Reverb Magazine : Issue 30

Inside :

Top 50 Albums of 2008

From Jamaica, With Love

monthly >> last thursday of the month >> newcastle >> hunter >> coast

>>

priceless

FREE #030 Jan ‘09 >> arts & entertainm ent news

SHAGGY THE BLACK KEYS PENDULUM Back On The Attack

In Full Swing

Also Inside: Inside: The Hold Steady, Born Ruffians, Ali Campbell, Vaudeville, The Lazys, Peabody, Tame Impala, Frightened Rabbit, Bleeding Through, Hawksley Workman, and Yngwie Malmsteen.

A n d rew M c M a n u s P re s e n ts

Starring reggae’s greatest LIVE!

e r t n e C t n e m in a t r e t n E Newcastle Saturday 31 January .au 132 849 om .c ek et ck ti ! w o n le a On s Register your details on ampresents.com for your chance to WIN 2 FREE tickets to Raggamuffin and a BACK STAGE PASS to MEET your favourite Raggamuffin artist

MAGAZINE

raggamuffin.com.au ampresents.com

No. 30

40 Homebake index 08 13 14 15 16 18 19 20 22 24 26 27 28 29 31 32 33 34 36 37 38 41 43 44

News Watussi Shaggy Vaudeville Born Ruffians Pendulum Ali Campbell Top 50 Albums Of 2008 CD Reviews Gig Guide Yngwie Malmsteen Bleeding Through/ Hawksley Workman Peabody/ Frightened Rabbit The Lazys/ Tame Impala The Hold Steady The Black Keys Through The Lens Fashion: The Urbanites Motoring: Suburu WRX Live Photography Live Reviews DVD Reviews Gaming Socials

giveaways

letter from ed Dear Reader, Welcome to a brand new year of Reverb!

It’s our 30th issue and we feel chuffed. We’re planning on having a massive year and continuing to grow.

ReverbMagazineislocallyowned&publishedbyThe Lockup Garage.

Printed by Spotpress Pty Ltd: sales@spotpress.com. au

The Reverb team hopes you had a stunning New Year’s Eve (I spent mine down at The Falls Festival. Boy, oh boy), and we hope

Terry and1988 Kevie Kevvie circa

Editorial - nick@reverbstreetpress.com.au - 4929 4739 Entertainment Guide - gigguide@reverbstreetpress.com.au Sales Enquiries - sales@reverbstreetpress.com.au Sales Manager - kevin@reverbstreetpress.com.au - 0410 295 360 Production Manager- kieran.ferguson@reverbstreetpress.com.au - 0414 672 095 6

Until next month, Nick Milligan xx

Sub-Editor Amanda Bevan Ange

Writers

Nick Milligan

Krud beekay und krudmn

We hope you like our Top 50 Albums of 2008. F**k, it was hard to choose. Sorry we missed your faves.

Hugh Milligan Peter Douglas Stan Sykes Ashleigh Gray

Editor

Nick Pilligan

you all continue to support both this local publication and local music. We can’t do it without you, so get involved!

Production Manager Kieran Ferguson

Senior Writers

Kevin Bull Kieran Ferguson Marija Zeko Stephen Bissett Krystal Ryan Sarah Shields Nathaniel Try

It could be said that Christmas has come to Reverb, as we have a bundle of CDs to give away.

We have 2 copies of each of the following releases, Guns n Roses - Chinese Democracy The Killers - Day and Age Kanye West - 808s and Heartbreak We also have on offer 2 double passes to any of Tycotic’s gigs this month. He is playing Jan 9 @ the Chilli Lounge, Jan 10 @ the Cambridge, Jan 16 @ Hunter Valley Brewery, Maitland, and Jan 17 @ Pulse Nightspot, Gosford Just email kevin@reverbstreetpress.com

David Cory Veronique Moseley Ross Beckley Abbey Wright Jason Michael Henson Mel Woodward Liana McDonald Chrissy K Sami Thurtell

Kieran Ferguson Courtney Fitzsimmons Emma Schmidt David Campbell Joel Courtney Mel Woodward Mark Snelson Sarah-Kate Harris Linda Wales

Photographers

Graphic Designers

Kevin Bull

Kieran Ferguson

Nick Milligan Kevin Bull Courtney Fitzsimmons

Sales Kevin Bull Tommy Lueng Any comments can be sent to editorial@ reverbstreetpress.com.au or give us a call on 4929 4739.

