Exchange Hotel, Newc.

Terrigal Hotel Duncan Woods, Bob Allen

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Croation Club, Wickham James Thomson

Grand Junction Hotel, Maitl.

Transvaal Diamond Syndicate

Kincumber Hotel Jonathan Lee Jones

Lizotte’s, Lambton

Loft, Newcastle

Redline

Sun, October 16

Cambridge Hotel, Newcastle

Lizotte’s, Lambton

The Dead Leaves, The Owls

Moonlight Drive

Lizotte’s, Kincumber

Kim Cannon, Matt Baines,

Spy vs Spy, Paul Greene, Sepora

The Co-Pilots

Warners At The Bay

Thur, October 13

James Thomson

Belmore Hotel, Maitland

Tuck & Patti

Tex Perkins and the Dark Horses

Alice vs Everything, Torpedo Vegas

Bataeu Bay Hotel

13 Nov

Lizotte’s, Lambton

Beni

with the Beyond

The Last Waltz Tribute

Tiali, Taylor & The Makers

Great Northern Hotel, Newc.

John Overholt, Encounters

show

42 reverb

Grand Junction Hotel, Maitl.

Sue and Mickey

Catherine Hill Bay Hotel

12 Nov

James Duncan, Dominique Morgan,

Bayview Hotel, Woy Woy

CD Launch

Lizotte’s, Kincumber

Ghoul

Sun, October 2

Dexter Moore –

Lynchmada, Inhale The Sea, Dropbear

Stag & Hunter Hotel, Mayfield

Michael Peter

Solo & Acoustic

Jack Ladder & the Dreamlanders,

Sam Bennett-Lowe, Ben Mellor

Kate Miller-Hiedke

Jeff Martin –

Hamilton Station Hotel, Isling.

King Street Hotel, Newcastle

Residents

Lizotte’s, Lambton

27 Oct

Pour Habit, Smoke or Fire

The Trews, Dali’s Angels

Gallipoli Legions Club, Hamil.

Kincumber Hotel

Tracey McNeil

King Street Hotel, Newcastle

Jack Show

Great Northern Hotel, Newc.

Gen-X

Quiet Child, Bat and Battleships,

Grand Junction Hotel, Maitl.

Prevailing Disorder

Cambridge Hotel, Newcastle

CarterRollins, Ashleigh Mannix

Gallipoli Legions Club, Hamilt.

Speedlab, Liberation Front,

Belmore Hotel, Maitland

Renee Price

Kotadama

The Backsliders Lyn Bowtell

Rhythm Hut, Gosford Rise Up 2 w/ The Rhythm Hunters, Sarah Humphreys, Kristi Bennett, Kiam Robertson, Micheal Peter, Jake Cassar & the Deadly Nightshades, Paul Eagle, 5 Lands Band, Rocwater

Royal Federal Hotel, Branx.

Dr. Dave

Terrigal Hotel Jason Hicks, Kristi Bennett

Tues, October 18 Grand Junction Hotel, MaiTl. Cash Savage & the last Drinks

Metro Theatre, Sydney Okkervil River, Mike Noga

Nelsons Bay Diggers Club Arj Barker

Wed, October 19 Cambridge Hotel, Newcastle One Vital Word

Lizotte’s, Kincumber Phil Jamieson

Lizotte’s, Lambton The Humm, Solver, Harry’s Lookout

Wests Leagues Club, Lambton Arj Barker

Thur, October 20 Cambridge Hotel, Newcastle Bacardi Band Search

Club Singleton Arj Barker

Grand Junction Hotel, Maitl.

Pear and the Awkward Orchestra

Hamilton Station Hotel, Isling.

Free Willy & the Grace Brothers

Lizotte’s, Kincumber Mike McCarthy

Lizotte’s, Lambton Bob Corbett and the Roo Grass Band

Fri, October 21 Belmore Hotel, Maitland InFUNKtious

Cessnock Rugby League Club Arj Barker

Civic Theatre, Newcastle Josh Thomas

Erina Leagues Club Malakye Grind, Field Day

Grand Junction Hotel, Maitl.

The Shake Up

Great Northern Hotel, Newc.

