Reverb Magazine - Issue 51 by Reverb Magazine

central coast|hunter|north coast

FREE #051 Oct ‘10

music, arts & culture monthly

ice cube The West Coast Cowboy

Jimmy Barnes Rage and Ruin

Little Red Midnight Dreams

the audreys Stars At Night

Al so inside: Boy and Be ar + You Am I + Wolfmothe r + Rhys Darby + mark wahlbe rg

ANDREW MCMANUS PRESENTS

SAT 6 NOV HOPE ESTATE HUNTER VALLEY TICKETMASTER.COM.AU 136MISS 100 OUT! TICKETS SELLING FAST DON’T

WITH SPECIAL GUESTS

MONDO ROCK

SAT 26 FEB HOPE ESTATE HUNTER VALLEY

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AMPRESENTS.COM

No. 51

reverb

Reverb Magazine is locally owned & published by The Lockup Garage. Printed by Spotpress, Marrickville: sales@spotpress.com.au

index

contents

News Ice Cube Wolfmother Against Me! Dan Kelly Ian Carey Boy And Bear Little Red CD reviews Gig guide Abicus Creedence Clearwater Revisited The Village People The Audreys Alexisonfire Final Flash Jimmy Barnes Rhys Darby You Am I Fashion Motoring Everett True Talking shop Live reviews Funk & Grooves review Coaster review Gaming Film reviews Mark Wahlberg DVD reviews Socials

8-15 16 17 18 18 19 20 20 22-23 24-26 27 28 28 30 31 31 32 33 33 34-35 36 37 38 38-39 40 40 41 42 42 43 44

Powderfinger

editor’s letter

Credits

So here I am, a few hours away from sending the October issue to the printers, waiting for the Big Day Out line-up announcement. We’re tipping the headliners as Tool, Iggy Pop and Rammstein — we will know for certain is a few hours’ time. The highlight for me this month was my chat with Stu Cook and Doug Clifford of CCR. I had a half hour with both of them, which was completely unexpected. A quote that missed going to print (see page 28) was what happened when CCR were inducted into the R+R Hall of Fame. John Fogerty basically kicked Cook and Clifford off stage, preferring to play the CCR songs with Bruce Springsteen and Robbie Robinson. Not the way to heal the wounds that exist between your old band mates. Much love all, Kevin

Editor

Senior Writers

Michelle Hogan

Photographers

Editorial

Kevin Bull

Peter Douglas

Roger Killjoy

Kevin Bull

kevin@reverbstreetpress.com or 0410 295 360

Hugh Milligan

Ian Laidlaw

Courtney Fitzsimmons

Sub-Editor

Nick Milligan

Terrease McComb

Celia Galpin

Sales, Newcastle & Central Coast

Amanda Bevan

Mark Snelson

Liana McDonald

Timmy Johnston

kevin@reverbstreetpress.com or 0410 295 360

Stephanie McDonald

Ian Laidlaw

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Contacts

art director

Writers

Matthew O’Donnell

Julie Lowe

Sales, North Coast

Cam Bennett

Nick Bilbey

Matt Petherbridge

Madeline Smith

stephen@reverbstreetpress.com or 0458 559 938

Kevin Bull

Sallie Maree Pritchard

Linda Wales

IT Manager

Josh Clements

Jessica Saxton

Kieran Ferguson

Emily Cones-Browne

Madeline Smith

Cartoonist

John Corrigan

Cassandra Tobin

Tony Jenkins

North Coast MGR

Courtney Fitzsimmons

Lee Tobin

Production

Stephen Bocking

Sean Frazer

Marija Zeko

cam@reverbstreetpress.com.au

Gig guide gigguide@reverbstreetpress.com.au

Adelaide French

Sales

Paul Frost

Postal address

Stephen Bocking

Scott Gilbert

PO Box 843, Woy Woy NSW 2256

Kevin Bull

Mark Henderson

Proudly Pro P roudl dly y supported su upported upp up p pp porte rtted by y triple triiple trip ip pllle e j, j The Th he h e Drum Dr Drum ru u um m Media Me M ed dia diia ia and and Faster F Fa aster te er Louder Loud de er

NEW YEARS 29TH DEC - 1ST JAN

news

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

2 double passes

Two double passes to Fat As Butter Festival at Camp Shortland, Newcastle Foreshore, on Saturday, October 23.

5 double CDs

5 copies of the double-album, Best Of Blues and Roots.

3 CDs

3 copies of the album, Pump It, Vol 2.

BIG DAY OUT 2011 LINE-UP ANNOUNCED

5 double passes 5 double passes

5 double passes to see Roxy Music at Hope Estate, Hunter Valley, on Saturday, February 26, 2011

iggy and the stooges

Five double passes to Brian Wilson, Chicago, America and Peter Frampton at Hope Estate in the Hunter Valley, on Saturday, November 6,

5 double passes

5 x double passes to Black Hill Highway featuring Chuck’s Wagon, Mo Trowell and the Delivery, Roland K Smith, The Dennis Boys Band. At the Hamilton Station Hotel on Saturday, October 30.

Finally, we have the Big Day Out 2011 first line-up release in front of us, and many of the rumours have held true, except for the appearance of Blink 182 and Soundgarden (possibly on the second line-up release?). Returning to the BDO stage will be Tool (2007), Rammstein (2001), Iggy Pop (2006, 1993) and Lupe Fiasco (2009). Primal Scream (2000, 1995) are also returning to deliver their 1991 classic release, Screamadelica, in full. The first release line-up in full is as follows: Tool, Rammstein, Iggy And The Stooges, Bloody Beetroots Death Crew 77, Lupe Fiasco, Grinderman, Primal Scream Screamadelica Live, Deftones, The Black Keys, Andrew W.K, The Jim Jones Revue, Edward Sharpe & The Magnetic Zeros, MIA, LCD

Soundsystem, Booka Shade, Die Antwoord, Vitalic, Css, Plan B, Ratatat, Crystal Castles, John Butler Trio, Wolfmother, Airbourne, Birds Of Tokyo, Kids Of 88, The Naked & Famous, Angus & Julia Stone, Dead Letter Circus, Children Collide, Operator Please, Bliss N Eso, Gyroscope, Pnau, Kid Kenobi & MC Shureshock, Sampology, Blue King Brown, Will Styles, Little Red, Gypsy And The Cat, Lowrider BDO 2011 will be held at the Gold Coast Parklands on Sunday, January 23, and Sydney Showground on Wednesday, January 26. Tickets are $155-plus booking fee, are limited to four per person, and go on sale Wednesday, October 6 (Sydney), and Thursday, October 7 (Gold Coast).

Come to the Island! Live Entertainment – Oct Fri 1st – Jam Jar Sat 2nd – Driver 8 Fri 8th – Mick n Josh Sat 9th – Angie Fri 15th – Dan n Dave

Sat 16th – The Horizontalists Fri 22nd – Raoul Graf Sat 23rd – Hugh Gordon Fri 29th – Nicko + Guests Sat 30th – Bunch of Funkers

Every Week MON - Free pool TUES - $10 Jugs WED - Killer Pool Comp ($100 Prize Money) THURS - Lunchtime Raffle (6.30pm Schooner Draw) FRI - Double Happy Hour 4-6pm $3.60 Schooners Afternoon Wind Down Raffle, Hot Bar Snacks 7Seas6pack Challenge

Take aways are available till midnight 6 nights a week.

COWPER ST CARRINGTON 4961 2467 8 r e v e r b

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LIVE MUSIC L I V E S P O R T, G R E AT F O O D OCT 1

FRI

Winter Warmers

HIP HOP NIGHT

OCT 2 andy bull

THE PHANTOM PAINS OF ANDY BULL

Less than a year after releasing his debut album We’re Too Young to critical acclaim, Andy Bull returns with The Phantom Pains EP. Reverb had a quick chat with Bull as he prepares to support Clare Bowditch at the Newcastle Leagues Club, Friday, October 22.

In what direction did The Phantom Pains take you? To answer that question probably more literally than was intended when you asked; it took me deep into the greasy sink of a commercial kitchen. Or rather, that’s where We’re Too Young took me, and that’s what Phantom Pains propelled me through. To explain: I basically just worked a couple of regular jobs — including one as a kitchen hand for a catering company. Some of the songs on this EP, like ‘Nothing to Lose’, occurred to me while on the job. You might not think that making thousands of Peking Duck Pancakes or Arancini Balls would be that poetic an experience, but there’s probably some Zen proverb about the

spiritual experience within the precise repetition of large-scale food preparation. Phantom Pains has been a bit of an elixir of life for me. We’re Too Young had been a mammoth feat in some ways; it had taken so long, and had changed form so many times over the years, it had been painstakingly poured over and had nearly driven me up the wall; by the time it was done it had become hard to identify with, because my approach to music was already changing. After all that, Phantom Pains was a wonderful fresh start. I began writing songs on guitar, which I am new to; and I tried to carry a sense of spontaneity through the whole process. We recorded the EP over a couple of days and did away with a lot of the more technical, perfectionist techniques that I felt had slowed down the process in the past. That being said, I don’t see this EP as a bridging tool, or a stop-gap as some people might say; in fact I think that this EP is my best work so far. Clarification: Andy Bull is no relation. Ed.

UNDER THE TENT

one day as a lion

SOUNDWAVE SECOND LINEUP ANNOUCEMENT

Joining Iron Maiden and Queens Of The Stone Age as headliners of Soundwave 2011 is One Day As A Lion; the explosive collaboration between Rage Against The Machine front man Zack de la Rocha and former Mars Volta drummer Jon Theodore. Their set at the Fuji Festival this year was the undisputed highlight, and the chance to see one of this group’s rare performances is sure to be a stand-out. Rounding out the festival’s new additions are recent visitors, Bullet For My Valentine and Bring Me The Horizon; horror punk killers The Murderdolls; legendary metal monster Dimmu Borgir making their Australian debut; punk rock gods Millencolin presenting their seminal album Pennybridge Pioneers; prog rock’s finest flagship flyers, Coheed and Cambria; and a band whose amazing live shows needs little introduction to Australian audiences, The Amity Affliction. Add to that Feeder, H2O, The Rocket Summer, Saxon, Silverstein, Fucked Up and We The Kings, and you have one of the biggest festival line-ups ever put together. Find us on Facebook

One of the best rock gigs this month will not be found at the pub, or club, or arena - it will be at the Lismore Show. That’s right, Under the Tent at the Lismore Show packs a Saint, a Bad Seed and a Laughing Clown. Building on the fantastic foundations set by the infamous Cock’n’Bull Tent, 2010 will see performers covering a chunk of Australian rock’n’roll history as well showcasing a huge range of styles and sound. Headlining will be the enigmatic Ed Kuepper, ably supported by Australian music legends, Ron Peno and Kim Salmon, ARIA-award nominated Holly Throsby, the north coast’s hardest working country rock band, The Re-Mains, Sara Tindley and her Kingfishers, The Tendons and the Koi Kids. Under the Tent at the Lismore Show plays from midday on Saturday, October 23.

ED KOWALCZYK LIVE IN NEWCASTLE

Ed Kowalczyk, renowned worldwide as lead singer and driving force of multi-platinum selling rock band Live, is set to bring his new band down under for a national tour. After performing sold-out solo acoustic shows around the country last year, Kowalczyk returns in celebration of his debut solo album release, Alive, accompanied by a full band. Fans, longterm and unwavering or those new to the fold, will be treated to Ed drawing on his new solo material, as well as a mix of reinterpreted favourites and international chart-topping hits from the Live back catalogue. Live delivered eight studio albums including Billboard #1’s Throwing Copper and Secret Samadhi, five US #1 singles including the enduring smash ‘I Alone’ and nine Top 10 singles. Don’t miss Ed Kowalczyk, reinvigorated and raring to perform at the Newcastle Leagues Club, Saturday, October 30.

SAT

Allay The Sea FARWEST BATTLE FRONT

AS SILENCE BREAKS

MoRNa PoiNT

OCT 6

WED

SAGACITY

TOUR LAUNCH

OCT 7

THU R AD BELIGION OCT 9

SAT

The Phat Controller

Chrome Bison

OCT 13

WED NOUGS VAMP

Galaxy Universe

OCT 14

THU HaNGoVER DRiVE OCT 21

THU OCT 22

FRI

LOCAL SOLO ACOUSTIC NIGHT

GO-SET! + SUPPORTS

OCT 23

SAT OCT 27

WED

THE “I CAN’T BELIEVE IT’S NOT BUTTER” FESTIVAL

Rein Room

OCT 30

SAT

CHUCK’S WAGON

MO TROWELL & THE DELIVERY

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

02 4961 3852

EXCEPT SUN 10AM-MIDNIGHT r e v e r b m ag a z i n e i s s u e # 0 5 1 — O c to b e r 2 0 1 0 9

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BITTER AND TWISTED

Bitter and Twisted 2010 is off and running with a musical line-up that will surely whet your whistle, washed down by a few frosties of boutique beer. The line-up this year includes Dave Graney and the Lurid Yellow Mist, Tim Rogers and the Temperance Union, Sally Seltmann and Public Opinion Afro Orchestra. Add to that the boutique beer and food and there’s no better place to get locked up. It all happens at the Maitland Gaol, November 6-7. jim conway

CENTRAL COAST BLUES HARP SHOWDOWN

Reverb Magazine is proud to get behind and support the inaugural Central Coast Blues Harp Showdown, an event that will pit the best local harp players against each other and against, one of Australia’s best harp players, Jim Conway. The contest will include four categories: Best Male, Best Female, Under 18s, Amateurs and Masters (over 40) and will be held at the Toukley Golf Club on Sunday, October 3, from 3pm.

AKOOSTIK IN WINGHAM

Now in its fourth year, the Wingham Akoostik Music Festival transforms Central Park into an outdoor music venue with two stages, marquees and market stalls - it’s a two day celebration of original music. Headlining the event is Wendy Matthews and Phil Jamieson of Grinspoon. Other standouts include classical guitarist David Temple, the Tracey Campbell Trio, The Twine, James Johnston, Sara Tindley, and Rosie and the Thorns. Of the locals, you have Up in Annie’s Room, Tenika Vakaut, Hydrafonic, Gannga Marrang, Myrth, The Last Train, and Sofeilla Watt. The Wingham Akoostik Music Festival runs from Saturday, October 16 to Sunday, October 17.

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lior

THIRD TIME’S the CHARM for troubadour lior

After a year on hiatus spent writing and recording, Lior, one of Australia’s most respected independent artists, is embarking on an Australian tour to promote his third studio album, Tumbling into the Dawn. Lior has earned a reputation of being one of the country’s best live performers, having consistently sold-out major venues and theatres across the nation over the last few years; including recent seasons with both the Sydney Opera House and the Sydney Theatre Company. Having spent

most of last year performing in intimate mode, accompanied by a string quartet and double bass, this tour will see him touring again with his full band, in line with his new eclectic and vibrant album. Lior will be at the A&I Hall in Bangalow on Thursday, October 21, and Lizotte’s Lambton on Friday, November 5.

RHYS DARBY to play THE CIVIC THEATRE

Following a sell-out Australian tour in 2009, Rhys Darby is set to return with a brand new show ‘It’s Rhys Darby Night’ in October 2010. Darby first gained attention as dim-witted band manager, Murray Hewitt, in the hit television series Flight of the Conchords. An exsoldier in the New Zealand Army and a veteran of ten years as a stand up comedian, his live performances have been described as a sensational blend of sound effects, characterisations and askew observations; reducing international audiences to a state of bewildered hysteria. Rhys Darby will be performing at the Newcastle Civic Theatre, Friday, October 29.

SUN BEACH MUSIC FESTIVAL

This October long weekend, the Sun Beach Family Music and Camping Festival will be kicking off its inaugural year. The festival site is set in the pristine eco acres of the Ballina Beach Village at south Ballina, a boutique festival site with an outdoor performance space, intimate cafe venue, pool and dance venue all just a short walk to the beach. The music line-up includes Old Man River, The Boat People, Dan Parsons, Firetree, M Jack Bee Band, Swinging Cowgirls, Dr Baz and Neil McCann, Koikidz, Ara Biota, Guy Kachell, Rebecca Ireland Duo and Melania Jack. The Sun Beach Family Music and Camping Festival runs October 1-3.

©matchless snapshots

NEWCASTLE VINTAGE FASHION FAIR

Hold on to your antique boater’s hat — quite possibly the largest Vintage Fashion Fair Newcastle has ever seen will come to the Newcastle Town Hall in October. Organiser Jeanette Luke is a lady who has immersed herself in all things vintage her entire life. In the 70s, Luke had a vintage clothing shop in Newcastle mall called Deitzals, eventually moving to Adelaide and starting two vintage clothing shops, Central Market Dress Ups and Exclusive Vintage Clothing. Recently, Jeanette moved to the north coast, where she still collects and sells vintage at fairs around the country. A feature of the Newcastle fair will be an exhibition and parade of vintage bathers. The market stalls will feature many of Sydney’s best dealers, giving patrons plenty of choice. There will also be vintage hair styling available for those who wish to dress-up and look the part. For the vinyl record buffs, there will be a large and very fine selection of vintage records. The Newcastle Vintage Fashion Fair takes place at Newcastle Town Hall on Saturday, October 23.

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BOY AND BEAR STRIKE GOLD

FINAL FLASH THROUGH TOWN

Already ingrained into psyche of key Canadian tastemakers, Final Flash can mark among their achievements well-received shows at CMW, Pop Montreal, the Whistler Canadian Music Showcase and Transmission. The band once again received great reviews from music supervisors and media for their shows at both CMW and SXSW in March 2009, as well as NXNE where they were approached by EMI adding to the buzz; which continues to gain momentum. They also made a strong impression at international showcase event M for Montreal in November 2009, leading to an invitation to The Great Escape and a 12-day UK tour in May 2010. The band’s debut album Homeless was produced by Jace Lasek (The Besnard Lakes) and will see the light of day here in Australia when it hit stores this October 2010. Final Flash perform at at the Great Northern Hotel in Newcastle on October 20, and Finnigan’s Irish Tavern in Port Macquarie, Friday, October 22. Nikki nouveau

WAKE THE DEAD

Live2U are set to rock the socks off the living and wake the dead at their upcoming halloween event. Live bands will be performing back-to-back enhanced by the presence of the bodacious bombshell, Nikki Nouveau, who will be performing a ‘trick or tease’ Halloween special feature. The selection of metal/electro/ industrial live bands, DJ & horror burlesque are sure to live up to the name of this event, Wake The Dead. Bands performing on the night are Empty, Empirical and Soultremor. Wake The Dead happens at Port Macquarie Race Club, Saturday, October 30.

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LOREN KATE EP LAUNCH

Enchantingly beautiful, down-to-earth and absolutely spellbinding, Loren Kate has cast a sublime and haunting web over audiences around the country with her unique and unforgettable sound and soul. Having travelled and toured to most corners of Australia over the years, Loren has steadily forged a close relationship with her music and the land, having penned songs in just about every town from Fremantle to Byron Bay. Following on from her 2009 debut album, Brand New Shoes, Kate will be launching her new five-track EP, Your Own Little Ocean, at Lizotte’s, Kincumber, on Wednesday, October 6. Joining her on stage will be Mel Robinson on cello and Sarah Humphreys on backing vocals.

In their biggest tour yet, Sydney five-piece Boy & Bear will step onto a stage in each state to celebrate the release of their third single, ‘Blood to Gold’. To say the past year has been a whirlwind for the band would not only be a cliché, but also an understatement. Since the band’s dulcet tones first hypnotised listeners across the radio waves in February 2009, Boy & Bear have found themselves in the spotlight. Their live show takes the band to another plane. The songs presented on debut EP, With Emperor Antarctica, pack a bigger punch when played live. The honesty in each members’ voice is heightened, the emotion makes chests swell and the story in each song resonates somewhere between the heart and stomach. As part of their ‘Blood to Gold’ tour, Boy & Bear play the Cambridge Hotel, Newcastle, Thursday, October 28. Support on the night with be The Chemist. dan kelly

DAN KELLY AT THE NORTHERN STAR

After three years in the wilderness, Dan Kelly finally released his new record Dan Kelly’s Dream back in July, and the latest single, ‘Hold On, I’m Coming On’, has just followed ‘Bindi Irwin Apocalypse Jam’ on to the national radio waves. Celebration is in order, so Dan has decided to hit the road again with his trusty dream band in tow. Come along and hear the new record and all the old hits from Tabloid Blues and Fountain of Youth performed with loads of special guests, a plethora of the best local bands and DJs and an array of bubble machines and cheap, Vietnamese stage props! It will be a night to remember and you can even take home an undersea apocalypse jam swimming cap as a special memento. Dan Kelly is to perform at the Northern Star Hotel, Newcastle on Friday, October 8.

TEAM THROSBY

Two years have passed since the intimate, striking joys of Holly Throsby’s A Loud Call. In that time, she has toured extensively across the globe, releasing the record through Europe, Japan and the UK. This year, Throsby returned to work with long-time friend and producer, Tony Dupé, in a 19th century Methodist church in Wildes Meadow, New South Wales. They recorded two albums back-to-back: a technicolour, sound-effect laden children’s record due for release this October, and a brand new collection of songs which make up Holly’s fourth album, Team. To celebrate this new chapter, Holly and her band, The Hello Tigers, will hit the road for the first time since 2008 with an east coast tour, playing The View Factory, Newcastle, Thursday, October 21; Hub Music, Sawtell, on Friday, October 22; and the Lismore Show on Saturday, October 23.

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BAND O’ GOLD to enliven LIZOTTE’S

It’s time to get your dancing shoes back on, the Lil’ Band O’ Gold is heading back for more! The Louisiana supergroup who won the hearts and souls of all at Bluesfest in Byron Bay during Easter are returning for shows all over the country. Lil’ Band O Gold is the coming together of a bunch of legendary players and writers from the deep swamps, under the corralling and love of band-leader, CC Adcock and accordion champion, Steve Riley. The Lil’ Band O’ Gold performance promises to be a sweet and soulful journey, with their mixture of energetic romps and soulful ballads, delivering the diverse musical goods that are the group’s hallmark. It is a musical tour de force that any true music lover cannot afford to miss. Come experience the good times at Lizotte’s, Newcastle on Monday, October 4.