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

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LOCAL NEWS

USA MUSIC ROOTS TOUR If you wish to taste first hand American Roots music, then the USA Music Roots Tour is the real deal. Organised

by Newcastle music legend Mark Tinson, the trip takes in 5 music festivals including the Memphis Beale St Festival, the Festival De Louisiane Lafayette and the New Orleans Jazz Festival. There is a TAFE short course to go with the tour so it becomes a genuine study tour and therefore a tax deduction for those in the music industry. Contact Mark at tinno@hunterlink.net.au for more details.

BIRDS OF TOKYO RETURN TO NEWCASTLE As mentioned last month, the uber-explosive Birds Of Tokyo are returning to Newcastle. They perform at Newcastle Panthers on Friday March 6, 2009. If you missed out on tickets to their sold out Cambridge gig, then now is your chance to see this amazing live act. Tickets on sale now through www.moshtix.com.au

BIG DAY OUT THIRD ANNOUNCEMENT

Fantomas

Just when you thought 2009’s Big Day Out line-up couldn’t be any more impressive, the third round of acts includes Mike Patton’s Fantomas, The Butterfly Effect, Quan (Regurgitator), Son Of Dave, T-Rek, The Reels, I Heart Hiroshima, and Barrence Whitfield & The Rockwiz Orchestra. For the uninitiated, Fantomas contained Buzz Osborne of The Melvins, Trevor Dunn of Mr. Bungle and Dave Lombardo of Slayer. Their set is not to be missed!

Pete Townshend (The Who)

WHO IS COMING TO THE HUNTER VALLEY?

If the news of The Who doing their first Australia-wide tour since 1968 managed to get you all excited, then the announcement that they will be playing in the Hunter Valley should have you jumping for joy. Saturday March 28, 2009, up at the Hope Estate is the date you need to put in your calendar. Supports will be Counting Crowes and Dallas Crane. Tickets are already on sale, and are quite reasonable considering that this is THE WHO! A Reserve $159, B Reserve $129 and General Admission $99.

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VAUDEVILLE SNEAK BIG DAY OUT SPOT At a very closely contested Uncharted Grand Final at the Oxford Arts Factory in Sydney, Newcastle’s Vaudeville narrowly missed out on a spot on the national Big Day Out tour.

However, in an unprecedented turn of events, Big Day Out cofounder Ken West, took to the stage to announce that Vaudeville deserved a slot on Sydney’s Big Day Out line-up - so he gave them one! So while Brisbane group Kate Bradley & The Goodbye Horses will tour with the festival around the country, our local boys will get a taste of the Sydney circus. Vaudeville would like to sincerely thank all of their voters and supports. They’re doing Newcastle proud! Check them out at www.myspace. com/vaudevilleaus

HERE COME THE BIRDS HEADLINE CAMBRIDGE The Ragga Muffin reggae festival has moved venues, from the Lindeman’s Winery, Hunter Valley to the Newcastle Entertainment Centre on the same date, Saturday January 31. The move enables Lindeman’s to continue developing the concert site over the coming months. All tickets for the Lindeman’s Winery concert are valid for the Entertainment Centre, so no exchanges are required. Lindeman’s Winery tickets are all general admission and these will remain as general admission on the floor of the Entertainment Centre and the first seated section. A new ticket price of $79 will be introduced for the remaining seated areas. Appearing at Ragga Muffin will be Ziggy Marley, Eddy Grant, Ali Campbell, Shaggy, Arrested Development, Inner Circle and Bonjah