Sonic Porno, Junkyard Diamonds, Collins Class

Hamilton Station Hotel, Isling.

Mindset, Taken By Force

Hotel Jesmond Rock Factor

South Newcastle Rugby

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Follow us on Twitter

gig Guide North Kincumber Hotel Manyana

Lizotte’s, Kincumber Mark Wilkinson, Nikki Thorburn

Lizotte’s, Lambton The Whispering Jack Show

Newcastle Panthers Dropkick Murphys, Lucero, Rumjacks

Royal Exchange Hotel, Newc.

Incognito

Stag & Hunter Hotel, Mayfield Dr. Zoom

Wed, October 26

Sat, October 1

Thur, October 6

Belmont 16ft Sailing Club

Ballina RSL

Beach Hotel, Byron Bay

Taylor Dayne

Cambridge Hotel, Newcastle We Built Atlantis

Lizotte’s, Kincumber Mojo Juju

Lizotte’s, Lambton Folk Uke, 49 Goodbyes

Thur, October 27

Sat, October 22

Cambridge Hotel, Newcastle

Beachcomber Hotel, Toukley

Civic Theatre, Newcastle

Dirty Utility EP launch

Belmont 16ft Sailing Club Arj Barker

Belmore Hotel, Maitland 24 Hours

Bimbadgen Winery, Hunter Steely Dan, Steve Winwood, Oh Mercy

Cambridge Hotel, Newcastle Graveyard train, Brothers Grim

Great Northern Hotel, Newc.

Colourfide

Lizotte’s, Kincumber Danielle Spencer, Steve Balbi

Lizotte’s, Lambton Deni Hines

Newcastle Foreshore Fat As Butter w/ Empire of the Sun, The Living End, Naughty By Nature, Flo Rider, Sparkadia, Cloud Control, The Jezabels, The Herd, Funkoars, The Aston Shuffle, Illy, British India, Sinden, Jonathan Boulet, Evil Eddie, Calling All Cars, Katalyst, Lowrider, Flight Facilities, Zowie, Redcoats, Owl Eyes, Bombs Away, Tenzin

Newcastle Panthers Confession, Thy Art Is Murder, Antagonist A.D, Storm Picturesque

Patonga Beach Hotel No Pressure

Royal Exchange Hotel, Newc.

Rubicon

South Newcastle Rugby Leagues Club, Merewether Bobby C

Stag & Hunter Hotel, Mayfield OMG!

Sydney Opera House Chris Cornell

Warners At The Bay The Jungle Kings

Sun, October 23 Croation Club, Wickham James Thomson

Grand Junction Hotel, Maitl.

Hank Green’s Blues

Kincumber Hotel Brett Murphy

Lizotte’s, Kincumber Gina Jeffreys, The Apprentices

Lizotte’s, Lambton Lior, Gerard Masters

Maitland City Bowling Club Arj Barker

Oasis Youth Centre, Wyong Confession, Antagonist A.D, The Bride, Make No Mistake

Royal Exchange Hotel, Newc.

Buddy Knox

Sydney Opera House Chris Cornell

Tues, October 25 Lizotte’s, Kincumber Jeff Martin, Colin Moore

The Vasco Era, Papa Vs Pretty Wil Anderson

Grand Junction Hotel, Maitl.

Junior Bowles

Hamilton Station Hotel, Isling.

The Leadbellies

Lizotte’s, Kincumber Folk Uke, 49 Goodbyes

Lizotte’s, Lambton Jeff Martin, Colin Moore

The Stillsons

Ballina RSL Bowling Club Graham Rodger, Rod Brandt,

The Trews

Gollan Hotel, Lismore

The Good Old Girls plus One

Beach Hotel, Byron Bay

Boozehag, Slug, The Tesla Coil

Great Northern Hotel, Byron

The Trip Collective

Brewery, Byron Bay

The Panics, Georgia Fair, Avalanche City

Tracksuit

Cherry St. Sports Club, Ballina Brothers Three, Rachel Jillet,

Coolangatta Hotel

Nova and the Experience Milestones

Great Northern Hotel, Newc.