JUST THREE MEN AND A DEEJAY

Sydney indie/punk trio The Shake Up have teamed up with indie club night favourite, DJ El Mariachi, to present the ‘Three Men and a Deejay’ tour of Australia and New Zealand. In July, The Shake Up released their debut album …if you have no shame. DJ El Mariachi is a permanent fixture at popular Sydney indie club nights Teenage Kicks and Britpop, having also performed regular sets at Purple Sneakers, MUM, Paradise City, Fool’s Gold and Club 77. Between The Shake Up’s visceral live show, DJ El Mariachi’s seamless mixes and spritely local support bands, the ‘Three Men and a Deejay’ tour will provide audiences with a non-stop indie club night experience. The Shake Up and DJ El Mariachi perform at the Cambridge Hotel, Newcastle on Wednesday, October 20, and Blush nightclub, Gosford, on Thursday, October 28.

VOCAL SESSIONS AT SCU

In October 2010, right here in the Northern Rivers, 12 gifted and unique singers will unleash their talents in a free showcase spectacular spanning three evenings. The vocalists are graduates of the acclaimed Southern Cross University’s Bachelor of Contemporary Music degree and are opening their final performance exams to the public. The free showcase event will be taking place in the recently upgraded and state of the art concert space, Studio 129 at the University’s music department. Those performing are: Wednesday, October 6 — Joel Cook, Tace McNamara, Grey Milton and Emma Davidson; Thursday, October 7 — Andrea Roper, Sarah Grant, Jaeva Shelley and Melanie Sheehy; Friday, October 8 — Ella Mingaye, Siobhan Corcoran, Imogen Pemberton and Emily Rose Sorenson.

Mo Trowell & the Delivery

BLACK HILL HIGHWAY LEADS TO HAMILTON STATION

Black Hill Highway is no ordinary event but the idea is simple. With things being a little tight financially these days, you need your entertainment dollar to go further, so to give punters plenty of band for their buck, $15 not only gets you entry to the shows, it includes a copy of the Black Hill Highway CD, which features two exclusive tracks from each of the bands appearing on the bill. The bill consists of four of the country’s finest purveyors of alternative country music, including Mo

Trowell & The Delivery, Chuck’s Wagon, Roland K. Smith & The Sinners and The Dennis Boys Band. Black Hill Highway lands at the Hamilton Station Hotel, Saturday, October 30. Tickets are $15 at the door, where you’ll receive your complimentary CD. The playing order is decided on the night.

laneous and the family yah

see LANEOUS AND THE FAMILY YAH FOR FREE

A mongrel born of lost love, intoxication, back beats, nipples, distortion, duality and Staffordshire terriers, Laneous and the Family Yah are proud to present their new album Found Things; a collage of inspiration found in the band’s travels, collected to produce a miscellaneous representation of their experiences in music and words. The first taste of Found Things is new single ‘I am Dog’. Filled to the brim with thinly-veiled metaphors and sexual tension, ‘I am Dog’ is Laneous at his most absolute and the Family Yah at their dirty-pop finest. From start to finish, front to back, Found Things is a devastating mixture of genres, instruments, tempos, styles and influences, solidifying the band as one of the most dangerous acts in the country. Catch Laneous and The Family Yah at The Brewery in Byron Bay on Saturday, October 2, and the Queens Wharf Brewery, Newcastle, Sunday October 17 (2pm).

russ dewbury

RUSS DEWBURY AT THE CAMBRIDGE

From his debut in 1986, DJ Russ Dewbury (UK) has become one of the most influential and highly respected figures on the global dance/ jazz scene. Brighton-based Dewbury is one of the top DJs on the international circuit and is also an acknowledged champion of live music via the legendary Brighton Jazz Bop sessions. He has also been crucially involved in the ever-expanding music compilation scene and is currently putting together his own totally original recording project in collaboration with dance producer, Ben Mitchell. Catch DJ Russ Dewbury, along with Omegaman and DJ Surian at the Cambridge Hotel, on Saturday, October 23.

WED 27th OCT 7PM-10PM

SMOKE & MIRRORS LOVE CHILD DIRTY LITTLE

REBELS LUKE &

WILLIAM HALL

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COLLIDE INTO BLUSH

daniel lee kendall

LOST IN THE MOMENT WITH DLK

After wooing crowds at the prestigious Big Sound Festival in Brisbane recently, Daniel Lee Kendall has will release his highly accomplished debut EP, Lost in the Moment this month and head to the road. Working in his studio (a bedroom on the central coast of NSW) has been a hub of creativity for some time for Kendall. The absence of an additional set of hands to press play, and ears to steer sounds, has, while at times frustrating for the young songwriter, been valuable in developing the uniqueness of his style. “I found it really invigorating; to hear a song evolve and grow from an idea to a finished recording right in front of me was really satisfying,” said Kendall. “I would often start recording a small part of a song, and then see where it would go once I had the instrumentation and feel of it. Being able to record and write simultaneously gave my writing a lot more momentum. I also felt more liberated to try things that I may not have if someone else was in the room.” Catch Daniel Lee Kendall at Lizotte’s, Kincumber, Sunday, October 3.

hat fitz

IF THE HAT FITZ

One of Australia’s festival favourites and perennial showstopper, Hat Fitz is now joined on stage by Northern Ireland’s critically acclaimed vocalist extraordinaire and multi instru m entalist, Cara Robinson on drums, washboard, flute and tin whistle. The blending of pre-war hill country and delta blues with traditional celtic and early Australian folk, has produced a truly unique musical style that’s seen audiences worldwide drift off into the early morning, often drenched with sweat and always covered in smiles. Catch Hat Fitz and Cara Robinson at Greenpoint Gallery, Forster, Wednesday, October 27; Grand Junction Hotel in Maitland, Thursday, October 28; Trading Post, Laguna, Sunday, October 31; Lizotte’s, Kincumber, Friday, November 5; Lizotte’s Lambton, Sunday, November 21; Port Macquarie Hotel, Thursday, December 16; Great Northern Hotel, Byron Bay, Friday, December 17.

Children Collide’s second album, Theory of Everything, has trumped their previous ARIA chart debut, The Long Now, by almost 70 positions, debuting at an impressive #5. It’s been as well received by critics as its predecessor and also seems to be impressing fans with its calculated mash of sounds, from post-punk to soaring pop hooks. The band are educating audiences in the live intricacies of the album on their ‘Theory of Everything’ tour. However it would not be at all like the Children Collide we know and love to shrink from the road after wrapping up this celebratory jaunt. Indeed, there have been a neat string of tour dates announced for November & December. Children Collide, with special guests Violent Soho, play Blush Nightclub Gosford, Thursday November 25.

FROM THE GUTTERMOUTH

Last time Guttermouth visited Australia, they took to the major capital cities, alongside a visit to Toowoomba’s Eidican festival. These depraved genius legends of California’s punk community sold out shows, shocked newcomers and far surpassed the expectations of faithful fans. All in a day’s work for one of the hardest working, and hardest living, bands in their genre. Not content with already seeing more of the country than most bands ever will, Guttermouth return in 2010 and will be travelling to the far reaches of the Australian coast and major cities alike. Whether a skeptic or a convert, an old fan or new, and wherever you happen to be, this is your year to catch the best in the business at the top of their game. Catch Guttermouth at the Entrance Leagues Club, Thursday, October 21; Cambridge Hotel, Newcastle, Saturday, October 23; and the Plantation Hotel, Coffs Harbour, Sunday, October 24.

RISE UP FOR THE HOMELESS

With 105,000 Australians sleeping on the street each night, and more than 4000 homeless men, women and children turned away from Central Coast services simply because there was just not enough room, the Rise Up! fundraiser concert aims to do its bit on World Homeless Day. In aid of Coast Shelter, local musicians will be donating their time to spread the word, and to help raise some much needed money. Artists playing on the day are Rocwater, Last Kinnection, Loren Kate, Racz n Waters, Kristi Bennet, Jake Cassar, Ceddy McGrady, Kim Cannon, Paul Eagle, Michael Peter, Porch Light Fiasco, MMAD, The Able Archers and Jave. The event will be held at the Rhythm Hut, Gosford, Sunday, October 10 from midday to 6pm. Entry is by donation.

HUNGRY KIDS GET HUNGRIER

You’d perhaps know Hungry Kids of Hungary best from their string of radio hits from the last 18 months or so: ‘Scattered Diamonds’, ‘Set it Right’, ‘Let you Down’ and most recently ‘Wristwatch’. They’ve made their way around the nation numerous times and even embarked on a short international tour, playing some landmark shows in the UK and US. Now following the recent bout of sell-out shows on the ‘Shady Haze of Winter’ tour, Hungry Kids of Hungary return to the road for their biggest headline tour yet - more dates, a brand new set, new songs, bigger venues, bigger crowds and, for the first time, an additional touring member guitarist Remy Boccalatte (Paper & The Plane, Spring Skier). Hungry Kids of Hungary will play the Great Northern Hotel, Byron Bay, Friday, November 5; Cambridge Hotel in Newcastle on Sunday, November 14, and make a special appearance at the Open Arms Festival, Coffs Harbour, on Saturday, November 20.

Saturday Oct11

at the NOrth cOaSt NatiONal ed Kuepper darliNg dOwNS rON peNO aNd KiM SalMON i

hOlly thrOSby the re MaiNS the teNdONS the KOi KidS Sara tiNdley aNd the KiNgfiSherS www.sideshowpresents.com.au

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bag raiders

BAG RAIDERS: DEBUT album AND EAST COAST TOUR

kaki king

MULLUM MUSIC FESTIVAL

Passionate people will get the music they deserve at Mullum Music Festival with a genre-defying, grassroots-meets-international programme making it the ‘biggest little music festival in Australia.’ Topping the bill is indieacoustic sensation, Kaki King, the girl Rolling Stone declared a ‘guitar god’. Joining King will be Salmonella DJ Sound System, Pieta Brown, Cornerstone Roots, Washington, Nano Stern, Harry James Angus, Mary Gautier, King Tide, Tijuana Cartel, Declan Kelly, Mama Kin, Jen Cloher, Dick and Christa Hughes, Mojo Juju... and this is the beginning of over 60 artists. For the full line-up, head to www.mullummusicfestival.com. The Mullum Music Festival will run November 25-28 in Mullumbimby.

Sydney duo Bag Raiders have well and truly announced their return to the scene with their debut eponymous album ready to be unleashed onto the world this month. To celebrate, the boys will hit the road showcasing their unique brand of hands-in-the-air pop to the hordes of people salivating at the mouth with excitement. With the first taste from the album, ‘Way Back Home’ currently gracing the airwaves, anticipation has never been more feverish. Be the first to hear the Bag Raiders’ debut live at the Hunter Valley Brewery, Maitland, Saturday October 16 (DJ); Great Northern Hotel, Byron Bay, Thursday, October 28 (live); Coolangatta Hotel, Saturday, October 30 (live); King Street Hotel, Sunday, November 21 (DJ).

LIVE & LOCAL AT LIZOTTE’S, PRESENTED BY REVERB

There’s plenty of local music to be had at Lizotte’s this month for their weekly live & local nights. Lambton Lizotte’s: Wednesday, October 20, Nick Saxon; Wednesday, October 27, Jessica Cain, Rocwater, Ashleigh Grace and The Havelocks. Kincumber Lizotte’s: Wednesday, October 6, Loren Kate EP launch; Wednesday, October 13, Hayden French, Hey Mia, Niksta and Chris Taylor. Wednesday, October 20, Howie Sherman, Perpetual Blues Machine, Dear Monday and Ryan Meeking.

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VENUE: (02) 6652 1477 WWW.OFFBEATOPERATIONS.COM.AU

SATURDAY 16 OCT – COOLANGATTA HOTEL, QLD OZTIX: 1300 762 545 WWW.OZITX.COM.AU

NEW ALBUM ‘MIDNIGHT REMEMBER’ OUT SEPT 10 WWW.LITTLEREDMUSIC.COM

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ice cube

ince emerging in 1987 alongside Dr Dre in the gangsta rap group NWA, who would become a blueprint for most rap and hip-hop to follow, Ice Cube has never rested on his laurels. After leaving NWA on less than amicable terms — you need only listen to the scathing song ‘No Vaseline’ to understand Cube’s initial feelings on the split — the rapper would release his breakthrough solo record AmeriKKKa’s Most Wanted in 1990. An invitation from writer-director John Singleton to play the role of Dough Boy in 1991’s Boyz n The Hood would give Cube a taste for acting and writing. Jackson would write, narrate, and star in the cult comedy classic, Friday. But after acting in over 26 movies, the performer cites his initial experience as a career highlight. “Boyz In The Hood definitely was one of [the most memorable experiences],” says the quietly spoken Jackson. I learned so much on that set, working with some great actors. John Singleton, when I did Boyz In The Hood, encouraged me to start writing. I said, ‘Man, what made you think of this script?’ He said, ‘Man, there ain’t no scripts like this nowhere in Hollywood. If you want good movies, you better write your own.’” Jackson took the advice, writing two scripts before his third, Friday, was made. “On Friday, we were not only just learning, but doing and having fun at the same time,” says Jackson. So why didn’t his first two scripts turn into movies? “Friday had a better story and it wasn’t as expensive as my first scripts,” says Jackson. “When you first write a script you think you’re going to get Denzel [Washington], Jack Nicholson and all of these great people to be in your movie. [Producers] look at that and say, ‘This movie’s going to cost $150 million. This ain’t getting made no time soon’. With Friday, I thought, ‘We’re going to make this movie. I’m going to write it low budget and make sure it gets made. We’re going to make it ourself.’” Between the release of his upcoming ninth studio record, I Am The West, an upcoming movie role opposite Woody Harrelson in Rampart,

that he will always be the number one representative of West Coast rap. “When you’ve been in the game as long as I have, you’ve gotta re-establish yourself,” says Jackson. “You’ve gotta let people know not to forget what you’ve done in the past and that you can do it in the future. You’ve gotta piss on a couple of trees, you know? ‘I Rep That West’ is not only the truth, because I rep the West more than anybody, but ‘Rep That West’ is basically letting people know what I do. I’ve been doing it for years, I ain’t gonna stop.” Jackson entered the recording studio without a clear idea of what statement he wanted to make with his latest album. It’s no surprise that the rapper takes a diverse approach, having released hit singles like the dance floor anthem ‘You Can Do It’, to the harder-hitting ‘Check Yo Self’. “I just go in there [to the studio] and try to have fun and try to have a starting point for the record,” explains Jackson. “I like to do two or three songs before I even claim that I’m doing an album. Figure out which direction. Those songs are usually real experimental.” Jackson believes that I Am The West, which invokes the Wild West cowboy imagery that has always been an aspect of West Coast rap, incorporates all three aspects of his music. “I do three kinds of records,” says the rapper. “I do hardcore gangsta rap, which talks about the issues, is full of street knowledge and full of stuff that made me famous in the music world. Then I do b-boy records where I’m just an MC, doing what I gotta do. Then I do records I have fun with. I think it crosses all three — it’s not as political as [2008’s] Raw Footage; it’s a little funner than Raw Footage.” Jackson is looking forward to returning to Australian stages. “They definitely understand me [in Australia],” says Jackson. “It had been a long drought before I had come back there in 2006, and I vowed not to stay away because I wanted to show some loyalty to my audience out there and the people that support me. I don’t want to wear out my welcome, but I do want to satisfy my fans.” Despite having a new record, Newcastle fans

West side stories Arguably the most influential purveyor of rap music on the planet, Ice Cube is unquestionably a living icon. Since leaving NWA , Cube, whose real name is O’Shea Jackson, has been a mainstream actor, screenwriter, TV producer and enduring musician. Ahead of his visit to Newcastle, Jackson sat down with Nick Milligan to discuss his illustrious career.

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“ You’ve gotta let people know not to forget what you’ve done in the past and that you can do it in the future. You’ve gotta piss on a couple of trees, you know?” and his role as creator of the new hit TV series Are We There Yet?, Jackson is as busy as ever. “My wife always tells me that I should take a three-day vacation,” chuckles Jackson.“But after three days I’m jittery, I’m ready to figure out what’s going on. I’m calling people. I’m on my computer. I just can’t sit still for too long — I believe I’m wasting time. There’s stuff to do.” In Jackson’s immediate future is a return to Australia to promote I Am The West, which will see him and his posse roll through Newcastle for the Fat As Butter festival. The record, with lead single ‘I Rep That West’, sees Jackson remind the music community

can expect to hear some of the quintessential Ice Cube tunes. “You’ll hear stuff from throughout my career. I don’t believe in just coming and doing a new record. Some artists do that, but I think when you go and see somebody, you want to hear all the songs that you liked this person for, not just one new record where you don’t know all the songs as much. I like to mix it up.” Ice Cube will appear at Fat As Butter on Saturday, October 23, at Camp Shortland on Newcastle Foreshore. I Am The West is out September 28 through Inertia.

W O L F MO T HE R

Going Green with Wolfmother With album number three reportedly only months away, Wolfmother head back to Newcastle this month to headline this year’s Fat As Butter Festival. Kevin Bull caught up with vocalist and songwriter Andrew Stockdale to discuss the new recordings, Slash, and going ‘green’. It’s a decade into the life of Wolfmother. Do you feel you have achieved everything you have wanted to in these 10 years? It’s hard to look at it as a retrospective. I still feel like I’m learning a lot about music, and learning how the whole thing works. My expectations were never that high from the start. We knew the music was great and wherever it took us, we were happy with where we ended up. We didn’t have goals so to speak. For those first three years we were everywhere at once so, from doing that we had some amazing experiences all compacted into a short period of time.

feels like it’s breathing a lot more.

You’ve recently added Will (Rockwell-Scott) to the drumkit. How has he fitted in? He’s a cool guy. He’s brought, dare I say it, the fun back. Over time you can get a little bit too serious. He’s injected a bit of spontaneity and fun and humour into it. Also, the way that he plays, that’s his personality. I think Wolfmother has opened up a lot now. He’s more of a ‘pocket’ drummer. It’s allowed things to open up musically, and the music

So, it’s going to be a ‘green’ album? That’s my plan, so if anyone has a solar panel going cheap, look me up.

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Basically, I had the opening riff and a few other parts on a demo that Slash had put together and the day before I went into the studio I went over the song and added a few parts. I met up with Slash that night, played him my ideas and he was into it. We jammed it about two to three times, then straight into the studio and tracked it in one day. Too easy.

On the Wolfmother forum, you mentioned that an EP or album could be released before the end of the year. Is this still on track? Yes, definitely. We’ve already recorded about eight songs at my home studio. That’s the same way we did ‘Back Round’. Now that we’ve got that experience behind us, we know what can be achieved in that space. I think we will record everything at home and then fix it in the studio. I think that’s the plan. My main vision is to get solar panels installed in the house.

If you can’t get the solar panels, you just need to get a pushbike, get the drummer out there and pedal like crazy to keep the thing running. [laughs] If you want to jump on the pushbike we’re more than happy to invite you up!

Wonderful. I’ll leave my number, get the bike shorts on and get into training Awesome. We’ll get you working to cover our carbon footprint.

You will be headlining the upcoming Fat As Butter Festival in Newcastle in October. Can we expect a taste of the new material? We’re going to start getting ready for the gig in about a week, so if we can get one or two songs together, maybe. At a festival, there’s so many people there and you need to keep the vibe going so, I’m not too sure it is the most appropriate spot to play new material. Most likely we’ll stick to the first two records, and play the new material the next time we come through. That’s my honest answer.

You guested on Slash’s latest release on the track ‘By The Sword’. How much freedom did Slash allow you with your vocals?

Wolfmother co-headline Fat As Butter at Camp Shortland, Newcastle Foreshore, on Saturday, October 23.

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a g a i n s t m e ! — D a n k e ll y

DrEAM weaver

Against e h t Grain Since forming in 1997, Against Me!’s rustic punk-rock music has gained them a large following across the globe. With an Australian tour set for late 2010, Against Me! are not letting the controversy surrounding their label choices disrupt their passion for being on the road. Michelle Hogan sat down with singer, Tom Gabel, to discuss their latest album, White Crosses. What would you say were the influences behind White Crosses? That’s kind of an interesting question because I feel like more often you go to write a record or song not necessarily realising at the time what is influencing it, but once you have finished it, you’re like ‘huh, that kind of sounds like that’. A good example of that would be one of the songs on the record, ‘Spanish Moss’. We wrote that song, and recorded that song, and then as it was coming together we were like ‘this kind of sounds like The Cult’, and it’s not like any of us are really Cult fans, but it has this real Cult riff in it. Can you describe the writing process for the new album? We had been on the road for probably about a year-and-a-half and I had started writing for White Crosses as the New Wave touring cycle was ending. When we came back I hadn’t had a home for a little while, me and my wife had just been living in hotels and that kind of stuff. We moved to Saint Augustine, to a little coastal town, and just wrote the majority of the record there. It was the first time in a while where we weren’t on the road trying to write a record, it was actually kind of relaxing. Do you find the writing process for the record was different with a large label such as Sire, as compared to the independent labels that previously represented you? Well some things yes, some things no. I feel that the biggest difference, and probably the obvious one, is when you do move from label to label, you literally are working with different people and some people are better at doing certain jobs than others. I think that all the labels we have worked with have been very cool to us, and I’m definitely grateful for everything. Do you still feel like an independent artist? It’s a record label, you know, they put out our

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records. It doesn’t affect touring and it doesn’t affect any other aspect of the band. There is no real difference, especially in this day and age, between indies and the majors. I mean hell, I feel like some indies are currently bigger than a lot of the majors. New Wave was labelled the best album of 2007 by Spin Magazine, are you hoping for similar recognition with this album? Well, you know you have to take that stuff for what it is. It’s nice when someone pays you a compliment, but you can’t live and die by it. I would be willing to bet money that they are not going to do that with this record! Was it a conscious decision of yours to be a predominantly touring band? It’s good to be busy in my opinion; I really enjoy the lifestyle of travelling, seeing new places, and meeting ntew people. But that’s always been the kind of band we are, and I think if you are planning on making a living of music than you have to tour. In ‘Cavalier Eternal’ (from Against Me! as the Eternal Cowboy) you sing, “You know, a song and a stage is all I ever needed of a home.” Is that still true today? Yeah for sure, you know I really start to get anxiety from having too much stuff. The majority of me and my wife’s stuff is sitting in a storage unit. For me, I look at all that stuff and it is just baggage when it comes down to it, as long as I have my guitar and a song to sing, I’m all right. You’ve visited Australia quite a bit — have you developed any favourite spots? If the country would adopt me, I would move! Against Me! play the Cambridge Hotel, Sunday October 10. White Crosses is out now through Warner Music.