The Fratellis

O, WHAT A TOUR! O Week celebrations have always been a rather debauched series of events, but 2009 is set to take things to a whole new level. University students and outsiders a like, will get the chance to see some of the world’s coolest live acts perform at Newcastle University as a part of The Big O Tour. Performing on Friday March 6, 2009, at The Bar On The Hill and Surrounding Grounds will be The Music, The Fratellis, Ben Lee, Cassette Kids, and Yves Klein Blue. Tickets are available from www.bigtix.com.au, The Rock Shop, Ushops on campus and Billy Hydes. For all info go to www.thebigotour.com. Party time.

Excellent.

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While Vaudeville reap the benefits of a stellar Uncharted campaign, Here Come The Birds are still riding the success of their win in mid-2008 that saw them play the main stage of Splendour In The Grass. The band have been gigging in Sydney and Byron Bay and are going to give the new year a hot beef injection by headlining The Cambridge Hotel on February 7, 2009.

Get along, support the guys and make sure it’s a sell out! www. myspace.com/herecomethebirds

TATTOO ZU A night of hot girls with tattoos, plus some great local rock.

Sounds like a dream Christmas party. This is what’s in store at the Cambridge Hotel Saturday January 17 as Tribal Urge Tattoo go in search for Newcastle’s Hottest Pin Up Girl. It will be a celebration of all things tattoo, and the tattoo girl culture.

Music on the night will be from Zumanity, G Fresh and DJ Scoob. Entry is only $10

Zumanity

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

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ISOBAR HOSTS HOTTEST 100 What are the Australia Day essentials?

Lounging around the pool, sausages on the BBQ, cricket on the telly and the Triple J Hottest 100 countdown on the radio. This Australia Day, Isobar @ Honeysuckle has all the bases covered.

There’s going to be blow-up pools, a BBQ, Cricket on the TV and the JJJ Hottest

Isobar fun

100 will be playing. There will also be the ‘Occa Olympics’ in the afternoon, with such Australian sports such as esky relays and thong throwing. Once the Hottest 100 finishes, DJs will be rocking out tunes into the night to keep the party going.

Although Isobar is one of Newcastle’s trendiest bars, the dress code will be thongs, bikinis, boardies and Bonds. It all starts at 9am and with free entry there is no excuse - so come along and get loose.

THE SUNPILOTS LAND ON THE BEACHES

SUMMER CARNIVALE 2

Filastine

LATINO FLAIR On Friday January 9, global beats collective Uber Lingua are presenting two internationally renowned culture jammers at Newcastle’s View Factory.

Filastine from Barcelona and Maga Bo from Rio de Janeiro will showcase the trans-genre, multi-lingual sonic exploration that has allowed them to traverse the planet. The night kicks off at 6.30pm and at only $8 entry.

THIS PYKE IS ON FIRE

The second installment of Summer Carnivale will take place on Sunday January 11, 2009, on the wharf at the Brewery. Having already given Newcastle a taste of that Summer Carnivale in November, the QWB now brings the sounds of La Fiesta Sound System and Urban Groove, as well as hot Latin club dancers, and fashion parades featuring brand new summer clothing from Guanabana and Ramjet, including fabulous shoes and bags from the new Darby street fashion outlet Goodie 2 Shoes. Entry is free, and the day kicks off at 1pm.

With his new album hitting the charts at a phenomenal #3 (#1 on the Australian chart) and the video for new single ‘Make You Happy’ creating waves across the globe, Sydney singer/songwriter Josh Pyke is pleased to announce the national ‘Chimney’s Afire’ album tour. The tour follows Josh’s recent sold-out run of dates in support of the album’s first single ‘The Lighthouse Song’, and will see Josh showcase songs from the record critics have been raving about. Catch him at Newcastle University’s Bar On The Hill on February 26, 2009. Tickets available at The Rock Shop, Billy Hyde and www.bigtix.com.au

info@reverbstreetpress.com - 02 4929 4739

After wowing audiences in 2008 with their powerful live performances, The Sunpilots will return to Newcastle on Saturday February 21, 2009.