Buick 6

Lizotte’s, Kincumber Juzzie Smith, Nick Saxon

Lizotte’s, Lambton Phil Jamieson, St Cecelia

Loft, Newcastle Free For All, Swallow Your Pride, Iron Bark, Resistence & Revenge, Kill Your Heroes, Carousel

Newcastle Leagues Club Mantra

Newcastle Tennis Club, Broadm.

Frankenbok

Stag & Hunter Hotel, Mayfield Haze

Christian Power & the Lonesome Train, The Re-Mains, The Ali Smith Band, Clay Blyth, Vanessa Lea

Hoey Moey Hotel, Coffs Ben Francis

Little Blak Dress

Grand Junction Hotel, Maitl.

Frankenbok, Zombonimo

Great Northern Hotel, Newc.

The Shake Up, Chasing Ghosts

Hamilton Station Hotel, Isling.

Absence Of State, Beaver Man, Horse Bolted, Elephant

Lizotte’s, Lambton Juzzie Smith, Nick Saxon

Loft, Newcastle Buried In Veronia, One Vital Word,

Rhys Bynon

Blessed Are None, Safe Hands

Buick 6

Newcastle Entertainment Cent.

Def Leppard, Heart, Choirboys

George Smilovici

Royal Exchange Hotel, Newc.

Grand Theft Audio

Stag & Hunter Hotel, Mayfield No More Gaps

Tyrrell’s Vineyard, Hunter Jazz In The Vines w/ James Morrison, Kate Ceberano, Weird Assembly, George Washingmachine, Lisa Hunt,

Fri, October 7

16 Oct

The Backsliders

19 Oct

Phil Jamieson

Australian Hotel, Ballina

20 Oct

Mike McCarthy

Brewery, Byron Bay

21 Oct

Mark Wilkinson

Richie Williams Band

22 Oct

Danielle Spencer &

Federal Hotel, Bellingen The Stillsons DJ Buzz

Treehouse, Byron Bay Quiet Child

Minnie Marks

Tim Stoke

Lennox Point Hotel Jimmy D

Mullumbimby Civic Hall

Sun, October 2

The Dirty Dozen Brass Band

Pacific Hotel, Yamba

Ballina RSL

Sharon Smith, Rod Brandt, Check Two, The Good Old Girls plus One The Bostocks, Kathryn Jones,

Tacking Point Hotel

Sharon Cooper

Treehouse, Byron Bay

Discrow, Tenzin

Thorazoo

Yamba Bowling Club

The Re-Mains

Stoker’s Siding Hall Ray Beadle, Andrew Baxter,

Australian Hotel, Ballina

Alice Blu

Push

Mon, October 3

Ballina RSL

Henry Rous Hotel, Ballina

Beach Hotel, Byron Bay

Robert Keith Poladoid Frame Blues Plantation

Coolangatta Hotel

Smooth Grooves

Hoey Moey Hotel, Coffs Little Fish

Lennox Point Hotel CarterRollins, Ashleigh Mannix

Mullumbimby Civic Hall Tex Perkins and the Dark Horses

Ocean View Hotel, Urunga

Grand Junction Hotel, Maitl.

Hoey Moey Hotel, Coffs Louise Richards Eskimo Joe, Bonjah

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Bob Corbett

5 Nov

Dexter Moore

6 Nov

Lazy Sunday lunch w/ Whispering Jack Show

11 Nov

Elixir (Katie Noonan)

13 Nov

Dave Tice and Mark Evans

16 Nov

Ross ‘The Boss’ Wilson

17-19 Nov Diesel 20 Nov

John Hammond Jnr – USA

25 Nov

Rai Thistlethwayte (Thirsty Merc)