At first glance, Dan Kelly’s Dream appears to owe a debt of gratitude to Bob Dylan’s mid60s records. Kelly explains, “The Bob Dylan album that it is influenced the most by is Bringing it all Back Home, that one and Highway 61 Revisited. That sort of mid-period Dylan was a definite starting point for me on this record. ‘Dan Kelly’s Dream’ (the song) is more influenced by ‘Bob Dylan’s 115th Dream’. Just the premise that it’s a dream and all this stuff happens but he was talking about what was actually happening in America at the time. But making a joke of it ‘Oh, it’s only a dream’, he’s just trying to shine a light on what he thought of society at the time and essentially I was trying to do that.” But while Dylan at the time was writing about the possibility of a third World War, Kelly is concerned with the effect pollution is having on the world. “I’d love to do something about climate change, things are looking pretty dire. I don’t know if it’s as much of a message I’m sending out. Trying to preach something doesn’t go with music very well. You have to be incredibly powerful to pull off a strong political message. Midnight Oil do it really well but, in general, it’s pretty lame. I just want to write with a bit of humour; it’s all about trying to question what’s going on.” Kelly sees the new album as the completion of a trilogy of sorts with his previous two long players (The Tabloid Blues and Drowning in the Fountain of Youth). “It’s the third and last one — I think I’m gonna do with a bigger production and a mega technicolour dreamscape. I want it to be like a headphone

Following a four year hiatus, Dan Kelly has returned with his third album, Dan Kelly’s Dream. He spent his time away recruiting a new band, touring with his uncle Paul Kelly, and inventing tall-tales to sing about. Kelly spoke to John Corrigan about the influences and origins of the new record, climate change and Bob Dylan. record where a year later you’re still finding stuff out. I’ve sort of gone against what you naturally do when you write lots of words, which is have the music stripped back. In that way I think it’s a continuation but in other ways it’s changed. I think it’s a bit more direct, even though the lyrics are a bit weirder.” Dan Kelly’s Dream is certainly full of wild and wacky tales; from fantasising about blowing up coal power stations (‘The Decommissioner’), escaping under the sea with Bindi Irwin (‘Bindi Irwin Apocalypse Jam’) to the story of a nun and handy man on the run (‘The Catholic Leader’). It takes a vivid imagination to invent these narratives. “I just daydream a lot and I also dream about stuff when I go swimming,” says Kelly. “I like to write these stories - adventure songs. It just seems to be the way I happen to do it. It’s like reliving a short story on stage every night.” The one song on Dan Kelly’s Dream that was actually inspired by real events is second single ‘Hold On, I’m Coming On’. Kelly was at the All Tomorrow’s Parties festival in Mount Buller (Vic) when he stumbled upon English psychedelic freak outs, Spiritualized, in full flight. “The last song in the Spiritualized set was, ‘Take Me to the Other Side’. It was just incredible and it was that moment of the night

where everyone’s mind was blown. It was really great, and that just inspired this feeling of ‘wow, here we go’ and I tried to write that feeling into the song.” Surprisingly though he also enthuses about Irish rebel-turned-author Brendan Behan. “Borstal Boy (Behan’s 1958 novel recounting his time in a youth prison) really just got me thinking. It’s that whole premise that he was an outlaw but he was a very warm and loving dude and the book is so infused with all this joy even though he is in prison. It really gave me the idea of the more criminal element of the record, if you know what I mean. That really got me going on this record; it really gives you a feeling.” ‘Grown Up Solutions’ closes the record on an optimistic tone as Kelly urges himself not to repeat the mistakes of the past. “It’s kind of metaphorical, heading off into the distance with a plan in mind. The record starts off really full on and then by the end of it I have come to some kind of resolution. Maybe I was trying to cheer myself up; songs can be like little messages to yourself sometimes.” Dan Kelly performs at The Northern Star, Newcastle on Friday October 8. Dan Kelly’s Dream is out now through Shock.

ian carey

About last night… After taking Australia by storm in 2008 with his hit, ‘Get Shaky’, Ian Carey is back in the studio, preparing the release of his debut album. Carey spoke to Matt Petherbridge about growing up in the music industry and giving David Guetta a run for his money. So what’s happening in Miami at the moment? Are you touring? Actually, this is the studio month for me. I’ve been touring real strong for the past year, but I usually take September off every year to get in the studio. That’s the focus this month. What motivates and inspires your creative process? The main thing that inspires me is playing live and seeing what the people in the clubs are into and what they want to hear. Then, I’ll think up style mash-ups in my head and use those as influences when I get back in the studio. You’re performing at Fat as Butter in October. Will you be road testing any new material at the festival? Yeah, of course! I’m finishing up my next single ‘Last Night’, featuring Snoop Dogg. It’s a really big deal for me and it is going to be massive. It’s a really strong record! Your songs regularly appear on dance music compilations for labels such as Ministry of Sound and Vicious. Have you ever considered making a full Ian Carey Project album? Actually, it’s in the works right now! It’s nearly

complete. Since David Guetta started working with the urban artists, his career has really taken off over in the US. I’m moving towards that focus right now for the Ian Carey Project. As a child, you toured with your father, who was a live sound engineer for bands such as Kool and the Gang and the Duke Ellington Orchestra. How did you enjoy growing up in the music industry? Those are just two of many, many artists he toured with back in the 70s and 80s. I was touring with my father from a young age; it gave me a good perspective on a career in the music industry. When I was 18, I started DJing, I dropped out of university, and since then my whole focus has just been music. As an up-and-coming artist, how difficult was it to release your very first single? I was quite lucky because my first group, Soul Providers, released ‘Rise’ in 2000 and it was picked up by a label pretty quickly. Back then, if you made a good record that was clubworthy, you could get it signed no problem! Now everybody has the tools to make music, everybody can sell it online. It’s a much bigger ocean these days.

Your past tour schedules read like the ultimate tour package! You’ve played in Dubai, Ibiza, Naples, Turkey, the list goes on. Do you often get to see the sights on tour? In my career I’ve played in about 60 countries. I’ve seen a lot of the world, not as often as I’d like but if I was to go out as a tourist at every place I visited, I would get absolutely nothing done (laughs). If you could choose anyone, alive or dead, who would be your dream collaborator? Björk rates really high with me. So does Michael Jackson. He’s been a big influence on me. Thriller was the first real pop album that I had as a kid. What words of encouragement can you give to any aspiring dance music/DJ artists? Just be tenacious! That’s the best thing. Do what you’re doing and keep doing it, don’t be discouraged! Make music and play gigs and get your name out there, really be relentless about it. It’s the best advice I can give. Ian Carey plays Fat As Butter at Camp Shortland on Saturday, October 23.

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b o y a n d b e a r — l i ttl e r e d

How was Splendour? I read that you guys joined Mumford and Sons on stage for one of their songs. Yeah mate, that was incredible. We were pretty excited because where we played was the biggest gig we’ve ever played in our short career so far, and we were pretty pumped off that. Then the Mumford boys said: “jump up for a song,” and you walk out and there’s twenty thousand people there just stamping their feet and singing along and it’s kind of a different world again. Had any of you guys been before as punters? For me, this was the first Splendour experience. I think a couple of the guys had been along before, at least to one or two. We got ourselves right in there and we camped amongst the punters. We felt like we were just at the festival, to be honest, because we played on Sunday in the early afternoon. We got up there on Friday night and we just hung around and went along to different shows across the course of the weekend. Then it was sort of Sunday morning and we were like, “hang on we’ve got a show today,” so it was really only then that it started to sink in that we were there for a gig. There seems to be a fairly public chemistry between the bands and artists playing the style of music Boy and Bear plays. Is this the case, or are people reading too much into it? You’re spot on. We really have gotten along well with the other bands. To be fair, I’ve got to expand it. It’s Laura Marling: we toured with her in Australia at the start of the year and then we went to the UK with her. All of us met Marcus (Mumford) over there, then they came here and we played with them here. But it expands into the Australian scene,

friends send you a text saying, “I just heard you guys on the radio.” It does seem like it’s happened relatively quickly but because we’ve been working at different things, it feels like in some sense it’s a pay off for the hard work we’ve done. On the surface though, Boy and Bear has only been going for just over a year.

New Young Emperors Coming off their debut EP, With Emperor Antarctica, folksters Boy and Bear have been juggling writing and recording with a hectic touring schedule supporting some of the biggest acts on the international stage. Jon Hart, multi-instrumentalist in the Sydney five-piece, chats with Nick Bielby about making friends, playing festivals and hearing Boy and Bear songs on the radio. everyone knows everyone. I’d put Angus and Julia Stone in amongst that group as well. It’s kind of one big scene. I don’t know if it’s particularly because of the genre but everyone is actually friends and it’s a good thing. By a lot of standards, the rise of Boy and Bear seems to be happening quite rapidly. How have you guys been dealing with this?

We’d all been playing in bands kind of separately to Boy and Bear for a few years beforehand and we’ve been trying to make things happen for a while, so it’s a nice feeling I guess. I’ve got to say, however it sounds, it’s enjoyable to hear yourself on the radio. It’s been nice to be able to go, “hang on, we’ve put something together here that people are hearing.” It’s nice when your

Big harmonies seem to be a key element to Boy and Bear’s sound. Was this a conscious decision? Yeah, I think it was. We all grew up listening to music that had huge vocal harmonies in it and I know for Tim (Hart, drums/guitar/ vocals) particularly, he was really keen on the harmony side of things. It seemed sort of natural to make use of the fact that everybody in the band can sing. I guess you feel like you’ve got to have a signature somehow as a band. The direction of the song writing might change over time, but I’d like the think that the harmonies are something that will stay consistent over time. Any word on a full-length album? I know we’d like to get started by the end of the year but it’s looking like, with tour schedules and things like that, we might be trying to get into the studio first thing in 2011. We’ve been away once for ten days and we’re going to head off again for another ten day slot soon to try and put some more songs together. Ideally, if the material’s good enough, we want to have an album rolling as soon as we can.. Boy and Bear play The Cambridge Hotel on Thursday, October 28. With Emperor Antartica is out now through Island Records.

Dominic, who arranges our harmonies. He studies their harmonies. We wanted to switch them on and off this time; by that I mean harmonies could come in halfway through the song, and some songs don’t use many at all. We spent a lot of time rehearsing harmonies. Because I don’t sing, half of the time at rehearsal I just sit behind the drum kit and listen to everyone do harmonies. Was the album conceived as a night record? The recurring theme of Midnight Remember is that nothing lasts forever… this sort of melancholic idea, it’s very romantic. It’s a night time record, definitely.

Midnight Remember was one of Triple J’s feature albums during September. How does that make you feel? One of the reasons that we have gotten to where we are is because they’ve (Triple J) played our songs. They played ‘Waiting’, which was the single off our Get Ready EP. We did it independently, but they just picked up that song (through Triple J Unearthed). I’m grateful that Triple J cares about what we do. Midnight Remember was produced by Scott Horscroft (The Presets, Silverchair, Sleepy Jackson). What was it like working with Scott? It was really fun! During our first pre-production meeting, the first thing Scott told us was, “We’re going to have fun making this record” and that’s exactly what it was like. Little Red has four songwriters. How did this inform the creative process for the new album? 20 r e v e r b

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Remember Me Two years after their infectious debut release, Listen to Little Red, Little Red have re-emerged with a more refined and soulful second album, Midnight Remember. On the eve of their upcoming Australian tour, Matt Petherbridge spoke with drummer Taka Honda. It’s almost barebones the way the four songwriters [Adrian Beltrame (guitar, vocals), Dominic Byrne, Quang Dinh (bass, vocals), Tom Hartney (piano, vocals)] make demos. They bring songs to the band, with the melody and the chord progression and then we just get up and play. For me, how I play drums on ‘Get a Life’, it’s got this lazy, French pop vibe going on and I was thinking Phoenix, but Adrian thought it was a bit more psychedelic. Each one of us has different

ideas on the song and sometimes it comes together very well. Your first album, Listen to Little Red, showcased the band’s exuberant love of vocal harmonies, garnering comparisons to The Beach Boys. Did the band approach the use of harmony in a different way this time around? On our first album, there were big harmonies everywhere… we were obsessed with it! The Beach Boys are the biggest influence on

What’s your favourite song on the record? My favourite song is ‘Going Wrong’. There’s something peaceful about the song, I really love the sentiment. Usually the band tells each other, “Why don’t you play it like this or that”. Tom had some chords and just said, “Play whatever you want to play” so we did, and it worked. You guys are touring around Australia until the end of the year. Will you be touring overseas? We are definitely going overseas. We are heading to Asia, that’s something we actually requested. When you see our tour schedule, it is very packed; we’re going to some places you’ve never heard of. So many bands just compact their overseas shows into big cities. Financially, it’s far more viable doing that, but we just wanted to make sure we are going to small towns as well. That’s our main focus at the moment. Little Red are playing with Sparkadia at Newcastle Leagues Club on Saturday, October 9, and Club Coffs on Wednesday, October 13. Midnight Remember is out now through Shock. Follow us on Twitter

album Reviews Feature albums

Birds Of Tokyo

Andy Bull

EMI

Island Records

4.5/5 In their fourth, eponymous, studio record, Birds of Tokyo have created a colossal beast of heartfelt, grandiose stadium rock that is as challenging on the first listen as it is memorable. Album opener ‘Plans’ is driven by subtle dynamics, making way for the rumbling piano and cutting guitar riffs of ‘The Saddest Thing I Know’. Audrey Riley, the lady responsible for the strings on The Smashing Pumpkins’ ‘Tonight, Tonight’, provides the sweeping orchestral elements that are integral to the vintage-Birds track ‘The Unspeakable Scene’, the uplifting, heavy bombast of ‘The Gap’ and the fiercely passionate ‘In the Veins of Death Valley’. Birds of Tokyo have a natural chemistry as a band, which shines through especially on the stirring ‘Circles’ and the urgent, dominating ‘Wild at Heart’. At no point does this effort come off as overblown or insincere and the record is truly a kaleidoscopic listening experience. Expect a big 2010 for Birds of Tokyo. ~Matt Petherbridge

4/5 After the success of his impressive debut, We’re Too Young, Bull has released a brand new six-track EP, The Phantom Pains, which sports some glorious Australian accompaniments from pals Lisa Mitchell, Hungry Kids of Hungary, Little Red and Deep Sea Arcade. The EP sees Bull move away from his trademark soul sound and more towards a pop-rock product, which proves to be a step in the right direction, as the results are quite enjoyable. His unique feminine-styled vocals are still an anomaly to me and are often confused with those of Lisa Mitchell’s when they share the microphone with the opening track ‘Dog’. Bull’s debut album was most certainly underrated and his true talents are unfolding with this latest release. Fans of Bull’s previous work will surely delight in The Phantom Pains. ~Josh Clements

Birds Of Tokyo

Children Collide Theory Of Everything Universal

4.5/5 As the title Theory of Everything suggests, this audio thesis collection from Melbournian rockers, Children Collide, emanates musings and ideas of science, religion, life and death - all projected through the language of grunge. ‘Jellylegs’, released as the first single from the new album, has received substantial airplay for good reason; with toe tapping riffs that run through your veins, rise up your spine and melt inside your mind. Other standout tracks are ‘Complacency No Vacancy’; a track with such an intense energy, I couldn’t help but liken it to Smashing Pumpkins’ hit ‘1979’, and ‘Loveless’; one of the quieter songs off the album, shows the cleaner sound Children Collide have achieved in this new record. For Fans of: Silverchair, Smashing Pumpkins, Radiohead. ~Jess Saxton

Kira Puru & the Bruise The Liar

The Hoodoo Emporium

4/5 Channelling Beth Ditto’s look but with even more teeth in her bite, Kira Puru is a force to be reckoned with. Her voice draws you into the lyrics - smooth, sultry, sexy tones - before a change in tempo kicks in and the powerful songstress is hitting you with it’s force as she belts it out. ‘The Liar’ kicks off the four track EP with enticing tones and heavy bass - it’s blues, it’s rock and there’s a touch of jazz to set the pace. The Novocastrian four-piece bring it to a close with ‘What’s it Gonna Be?’ - it seems it’s not only the looks Miss Puru has drawn from Ditto, but the attitude as well. ~Cassandra Tobin

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The Phantom Pains

Isobel Campbell & Mark Lanegan Hawk

The Shake Up

...If You Have No Shame MGM

3.5/5 Sydney based pop-punk outfit The Shake Up’s debut album ...If You Have No Shame takes the genre of punk and tears down all the unnecessary frills. Gone are the screaming and violent lyrics, resulting in a true-to-form punk album that contains the traditional essence of the genre. It’s quite an aweinspiring recording. The tracks ‘Everybody Loves It’ and ‘Makes Me Sick’ are deserving of their single releases. The group’s hardhitting lyrics and powerful guitar skills are on show as they prove to audiences what Australian rock is all about. The Shake Up takes us back to the good old days of Sonic Youth and The Saints with their debut and should be commended on their efforts. The potential for for the band to become a mainstay in Australian music is all over this release. ~Josh Clements

Joe Pug

Messenger

washington I believe You Liar Universal

4.5/5 Every now and then an album is released that makes you fall in love with music all over again. Washington’s debut, I Believe You Liar, is the work of a songwriter well in control of her craft. The record moves from one could-be-single to the next without lull, fault or failure. ‘How to Tame Lions’ is brought to life by front-woman Megan Washington’s intriguing choice of lyrics and vocal phrasing. This may be the key to the record’s charm, it is relatively accessible musically, but it is the lyrical content and phrasing that sets it apart. This bunch of songs is both catchy and satisfyingly strange without over-doing it. The record speaks volumes of itself and its creator. I Believe You Liar is simply a pleasure from start to finish. For fans of: New Buffalo, Clare Bowditch, Little Red. ~Nick Bielby

Weezer Hurley epitaph

V2 Records

Lightning Rod

3.5/5 The third album from one of the most unlikely duos in modern music encapsulates further the rootsy, Americana feel of their previous releases. The combination of Isobel Campbell (formerly of Glaswegian popsters Belle & Sebastian) and the raw and earthy baritone of Mark Lanegan (Screaming Trees and Queens of the Stone Age) generates a harmonious resonance to many of these songs, especially on the glorious ‘Come Undone’ and the yearning regret of ‘You Won’t Let Me Down Again’. Lanegan’s bluesy howl tends to dominate any song he is a part of, and it is these tracks that are the album’s strongest. This is, however, mainly Campbell’s affair – she wrote and produced all of the songs on Hawk, aside from the emotive cover of Townes Van Zandt’s ‘No Place To Fall’ that she shares with folk troubadour, Willy Mason. A real slow burner of an album – but it is well worth the effort. ~Paul Frost

4/5 Joe Pug sounds more like a weary, 50 plus, country troubadour in reflective mode than a 25-year-old explaywright student. The Chicago based guitarist/singer tapped into the word-of-mouth market early, personally mailing free copies of his debut EP Nation of Heat to fans. Nourished with the popularity of being a “musician’s musician”, this natural-born storyteller is delivering quality songs firmly in the American male tale-twining tradition think Woody Guthrie or Neil Young. ‘Bury Me Far (From my Uniform)’ is reminiscent of early Dylan folk-tales. The true power of the track however, is in the story and the long-winded but captivating repetition of the melody while ‘Speak Plainly, Diana’ seems to be a true midwest wholly American affair. No doubt Messenger will be a much critic-hyped affair so, brace yourself for more Dylan analogies. ~Adelaide French

3/5 Let’s get things straight – Weezer isn’t Fugazi and Hurley isn’t Sgt. Pepper’s Lonely Hearts Club Band. I say that because the band has already received flack for their new record. Hurley sees Weezer take a flashback to their earlier sounds – grinding rock guitars and quirky lyrics wrapped up in catchy pop sensibilities. The album opens with ‘Memories’, a rock anthem about touring life as, I presume, Weezer. From there, the rock anthems keep coming on thick and fast, from the back up chorus vocals of ‘Ruling Me’ to songs to about the life of a muso in ‘Trainwrecks’. All songs on Hurley showcase the band’s strong guitars, solid beats and, of course, River Cuomo’s distinctive nerd boy vocals. Hurley won’t change your life, it won’t inspire you into deep introspection. It will, however, compel you to get up and dance, rock out, bop your head or tap your foot. Hurley will move you. ~Stephanie McDonald

Little Red

Klaxons

Robert Plant

Liberation

Polydor

Decca Records/universal

3.5/5 Melbourne retro-poprockets Little Red have hit a new stride on their sophomore album Midnight Remember. Inspired by the 80s rather than the 50s and 60s, Little Red teamed up with producer Scott Horscroft (The Presets, Sleepy Jackson, Silverchair) to create a slicker, more spacious pop delicacy. First single ‘Rock It’ acts as a gravitational pull, while the unabashedly romantic numbers ‘Slow Motion’ and ‘Forget About Your Man’ are sure to soundtrack lovemaking for years to come. There are shades of two different Springsteen eras in the evaporating synth ambience of ‘I Can’t Wait’ and the rollicking ‘Little Bit of Something’. What comes as unexpected is the roadhouse honky-tonk of ‘Place Called Love’ (somebody mail this to Tarantino, stat), the gypsy spaghetti -reggae of ‘Lazy Boy’ and the drunken Irish toast of ‘In My Bed’. For a band with four songwriters that share lead vocals, it is exciting to hear Little Red have admirably created an album that doesn’t sound like a whole heap of compromise. ~Matt Petherbridge