Performing at The Beach Hotel, Merewether, entry will be completely free.

With a classic rock sound, The Sunpilots released their solid debut album, Living Receiver, to a

Daniel March

DANIEL MARCH LAUNCHES NEW EP

The Sunpilots

warm reception. Don’t miss your chance to see this rockin’ live act.

Local artist Daniel March is releasing his EP Live To Tell at The View Factory on Thursday January 15, 2009, with friend James Chatburn in support.

March’s live band includes Adam Miller on guitar, Klaye Sanders on bass, Adam Morris on drums and Chris Harley on keys. Doors open at 8pm. Get along and support this vibrant, local talent.

Josh Pyke

Propagandhi

BOYS TO PROPAGANDHI

Propagandhi are finally dragging their politically charged punk rock arses back to Australia to promote their new album Boy O Boy. If you’ve ever set ears on this band you know you will be there! It has only been 11 years since they last turned themselves loose upon us. So were they lazy? Did they not care? Maybe they crave forgiveness - this tour takes in more cities than most. Enjoy while you can. They promise to be at The Bar On The Hill on Wednesday February 18, 2009. Tickets available from the venue, The Rock Shop, Billy Hyde and www. bigtix.com.au

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COME ON, WE’LL FIGHT YA Something with Numbers are hitting the road again in support of the new single ‘We’ll Fight’. There will be a combination of both over 18’s and all ages shows that will take the band the full length of the East Coast. For us lucky locals, the dates are February 20 at the Doyalson RSL, and February 21 at the Oasis Youth Centre, Wyong. Something With Numbers are supported on both dates by Behind Crimson Eyes and The Inheritors. We Are Grace will also play the Oasis Youth Centre date and The Lazys will be on the bill at the Doylo.

MARK CASHIN DEMO

Something With Numbers Whitley

A few weeks back, Reverb publisher Kevin Bull, had the chance to listen to the demo of Mark Cashin’s next single, ‘California’. There he was in the back of Mark’s car, as the songwriter passionately explained the song in fine detail, stereo blaring, and a big grin on his face. The song itself is quite simple in structure, yet not your standard verse-chorus-verse. In fact, there is no chorus, and it is all the more engaging for it.

Cashin plays Diggers @ the Entrance Friday January 2, 2009 and Lizottes Wednesday January 28, 2009.

JUMPING FOR JOY

Frankie Wants Out

Modern Joy finally get to do the CD launch of the debut Make Believe at the Woodport Inn, Erina on Saturday January 17. A week later and the boys will be in New Zealand as part of the Parachute Festival. When they get back, they will be at the Beach Hotel Saturday February 7, 2009.

FRANKIE WANTS THE CAMBO Melbourne’s gangster swing act Frankie Wants Out is skipping town and heading up the east coast to play a series of hot summer shows to celebrate the launch of their debut album Prohibition. Punters can expect the typical high energy show that the boys from Frankie are famous for, as well as new swing and party tunes Newcastle gets their chance on Sunday January 11, 2009 at the Cambridge Hotel with Mojo Juju in support.

WHITLEY SELLS QUICKLY If you’re wasting time in buying your ticket to Whitley’s performance at The Cambridge Hotel, Newcastle, on December 9, 2009, then there’s a good chance you’re going to miss out!

We’ve got on good authority that there’s less than 50 tickets left, so get one now! Lisa Mitchell is supporting, so jump on www. moshtix.com.au.

Adver tisement

On average, 1 in 4 hospitalisa tions of people aged 15 -24 happen beca use of alcohol. www.australia.gov.au/drinkingnightmare

Authorised by the Australian Government, Capital Hill, Canberra.