26 Nov

Mental As Anything

Henry Rous Hotel, Ballina

Beach Hotel, Byron Bay

Plantation Hotel, Coffs

3 Nov

The Panics, Georgia Fair, Avalanche City

Sun, October 30 The Snowdroppers

with Emma Hamilton

Brewery, Byron Bay

Never Land Bar, Coolangatta

Lizotte’s, Kincumber

Lazy French Sunday Lunch

Sat, October 8

Mike Beale

Treehouse, Byron Bay

Guy Kachel

30 Oct

The PostMortemists

Wed, October 5

Emma Park

Juzzie Smith

Alan Boyle, Fonz Arp

Valla Beach Tavern

The Trip

Andy Bourke

28 Oct

Slipstream

Rockin’ Horse

Lalaland, Byron Bay

Beach Hotel, Byron Bay

Solo & Acoustic

Seaview Tavern, Woolgoolga

Tattersalls Hotel, Lismore

Bo Jenkins

The Secret Sisters

Jeff Martin –

The Weekenders

Henry Rous Hotel, Ballina

A & I Hall, Bangalow

25 Oct

Sawtell Hotel

Cherry St. Sports Club, Ballina

Lazy Sunday lunch with Gina Jeffreys

CC the Cat

Nathan Williams

Tues, October 4

23 Oct

Hoey Moey Hotel, Coffs

Yamba YHA Backpacker Resort

The Trip

Steve Balbi

Coast Hotel, Coffs Harbour

Henry Rous Hotel, Ballina

Mahalia Fox

Pacific Hotel, Yamba

feat. Paul Greene

Mahalia Fox

Sawtell Hotel

Diddy Chang

Spy Vs Spy

ThunderRox

Port Macquarie Panthers

Vanessa Lea and Road Train

9 Oct

Deni Hines

Clocktower Hotel, Grafton

Fat Albert

Lennox Point Hotel

Dragon

15 Oct

Cod Squad

Sabotage

Lalaland, Byron Bay

Shaw Bay Hotel, Ballina

8 Oct

Eskimo Joe, Bonjah

Henry Rous Hotel, Ballina

Cambridge Hotel, Newcastle

Kim Cannan

Tattersalls Hotel, Lismore

Caravana Sun

Pacific Hotel, Yamba

7 Oct

Watussi

Federal Hotel, Bellingen

Sat, October 29

Sarah McLeod

SCU Unibar, Lismore

Thirsty Merc

Never Land Bar, Coolangatta

Grand Junction Hotel, Maitl.

1 Oct

Hoey Moey Hotel, Coffs

The Summerland Kings

Belmore Hotel, Maitland The Zillers

Henry Rous Hotel, Ballina Greg Kew

Lennox Point Hotel

Cambridge Hotel, Newcastle

Don’t forget — Live & Local every Wednesday night

Brewery, Byron Bay

Fri, October 28

Emma Hamilton

Find us on Facebook

Jabiru

CENTRAL COAST

For bookings and information, phone (02) 4368 2017 or visit lizottes.com.au

Purple Sneaker DJs The Stillsons

Tattersalls Hotel, Lismore Watson, Turner, Bannister

Treehouse, Byron Bay Mark Wilkinson

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reverb magazine issue #063 — October 2011 43

gig Guide North (cont.)

OCTOBER AT THE AUSSIE

Sun, October 9

Pacific Hotel, Yamba

Beach Hotel, Byron Bay

Port Macquarie Hotel

Watussi

SUNDAY 02 BALLINA COASTAL MUSIC FESTIVAL 10:30AM TILL CLOSE FRIDAY 07 SABOTAGE 8PM SATURDAY 08 PUSH DUO 7:30PM

Bloc Party DJ set, Sampology, Mitz, Glass Towers, Rushton, Daniel Webber, C.R.A.N.E.S, And Oh!, Easy P, Buzz