2.5/5 Every note and intonation on Surfing the Void – the sophomore LP from psych-disco punks Klaxons – is drenched with an obvious, sweating selfconsciousness. Understandably I guess, after their first attempt at a follow-up was allegedly rejected by Polydor for being “too experimental for release”, the British four-piece sound like they’re holding some of their more outlandish ideas back. Subsequently, Surfing the Void doesn’t stray too far from the foundations set on debut Myths of the Near Future – only this album isn’t in possession of an ‘Atlantis to Interzone’, or a ‘Gravity’s Rainbow’. Instead, we’re offered ‘Echoes’, whose disinterested rhythm only seems to constitute a 2010 update of ‘Golden Skans’; and ‘Venusia’, whose shining synth interjections add something novel to the usual Klaxons formula of fuzzy bass and airy vocals. The album isn’t really that bad, though – just kind of disappointing, considering it obviously isn’t the “prog doom” album that frontman Jamie Reynolds intended to make. ~Scott Gilbert

3.5/5 A lot of press time is linking the title of this album to the name of Robert Plant’s pre-Led Zeppelin outfit, but Band of Joy needs to be taken in an entirely different context – it is an affirmation of change rather than a reflection of past glories. The album flows with a moody intensity whose songs, all covers, are treated with tender care by Plant and chief collaborator, Patty Griffin. Standouts include the opening hustle of ‘Angel Dance’ which melds his recent output with Alison Krauss with the best of his solo work, and the homespun ‘Harm’s Swift Way’. The centrepieces of the album, however, are the two tracks sourced from U.S. minimalist rockers Low – both ‘Silver Rider’ and ‘Monkey’ groan with an intensity perfectly matched to Plant’s restrained vocals. It doesn’t all work (some songs seem more pastiche than favourable re-interpretation) but Band of Joy shows enough to keep the faith with one of the real sages of modern music. ~Paul Frost

Midnight Remember

Surfing The Void

Band Of Joy

album Reviews album of the month

The Audreys

Sometimes The Stars ABC Roots/Warner Music

4/5 When I first heard this album, I hated it. I’d heard of The Audreys but never their music. I was excited to see what the fuss was about, and at first, I was disappointed. However, on further listens, their latest offering has grown on me. A lot. Sometimes the Stars see The Audreys dabble in jazz-infused folk music perfect for that lazy Sunday afternoon with a glass of wine and contemplating the world. ‘Sometimes the Stars’ and ‘Falling Down’ are a couple standouts – simple and melodic. This is where the Audreys shine; when they let Taasha Coates’ voice stand at the front, centre stage. You don’t need much filler instrumentation with a voice like honey. It takes you to time and place that you never knew existed. This is a beautiful and delicate album. It gets better with each listen, as it slowly reveals more of itself. ~Stephanie McDonald

Here Come The Birds

Young People Never Die Independent

Ghost Mountain

4/5 Newcastle five-piece Here Come the Birds’ independently released album, Young People Never Die personifies the essence of youth; ecstatic, heart-broken and indestructible. Every song has its own life, breath and energy; built upon heartbeat percussion, guitar riffs that crash upon your chest, inundating your senses, and fervent vocals dripping with emotion. It’s a polished collection with great track variation. From up-beat dance tunes such as ‘Cigarettes’ with a popping bass line, prominent guitar and crowd vocals in the chorus, or ‘Rats’ with such an excessive use of cymbals that the whole track has the feel of a music shop caught in a cyclone. Right down to much softer tracks like ‘Neil Youngbloods’, featuring the lyrics that titled the album; “We’re young, we’re young, we’ll never die.” All in all, that line sums up the feel of this group. For fans of: Emarosa, Dappled Cities, Dead Letter Circus, Panic! At the Disco ~Jess Saxton

Prawn & Spanner Records

Amanda Palmer

Art Without Audience

4/5 The pleasant, folktinged alt-rock Byron Bay’s Ghost Mountain perform over the course of the album is perhaps the most hipster-offending alternative music release this year, with not a lo-fi signifier or chillwave reverb exercise to entice scenesters or pander to the music press. The quiet, folky ‘Government Arms’ begins Art Without Audience; a fitting introduction to the band’s Bad Seeds-sansbrooding routine, and to the vocal interplay of the soulful Sal Yates and the gravelly Christian Pyle. While the pair sing in tandem more often than not, the effect is more potent when the vocalists divert from this formula, with Yates’ smouldering croon on the bluesy ‘Started a Fire’ invigorating the song’s agitated guitar line. While Art Without Audience’s lack of “indie”sensibility will most likely condemn it to obscurity, it’s refreshing to hear an album unaffected by the fickle, trend-centric nature of alternative music. ~Scott Gilbert

Linkin park

A Thousand Suns warner music

4.5/5 A Thousand Suns is a very brave and experimental release from rockers, Linkin Park. There are elements that are recognisable from some of their previous work, while at the same time a completely new sound is introduced. Some of the songs on the new record are reminiscent of the Nu-Metal sound that has characterised the band, including ‘Blackout’ and ‘The Catalyst’. However, there are also sounds on the album that are so different from anything that they have ever done before. The simple melody of ‘Robot Boy’ creates what might be Linkin Park’s version of a pop song. ‘Waiting for the End’ has a fantastic reggae sound, while ‘The Messenger’ is an acoustic track in which Chester Bennington attempts to showcase his unique, breaking vocals. Overall, the album is superbly crafted and sees Linkin Park return to the top of their game. ~Mark Henderson

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Performs the Popular Hits of Radiohead on her Magic Ukulele

brandon flowers Flamingo

Island Records/Universal

4.5/5 The Killers’ frontman, Brandon Flowers, takes a break from his day job on his much anticipated debut solo effort, Flamingo. This album is filled with the familiar swooping melodies and references to Flowers’ much loved hometown, Las Vegas, that have been characteristic of The Killers work over the years. The difference comes from the breadth of songwriting and musical styling that, no doubt, comes from the freedom of a solo project. Lead single ‘Crossfire’ is probably the most accessible song for fans of The Killers, and is a great song, but the best moments of Flamingo are the riskier pieces. ‘Swallow It goes to show how strange instrumentation and harmonies along with a great melody can be catchy as hell. The strength of Flamingo is that it showcases the somewhat unique songwriting of Flowers in a way that doesn’t alienate fans of The Killers, but musically is just different enough to make it an exciting listen. For fans of: The Killers, Julian Casablancas, Lou Reed. ~Nick Bielby

8 foot Records

3.5/5 Moving away from the theatrical, piano-based output that has characterised her work with the currently-onhiatus Dresden Dolls, Amanda Palmer Performs the Popular Hits of Radiohead on Her Magical Ukulele is a novel, supremely enjoyable collection of tracks. Opener ‘Fake Plastic Trees’ shows just how affecting a voice and singular instrument can be – ditching the song’s soaring, anthemic middle section, Palmer’s version packs an even stronger emotional punch, with the sparse orchestration putting the spotlight on Thom Yorke’s resigned, melancholic lyrics. Elsewhere, the album’s OK Computer interpretations prove to be highlights, with Palmer’s enunciation, coupled with subtle piano and glockenspiel accompaniment, making ‘No Surprises’ a fun (albeit not radically different) cover. And despite the presence of Radiohead’s most annoying single – the self-pity party ‘Creep’ – twice, Magical Ukulele is very easy to recommend, especially considering the EP’s 84 cent asking price. ~Nick Bielby

The Sword Warp Riders Shock

3.5/5 A lot of bands get plenty of mileage these days running Thin Lizzy -style guitar harmonies over crushing stoner riffs and injecting some prog-rock themes. However, The Sword are one of the best. Singer, J.D. Cronise begins Warp Riders channelling Ozzy although, in the later tracks he adds some colour reminiscent of the great Phil Lynott. The first single, ‘Tres Brujas’, has some instantly memorable vocal melodies and tasteful solo-ing but the album really seems to find it’s stride with fifth track ‘Lawless Lands’, all stuttering riffs and classic 70s rock. It’s all been done before, but when it’s done this well, all you can do is smile and go with it. ~Roger Killjoy

avenged sevenfold Nightmare Warner music

3.5/5 In the wake of founding drummer/songwriter Jimmy “The Rev” Sullivan’s death in December last year, Avenged Sevenfold have unleashed hellfire and brimstone with their fifth album Nightmare. In tribute of their fallen comrade, Avenged Sevenfold have enlisted Dream Theater drumming aficionado (and The Rev’s idol) Mike Portnoy to complete The Rev’s rhythmic vision. Portnoy easily dispatches rapid fire tom fills and double kick blast beats with his spacious yet vicious fluidity everywhere, especially on ‘Natural Born Killer’, ‘God Hates Us’ and the album’s shining moment, the majestic 10 minute prog-metal epic ‘Save Me’. Frontman M. Shadows is clearly affected here, snarling “It’s your fucking nightmare!” on the title track, struggling to accept the “details blurry/lost him too early/it’s been done/a casualty rerun” on ‘Welcome to the Family’. Axemen Synyster Gates and Zacky Vengeance tear through their repertoire of bluesy leads, ripcord style chugging and demonic harmonised shredding, oscillating best on the extreme dynamics of ‘Buried Alive’ and the soulful death ballad ‘Victim’. Instead of ending in a whimper like Led Zeppelin did 30 years ago, Avenged Sevenfold have created a record laced with ruminations of life and death, confronting their grief and mortality on Nightmare. If they choose to disband after their touring commitments, it would be a damn shame. ~Matt Petherbridge

Serj Tankian

Imperfect Harmonies Reprise records/warner music

3.5/5 Serj Tankian is known for his ability to address the social, political, personal and environmental simultaneously through his lyrics and his instrumentation. His sophomore solo album, Imperfect Harmonies, includes 11 songs that explore the frustrations, contradictions and injustices encountered within his life, and he does so in such epic proportions with his trademark falsetto voice. The song ‘Borders Are...’ uses both rock and orchestral sounds to create an ambitious piece, and the first single off the album ‘Left of Centre’ is equally expressive with its heavy rock beat. Both of these tracks do justice to the musical standard that he has created for himself as a solo artist. Some may say that his songs are merely a set of self-indulgent ramblings of an eccentric mastermind, but it’s the unconventional way Tankian blends genres and sounds of rock, electronic, jazz and orchestral elements that makes the eccentricity genuinely work. ~Emily Cones-Browne

One Jonathan Introductionarium Independent

3/5 Introductionariam can be only the beginnings of what is to come from North Avoca five piece, One Jonathan. The five-track collection has both earthy grooves about seashells, love and money; as well as grungy tracks straight from the garage. Without the typical bongo and steel drumming usually found in all things reggae, One Jonathan rely upon dynamic vocals and distorted guitar to assume their beach-bum, lie-in-the-sun persona. Rob Swords’ instrument really is his voice and he knows all the ways to use it. It’s quite a refreshing sound; you can almost hear the dance movements and see the facial expressions that must be behind the irrepressibly loud and guttural vocals. A high energy EP: it’s gritty, it’s beachy, it’s reggae and rock. ~Jessica Saxton

Matt Purcell and the blessed curse Matt Purcell and the Blessed Curse V2 Records/Shock

2.5/5 I’d be thrilled to see Matt Purcell and the Blessed Curse live. That is for free in a cheap bar and after a few drinks. Unfortunately, I don’t see these Sydney alt-rockers progressing much further. Their self-titled debut album is somewhat pleasing, relatively catchy, but it just doesn’t quite hit the mark. For the most part, it is bland and repetitive. Quality pub music is the most generous title that comes to mind. That’s not to say it’s all bad. Vocalist Purcell does have a pleasant bittersweet tone to his voice, as made clear in emotive closing track ‘Weathered’. This gorgeous tale, of what I can only assume is lost hope and loneliness, has genuine feeling – something the album generally lacks throughout. ~Lee Tobin

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reverb

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

gig Guide Newcastle Fri, Oct 1

Tues, Oct 5

Cambridge Hotel, Newcastle

Wyong Memorial Hall

Jason Forest + Tantrums + Domes +

Wish For Wings + Mourning Tide +

Scattered Order + Geodesic + PA +

Mark My Words + Grace Is Gone

No Anchor + Cock Safari + Black Math

2 Oct 4 Oct 6 Oct 7 Oct

Old Man River Lil’ Band O’ Gold Jon Cleary Shannon Noll

CBD Hotel, Newcastle Rock and Roll Circus

Fannys, Newcastle DJ Eko + MC Jayson

Grand Junction Hotel, mait. Zombonimo + Picnic at Hanging Rock

Great Northern Hotel, NCLE Chunky Salsa

Hamilton Station Hotel, ncle

8 Oct 9 Oct 13 Oct 14 Oct 15 Oct 16 Oct 17 Oct 20 Oct 23 Oct 24 Oct 28 Oct 29 Oct

Peek-a-boo Burlesque The Robertson Brothers Short Back and Sides Wendy Matthews The Reels James Blundell Movie night: The Blues Brothers Nick Saxon Michael Winslow (Police Academy) The Break Mark Seymour Eugene Hideaway Bridges

Winter Warmers Hiop Hop

King Street Hotel, Newcastle Sunset Bros

Lass O’Gowrie Hotel, Newcastle Beth King and the Hemingway Collective + Loose Lucy + Organik

Lizotte’s, Kincumber Old Man River + Adrian Deutch

Lizotte’s, Lambton 1927 + Kim Cheshire

Seven Seas Hotel, Carrington Jam Jar

View Factory, Newcastle Merewether Fats + Thomas Lawson

Woodport Inn, Erina Nick Thayer + Amanda Savage

Sat, Oct 2 Bimbadgen Estate, Hunter Simply Red + Marcia Hines + Ross Wilson

Cambridge Hotel, Newcastle

31 Oct 2 Nov 4 Nov 5 Nov 6 Nov 7 Nov 11 Nov

Renee Geyer Melb Cup lunch The Audreys Lior Abby Dobson & Lara Goodridge 8 Ball Aiken Arrebato Ensemble

Grouper + Songs + Nhomea + Potato Masher + Black Realm + They Live + Anna Chase + Bare Grillz

Fannys, Newcastle DJ Nino Brown + Ben Morris + DJ Venuto + MC Losty

Grand Junction Hotel, mait. Cass Eager and the Velvet Rope

12 Nov Ed Kuepper 14 Nov James Reyne 17 Nov Gareth Liddiard 18 Nov Ganggajang 19-20 Nov Mental As Anything 23 Nov Jeff Martin & Terepal Richmond 25 Nov Afro Moses & Moses O Jah 26-27 Nov The Last Waltz Revival 28 Nov Jack Jones

The Maladies + Love Parade + Rezzalp + Run Squirrel

Lizotte’s, Kincumber 1927 + Kim Cheshire

Lizotte’s, Lambton Old Man River + Adrian Deutch

Northern Star Hotel, Hamilton Charlie Parr + Dave and the Demons

Seven Seas Hotel, Carrington Driver 8

View Factory, Newcastle James Chatburn + Hayden French

Sun, Oct 3 Grand Junction Hotel, mait. Charlie Parr

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

Great Northern Hotel, ncle Bob Log III

Great Northern Hotel, ncle Diamond Williams + Kid Mince + The Scorcher + Chuan

Lass O’Gowrie Hotel, Newcastle Kanunguba Fundraiser

Lizotte’s, Kincumber Daniel Lee Kendall + Jacob Pearson

Terrigal Golf Club Central Coast Blues Harp Showdown

Mon, Oct 4 Lizotte’s, Kincumber Lil’ Band O’ Gold 24 r e v e r b

m ag a z i n e i s s u e # 0 5 1 — o c to b e r 2 0 1 0

The Robertson Brothers + PJ Kevo and the Do

View Factory, Newcastle

Little Red + Sparkadia

From Deep Within + Excitebike +

Jimmy Bazil + Ben Murphy +

Local Resident Failure

Emi Van Der Linden

Great Northern Hotel, ncle Merewether Fats

Hamilton Station Hotel, ncle Sagacity

Lass O’Gowrie Hotel, Newcastle Cordaroy Pillow + Mixtape Memories

Lizotte’s, Kincumber Loren Kate

Lizotte’s, Lambton John Cleary

View Factory, Newcastle Matt Southon + Di Drew + Genevieve Chadwick

Thur, Oct 7 Grand Junction Hotel, mait. The Junes

Great Northern Hotel, ncle Rhys Zacher

Hamilton Station Hotel, ncle Rad Beligion

Lizotte’s, Kincumber John Cleary

Lizotte’s, Lambton Shannon Noll + Mark Wilkinson

View Factory, Newcastle Galleri + Corey Price

Sun, Oct 10 Cambridge Hotel, Newcastle Against Me! + Grand Fatal + Jamie Hay

Grand Junction Hotel, mait. The Beards + Contraband

Lass O’Gowrie Hotel, Newcastle Rhythm Bar Rockers + Sammy Horner

Lizotte’s, Kincumber Shannon Noll + Mark Wilkinson

Rhythm Hut, Gosford

DJ Samrai

Grand Junction Hotel, mait. Blackest Sabbath

Great Northern Hotel, ncle Heartattack and Vine + Only The Sea Slugs + Centresection

Lass O’Gowrie Hotel, Newcastle Zoe K and the Lost Souls

Lizotte’s, Kincumber The Robertson Brothers + Dan Conway

Northern Star Hotel, Hamilton Dan Kelly

Seven Seas Hotel, Carrington Mick n Josh

Woodport Inn, Erina Neon Sterio + Frew + MC Losty + Cheap Lettus

Wed, Oct 13 Cambridge Hotel, Newcastle Bats and Battleships

Great Northern Hotel, ncle Dali’s Angels + The Mad Ones + Strangers

Hamilton Station Hotel, ncle Nougs + Vamp + Galaxy Universe

Lizotte’s, Kincumber James Duncan and Tiali Ditton + Hayden French + Chris Taylor + Hey Mia Short Back and Sides McArtney

Thur, Oct 14 Bar On The Hill, Newcastle Uni Cloud Control + Deep Sea Arcade + Seekae

Grand Junction Hotel, mait. Justin Walshe

Great Northern Hotel, ncle Corey Price

Hamilton Station Hotel, ncle Hangover Drive

Laycock Street Theatre, gosf. Kitty Flanagan

Lizotte’s, Kincumber The Reels

Lizotte’s, Lambton Wendy Matthews + Ashleigh Grace

Wickham Park Hotel, Islington Elephant + Horse Bolted

Fri, Oct 15

Sat, Oct 9

Cambridge Hotel, Newcastle

CBD Hotel, Newcastle

Seabellies + Fire! Santa Rosa, Fire! + Bear Hug

CBD Hotel, Newcastle One Man Party (Soulwax)

Grand Junction Hotel, mait. The Domestics

Great Northern Hotel, ncle Pacha Mamma

Hamilton Station Hotel, ncle The Phat Controller + Chrome Bison

King Street Hotel, Newcastle The Aston Shuffle

Lass O’Gowrie Hotel, Newcastle The Quiet Contender + The Slow Burners + Strangers With Candy

Dan and Dave

View Factory, Newcastle The Phat Controller + Funkwit

Woodport inn, Erina Hook n Sling + Wolfpack

Sat, Oct 16 Big Top, Luna Park, Sydney Smashing Pumpkins

Cambridge Hotel, Newcastle Fictions

CBD Hotel, Newcastle Dubstep w/- Doctor P + Kato

Fannys, Newcastle Dave Manna + MC Matthew Charles

Grand Junction Hotel, mait. X + Dollsquad

Great Northern Hotel, ncle The Bon Scotts + The Dread Sky +

View Factory, Newcastle

The Foreign Objects + Fangs

You Am I

Seven Seas Hotel, Carrington

Love Child

Cambridge Hotel, Newcastle

CBD Hotel, Newcastle

The Reels

Newcastle Leagues Club

Racz ‘n Waters

Lizotte’s, Lambton

The Novocaines + The Owls +

Lizotte’s, Lambton

Rocwater + Loren Kate +

Fri, Oct 8

Fannys, Newcastle

Lass O’Gowrie Hotel, Newcastle

Lizotte’s, Lambton

Cambridge Hotel, Newcastle

The Clap + Elephant + Mistaken

Farwest Battle Front + Morna Point

Franklin Music Celebration

Newcastle Leagues Club

Rock and Roll Circus

Allay The Sea + As Silence Breaks +

Stevie Ray Vaughan and Aretha

Wed, Oct 6

Great Northern Hotel, ncle Hamilton Station Hotel, ncle

Lizotte’s, Kincumber

Street Warriors Rock and Roll Circus w/- M.I.T.