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TUBES 4 GOOG

Mad Charlie

Tycotic

MAD CHARLIE ROCK THE BEACHES

THE CONVERSATION DOMINATOR Central Coast Hip-Hop artist Tycotic has just dropped his third CD Conversation Domination, and is hitting the clubs during January. Plenty of gigs in the region to catch the man.

January 9 at the Chilli Lounge Wyong, January 10 at the Cambridge Hotel, January 16 at the Hunter Valley Brewery Maitland, January 17 at the Pulse Nightclub Gosford, and finally February 6 at Sirens in Terrigal. An added bonus of each night is the size of the support lineup for each night.

Tickets are $13 pre sale, $15 on the door.

Mad Charlie are a brand new rock band, busting their way through the ranks of the Sydney scene, and are bringing their show to Newcastle on the Australia Day long weekend.

Playing good ol’ rock ’n roll

the way it is meant to be, Mad Charlie are raw and full of energy.

Check them out at The Beach Hotel on January 24, 2009, with The Dread Sky. Entry is free. Doors open all day.

BLUE CINEMA FOR EVERYONE In January 2009, Bluetongue Stadium will be transformed into a spectacular outdoor cinema showcasing a huge 45ft movie screen showing the latest releases under the summer stars. Have a picnic and a Bluetongue Lager on the turf, and catch a great movie with friends and family this summer. The screenings coming are Quantum Of Solace on Friday January 16, 2009, High School Musical 3 on Saturday January 17, 2009, and Australia on Sunday January 18, 2009.

Drumschool is launching

its

summer programs

The annual Tubes For Googs charity surfing event will be held from January 9 - 11 at Avoca Beach. Funds raised from this fifth year will be for Darren Longbottom, who suffered a surfing accident whilst surfing the coast of Amy Meredith Sumatra. Apart from the surfing comp, there is a benefit night being held at the Woodport Inn on Saturday January 10.

Bands performing on the night will be Amy Meredith, The Lazys, Goons of Doom, Parades, Vaudeville, We Are Grace and One Jonathan, and runs from 5pm til 5am

POWERAGE TAKE 2ND AT GLOBAL BATTLE OF THE BANDS From out of Hinton and over to London, Powerage have just taken out second place at the Global Battle of the Bands. Not band for four guys whose age s range from 13 to 18. Having won the Australiasian section of the competion, it was off to London to take on the world. They should all be back home by now for a well earned soft-drink. Expect their 5 track EP ‘Get Ready’ to be released soon, plus a string of gigs at the 2009 Royal Easter show.

!

Bam Bam -Kids Class – Build a rhythmic foundation for your youngster. Perfect way to move into other instruments. Kids can experiment with many kinds of amazing instruments from across the globe, big bass drums to the glockenspiel. Only Ten places- be quick! -Mon 4pm

Steel Band - Calypso

The sound of the Caribbean comes to the Steel city. Come and play songs in an orchestral big band and be involved in a group working together to create magic and melodies. An easy way to learn chords and scales.- Mon 6pm

Samba School - Brazilian Beats – for the serious percussionist, come and see how to get your instrument rocking, feel the energy of the swinging rhythms, see how the patterns interlock. Let the power move you, come to carnival.

- Mon 8pm

JunQ - Recycled Music

For those who believe anything is possible, come and play funk on junk, tuned bass drums thunder out sweet melodies, banging buckets rudiments. Water bottles are totally junkadelic. See how easy it is to make your own instruments, get inspired by the tuned percussion. Learn funky rhythms. Tue 6pm

Djembe Class – the djembe has become one of the most popular drums in the world and now they commonly inhabit Australian lounge rooms. If you have never played a musical instrument then drums are a great place to start. Get in rhythm. Even advanced drummers and musicians can gain valuable insights in phrasing, punctuation, polyrhythm and precision. Tue 8pm

Teacher - Kai Tipping grew up in Newcastle and now has returned to raise his young family, he is committed to making this city a colourful, vibrant place and believes it could be the national city of the arts. He loves what he does and aims to keep activities affordable and fun.