Hoey Moey Hotel, Coffs Coastal Soul

8PM SATURDAY 15 TWO ‘B’ TWO 7:30PM FRIDAY 21 LEGLESS LIZARDS 8PM

Discrow, Daniel Webber

Lennox Point Hotel Uncle Jed

FRIDAY 28 ONE TWO MANY BAND 8PM SATURDAY 29 ADAM BROWN DUO 7:30PM

Beats, Bowls & Blingo

Pacific Hotel, Yamba Geen Sinatra Tim Stokes

Treehouse, Byron Bay Danny Ross

Wed, October 12 Great Northern Hotel, Byron The Jezabels, Hey Rosetta!, Alpine

Hoey Moey Hotel, Coffs

Thur, October 13 Beach Hotel, Byron Bay

Mandy Nolan

Beach Hotel, Byron Bay

Little Big Fish

Seaview Tavern, Woolgoolga Geoff Turnbull

Ten Thousand

Gollan Hotel, Lismore

Tacking Point Hotel

The Shake Up, Black Ghost Party, Dougal Binns and the Wino’s

Tattersalls Hotel, Lismore

Henry Rous Hotel, Ballina

Ange Saul, Turner

Treehouse, Byron Bay Valla Beach Tavern

Rob Saric

Port Macquarie Hotel The Joe Kings, Genevieve Chadwick

South West Rocks Country Club

Uncle Jed

Bondi Cigars

Yamba Bowling Club Thundamentals, Layla & Dazastah

Sat, October 15

Tattersalls Hotel, Lismore Kyle Watson

Bondi Cigars

Ballina RSL Bowling Club

Late For Woodstock

Brewery, Byron Bay

Cex, Coffs Harbour Drapht, Muph n Plutonic, Thundamentals, Layla & Dazastah

Gollan Hotel, Lismore The PostMortemists

Invisible Friend

Clocktower Hotel, Grafton

Tres Hombres

Cherry St. Sports Club, Ballina Clelia Adams & the River Valley

Damion Towner

Coolangatta Hotel

Express

Faker

Henry Rous Hotel, Ballina

Statoz Quo

DJ Buzz

Coolangatta Hotel

Hoey Moey Hotel, Coffs

The Jezabels, Hey Rosetta!, Alpine

Goonellabah Tavern

The Weekenders

Lalaland, Byron Bay

Brian Watts

Henry Rous Hotel, Ballina Richie Williams

Hook N Sling

Hoey Moey Hotel, Coffs

Lennox Point Hotel

Secret Squirrel

Pacific Hotel, Yamba Scott Davey

Lennox Point Hotel

Whiskey Tango Foxtrot

Ocean Shores Tavern

Lloyd Spiegel

Port Macquarie Hotel Transvaal Diamond Syndicate, Claude

Richie Williams

Never Land Bar, Coolangatta Pacific Hotel, Yamba

Hay, Gay Paris

Tattersalls Hotel, Lismore

Dan Hannaford

Brian Watt

Treehouse, Byron Bay

Sawtell Hotel

Acid Bleed

Treehouse, Byron Bay

The Good Kats

Sun Hyland

Valla Beach Tavern

Tattersalls Hotel, Lismore

The Lucky Wonders

YAC, Byron Bay

Clay Blyth

Confession, Thy Art Is Murder,

Fri, October 14 Australian Hotel, Ballina The I in Me

Treehouse, Byron Bay Nigel Wearne

Yamba YHA Backpacker Resort

Ballina RSL

Great Northern Hotel, Byron

Cath Simes

Jack Ladder and the Dreamlanders,

Beach Hotel, Byron Bay

Dan Hannaford

Ballina RSL Matt Zarb, Minnie Marks

Ballina RSL Bowling Club Glenn Massey

Beach Hotel, Byron Bay Brewery, Byron Bay Ash Grunwald, Kram

Goonellabah Tavern

Rob Saric

Richie Williams band

Rails, Byron Bay

The Temptations

Henry Rous Hotel, Ballina

DJ Pulse

Henry Rous Hotel, Ballina

Due Wave

Hoey Moey Hotel, Coffs

The Bon Scotts

Treehouse, Byron Bay

Slipstream

Coolangatta Hotel

Quick Fix

Lennox Point Hotel

Alice Blu

Adam Hole, Marji Curran Band

Yamba YHA Backpacker Resort

Lismore Bowling Club

Robbie Imeson

Wed, October 19

Delicious w/ LADY K, Elscorcho, 1iSAMURAi

Lismore Showgrounds Under The Tent w/ The Gin Club,

Beach Hotel, Byron Bay

DJ Buzz

Hoey Moey Hotel, Coffs

Screamin Stevie’s Australia, Christian Pyle, Texas Tea,