Fannys, Newcastle John Glover

Grand Junction Hotel, mait. The Re-Mains

Great Northern Hotel, ncle Melody Pool + Rhys Zacher

Hexham Bowling Club, ncle Steve Forde

King Street Hotel, Newcastle Ajax

Hunter Valley Brewery, mait. Bag Raiders (DJ set)

Lass O’Gowrie Hotel, Newcastle Team + Jimmy Bazil Project

Lizotte’s, Lambton James Blundell + Kristy Lee Akers

Metro Theatre, Sydney Dead Meadow

Seven Seas Hotel, Carrington The Horizontalists

View Factory, Newcastle The Suburban Undertakers + Elephant Funk

Woodport Inn, Erina Bounce w/0 Ajax + Amanda Savage

Sun, Oct 17 Bateau Bay Hotel Steve Edmonds Band

Beachcomber Hotel, Toukley You Am I

Grand Junction Hotel, mait. The Do-Raiders

Lizotte’s, Kincumber James Blundell + Kristy Lee Akers

Queens Wharf Brewery, ncle Laneous and The Family Yah

Mon, Oct 18 Laycock Street Theatre, gosf. Arj Barker

Newcastle Entertainment Cent. Creedence Clearwater Revisited

Tues, Oct 19 Laycock Street Theatre, gosf. Arj Barker

Wed, Oct 20 Cambridge Hotel, Newcastle The Shake Up + DJ El Mariachi + The Owls + The Playtapes

Great Northern Hotel, ncle Final Flash + 1929 Indian

Lass O’Gowrie Hotel, Newcastle Jungal

Lizotte’s, Kincumber Perpetual Blues Machine + Howie Sherman + Dear Monday + Ryan Meeking

Lizotte’s, Lambton

Lass O’Gowrie Hotel, Newcastle

Nick Saxon + Ofreill Duo

Gargamels Cat + Mayday Weyhay

View Factory, Newcastle

Lizotte’s, Kincumber Wendy Matthews + Ashleigh Grace

Kym Campbell + Jacob Pearson + Di Drew Follow us on Twitter

gig Guide North Coast Thur, Oct 21

Wed, Oct 27

Fri, Oct 1

Bellingen

Bar On The Hill, Newcastle Uni

Cambridge Hotel, Newcastle

Australian Hotel, Ballina

Brewery, Byron Bay

Illy + 360 + Skryptcha

Entrance Leagues Club Guttermouth

Great Northern Hotel, ncle The Fumes + Elliott Brood + The Tunstalls

Lizotte’s, Kincumber Wolf Mail

Lizotte’s, Lambton Bob Corbett

View Factory, Newcastle Holly Throsby

The Rumjacks

Great Northern Hotel, ncle Kill Kurt Reifer

Hamilton Station Hotel, ncle Rein Room

Lass O’Gowrie Hotel, ncle Barry March

Lizotte’s, Kincumber Mark Seymour

Lizotte’s, Lambton Jessica Cain + Rocwater + Ashleigh Grace + The Havelocks

The Trail

Bellingen Bellingen Global Carnival

Bonny Hills Beach Hotel Crank

Coast Hotel, Coffs Harbour Peverse Cowgirl

Federal Hotel, Bellingen Geoff Turnbull

Finnian’s Irish Tavern, Port Bob Log III

Great Northern Hotel, Byron Ash Grunwald + Dead Bead Band

Fri, Oct 22

Thur, Oct 28

Lennox Point Hotel

Cambridge Hotel, Newcastle

Blush Nightclub, Gosford

Macquarie Hotel, Port Macq

The Dead Walk! + Every Word +

The Shake Up + DJ El Mariachi

Grave Fears + Taken By Force +

Cambridge Hotel, Newcastle

No Second Chances

CBD Hotel, Newcastle Rock and Roll Circus

Grand Junction Hotel, mait. Great Dividing Range

Great Northern Hotel, ncle The Domestics + The Family Clan

Hamilton Station Hotel, ncle Go Set!

Lass O’Gowrie Hotel, ncle Corduroy Pillow + The Mad Ones + Radio National

Newcastle Leagues Club Clare Bowditch & the New Slang + Glenn Richards + Andy Bull

Seven Seas Hotel, Carrington Raouf Graf

Sat, Oct 23 Cambridge Hotel, Newcastle Guttermouth + Casino Rumblers + Eyes Of The Scavengers + Speedlab

Cambridge Hotel, Newcastle Jazz Rooms w/ DJ Russ Dewbury + Omagaman + DJ Surian

Camp Shortland Fat As Butter w/- Wolfmother + Ice Cube + Sneaky Sound System + Bliss N Eso + The Beautiful Girls + Tame Impala + The Potbelleez + Muscles + Children Collide + Grafton Primary + Ian Carey + Yacht Club DJs + Vandalism +

Boy and Bear + Passenger + The Chemist

Civic Theatre, Newcastle Sarah Blasko

Grand Junction Hotel, mait. Hat Fitz and Cara Robinson

Lizotte’s, Lambton Mark Seymour

Fri, Oct 29 CBD Hotel, Newcastle Rock and Roll Circus

Civic Theatre, Newcastle Rhys Darby

Grand Junction Hotel, mait. The Phonies

Great Northern Hotel, ncle Birds and Belles + The Wildes

Lass O’Gowrie Hotel, ncle Epithets + Long Island Sound + The Understudy + Post Paint

Lizotte’s, Lambton Eugene Hideaway Bridges

Seven Seas Hotel, Carrington Nicko and Guests

View Factory, Newcastle The Delta Riggs

Woodport Inn, Erina Timmy Trumpet + Amanda Savage

Roland K Smith and the Sinners + Chuck’s Wagon +

Smudge + Bambino Koresh

Great Northern Hotel, ncle The Sniffer Dogs + Jesse Robinson

Hamilton Station Hotel, ncle “I Can’t Believe It’s Not Butter”

Lass O’Gowrie Hotel, ncle The Owls + The Ranga Midget Combo

Lizotte’s, Lambton Michael Winslow

Seven Seas Hotel, Carrington Hugh Gordon

Sun, Oct 24 Caves Beach Resort Thirsty Merc

Grand Junction Hotel, mait. Adam Hole and Marji Curran Band

Lizotte’s, Lambton The Break + Nick Saxon

Oasis Youth Centre, Wyong Confession Find us on Facebook

Rails, Byron Bay Hussy Hicks + Rosie Burgess

Seaview Tavern, Woolgoolga Slip Stream

Yamba Bowling Club The Ford Bros

Sat, Oct 2 Australian Hotel, Ballina Coast Road

Ballina Beach Village Sun Beach Music Festival w/Old Man River + The Boat People + Dan Parsons + M Jack Bee Band + Firetree + Swinging Cowgirls + Dr. Baz & Neil McCann + Koikidz + Guy Kachell + Melania Jack + Rebecca Ireland Duo + Ara Biota

Bangalow Hotel Hussy Hicks + Rosie Burgess

Beechmont Hall

The Dennis Boys Band

CBD Hotel, Newcastle Dcup

Great Northern Hotel, ncle The Owls + The Hatty Fatners + Bunt

Lass O’Gowrie Hotel, ncle Errol JM and the Trade Secrets

Lizotte’s, Kincumber Renee Geyer

Newcastle Leagues Club Ed Kowalczyk

The Ninth Chapter

Bellingen Bellingen Global Carnival Laneous and The Family Yah Hekyl and Jive

Coolangatta Hotel Amy Meredith

Federal Hotel, Bellingen Carra

Goonellabah Tavern Wordplay

Great Northern Hotel, Byron Sticky Fingers

Henry Rous Hotel, Ballina Dean Sharkey

Lennox Point Hotel Tightrope Alley

Pacific Hotel, Yamba Preston Train

Sun, Oct 31

Pioneer Tavern, Wollongbar

Grand Junction Hotel, mait.

Tommy’s Tavern, Lismore

Rockabilly Festival w/- Pat Capocci Combo + Ezra Lee Show + Danny and the Cosmic Tremors + Leah Dennis

Lass O’Gowrie Hotel, ncle The Dynamics

Lizotte’s, Kincumber Eugene Hideaway Bridges

Lizotte’s, Lambton Renee Geyer

Trading Post, Laguna Hat Fitz and Cara Robinson

Los Mones

Great Northern Hotel, Byron Amy Meredith

Pacific Hotel, Yamba Pacha Mama

YAC, Byron Bay Miles Away

Thur, Oct 7

Lee Bros SCU Vocal Sessions

Sun, Oct 3 Ballina Beach Village

The Deckchairs

Macquarie Hotel, Port Macq Matt Southon + The Giving Tree + Genevieve Chadwick

Rails, Byron Bay Claude Hay

Fri, Oct 8 Australian Hotel, Ballina Kelly Gang

Bangalow Hall Bohemian Masquerade Ball w/-

Rebecca Ireland Duo + Ara Biota

27 Oct 30 Oct 31 Oct 2 Nov

Mark Seymour Renee Geyer Eugene Hideaway Bridges Melbourne Cup Lunch

Pear & The Awkward Orchestra

Beach Hotel, Byron Bay The Round Mountain Girls

Bonny Hills Beach Hotel Zebyah

Coast Hotel, Coffs Harbour Jerico

Great Northern Hotel, Byron Mojada

Lennox Point Hotel DJ Webber

Macquarie Hotel, Port Macq

Matt Southon

Pacific Hotel, Yamba Ragga Jump

Pioneer Tavern, Wollongbar Rochelle Lees

Seaview Tavern, Woolgoolga Mahalia Fox

Tree House on Belongil, Byron Tim Stokes

4 Nov

Abby Dobson & Lara Goodridge 6 Nov Armondo Hurley and The Bodz 10 Nov Kim Cannan 11-12Nov James Reyne 13 Nov Ed Kuepper

Yamba Bowling Club Hekyl and Jive

Sat, Oct 9 Australian Hotel, Ballina Two ‘B’ Two

Beach Hotel, Byron Bay Raz Bin Sam and the Lion I Band

Coast Hotel, Coffs Harbour The Weekenders

Federal Hotel, Bellingen

14 Nov 18 Nov 20 Nov 24 Nov 26-28 Nov 2-3 Dec

Beccy Cole Gareth Liddiard Gangajang Jack Jones Diesel Darryl Braithwaite

Coastal Soul

Goonellabah Tavern Occa Rock

Great Northern Hotel, Byron Trip Kicks w/- Ryan Rushton + Trobble + Twins + Ben Abrahams, Adam Taylor

Henry Rous Hotel, Ballina Due Wave

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

Hoey Moey, Coffs Harbour Open Arms Battle of the Bands Charlotte Marshall and her Band +

Guy Kachell + Melania Jack +

Wendy Matthews James Blundell Wolf Mail Quest for Life Foundation Rainbow Lunch

Kira Puru & The Bruise + Editor +

- Heat 2 w/- Bennji + Mastigma +

Dr. Baz & Neil McCann + Koikidz +

15 Oct 17 Oct 21 Oct 24 Oct

Spoonbill + The Barons Of Tang +

Old Man River + The Boat People + Firetree + Swinging Cowgirls +

10 Oct 14 Oct

Old Man River 1927 Daniel Lee Kendall Jon Cleary The Robertson Brothers Stevie Ray Vaughan & Aretha Franklin music night, featuring Mal Eastick & Shauna Jensen Shannon Noll The Reels

Cass Eager and the Velvet Rope +

Sun Beach Music Festival w/Dan Parsons + M Jack Bee Band +

1 Oct 2 Oct 3 Oct 7 Oct 8 Oct 9 Oct

Beach Hotel, Byron Bay

Genevieve Chadwick +

Mojo Bluesmen + Thrillbilly Stomp +

every Wednesday night

Federal Hotel, Bellingen

Bowen and the Lucky Dutchman +

Blues Stomp Holding Co. +

Don’t forget — Live & Local

Lisa Hunt + Mohini Cox

Hat Fitz and Cara Robinson + Blind Lemon + Blind Willy Wagtail +

CENTRAL COAST

Bellingen Global Carnival

Beechmont Blues Stomp w/-

Coast Hotel, Coffs Harbour

The Jezabels + Tim and Jean +

Grand Junction Hotel, mait.

Glenn Massey

Hamilton Station Hotel, ncle

Horrorshow + Static Revenger +

Band Gang DeeJays + Dancares!

Pioneer Tavern, Wollongbar

Brewery, Byron Bay

Mo Trowell and the Delivery +

Cabins + Metals + Tenzin

Carra

Sat, Oct 30

Kid Kenobi and MC Shureshock +

CBD Hotel, Newcastle

Weapon Head

reverb

Mardell + Cry Wolf + Bring The Rain

Lennox Point Hotel Ragga Jump

Pacific Hotel, Yamba Dan Hannaford r e v e r b m ag a z i n e i s s u e # 0 5 1 — o c to b e r 2 0 1 0 25

october

gig Guide North Coast (cont.) Sun, Oct 10

Sun, Oct 17

Pacific Hotel, Yamba

Brewery, Byron Bay

Beach Hotel, Byron Bay

Pioneer Tavern, Wollongbar

Slim Pickens

Lennox Point Hotel

FRI 01 THE TRAIL DUO 6 pm -9 pm

SAT 02 COAST ROAD DUO 6 pm -9 pm SUN 03 OPEN MIC & JAM 1 pm – 4 pm

FRI 08 THE KELLY GANG 6.30-9.30pm

SAT 09 TWO ‘B’ TWO DUO 6.30-9.30pm

Tim Stokes

Wed, Oct 13 Club Coffs, Coffs Harbour Little Red + Sparkadias

Thur, Oct 14 Beach Hotel, Byron Bay Angie Hart + Matt Barber +

Gabrielle and Cameron

Macquarie Hotel, Port Macq Mike Gemzik + April Maze + The B`s

Fri, Oct 15

FRI 15 VANESSA-LEA TRIO 6.30-9.30pm

Coast Hotel, Coffs Harbour

SAT 16 BIRDY 6.30-9.30pm

Finnian’s Irish Tavern, Port

SUN 17 OPEN MIC & JAM 1 pm- 4 pm

Hoey Moey, Coffs Harbour

FRI 22 CATH SIMES BAND 6.30-9.30pm

Macquarie Hotel, Port Macq

SAT 23 MILENA 6.30-9.30pm

Seaview Tavern, Woolgoolga

SUN 24 OPEN MIC & JAM 1 pm- 4 pm

Yamba Bowling Club

SUN 31 OPEN MIC & JAM 1 pm- 4 pm

Federal Hotel, Bellingen Anthony Zarb Matt Southon +

Sat, Oct 23

Mon, Oct 18

Australian Hotel, Ballina

Rails, Byron Bay

Milena

Beach Hotel, Byron Bay

Matt Southon + Genevieve Chadwick

Submarine

Byron Centre, Byron Bay

Wed, Oct 20

Sarah Blasko

Coolangatta Hotel

Rails, Byron Bay

Cloud Control

Federal Hotel, Bellingen

Matt Southon + Genevieve Chadwick

Kindread + Heart Tribe

Finnian’s Irish Tavern, Port Ghost Road

Glasshouse, Port Macquarie Kitty Flanagan

Goonellabah Tavern Mossy Rocks

Harrigan’s, Harrington Thirsty Merc

Hoey Moey, Coffs Harbour

Grant Walmsley

Open Arms Battle of the Bands -

Federal Hotel, Bellingen

Final

Lennox Point Hotel

Barrel House

Den Hanrahan and the Roadsiders

Lismore Show

Mojada

Great Northern Hotel, Byron

Under The Tent w/- Ed Kuepper + Kim Salmon + Ron Peno +

The On-Fires

Lennox Point Hotel The City Shakeup Homeless Yellow + April Maze

Pioneer Tavern, Wollongbar Brian Watt Prizm

Twin Towns, Tweed Heads The Village People Errol Gray

Sat, Oct 16 Australian Hotel, Ballina Birdy

Beach Hotel, Byron Bay Ryan Meeking

Coast Hotel, Coffs Harbour Groove Robbers

Coolangatta Hotel Little Red + Sparkadia

Goonellabah Tavern Jabiru

Great Northern Hotel, Byron

Cloud Control

Thur, Oct 21 A + I Hall, Bangalow Lior

Beach Hotel, Byron Bay Cloud Control

Coffs Harbour Ex Services Club Michael Winslow

Great Northern Hotel, Byron Eagle and the Worm

Hoey Moey, Coffs Harbour Thirsty Merc

Macquarie Hotel, Port Macq My Left Boot + Franklin Montague & Dr Sweet Trouble + Jamie Boyd

Nimbin Hotel Matt Southon + Genevieve Chadwick

Fri, Oct 22 Australian Hotel, Ballina Cath Simes

Beach Hotel, Byron Bay Mooger Fooger

Brewery, Byron Bay

One Man Party (Soulwax) +

The Red Eyes + Darky Roots +

Sam La More + Ryan Rushton + Easy

Kingfisha

Glenn Massey

Hoey Moey, Coffs Harbour Open Arms Battle of the Bands - Heat 3 w/- The Proposition + Void + The Royal Harlot + Cynicosis + Matt Dean & the Rhythm Section + The Prismatics + Hotels on Mayfair

Lennox Point Hotel One Two Many

Pacific Hotel, Yamba The Blood Poets

Pioneer Tavern, Wollongbar Big Music

Tommy’s Tavern, Lismore Charlotte Marshall

Club Coffs, Coffs Harbour Abba Live

Coast Hotel, Coffs Harbour Down Hoochie Brown

Federal Hotel, Bellingen A Little China Province

Finnian’s Irish Tavern, Port Final Flash

Great Northern Hotel, Byron The Paper Scissors

Hoey Moey, Coffs Harbour Full Moon Party

Hub Music, Sawtell Holly Throsby

Lennox Point Hotel Timbah

Macquarie Hotel, Port Macq Rockhard

m ag a z i n e i s s u e # 0 5 1 — O c to b e r 2 0 1 0

Thirsty Merc

Genevieve Chadwick

Whiskey Road

P + And Oh! + Red Mayne

26 r e v e r b

Yamba Bowling Club

Ray Beadle Band + Pugsley Buzzard

Marc Daley

Seaview Tavern, Woolgoolga The Edge

Lennox Point Hotel

Bonny Hills Beach Hotel

Henry Rous Hotel, Ballina

103 River Street, Ballina Phone 02 6686 2015

Supercheeze

Vanessa-Lea + Road Train

SUN 10 OPEN MIC & JAM 1 pm- 4 pm

SAT 30 HANNAFORD CLAY DUO 6.30-9.30pm

Lisa Hunt

Australian Hotel, Ballina Beach Hotel, Byron Bay

FRI 29 TWOTRAX DUO 6.30-9.30pm

The Bohemian Cowboys

Holly Throsby + The Re-Mains + Sara Tindley and her Kingfishers + The Tendons + Koi Kids

Nimbin Hotel The Deckchairs

Pacific Hotel, Yamba Highway Blonde

Pioneer Tavern, Wollongbar Tom and Jerry

Tommy’s Tavern, Lismore Rochelle Lees

Sun, Oct 24 Byron Centre, Byron Bay Sarah Blasko

Coast Hotel, Coffs Harbour Dave Tice and Mark Evens

Lennox Point Hotel Brian Watt

Fri, Oct 29 A + I Hall, Bangalow The Audreys + Nicholas Roy

Australian Hotel, Ballina Twotrax

Beach Hotel, Byron Bay Krishna Jones

Bonny Hills Beach Hotel Glenn Heath and the Deep Blue Sea

Coast Hotel, Coffs Harbour Vanessa Lea

Federal Hotel, Bellingen Coastal Soul

Hoey Moey, Coffs Harbour Errol Gray

Lennox Point Hotel Anna Free & the Unsolved Crimes + Dunhill Blues

Macquarie Hotel, Port Macq Mum Says Rock

Pioneer Tavern, Wollongbar Twin Systems

Seaview Tavern, Woolgoolga Angry Prism

Sat, Oct 30 Australian Hotel, Ballina Hannaford Clay

Coast Hotel, Coffs Harbour Mambo Slammers

Coffs Harbour Ex Services Club D & G Experience

Federal Hotel, Bellingen Groove Robbers

Finnian’s Irish Tavern, Port The Phonies

Goonellabah Tavern Broadfoot

Henry Rous Hotel, Ballina Matherson Trio

Hoey Moey, Coffs Harbour Little Fish

Lennox Point Hotel Mick McHugh

Pacific Hotel, Yamba Polaroid Fame

Pioneer Tavern, Wollongbar Cath Simes

Port Macquarie Race Club Wake The Dead w/- Soul Tremor + Empirical + Nikki Nouveau + Empty

Tommy’s Tavern, Lismore Mason Rack

Yamba Bowling Club Hekyl and Jive

Plantation Hotel, Coffs Guttermouth

Yamba Bowling Club Yamba Country Music Club w/Kevin + Dehlia

Wed, Oct 27 Glasshouse, Port Macquarie Sarah Blasko

Greenpoint Gallery, Forster Hat Fitz and Cara Robinson

Port Macquarie Panthers Yada Yada w/- Dirty Little Rebels + Smoke & Mirrors DJs + Love Child + Luke & William Hall

Thur, Oct 28 Beach Hotel, Byron Bay The Lucky Wonders

Great Northern Hotel, Byron Bag Raiders

Macquarie Hotel, Port Macq Dunhill Blues + The One Eyed Kings +

Sarah Blasko

Sun, Oct 31 Beach Hotel, Byron Bay Blue Pearl

Lennox Point Hotel Matt Collyer

Point Break Bar, Burleigh Heads Tim Stokes

YAC, Byron Bay Carpathian + Against + Word Up + In Hearts Wake + Think Twice

Angie Swannel Follow us on Twitter

abicus

OCTOBER DATE

EVENT

FRIDAY

DJ JOSH POLLARD

SATURDAY

DEAN SHARKEY

SUNDAY

NRL GRAND FINAL

MONDAY

SCHOONER & SCHNITZEL $14

TUESDAY

TERRIFIC TRIVIA WITH DYLAN

WEDNESDAY

MEMBERS FREE STEAK

THURSDAY

LIVE JAZZ FROM 7PM

ten YEARS OF ABICUS

FRIDAY

DJ JOSH POLLARD

SATURDAY

DUE WAVE

It goes without saying that music and fashion go hand-in-hand, but to try and make a business out of this relationship is not necessarily an easy move. With Abicus celebrating a decade on Darby Street, Cooks Hill, it feels an appropriate time to ask founder Tiffany Minell about how to make the fashion-music marriage work. By Kevin Bull.