Cash Savage & the Toot Toot Toots,

Shiny Shiny, Cackle Taps

Little John

Mike Bateman

Lennox Point Hotel The Shake Up

Hoey Moey Hotel, Coffs

Pacific Hotel, Yamba

Roger Faynes

Lismore Workers Club Suzi Quatro

Clay Blyth

North Haven Bowling Club

Tattersalls Hotel, Lismore

Bondi Cigars

Manning Entert. Centre, Taree

Closure In Moscow, Awaken I Am

Costa Rae

Brewery, Byron Bay British India

Coolangatta Hotel Pete Murray, Busby Marou, M. Jack Bee

Port Macquarie Hotel The Shake Up

Tattersalls Hotel, Lismore Black Ghost Party, Dave Ramsey, Dhugal Binns

Fri, October 28 Beach Hotel, Byron Bay Jack and the Giant Killers

Brewery, Byron Bay Ninth Chapter

Glasshouse, Port Macquarie Wil Anderson

Great Northern Hotel, Byron Henry Rous Hotel, Ballina DJ Buzz

Hoey Moey Hotel, Coffs Matty Effin Morison, Speedlab, This World Around Us

Lennox Point Hotel Altowave

Port Macquarie Hotel

Dan Hannaford

Coast Hotel, Coffs Harbour

M. Jack Bee

Hoey Moey Hotel, Coffs

Australian Hotel, Ballina

Geoff Turnbull

Pacific Hotel, Yamba

Tony Fallon

Club Forster

Pete Murray, Busby Marou,

Pacific Hotel, Yamba

Dr Rhythm, Cut Loose

Lennox Point Hotel

The PostMortemists

Cherry ST. Sports Club, Ballina

A & I Hall, Bangalow

Sat, October 22

Ghoul

Hoey Moey Hotel, Coffs

Krakatoa

Brewery, Byron Bay

Slim Jim and the Boney Hardmen

Robbie Imeson

Sun, October 16

Wed, October 26

Closure In Moscow, Awaken I Am

Tattersalls Hotel, Lismore

Hey Now!

Jeff Lang, Jordie Lane

Beach Hotel, Byron Bay

Legless Lizards

Beach Hotel, Byron Bay

Neil Anderson

Paul Appelkamp

Mullumbimby Civic Hall

Australian Hotel, Ballina

Ballina RSL Glenn Massey

Bondi Cigars

Lennox Point Hotel

Thur, October 27

Ballina RSL

Two ‘B’ Two

Ruby Blue

Hoey Moey Hotel, Coffs

Fri, October 21

Australian Hotel, Ballina

Coast Hotel, Coffs Harbour

Deya Dova, Greg Sheeman & Co,

mag azine issue #063 — October 2011

Sawtell Hotel

Brewery, Byron Bay

David Strauss

Salmonella Dub, Tijuana Cartel

44 reverb

Brewery, Byron Bay

The Big Gig w/ Dave Callan,

Drapht, Muph n Plutonic,

Park Beach Surf Club, Coffs

Durrumbal Hall, Byron Bay

103 River Street, Ballina Ph 02 6686 2015 www.theaussiehotel.com

Ballina RSL

Junior Bowles

Lismore Bowling Club

Antagonist A.D, Dead Hands

SATURDAY 22 DAN HANNAFORD DUO 7:30PM

Sun, October 23

Piston Broke

Lalaland, Byron Bay

Richard Perso

FRIDAY 14 THE I IN ME

Thur, October 20

Rockhard

Brewery, Byron Bay

SATURDAY 01 BALLINA COASTAL MUSIC FESTIVAL 10AM TILL CLOSE

Cheynne Murphy

Matt Southon

Yamba Bowling Club

Speedlab

The Cairos Tice and Evans

Sat, October 29 Australian Hotel, Ballina Adam Brown

Beach Hotel, Byron Bay The Carios, The Beligerants

Brewery, Byron Bay The Clues, Polaroid Fame

Coolangatta Hotel The Vasco Era, Papa Vs Pretty

Henry Rous Hotel, Ballina Dan Clarke Band

Hoey Moey Hotel, Coffs The Weekenders

Lennox Point Hotel Thundergods of the Multiuniverse, Stone Mountain

Tattersalls Hotel, Lismore Beltane Burlesque

Sun, October 30 Lennox Point Hotel Luke Yeaman

Village Blues, Dunoon Lil’ Fee, Thrillbilly Stomp Duo, The Walters, Davey Bob Ramsey, The Nightcap Rangers, The Channon

Bondi Cigars

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