MONDAY

SCHOONER & SCHNITZEL $14

TUESDAY

TERRIFIC TRIVIA WITH DYLAN

WEDNESDAY

MEMBERS FREE STEAK

THURSDAY

LIVE JAZZ FROM 7PM

FRIDAY

DJ JOSH POLLARD

SATURDAY

GLEN MASSEY

MONDAY

SCHOONER & SCHNITZEL $14

TUESDAY

TERRIFIC TRIVIA WITH DYLAN

WEDNESDAY

MEMBERS FREE STEAK

THURSDAY

LIVE JAZZ FROM 7PM

FRIDAY

DJ JOSH POLLARD

SATURDAY

LIVE MUSIC

MONDAY

SCHOONER & SCHNITZEL $14

TUESDAY

TERRIFIC TRIVIA WITH DYLAN

WEDNESDAY

MEMBERS FREE STEAK

THURSDAY

LIVE JAZZ FROM 7PM

FRIDAY

DJ JOSH POLLARD

When the original idea of opening a clothing store in Newcastle came upon you, what did you imagine? Fashion was very new to us at the time. We opened in 2000 with very little start-up capital and only a small rack of clothes and a go-to selection of CDs and vinyl. We didn’t really know what clothing was going to work, we just knew that it wasn’t available anywhere else in Newcastle and we personally very much liked it. Why Darby Street? Darby Street had such a fantastic vibe to it. It had a number of great cafés, a book store, general store, chemist and a few retail shops already. 124 Darby Street had recently become available, we fell in love with the original shop front and the lease was very reasonably priced. Darby Street was much quieter, there were less retail and less eateries. Over the years, office spaces have been converted and old housing has been demolished to make room for the demand of new commercial spaces. The aesthetic of Darby Street really hasn’t changed, it’s just more condensed — we still have uneven footpaths! As a small business owner, and specifically a clothing store owner, what were the hardest obstacles in these early days? Stock purchasing has always been somewhat of a gamble and obstacle. Not outlining a budget when ordering in the early days often led to over spending, in turn being over stocked. Are they the same difficulties as you have now? Absolutely, fashion buying is very difficult to get 100 per cent right! Often we order six to nine months in advance. Knowing the specific size break, colour and styles of complete sell through items is tricky. Over time it gets much easier to gauge but, I still buy some questionable styles! It’s so easy to get carried away in a showing then six months later the order arrives and I go, “We ordered this, really?” Other times it’s my absolute personal favourite pieces that just don’t sell. Then I’m the only one in Newcastle wearing it (laughs).

Find us on Facebook

What are you looking for in a label to stock? There are so many labels out there, we’re actually contacted by around three a day. It amazes me just how many new labels are popping up every other week. I guess there’s a combination of factors to consider when deciding on a new label for the store; price point, quality, if the label is new, existing or has a current following. What is your opinion on the state of the Australian fashion industry? I think the Aussie fashion industry is thriving again, which is a great feat considering many retail stores and clothing labels ceased to exist after the GFC. There are many inspiring individuals out there involved in all areas of fashion styling, photography, blogging, retail and designing. Was selling music always part of the plan? Yes, it definitely was. The initial love was music. I previously worked in music retail, interviewed and photographed bands as well as wrote my own zine. My ex-business partner previously had a music retail store and she knew music alone was a hard slog due to such minimal margins, so then fashion was thrown in to the mix. When you think about it both music and fashion trends work hand in hand. It’s funny because the fashion really took off and is now 95 per cent of our business. Vinyl features prominently in the store. What is the market for vinyl like these days? Vinyl has been a strong seller for us over the years. We expanded our selection and it has paid off. It’s become very popular — from avid collectors to teenage girls requesting Sonic Youth records — I love it! Vinyl sales worldwide have actually increased dramatically over the last few years. Many LPs now come with MP3 downloads, they look so pretty and sound amazing also. Abicus is at 124 Darby Street, Cooks Hill. Phone (02) 4929 7278.

30 SATURDAY

MATHERSON TRIO

SPECIALS MONDAY – SCHOONER & SCHNITZEL $14 TUESDAY – TERRIFIC TRIVIA W/ DYLAN 7PM WEDNESDAY – MEMBERS FREE STEAK THURSDAY – JAZZ NIGHT FROM 7PM

BALLINA 177 RIVER STREET, BALLINA PH: 02 6686 2411 WWW.HOTELHENRYROUS.COM.AU r e v e r b m ag a z i n e i s s u e # 0 5 1 — O c to b e r 2 0 1 0 27

c r e e d e n c e c l e a rw a t e r r e v i s i t e d — t h e v i ll a g e p e o p l e

The story of Creedence Clearwater Revival reads like a hollywood movie — amazing success, internal feuds and bad record deals. Yet 38 years after their breakup it is their music that is most remembered by their fans, and by Cook and Clifford. “These songs are like my children,” Clifford reflects, “and they have come along with me as my life has changed.” Cook is more direct, “Well, I’m reliving my youth! When Doug and I started the (Revisited) project, we had no idea how many new fans we had accumulated over the years. That was our biggest surprise.” The project that Cook refers to is Creedence Clearwater Revisited, a band that comprises of John Tristao (vocals), Tal Morris (guitar) and Steve Gunner (guitar), along with both Cook and Clifford. “The hard part was for Cosmo and I to find the right singer,” says Cook, “but when we heard him (Tristao),

Revisiting Creedence When Creedence Clearwater Revival’s original bassist Stu Cook and drummer Doug ‘Cosmo’ Clifford formed Creedence Clearwater Revisited in 1995, Revival’s lead vocalist and primary songwriter John Fogerty was none to pleased. In fact, he took them to court over it. Sixteen years on, Kevin Bull speaks to both Cook and Clifford about CCR’s glory days, the pain Fogerty has put them through, and the joy of performing classic CCR songs again. we knew we had our man.” Apart from the difficulty in finding the right vocalist, just getting on stage was thwarted by Fogerty’s court injunction. “We called it ‘Revisited’ out of respect for him and the band,” Clifford says. “John wasn’t singing the songs, he refused to do it. We did it and we knew we were doing the right thing. People

wanted to hear the music. We were on all of those records, we gave 110 per cent of what we had to offer. We did prevail and this is our 16th year of doing this and people love it. I’m glad we stood up.” The songs that Creedence Clearwater Revisited are now legally entitled to play live were all recorded during an amazingly

prolific four year period. “We were always recording singles,” Cook remembers, “and when we had six tracks we’d go in and record a long track and a couple of covers. We didn’t actually stop everything and record an album.” Between 1968 and 1972, this work ethic produced seven albums, five of which went Top 10 in the US, with two number ones.

you taken by surprised by the mainstream success? No. Early on, we would do in-store promotions and the biggest crowd were teenage girls, a lot of them came because of their families. So, the success wasn’t a surprise to us and the show was much more diversified. When you go to a Village People concert you can find just about anybody — it’s like a big cocktail party. The question that everyone wants to know is if you have ever been asked to wear the uniform in the bedroom? Never… never (laughs).

Still in the Navy the village people

Are you looking forward to be heading back to Australia? Yes, we always look forward to coming back to Australia. We have travelled there around 27 times over the years and it’s always a wonderful experience whenever we go down under. With 33 years in the business, the love of The Village People appears to be as strong as ever. What do you put this down to? I have a feeling a lot of it has to do with the six members. There have been fans from all over the world who keep in contact with us. With the internet today, I mean, how easy is it? Looking back 33 years-ago, success came very quickly with ‘Macho Man’, ‘In The Navy’ and ‘YMCA’. What are your memories of these heady days? 28 r e v e r b

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The Village People , 33 years on, have survived the disco cringe to become one of its leading lights. As they prepare to return to Australia, Kevin Bull spoke with GI, Alex Briley, about the group’s appeal, performing for Ozzy Osbourne and dealing with loss during the tragedy of September 11. Working non-stop. We were keeping an international market as well as a market here in the States going, and probably spending about four days a month at home. The rest of the time we were out there on the road. Considering that The Village People were originally targeted at a gay audience, were

In 1979 the Village People made the cover of Rolling Stone. Was there a feeling of having made it once you got that cover? Oh my goodness, that was one of the highlights that we do appreciate happening. You fall alongside all those other artists that have been on the Rolling Stone cover, so we are very grateful.

Fifteen singles were also released during this period, with nine going Top 10. To say they were one of the biggest bands in the world at the time is an understatement. You would imagine that with this chart success behind them, they would have made a truck-load of money. Unfortunately, it was their record company Fantasy Records that benefited. “Well, it was an entry level deal,” says Cook, “low royalty rate, lots of product owed, the company could pick up the option year after year. We were also required to sign over the rights to the songs that we composed, but, after we became successful, we deserved a better contract. Saul Zaentz (owner, Fantasy Records) promised us a better contract. We sat in his house one night and he said ‘when we’re all successful, we’ll tear this contract up and we’ll all share in the pie.’ Well, that never happened and today we still have the same contract that we started with 42 years ago.” Clifford’s recollections of the record deal is similar, but also added, “we were offered ten per cent of the company at one point. John rejected it because he wanted his songs back, and that one cost us probably 150 million dollars.” But for this Hollywood movie, there is a happy ending. John Fogerty now performs the Creedence songs during his solo shows, and Doug Clifford and Stu Cook can re-live their youth with Creedence Clearwater Revisited. “You can expect a lot of fun”, Clifford enthuses about the upcoming Revisited shows. “It’s really a joy playing these songs. You can expect a party.” Creedence Clearwater Revisited perform at the Newcastle Entertainment Centre on Monday, October 18.

Was it a similar feeling when you received a star on ‘Hollywood Walk of Fame’ in 2008? That’s a highlight, I tell you, especially when you walk up and down the street and you see the company that you are in. Ours happens to be between Betty Grable and Liberace. I understand your brother passed away during 9/11. Have you come to terms with the events that occurred that day? Well, I really don’t talk about it very much. It’s one of those things that is constantly in you memory no matter what because not only did I loose people, thousands of others did. Let’s just leave it at that. For NYE 2002, the Village People performed at Ozzy and Sharon Osbourne’s party where they renewed wedding vows. On the surface that appears like a quite surreal experience. You looked out in the audience and it looked like you were at a zoo. I mean, literally, everywhere and all of a sudden Sharon and Ozzy got on the table and started dancing to ‘Macho Man’. So, we knew we went over well. What can Australian audiences expect from The Village People, 32 years after ‘Macho Man’? We’re going to give you as much high-energy as we can, we still have it, and we are very glad to be able to deliver the songs after so many years. We are looking forward to doing a great deal of partying while we are there in Australia! The Village people perform at West Leagues Club, Newcastle, on Tuesday, October 12, and Twin Towns Resort in Tweed Heads on Friday, October 15. Follow us on Twitter

the audreys

The Stars From Last Night

albums, Between Last Night and Us and When the Flood Comes? It’s different, for me personally the experience of making it was very different. It was just Tristan and I. I think it’s a less ‘bandy’ record and I think, as songwriters, it’s the best stuff we’ve done. I’m really proud of it! Are there any songs that are close to you or favourites on the new record? I don’t really have favourites. We wrote a bunch of stuff and only picked 10 tracks so they’re already favourites. ‘Lonesome Valley’ is a song we’ve been playing for a few years so it’s an old favourite. ‘Comfort Me’ is a song that Tristan and I have been playing for a year now, it was just guitar and voice but when we tried to put it down that way it just didn’t feel right. We trashed the track, deleted it completely and then started again with the strings — it’s weird but I like it.

Sometimes the Stars is the new album from Adelaide folk-duo, The Audreys, sometimes known as Tristan Goodall and Taasha Coates. Coates recently took some time-out to chat with Mark Henderson about the new record, what she’s been up to, and the upcoming tour. I guess it’s been a bit of a whirlwind of recording, writing, touring and making music for you from the last few years to now. It has been but I feel like we’ve taken our time a bit with this one. I’ve had people come

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up to me and say “it’s about time you guys put out another record.” How does the new album Sometimes the Stars relate to, or build on, your previous

I know that you collaborated with some different musicians on the new record. How do you find working with these guests? This record is the first that we have really done this sort of thing and it was so much fun. We’d listen to a song and go, “hmm, this song needs trombone. Who do we know that plays trombone?” We would all get on the phone and call anyone we knew. All of the guest artists were incredible and it was really flattering that they wanted to do it, it was great. The song ‘Troubles Somehow’ almost sounds like a pop song. This is a bit of a different direction for you, is this a direction that you would like to move into?

It’s a bit of a folky-pop song but, I think that we’ve always kind of written pop songs. Even on our first record we had little country, folkpop songs but there’s no way I would want to join a pop band - my tits aren’t big enough! Some of the songs have very deep issues or themes but there is a joyous feel to the album, was this intentional? That’s how we felt when we were making it, so I’m really glad that comes across. It was a really enjoyable process to make this record. The joyous feel is just there, it’s just in the songs and I’m glad it is. There is a lot of expectation on Sometimes the Stars after the previous Aria-winning records. How do you think that weighs up to expectations? I think it’s the best record we’ve made and if other people don’t agree well, I don’t even care. Although they are quite nice, I don’t need another Aria. The Audreys will be playing over 20 venues across Australia between October 15 and December 3. This is a pretty epic effort, are you excited to be back on the road? I love touring, I love travelling and I love playing in a band, it’s really fun. Even though we are playing 20 venues, we still have people complaining that we aren’t coming to their town. The tour is gonna be great, I can’t wait! The Audreys play the A+I Hall in Bangalow, Friday, October 29, and Lizotte’s, Lambton, on Thursday, November 4. Sometimes The Stars is out this month.

Al e x i s o n f i r e — f i n a l fl a s h

Your acoustic side-project, City and Colour, began with you recording a few songs that you had written over the years and releasing them over the internet for fans to download. Were you surprised with the positive reaction and success that followed? Yes, and I still am to this day. It is still surprising to me that people are into it. I think when I began recording music for City and Colour, it had a bit to do with not having too much faith in myself. I just recorded these songs that I had written over the years and put them up for people to listen and download. A short time later people were asking me when I was going to take City and Colour on the road. It was quite surreal. You have quite a variety of styles that you play, from folk and acoustic to heavier stuff (Alexisonfire). Who are your influences? The spectrum is pretty wide. The first concert that I ever went to was Neil Young, Pearl Jam and Soundgarden. I was really into grunge music when I was in elementary school, because that’s when it was popular. After the grunge phase I soon got into heavier music such as Quicksand and Deftones, music like that. I’m always trying to find new bands to listen to but, at the same time, I listen to a lot of older stuff too. Some of my favourite music would have to be old blues records. Are there any guidelines you abide by when writing songs? No, not really. I just try to not make them bad (laughs)! I will just write whatever comes to my mind at the time, whether it be a few lines or just a melody, then I just take it from there. You have hinted that you have enough songs for a third record with City and Colour. Do you

pressure from people because, at the end of the day, I need to make sure that I’m happy with the songs first. Alexisonfire has always been my main focus, so after tour and recording finishes with them, that is when I focus my attention on City and Colour. How do you feel the reception of Alexisonfire’s latest album, Old Crows/Young Cardinals, has been received? For most parts it’s been pretty great, most people really like it. I mean, you’re always going to have certain people who just don’t like what you’re doing, people that don’t want you to change at all. I wouldn’t have the sound of that album changed, I want to evolve and get better at what we do by being different on each album that we record.

A Song is a City If you have ever speculated about who should make the list of the hardest working guys in rock ‘n roll, you wouldn’t need to hesitate for a second when it comes to Canadian rocker, Dallas Green. Sean Frazer speaks to Green about Alexisonfire, City and Colour and the time spent in between. know if, or when, recording may commence for a third album? Yes. Hopefully I am going to start recording in January so I’m hoping that there will be another album by next (Canadian) summer/spring.

Considering you are in two well-known acts, do you ever feel the pressure having to write material for two projects? I guess I do put a certain amount of pressure on myself. Although, I don’t usually feel

Between shows, what keeps you entertained? We all do different stuff, I skateboard and I’ve been doing that pretty much my whole life. The other guys like to play cards and video games a whole bunch. We all love to go record shopping. We’re pretty casual and laid back when we’re not on stage. For you, what’s the best part about coming to Australia? I know that everybody says that they love the countries that they’re about to tour. In all honesty, you guys have a great country and amazing people. Every time we head down there we feel loved by the Australians. We always have a great time over there and are thankful for the support you guys have given us over the years. It’s very much like being in a warmer version of our country, Canada. Alexisonfire will be performing at UNSW Roundhouse, Sydney, Friday October 8.

Flash Down South Having already made an impression in their home country of Canada, Final Flash are now garnering universal appeal with positive reactions from audiences and critics alike in the US, China and the UK. As they prepare to head to Australia, Kevin Bull spoke with bassist Andre Bendahan about Montreal’s indie-music scene, working with Jace Lasek of The Besnard Lakes and being stalked by high school girls. It’s a wonderful time of year to be coming to Australia. Are you coming to thaw out as much to introduce Australia to your music? It’s fall in Montreal now, not too cold yet, so we’re mostly avoiding the freezing temperatures to come! Playing music is nice, too. Looking at your tour schedule once you hit Australia, it’s nearly a gig each night. Is there any chance of you getting out to see the sights? Hopefully. It’s hard when we’re playing so much. We’ve got a couple of days off here and there and we’ll try and make the most of them, but usually those days are used to deal with our hangovers. Dealing with abusive drinking added to a vicious cycle known as alcoholism! I could try and describe your sound to our readers, but how do you perceive it? What do you hear? At the core, it’s a rock band influenced by the 60s and 70s with a modern edge to it.

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“Psychedelic folk-rock” is a term used in your bio. What influences, musical or otherwise, help form the sound Final Flash are making? We all have various and similar influences such as Neil Young, Rolling Stones, Beatles, Nirvana, Radiohead, and many more. The Besnard Lakes are also an inspiration to the sound we thought suited us, which is why we wanted to work with their front man Jace (Lasek) in his studio for our album (Homeless). What is Jace like to work with while in the producer’s chair? Not good at all in the end. Jace is a mentally and physically abusive control freak that would lose his shit whenever we’d make a mistake. He actually made one of us cry, threw him out of the studio and hired a professional musician to do his parts. True story? No, he was great to work with, very talented, super comfortable, great sense of humour. His special lady friend Olga (Goreas, also in The Besnard Lakes) cooked for us and we had Nintendo tournaments on our breaks. As for the music, Jace was able to turn some of our weakest tunes into the best ones. Overall, a great experience. Is Homeless getting released in Australia? Yes, but we are not even sure of all the details yet! Our manager asked if we wanted to go to Australia and be on the road for five weeks. We said yes, of course, then recently in a conversation he mentioned in passing that it was gonna be released out there round the same time — good to know!

What sort of impact did having your music included on a show like The Vampire Diaries? Crazy high school girls come and hang out at our shows and stalk us. Oh no, wait, no impact — we are still the ones hanging out at high schools stalking school girls. Tell me about the music scene in Montreal and Canada. There was a lot of hype about Montreal bands for a bit and I think it was well deserved. It’s a very diverse city with lots of energy and some of the bands here reflect that. The bands that make up our scene are the ones that are able to make great music, regardless of the style, and perform it genuinely.

What are your thoughts on its support of original local artists? Kind of up and down. Seems like most bands need to prove themselves by gaining some success elsewhere before being taken seriously or given a chance. I understand though cause there are just so many bands here and the city has become over saturated with shows making it harder to break through. So, hopefully Australia we will fall in love. Final Flash play The Great Northern, Newcastle, on Wednesday, October 20 and Finnian’s Irish Tavern in Port Macquarie on Friday, October 22.

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jimmy barnes

After paying homage to the masters of soul and blues, the man known as Barnsey gets back to what he undeniably does best — rock. Nick Milligan speaks to Jimmy Barnes about facing his demons on new record, Rage and Ruin. What do you enjoy the most about making a rock record compared to the soul and blues covers? Well, it’s your songs — these are my own songs. When you do the rhythm and blues and the soul records, they’re just tipping your hat and paying tribute to your roots. This is writing stuff about your own experience. As much as it’s great to sing those other melodies and trying to emulate those great singers, making your own records is about telling what’s in your own heart, your own soul and getting your demons out. At the same time you’re trying to connect with other people. The more honest you can be and the more it seems to be about yourself, the more people can relate to it. The

life experience is a common experience — we all have the same fears, we all have the same dreams and hopes — we all fuck up and do good. That’s what you try and get out when you’re writing songs. That’s the most different thing about making these records — it’s a lot more personal. It’s a bit like therapy. Did you have clear ideas about how you wanted this album to sound? The lyrics on the record are very personal and about my experiences, particularly some experiences I had from a really dark place, when I was a particularly bad alcoholic and drug addict. The basis of the songs came from there, but I looked at them from a clear perspective. You can see that you’ve come through it and there’s light at the end of the tunnel. To make the music that would go with that, I felt that it had to be fairly organic. I wanted it to be organic, warm and emotive. So this is a record that required some time and distance before you could make it? I didn’t really think about it. When you’re in the middle of that stuff you don’t really have that perspective. Looking back on it, everything’s not rosy. It’s not the end of the world — when you’re caught up in the middle of all that stuff it seems to be the end of the world. I’ve by no means exorcised all my demons — there’s still demons there, but you can deal with them. You were taking these lyrics from old notebooks? I’ve got a bunch of them — a bag full of notebooks and bits of paper that I’ve scribbled on. But there’s one notebook that was written around that period which is all sorts of weird, wonderful, hopeful, sad, dark, stupid lyrics. There wasn’t lyrics written, but there was ideas. Titles and phrases would come out of this book and I’d rewrite them to suit the songs. Every now and again, yeah. You write things down and move on. But if you look back at it with a bit of distance or clarity, you can see it’s a good idea and you can explore it further. It’s something I’m more aware of, but I think it’s a good thing to do. There seems to be religious references on songs like ‘God Or Money’ and ‘Before The Devil Knows You’re Dead’. Where did these come from? I’m not religious. I consider myself spiritual. ‘Before The Devil Knows Your Dead’ is really about… my theory about heaven and hell is that you’re living it now. You make it yourself. I’ve found religion is more a tool of control, which I don’t think is relevant these days. I think spirituality is much more important. ‘God Or Money’ should be complete opposites, but they’re the important things in people’s lives. [The lyric] “I wouldn’t trade you for God or money” is saying that these are the things that are important in people’s lives, even though they aren’t to me. Jimmy Barnes plays the tenth birthday of A Day On The Green at Bimbadgen Estate on Saturday, November 13, where he’s joined by a huge line-up featuring Diesel, Mark Seymour, Richard Clapton and Vanessa Amorosi, plus many more. Rage and Ruin is out now.

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rhys darby — you am i

While he’s known the world over as the ginger-haired guy that plays band manager Murray Hewitt in Flight Of The Conchords, Rhys Darby is building a following doing what he’s done for over ten years — manic stand-up comedy. Nick Milligan speaks with Darby about the New Zealand earthquakes, Conchords and winning-over Phillip Seymour Hoffman. If you’ve seen the TV series Flight Of The Conchords, then it’s likely you have quoted the scene-stealing character, Murray Hewitt, to one of your friends. The Kiwi actor who plays Hewitt, Rhys Darby, has amassed a worldwide fan base with his dithering, innocent portrayal of a man who works in New York’s retro New Zealand consulate and has aspirations of being a successful band manager. Darby, who has been a stand-up comedian for more than a decade, has enjoyed a boom in stardom, touring the world and keeping his audiences in stitches. The comedian is on the phone from his home in Auckland, which hasn’t been physically affected by New Zealand’s recent natural disaster. However, he admits it’s been difficult to witness the destruction that took place on the South Island when a 7.1-magnitude earthquake devastated Christchurch in the early hours of September 4. “I’ve got quite a special affiliation with Christchurch,” explains Darby. “I lived down there for a long time, went to university there and started my comedy career there. Most people in New Zealand have got some sort of connection with Christchurch. It’s a special city — it’s been tough to see it all fall apart.” Just like The Mighty Boosh before it, Flight Of The Conchords began as a sketch show on BBC radio. A long-time friend of Conchord duo and fellow New Zealanders Jermaine Clement and Brett McKenzie, Darby was invited to play their manager on the radio series. He would then reprise the role when HBO picked up the show for television. “Americans liked it, because it was a total novelty factor them,” says Darby, of Conchords’ success in the United States. “They hadn’t heard New Zealand accents on television before. The amount of people that thought we were actually Americans putting on a voice and making up a place was quite astonishing. In the early days [of the show] you’d get an email saying, ‘Oh wow, what’s this New Zealand place you guys have made up? What drama school did you guys go to?’ We’d say, ‘What are you talking about? It’s real!’” Some of the most memorable moments in

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In full flight

Free-falling

Flight Of The Conchords are Murray Hewitt’s band meetings with Clement and McKenzie. As Darby reveals, these slapstick, sidesplitting scenes were largely improvised. “We’ve got the full scripts there for us, but they were always like a blueprint, so you could go off them,” says Darby. “The main part where we could go off them were the band meetings — you could really say anything in those. They’re these moments where the blind is leading the blind — they were certainly the most fun and the funniest moments to do. In the second season, there was even more improvisation. Once we realised the show was successful, we decided we could have more of a muck around.” Darby broke into mainstream movies with Yes Man, where he starred opposite one of his influences, Jim Carrey. He would then share the screen with an array of outstanding comedians on the British comedy movie, The Boat That Rocked. Approaching the film’s set with the unavoidable feeling that he would be out of his league, Darby was surprised to find that Bill Nighy and many of the other actors were very excited about working with him. Everyone except for Phillip Seymour Hoffman. “[Hoffman] had never heard of me and he’d never seen the Conchords,” laughs Darby. “I worked with him for the first week and he kept looking at me as if to say, ‘Who the fuck are you?’” But even Hoffman, who won the Academy award for best actor in 2005, was converted. “Richard Curtis, the director, gave [Hoffman] a copy of the Conchords DVD and he watched the whole thing that night. I came to work the next day and he gave me a big handshake and said, ‘Man, I love that show! You’re great!’” Next up for Darby’s rising career is the production of his own sitcom and with two more romantic comedy films already in postproduction, you can be sure that Rhys Darby will continue to create tremors in the entertainment industry. Darby will perform at Newcastle Civic Theatre on October 29. Tickets are on sale now through Ticketek.

“ It’s a record about bewilderment and vertigo and derangement of senses, whether through fear or ecstasy.” You Am I have turned and walked off the rock-paved path — a trail they carved through the Australian landscape almost two decades ago, which many bands have followed. Their latest, self-titled album is more restrained, considered and dream-like than anything the four-piece have produced before. Nick Milligan speaks with singer and guitarist, Tim Rogers, about this musical awakening. Some people are saying that this new record is You Am I’s best ever. Is that something you would dare agree with or do you have that feeling after every album? I’m not sure which response would be shooting myself in the foot the least… “no, I’ve never thought that until this record,”or “no, I have thought that in the past”. I’m still bewildered by this record. I haven’t gotten my head around it. It was extraordinary making it and I don’t feel like I’ve finished the creation of it. I’m still yet to understand it. I like that. I think with previous records, I felt I understood what went on and what we were supposed to do. What its references were. With this (record) I just let myself freefall into it and get lost in the creation of it. I haven’t got a grasp on it and I’m enjoying the exhilaration of that. I’m still listening to this record wondering who the person was that wrote that… and whether I’d like to meet him. This record sounds quite different to everything else you guys have done. What was the evolution of this fresh musical direction? I think just from listening to each other talk and what we were demanding of each other. If we went and made a straight 4/4 rock and roll record, with lots of milky language and the odd smart little analogy and out-of-tune vocals, it would have been fun but we wouldn’t have wanted to listen to it. I think the music that we listen to and really enjoy by ourselves and as a group ranges from blistering hardcore to far more flighty, whistful pop music. As players, we’ve thought of ourselves more as musicians on this one. The boys wanted to get right stuck in and push each other to really get on top of music which is actually quite difficult to perform live. I’m sure if you’re a conservatorium-trained musician it wouldn’t be, but for us it’s quite difficult. We’re just trying to challenge each other. I got a whole bunch of songs stolen. A book I used to write songs in was stolen from my car, maybe a year ago. I had to start again, so this is a different record from the one I was planning on making.

There’s a strong psychedelic atmosphere on these songs. It’s a record about bewilderment and vertigo and derangement of senses, whether through fear or ecstasy. It’s about letting yourself fall with the chaos, rather than kill yourself trying to fight it. It’s to have the courage to let yourself go with it, and fight the good fight, but you can’t resist your change. So, the sound of the music was having a large impact on your approach to the lyrics? Yeah, absolutely. As far as lyrics go, I think you have to collapse to the rhythm. If you play in a band, poetry set to music can sound very selfconscious and awkward. Whatever Rusty (Hopkins, drummer) is coming up with influences what I write, absolutely. And it’s not very coherent lyrically. I wanted to give up even trying to tell stories for a little while. I wanted more free association… and disassociation. In that way you can often have these moments of illumination live or when you’re listening to it and you think, “oh, that’s what I meant.” I edit myself, but rather than have a coherent narrative — I didn’t want that for a while. I was painting myself into a corner. I hate my own clichés. Of course they’ll stick around for a little while longer, but I want to bash them out of myself. Do you get restless if you’re not working on new music? I can’t stop it. I’ve always got something playing in my head and the only way to stop the noise happening is to try and record them. I guess there is a dual thing going on where I know I need to create to feel like I’m a worthwhile person. It’s the physical and mental motion of it that stops me from getting stupid. Things happen inside your head — you’ve got melodies and words and beats and songs and they’re just kind of there. They wake you up, or put you to sleep, or get you aroused, or get you very down. You Am I play Newcastle Leagues Club on Friday, October 15. Their self-titled record is out now.

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fa shion — photogr aphy by linda wale s

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fa shion — photogr aphy by linda wale s

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motoring

r e vi e wed

Ford Focus RS r e vi e wed by

Peter Douglas

“ An absolute cracker of a car, hard, uncompromising and so much fun to drive. It’s almost better than sex. Well, not quite.”

Finer Focus It’s not that big a step from Ken Block’s red hot Ford Fiesta WRC car to the new Focus RS — both share the same DNA derived from Ford Europe’s long participation in the World Rally Championship. You learn a thing or two when you are operating at the cutting edge of motorsport and the new Focus RS is a direct beneficiary. The fast Ford belatedly arrives here as the current model’s swan song with a completely new car just around the corner. And what a swan song it is, strictly limited to just 315 units with a purchase price of just under sixty grand and enough power and handling to give the established compact hi-po hatches, Sooby’s WRX STi and Mitsu’s Lancer Evo MR, a real pain in the arse. We will go out on a limb here and now and put some bucks down on the front wheel drive Ford in a straight line drag and also through the corners. No bullshit, it’s that good. Ford Australia has never, as a factory, imported any RS models apart from a few here and there back in the 1970s. The RS name has a 40-year heritage going back to the Escort RS1600 from 1970. The Focus RS comes out of Ford Germany and is as hand built as a mass production car can be. Ford takes pains to point out that it isn’t merely a bolt on kit for the Focus XR5 with which is shares some donor parts, suitably modified for the high performance RS. Ford’s European-based WRC team was consulted for much of the car’s engineering

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including the super clever RevoKnuckle front suspension/steering system that, together with a special limited slip differential by Quaife, is responsible for the RS not suffering with torque steer under hard acceleration. But the rally guys went a lot further than this, instructing on brakes, chassis mods, aerodynamics, suspension settings and even engine calibration. The car came to Australia thanks to Ford’s new main man, Marin Burela, who cajoled the scant few units we will get. Burela has powerful connections within Ford Europe where he spent years in management. As of last week, most of the 315 available cars were committed to lucky punters who were quick enough with deposits. They won’t be disappointed because the Focus RS is an absolute cracker of a car, hard, uncompromising but bloody hell, it’s out of the box and so much fun to drive. It’s almost better than sex. Well, not quite. Few cars will be able to stay with the RS point-to-point on a winding road and it’s really quick under acceleration, too — quicker than any front wheel drive car has a right to be. We have punted plenty of fast cars in the past and this one rates right up there. It’s a custom made three-door, four-seat hatch powered by a Volvo-sourced turbo fivecylinder engine delivering 224kW/440Nm output from 2.5-litres. The engine is based on Focus XR5 but has a new cylinder head, pistons, conrods and crankshaft as well as a

larger-capacity Borg-Warner turbo, boosting intake at 1.4 bar pressure — double the XR5. Sound engineers specifically developed a twin outlet exhaust for the RS complete with a pop on the over-run and at redline gear changes. But it needs a dual mode system because the sound is too muffled; and it’s a great sound. The six-speed manual gearbox boasts slick, short changes, close ratios and strengthened cogs to cope with the powerful engine. A dual mass flywheel puts power through to the strengthened clutch that retains a relatively light action. The usual problem with torque steer in high powered ‘fronts’ has been avoided because the RevoKnuckle system is basically centre axis steering while the Quaife diff apportions drive according to torque rather than wheel slip. It’s a simple, elegant solution to a serious problem. Ford has a patent on the system so don’t expect to see it on other brands any time soon. Also helping the car’s dynamics are a wider track than the standard Focus and big 336mm front and 302mm rear brakes. Spring and damping rates are much stiffer than the XR5, being exactly the same as the Focus WRC race car from 2006. Steering response is ten per cent quicker. Ford chose front wheel drive after initially developing an all-paw system which was found to be too costly, heavy and less fuel efficient.

Adding to Focus RS’s ‘uniqueness’ is the fact that there is no panel commonality between it and garden variety Focus. The aero package delivers considerable front and rear downforce even at low speed. It has a large front splitter, rear venturi tunnel and large roof mounted rear wing. Interior styling is neat and functional, in keeping with the sporty exterior. It has splashes of carbon fibre fascia, Recaro partial leather sports seats front and back, a special sports wheel and additional gauges. With all this performance potential it’s good to see fuel consumption rated at a respectable 10.4-litres/100km. Ford won’t be drawn on the 0-100kph time but it is under 5.0 seconds. Once you get Focus RS on the road it gels into one of the most engaging drives you’ll ever have. The pin-sharp steering, flat stance through corners, neutral attitude, powerful brakes and awesome engine performance, all make it one helluva car. It’s among the quickest hatches you will drive in a straight line and around corners. Few cars this side of $200k are as satisfying to drive quickly. However, the downside is you have to put up with a jiggly ride tooling around town — the missus probably won’t like it. It looks the part and delivers in every department,has unbeatable exclusivity and the look at me colours add another dimension, especially the lurid green. It’s sold as is with no options — just the way it should be for the hunters of Rexs and Evos.

E v e r e tt T r u e

Truth in CritIcism Preceding his involvement in the This Is Not Art Festival’s The Grand Debate, Everett true (the critic formally known as journalist) and Terrease McComb descant the role of the critic in our changing world. Can you tell me about the study of your PhD in online music criticism? The PhD is good, it’s interesting. I’m studying the changing role of the music critic in online environments and I’m studying other critics a lot. I’m not a fan of music criticism. If I want to read something, I’ll go read a book or a play. It’s interesting I’m doing it in Australia. There isn’t really any strong tradition of music criticism here. Sure, there are people that really try but on the whole there’s no tradition like there is in the UK or the US. Most critics do whatever they do, they’re students or radio presenters, they’re [band] managers. We all have a conflict of interest and that conflict of interest is going to be greater if, for example, you are the manager of a band and you’re a music critic as well. Surely, that means some things are going to be off limits when you’re writing about music. A lot of people are like “critics shouldn’t get above themselves”, “critics shouldn’t criticise”; what else are they there for? The internet is just another medium, it helps the writer or the musician to use it to their own advantage. Do you believe people should have a set sensibility about the way in which they deliver criticism? Most of the criticism that exists (and this

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doesn’t just apply to Australia, it applies to everywhere) is not criticism at all, it’s just rehashing opinions, rehashing a press release. All I ask of criticism is that it has got some kind of integrity to it and reflects the person’s own opinion. In your mind, is there cause for reconstruction of the way in which we platform and filter our written word, as far as music criticism goes? Definitely, there is a need for reconstruction. No one has really figured it out yet. Something that makes my research really interesting is that no one knows what the hell is going on. It’s interesting, all of a sudden is is like everybody’s woken up to the fact that they’ve got a keyboard and they’ve got a computer and that means they can use it and express opinions. All of a sudden, everyone’s claiming they’re a critic. I guess my question then would be “does that mean everybody’s a photographer because they’ve got a camera?”, “does that mean everybody is a musician because they’ve got some pots and pans to bang together?”. It’s true, everybody is a critic. It’s great that [the internet] has levelled the playing field, but at the same time it really isn’t great. You just have to look at any message board on any music site, or any

forum, to understand it’s kind of that fivedegrees-of-separation that used to exist in print publications, people had to actually think before they typed anything, but now people believe that it’s better not to think. I guess my main question is, “how do you establish authority on the web?” Music criticism exists in Australia but it only exists in little ghettos, learning about it for their own publications. Is that even criticism? Or is that just being a curator? There’s a difference between the expert and the critic. You may want to be an expert at stamp collecting (if that’s what you do; it’s not my thing). I was attracted to music because I felt it had the potential to change the world, and I think it does, but at the same time I don’t think you could say that stamp collecting changes the world. I think criticism is a really vital to whatever medium it’s helping shape. Because criticism should shape the medium it’s engaging with — if it’s not then it should not exist.

Without it, how do artists grow as artists? How did you come to be involved in the This Is Not Art Festival? I agreed to do this conference because it looked really interesting to me. I like the look of the people they were asking; the bands that are playing and I liked the choice of subject for The Grand Debate. Do you consider yourself a guardian of taste? I have noticed that other people have taken notice of what I’ve said in the past. Do you propose The Grand Debate will promote change in the way our culture is curated? It’d be nice if it could. The status quo is always propped up by the people that don’t want change and I think change is a good thing. Everett True will be in Newcastle as part of the This Is Not Art programme for The Great Debate, taking place Saturday, October 2.

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live Reviews

Talking shop

Scary Kids SCaring Kids Cambridge Hotel, Newcastle Thursday, August 26

Profiling music industry professionals

and even reggae beats, didn’t fail to impress. ‘How to Explain’ and ‘Days Like These’ were awesome old songs that had everyone dancing and singing along. One of the highlights was Angus’ crazy beat boxing, which was in full force tonight. Crowd favourite, the meandering dub-style, ‘The Chariot’ rounded out the encore and proved a fitting ending to the evening. The Cooly Hotel produced perfect lighting, sound and service, and The Cat Empire were at their best. Their simple philosophy, ‘music is the language of us all,’ stayed with me long after the goodbyes. ~Liana McDonald

Name Mark Lackey Who do you work for? The Atlas Agency Current position title? Agent/lackey How long have you been in this position? Atlas for seven years, 15 years as an agent What are the main responsibilities of your position? Lie to make friends mainly. After that, book acts to strategically planned tours and relevant events in the hope of that act not picking up tools at 5am. How did you get involved in the music industry? Hanging around pubs way too much. Proudest moment? Beating cancer. Is there anyone you would really like to meet (living or dead)? Keith Miller.

On this bitterly cold Thursday night, the faithful fans of an act departing from the scene milled about warming their blood with tobacco and alcohol. They had come to say their goodbyes in ritualistic fashion to Arizona sixpiece Scary Kids Scaring Kids. In between support slots from two Aussie bands, Mod Sun — the hip hop alter ego of fill-in Scary Kids drummer Dylan Smith — stomped among the punters with his Beastie Boys style of early nineties rap, with clothes to match. The wait for the main act saw some in the moderate-sized crowd become a little restless, especially after three support acts. But this restlessness faded quickly once the familiar, riff-heavy guitars of Chad Crawford and Steve Kirby assaulted every ear in the place. The soon-to-split band were tight and in form as they powered through crowd favourites such as ‘My Darkest Hour’, ‘The City Sleeps in Flames’ and ‘Snake Devil’ — the six members throwing their bodies around the comparatively tiny stage in an impressive display of their ability not to crash into each other. Watching the band seemingly move and play as one, there seemed to be little to hint at the ‘personality differences’ that the band cited as a major reason for their split. They were on top of their game in both performance and musicianship. The set was surprisingly short but action packed and intense. The gathered crowd seemed to relish their last chance to see Scary Kids in full flight. ~Nick Bielby

Cat Empire Coolangatta Hotel Friday, August 27

Favourite musical instrument? Didgeridoo.

Best way to spend a Sunday morning? In a park with my wife and kids. Any advice for people trying to break into the industry? If you aren’t hearing ‘no’ enough, you aren’t asking enough questions.

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The divine Miss Puru shone and sparkled like a diamond on this magical night, commanding the respect and complete attention of the hoard of hungry fans, who gathered at The Liar EP launch, to pay tribute to the blood, sweat and tears embodied in the CD release. The Lass had the atmosphere of a prohibition-era speak easy — full of young starlets garbed in beaded headdresses, fur and sexy lace corsets. We were transported into a smokey French café with a diva manifesting a voice and class that left punters astounded. Miss Puru’s smooth, sultry, sexy rasp soared over the raucous bed-rock of blues infused vitriol, that is the Bruise. Guitarist Geordie Malone, drummer Chas Jaggar and bassist, Jamieson Shaw flowed with an emotive colour and connection rivalled by a mere few — lifting the joyous punters into a hypnotic frenzy of unchoreographed synchronistic dance, love and play. ~Courtney Fitzsimmons

Newcastle Panthers Friday, September 10

Favourite venue? The Annandale.

What would be on your ultimate rider? Lindsey Lohan.

Soulfly

Best live show you’ve been to? Ween, at the Enmore.

Who should we be listening to? Teeth and Tongue from Melbourne, Butcher Birds from Brisbane, Gareth Liddiard’s solo album Strange Tourist, Blue King Brown’s Worldwize and anything Ben Salter does.

Lass O’Gowrie Hotel, Newcastle Friday, August 27

When I walked into the Coolangatta Hotel with it’s thick, musty energy and moody lights and heard the provocative sound of Harry J Angus’ trumpet, I had those familiar Cat Empire goose bumps. All band members were high energy right from the first tune, ‘Sly’; an oldie that had everyone dancing. We got a taste of the new Cat Empire sound, with ‘The Heart is a Cannibal’ and ‘On My Way’ fresh from their most recent record, Cinema. The boys alternated new and old songs, while the gracious crowd kept their full attention. The group’s new material is fast and catchy in comparison to their earlier, more sensual work. However, played live, the new tracks still had that signature Cat Empire sound. The mixture of Felix Riebl’s (percussion/ vocals) sexiness and the interesting latin, salsa

There are only a handful of concerts that leave a lasting impression well after the event. Those privy to Soulfly at Newcastle Panthers witnessed such an event. Like a tornado sweeping across the outback, Soulfly emerged taking all in their path. Max Cavalera, the High Priest of Thrash, sashayed those chunky dreadlocks as he sprayed the audience with water many times over. A madman was unleashed and all followed as he incited non-stop moshing at the count of “ün, dos, tres, cuatro”. Young and old tunes made up the set — ‘Bloodbath and Beyond’, ‘Kingdom’, ‘Troops of Doom’ (Sepultura) and ‘Eye for an Eye’. The party had hit Newcastle and no Novocastrian was about to leave untouched. A meaty drum solo by Joe Nunez was one of the better solos I’ve witnessed — brutal and swift with the same applying to Marc Rizzo’s riffs. This was a very powerful performance and it wasn’t necessary to be a fan to get into it. Max got into his Brazilian roots, showing off a few bossa nova drum beats before unleashing ‘Jeffrey Dahmer’ and ‘Rise of the Fallen’. Brutal and unrelenting, Soulfly are a force to be reckoned with. ~Marija Zeko

Children Collide Great Northern Hotel, Byron Bay Saturday, September 11

It was raw, it was hard, it was rock ‘n’ roll. Children Collide provided the moves, the sound and the atmosphere to rip the sell-out crowd into a frenzy at The Northern. Children Collide put their all into the one hour set, with guitarist and lead singer Johnny MacKay throwing himself and thrusting his guitar to every beat, every riff, every note. Kicking off with ‘Chosen Armies’ from their debut album The Long Now, MacKay made use of his guitar as a mic to psychedelic effect and set the pace for the rest of the set. From one thrashing song to the next, security had their job cut out for them as one punter after the next were hastily removed from their crowd surfing glory, needless to say, it was hectic, but it was rock ‘n’ roll at its best. After ‘Jelly Legs’ from their latest release Theory Of Everything, bassist Ryan Caesar gave a smile and a nod to his mum in the crowd, who cheered louder, danced as hard and as long as every other punter. Children Collide were tight from start to finish, without taking anything away from a solid rock show. ~Cassandra Tobin

John Butler Trio Newcastle Entertainment Centre Tuesday, September 7

After a solid set from Blue King Brown the, new-look John Butler Trio hit the stage at the Newcastle Entertainment Centre to play for a mixed crowd. The set opened with a bunch of songs from their latest record, April Uprising, setting the crowd into a writhing frenzy. Butler seemed at home with his new band mates and his newfound legs, abandoning the stool he occupied for years and instead waddling and bobbing around like a mad man. Even after seeing Butler a number of times, it’s hard not to be awestruck by the sheer talent the man has with a guitar. He indulged himself, and the punters, with ‘Ocean,’ an instrumental guitar piece from his early days that makes you wonder how one man can make so much noise. Despite going through new songs for the early part of the set, mainstays such as ‘Better Man’ and ‘Zebra’ came eventually. The highlights of the set were two: the first being a Deliverance-style banjo hoedown leading into ‘Better Than’, and the second being a stripped-back rendition of Kev Carmody’s ‘Thou Shalt Not Steal’. The man may be able to blow people’s mind with his guitar prowess, but he can be just as powerful gently strumming a guitar and singing harmonies with his two mates. ~Nick Bielby

live Reviews gig of the month

Powderfinger Newcastle Entertainment Centre Wednesday, September 1

And so the end begins. Powderfinger began their journey into Australian music folklore a good 20 years ago, and Newcastle was chosen as the starting point for the ‘Sunsets’ tour, their final tour before calling it a day. Though their last few releases might have left a lot to be desired, they are still a definite force on stage. With Fanning smartly dressed in a mauve smoking jacket, they launched into Vulture Street’s ‘Love Your Way’, Odyssey Number Five’s ‘Waiting For the Sun’ and Dream Days at the Hotel Existence’s ‘Lost and Running’, beginning a 19 song retrospective of their career. The stage itself is uncluttered leaving plenty of room for all members to roam, with a large semicircular rear video screen providing live footage, animation and effects. The first highlight was ‘Thrillology’ ,with guitarists

Darren Middleton and Ian Haug beginning the song under overhead spotlights. Midway through Fanning moves to side of stage and lets his band jam and groove. It real showed what a strong live band Powderfinger are. The crowning moment of the night though was the unveiling of the ‘secret’ stage, conveniently placed at the back of the arena. It is on this space no bigger that the Cambridge Hotel stage that the band belts out Odyssey Number Five’s ‘Like A Dog’, Internationalist’s ‘Belter’, and Double Allergic’s ‘(Return Of) The Electric Horseman’, bring back memories of their first gigs in Newcastle. These memories were also with Fanning — “Our first gig in Newcastle was in ‘93 at the Bar On The Hill. There was about seven people there!” How things have changed. ~Kevin Bull

Whole Lotta Love Laycock Street Theatre, Gosford Friday, September 10

If you thought that ‘Whole Lotta Love — Led Zeppelin Celebration’ was just another Zepp cover band knocking out some sub-standard rehash, you would be sadly mistaken. This is a quality band that delivered faultless versions of these holiest-of-holy songs — what’s not to love? Opening with the blast of ‘Rock and Roll’, the stellar line-up of vocalists began with Danny Marx Young and his pitch-perfect take on Robert Plant’s wail. The set-list delved deep into the Zeppelin catalogue, with album cuts such as ‘Wanton Song’, ‘Bron-y-stomp’ and ‘Four Sticks’ standing tall against the expected ‘Whole Lotta Love’ and ‘Stairway To Heaven’. A major feature of the night is the array of vocalists that add their distinctive tone. Screaming Jets’ Dave Gleeson was sexually playful on ‘The Ocean’ and ‘Black Dog’, John Swan’s powerful voice hammered ‘Immigrant Song’, Noiseworks’ Steve Balbi’s manic stage presence and delivery was entrancing on ‘Black Country Woman’ and ‘Kashmir’, and Ngaiire was hypnotic on ‘Fool In The Rain’ and ‘Friends’. The absolute standout though was Zkye. Her interpretation of ‘Since I’ve Been Loving You’ and ‘Rain Song’ was mesmerising, inducing goosebumps for this reviewer. Some minor criticisms — I did feel that Swan’s delivery of ‘Stairway To Heaven’ was far too forceful during the song’s opening — there needed to be more colour. That said, ‘Whole Lotta Love’ surpassed my high expectations. These songs have never rung more true. ~Kevin Bull

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live Reviews

urthboy

bluejuice

birds of tokyo

gyroscope

Funk & Grooves Festival

Pokolbin, Hunter Valley Saturday, September 11 The pristine surroundings of the Hunter Valley were an ideal spot for this year’s Funk & Grooves festival. The sun-drenched field was slowly filling up when Calling All Cars came out blazing with great intensity. Ripping through a fast paced set the crowd bounced along to the see the band close nicely with ‘Disconnect’. The Bamboos were a fresh taste for a funk and grooves festival that was more rock n’ roll. Notable highlight was the stripped back cover of ‘King of the Rodeo’ (Kings of Leon) sung by surprise guest Megan Washington. Towards the afternoon Urthboy came onstage and kept the vibe going with hits such as ‘Shruggin’ and ‘We Get Around’. Washington then turned the crowd’s dancing gear up a notch with great sing-a-longs and loveable melodies through her catalogue of joyous songs, which kept the crowd smiling. As the sun dropped as quickly as the climate, Bertie Blackman started her set in lilting fashion before turning the heat way up through a performance which only continued the form of the day’s acts. Next, British India tore rock a new one through a heavy hit-fueled set that was simply a joy to witness. Gyroscope were definitely a highlight of the day pulsing through their grandiose set which included a cover of Midnight Oil’s ‘Beds Are Burning’. Singer Daniel Sanders then spent half the time playing in the crowd, much to their delight. Spiderbait finished the cold night off warmly, with fans singing along to past hits ‘Outta My Head’ and ‘Calypso’. Overall, the day was very impressive and with building anticipation for next year, it’s surely one of the many festivals that will be on my schedule. ~Ian R. Laidlaw

bertie blackman

silversun pickups

coaster Festival

Gosford showgrounds Saturday, September 25 Two things strike you as you enter the Coaster festival. The first is how intimate it is — the three stages are all close together and easily accessible, with good sound separation. The second is how chilled-out and enthusiastic the crowd is. Any expectation of a wild, rough crowd of pissheads quickly evaporates. Silversun Pickups deliver a blistering set, which has a surprisingly large audience clapping and singing along to each of their anthems. ‘Lazy Eye’, ‘Panic Switch’ and ‘The Royal We’ are performed with a sincere and palpable energy. Supergroup Basement Birds provide a mellow interlude with their masterfully crafted folk-pop songs and harmonies, which both come in handy when they re-work The Presets’ ‘My People’. Bluejuice, in trademark wild costumes, get the adrenaline pumping again, before Art Vs Science hit the stage on dusk. There’s very few surprises in Art Vs Science’s set — those that have seen them can probably guess the set list, which is a collection of high-energy electrorock anthems. However, the trio whip out a note-perfect cover of ‘Gay Bar’ by Electric Six. On a side stage, Illy draws a large group of hip-hop fanatics, performing his Like A Version cover of ‘Where is my Mind?’, as well as his popular radio singles. When he asks

art vs science

someone in the crowd to tell him the result of the AFL grand final, he believes they’re joking when they tell him it’s a draw. Birds Of Tokyo prove again why they’re one of the best live rock acts in the country. They’re newest songs don’t seem to hold up quite as well as the material from Universes and their debut, but nevertheless, this is a loud, emotive set. ‘Broken Bones’, ‘Wild Eyed Boy’, ‘Wayside’, ‘Silhouettic’ and ‘Off Kilter’ all make appearances. For the finale of this year’s Coaster, we’re treated to an epic performance from a legendary group. Cypress Hill arrive on stage, drawing every punter to the main stage area. When they drop songs like ‘How I Could Just Kill a Man’, ‘Insane in the Brain’, ‘When the Shit Goes Down’ and ‘Hits From the Bong’, there are punters everywhere leaping in the air — trying to get high. Their set finishes with ‘(Rock) Superstar’ — a mammoth ending to a memorable day. ~Nick Milligan

the bamboos

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game Reviews

FULL CIRCLE When Bungie first released Halo: Combat Evolved in 2001, you have to wonder if it had any idea just what it had set in motion. Five titles, over 34 million copies sold and $1.7 billion in merchandise — Halo’s history is every bit as legendary as the war it chronicles. Now, after ten years, the developer is finally cashing in its chips and moving on to other independent projects. The franchise will continue, of course (indeed, it has gained so much momentum at this point that no force on Earth could possibly stop it), but Bungie’s involvement has ceased, and it feels like the end of an era. Still, before the curtain falls, there’s time to sing one hell of a swan song and give the faithful cash cow another sound milking. Halo: Reach is a prequel to Halo: Combat Evolved — one ends, quite literally, where the other begins. There’s a certain poetry to this, as if the series has come full circle, and it fleshes out much of the backstory surrounding previous titles. The player is Noble Six, the latest edition to a team of Spartan soldiers stationed on the human colony, Reach. When the ruthless alien Covenant begins a sudden attack on the colony, its inhabitants fight to defend themselves against impossible odds. From the very first moments of the campaign, there’s an incredible sense of scale. Whereas Master Chief was a lone wolf protagonist, Noble Six is just one soldier amidst an immense planetary invasion; as you’re rapidly deployed from one combat zone to another, there are large-scale battles being waged constantly around you. Often, a single level will see you travel for miles across vibrant terrain, defending vital targets and assaulting others as you contribute to a much greater war effort. It’s an inspired setting that keeps up the pace and avoids issues of level repetition. The narrative aims for a certain pathos that, unfortunately, doesn’t quite hit the mark. This is due largely to the portrayal of Noble Six — it’s hard to feel moved by the heroism and sacrifice of a nameless, faceless protagonist who delivers no more than half a dozen lines of dialogue throughout the entire game. His teammates have a little more personality, but this certainly isn’t a character-driven affair. I felt most affected, in fact, by Bungie’s message of thanks and farewell to its franchise and its

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Halo: Reach (Xbox 360) r e vi e wed by

Hugh Milligan r ated

9.5/10

fans at the campaign’s conclusion. Nevertheless, the campaign is a thrilling and immersive addition to Halo’s lore, and there are a few nice cameos from old characters thrown in for good measure. Let’s be honest, though — you really just want to know how the game’s multiplayer stacks up, right? Well, fans can rest assured that Reach includes the most extensive multiplayer suite of the series to date, building upon all previous game modes with several new features. The most prominent of these is the Armoury, Reach’s new advancement and customisation system. All your efforts in both single-player and matchmaking will gradually increase your rank and earn you credits, which can be spent on new armour designs, effects and voice patterns to outfit your Spartan. These have no real practical benefit, but are a nice way to personalise yourself in-game. Colour schemes and emblems are able to be customised as well, without cost. Also notable is the addition of armour abilities, which replace the disposable pick-ups from Halo 3. These include a jetpack for shortrange flight, a stationary shield, a hologram device to deceive foes, active camouflage for improved stealth and an armour-lock device which renders you momentarily invulnerable.

The abilities are bundled in “loadouts” that you select before spawning, and provide some semblance of class-based combat without restricting the weapons you can pick up and use. The jetpack in particular is great fun, and opens up a number of gameplay opportunities — in one match, I found myself drawn into a delightfully absurd aerial sniper battle with a dozen other players. Bungie’s matchmaking service is still smooth and intuitive, and now applies to Firefight mode as well (a feature unusually absent from Halo: ODST), so you can jump quite readily into whatever type of match you’re looking for. Firefight in ODST was a little gimmicky and restrictive; here it is highly customisable and comprises several game types, making it far more viable to play. The game’s Forge (a map editor originally shipped with Halo 3) has also been improved, with an increased palette to play around with and more accessible design tools. Otherwise, the online modes feel very much as they did in Halo 3. Bungie knows better than to make changes where none are warranted, and amongst a host of new maps and weapons, all of the fan favourites are still in play. It’s a shame, though, that the general maturity of players remains similarly unchanged. Use your

microphone at your own peril — ten years on, it appears that most Halo fanboys still haven’t sorted out their anger management issues. The game’s graphics engine has been improved to accommodate its sweeping environments, though there are some occasional frame rate issues in the campaign during heavily populated encounters. Martin O’Donnell once again provides an absolutely incredible orchestral score that adds depth and gravitas to the gameplay, and the enemy AI has been improved; your opponents will use cover to their advantage and attempt to flank you wherever possible, lending increased difficulty to Firefight and the campaign. It can’t be easy for Bungie to relinquish the franchise to which has devoted a decade, but such finality has clearly pushed the developer to its creative zenith. What began with Halo: Combat Evolved has continued to evolve with each new title, and Reach is the culmination of them all — it’s the most jam-packed, finelydetailed and truly epic instalment in the series, and one of the most accomplished FPS games of this generation. One can only hope that 343 Industries, the Microsoft development team now tasked as “stewards” of the franchise, can bring the same excellence to bear.

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film Reviews

MA R K W AH L B e R G

In favour Will Gluck’s new teen comedy Easy A is less American Pie and more Breakfast Club with a modern twist. It’s a brilliantly written screenplay that’s full of charm, satire and wit. Olive (Emma Stone) is a plain and studious girl whose life takes an interesting turn after a white lie about losing her virginity to a nonexistent college student is overhead and the rumour mill ensues. Word of her weekend activities spread like wildfire and soon she has the attention of the whole school, from the guys thinking she might be easy to the religious fanatics who are shocked at here losing her way. Instead of regretting her story, Olive enjoys her newfound notoriety and revels in it. Things start to get out of control when she agrees to pretend that she got it on with a gay friend at a party so he won’t be bullied any more. Pretty soon she is getting requests for fake ‘favours’, in return for gift vouchers from all the school misfits in order to boost their reputations. This movie will launch Stone into bigger

Wise guise Will Ferrell teams up with director Adam MacKay for their fourth outing together in what could be their most ambitious and rewarding venture yet. Ferrell plays Allen Gamble, a bland and nerdy forensic accountant who is partnered with Terry Hoitz (Mark Wahlberg), an angry and frustrated police officer who resents being assigned to a desk job. When Allen begins to uncover a huge corporate crime, Hoitz does not want any part of it, that is until he realises that there could be some real, on-the-street cop action involving firearms, explosions and car chases — albeit in Allen’s Prius whilst listening to The Little River Band. The pairing of Ferrell and Wahlberg may 42 r e v e r b

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Unfortunately, we are unable to run the Mark Wahlberg interview online.

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Easy A

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Mark Snelson r ated

4/5 stars and better things. She has already had scenestealing roles in the likes of Superbad and Zombieland but in Easy A she takes it to a whole new level with an amazing amount of confidence. Standing out amongst the supports are Patricia Clarkson and Stanley Tucci as Olive’s parents, who get all the best lines and are hilarious in their roles. The thing that makes Easy A rise above its contemporaries is the superbly written script by Bert V Royal and slick direction from Gluck. The result is a fresh and captivating take on what has become a fairly stale genre. In a sea of teen movies seemingly made for the braindead, Easy A is a standout.

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The Other Guys r e vi e wed by

Mark Snelson r ated

4/5 stars sound like an odd choice but they work brilliantly together. Ferrell hams it up in his oddball geek role and Wahlberg combines his usual intensity with some surprisingly good comic timing. The cameo roles that Samuel L Jackson and The Rock play in the first 15 minutes are pure gold. The supporting cast, with the likes of Steve Coogan, Michael Keaton and Eva Mendes, are all great. The movie is well-paced with some great action sequences and the laughs are pretty much non-stop throughout. The Other Guys pokes fun at the buddy-cop genre without becoming an all-out spoof and its clever mix of explosive action and absurd, yet hilarious, comedy make this one a-grade hit. Follow us on Twitter

DVD Reviews FRIGHT NIGHT

The DVD night is an event that must be planned thoroughly; each film must have a unifying feature — universal theme, director, genre, or Robert Downey Jr. The films in question must be inextricably linked. Otherwise, you could end up with something like Enemy of the State, Die Hard and Rushmore in one sitting. Three incredible films, sure, but they just can’t go together. With the release of the first series of The Vampire Diaries on DVD, downloads of True Blood season three clogging up the internet and a parody film at the box office it would seem that vampires are very much still the new black. Or, at least, the new zombie. So why not impress your friends by inviting them over for a vampire-themed DVD night? And, with these gems, how could anything go wrong? Remember that while decorating is optional, it is strongly encouraged. Shadow of the Vampire E. Elias Merhige, 2000 Nosferatu was considered to be Murnau’s unofficial adaptation of Bram Stoker’s Dracula. Max Schreck, the actor who played the title role in Nosferatu was rumoured to have a lot in common with the character he played. Well, this film takes that rumour and runs with it, suggesting that Murnau did in fact hire a real vampire to play his villain. The resulting film is an unconventional tribute to the making of one of the first horror films ever made. It can also be read as a twisted allegory about directing difficult talent.

journey of the mind r e vi e wed

Bunny and the Bull r e vi e wed by

Sallie Maree Pritchard r ated

4.5/5 stars Stephen Turnbull (Edward Hogg) hasn’t left his apartment in over a year. But when mice interrupt his carefully constructed routine (and his lunch), memories of a trip around Europe with his best friend, Bunny (Simon Farnaby), come flooding back. You might not be familiar with Paul King, but you may be familiar with his other work as director of the surreal comedy The Mighty Boosh. Recreating a European holiday entirely within the confines of a small London flat sounds like a challenge, but in King’s hands it is lovingly constructed (using cardboard sets and stop-motion) and almost flawlessly executed. A cardboard takeaway box becomes a restaurant. A box of photographs reveal the train journey from London to Paris and a clock is transformed into a carnival. The flat becomes a visual metaphor for Stephen’s state of mind and his feelings about his complicated friendship with Bunny. Even the film’s title becomes a reference to the complexity of their relationship. Hogg is suitably subdued as the timid Stephen, and Farnaby shines as Bunny, who remains utterly charming even in his most appalling moments. Verónica Echegui is riveting to watch as Eloisa, the film’s feisty love interest, managing to be simultaneously adorable and frightening. Whether you’ve ever had a moment that’s lead you to reminisce about a long-forgotten trip, or had a complicated relationship with someone, this film will resonate with a lot of people. Extras: Commentary, blooper reel, cast interviews, and deleted scenes, one of which introduces us to Big Steve — he’s ‘fond’ of cars.

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dear diaries r e vi e wed

The Vampire Diaries: The Complete First Season r e vi e wed by

Sallie Maree Pritchard r ele a s e date

September 3, 2010 s tar ri n g

Nina Dobrev, Paul Wesley, Ian Somerhalder r ated

3/5 stars Elena Gilbert (Dobrev) resides in the historic town of Mystic Falls, Georgia. She becomes attracted to Stefan Salvatore (Wesley), who is new to the town. But is he really new? Who or what is behind the animal attacks that leave their victims drained of blood? And why does Stefan’s brother Damon hate him so much? It seems teen literature, film and television are littered with images of intelligent girls

falling for dangerous boys and losing all sense of their own identity. At face value, The Vampire Diaries, based on a series of teen novels of the same name, does nothing to subvert this tiresome, and for the most part insulting, idea. The vampire is the ultimate bad boy. Sexy, with implicit violence lurking behind the eyes, he often loses control around the human girl. The human girl loves him anyway. If you ignore the love triangle (this is very difficult — cue looks of brooding and longing from vampire brothers and wide-eyed yearning from human girl) for a moment, however, it becomes an interesting portrayal of the ways in which small towns can have dark histories and how family dramas often play a large part in that history. Parents may be okay with the teens watching this too, as it’s perfect for anyone sick of Twilight but not old enough to watch True Blood. Extras: Behind the scenes features, deleted scenes, gag reels, and an audiobook version of the first novel to play or download (unpreviewed).

Let the Right One In Tomas Alfredson, 2008 What makes this Swedish film so amazing? It could be that beyond all the blood and horror this a touching story about two young misfits finding each other. Or, it could be that the title of the film, and the novel it’s based on, is a reference to the Morrissey song ‘Let the Right One Slip In.’ Either way, it’s proof that not all ‘romantic horror’ films need to be about silly human girls falling for annoying vampire boys. Not only that, but if you watch it now you can heap scorn upon the American remake Let Me In when it soon hits our screens. From Dusk Til Dawn Robert Rodriguez, 1998 You could define genre as a set of conventions. Rules — guidelines, even. Rodriguez and his colleague Tarantino see genre more as a game. Or a chance to mess with your mind. From Dusk Til Dawn begins as a thriller about two psychotic criminals who hijack a family on a quiet holiday. Just as we’re looking forward to the violent game of cat and mouse between Harvey Keitel and George Clooney that this film seems made for, we make a pit stop at a Mexican bar. And now we’re trapped in a vampire film. If you’ve ever had to sit through a family roadtrip you might get a sense of déjà vu. Or you’ll wonder what the eff is going on. Either way, you’ll never watch a film the same way again.

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Dracula: Dead and Loving It Mel Brooks, 1995 It would be cruel to say Mel Brooks’s best work was behind him in 1995. Unless you’d seen this film.

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presents

The Newcastle Vintage Fashion Fair 10.00am till 5.00pm Admission $10.00

Saturday 23rd October ~ Newcastle Town Hall

Enjoy an exhibition of original men’s and women’s vintage bathers. See a parade of 1950s women’s bathers PLUS Australia’s best Vintage Clothing Dealers selling original men’s and women’s clothing and accessories from the 30s through to the 80s. PLUS Original Vinyl Vintage records and vintage hair styles. Dress in Vintage if you can PLUS much much more!

Call Jeanette Luke on 0438 214 086 www.from-here-to-eternity.com

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