Drumschool will come to you - Kids Parties, Conference Breaker, Music Therapy, team Building, Anger Management, Fitness Program, Global Percussion, Musical Sculptures, instrument repairs,

drumschool.com.au Limited positions, please call 0406 164 690 or email dj_embe@hotmail.com to reserve your place.

8 weeks $100. ALL COURSES START FROM 16 FEB 09

@ Newcastle Community Arts Centre 246 Parry St Newc. info@reverbstreetpress.com - 02 4929 4739

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Bob Corbett A December Truth

SCHOOL HOLIDAYS AT THE LOFT Two weeks of exciting arts and recreational activities for 12- 25 years are running from 19th to 30th January as part of The Loft Youth Venue School Holiday program. Highlights of the program include Electronic Music Production, Fire twirling, Microfiction/ TXT, Learn to Surf with Surfest Surf School and Circus skills. Gigs include a Krumping jam on Friday January 23, and a Teenage Kicks AA gig on Friday January 16 and 30.

ABC AWARD WINNERS TOGETHER Saturday January 31 at the Lass O’Gowrie Hotel could be considered an ABC Music Awards get together when three of the major award winners team up for one of the best gigs of the month. Mulitple awards winner Bob Corbett, ABC Artist of the Year Jason Lowe, and Central Coast Artist of the Year Sarah Humphreys will be on the same bill for a night not to be missed.

NEW ORLEANS R+B, CLEARY STYLE One of the world’s best exponents of New Orleans R+B piano will be playing gigs in our region during January. As a session man, Jon Cleary has played with Taj Mahal, B.B. King and Bonnie Raitt, to name a few, and is a longstanding member of Raitt’s touring band. Musically, though, his heart and soul reside on the banks of the Mississippi. You can catch Cleary at the Lake Macquarie Performing Arts Centre, Monday January 5, and the following night, January 6 at Lizottes, Kincumber.

MAJOR STEPS FOR KOTADAMA Within four weeks of releasing their debut single, Kotadama had been added to an American radio and a prediction from USA Skope Magazine as an “Artists to Watch”. Having only recently played their first live performance, Central Coast brother’s Chris and Evan Brown have big plans for 2009, beginning with gigs through January and work on their debut CD. Catch Kotadama at Brackets and Jam, Kincumber Mountain January 9, Wyong RSL Jan 10, Club Tuggerah January 16 and their first gig in Newcastle, January 17 at the View Factory.

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Dedicated to Muntadar al-Zeidi and his soon-to-be-legendary pitch at George W. Bush on Dec 14

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

Mixing of Afro-Carribean percussion with raw, rock guitar riffs and thumping bass will definitely make you stand out. Having delivered their debut, Watussi have hit the road hard, have just been added to the Byron Bay Blues Festival, and will be in Newcastle very soon. David Long caught up with Colombian born vocalist/ guitarist/producer Oscar Jimenez to talk ARIAs and the taste of Tequila.

For those who don’t know, what does Watussi mean and why this name for the band?

Watussi stands for ‘the most handsome man at the party’.

But it’s also many other things. I took the name from a Cuban song. The real meaning behind it is that there’s African roots, it’s also a tribe, it’s also a type of band from the Blues Brothers. So you can pick whatever you want.

How many different cultures are represented in Watussi?

I would say there’s the Latin collection and the Australian collection. From the Latin collection you get the African roots and the Latin American roots as well. Basically what Watussi does is try to blend a little bit of both; the Australian rock, and the funk that’s very influential in a lot of the band members, as well as jazz.

How did it feel to be nominated for an ARIA? It feels great to know there’s people out there listening to us. It’s something we really weren’t expecting, but it means that we’ve been doing something good. The only thing we have to do is keep being consistent with it.

How was your first experience with making a video clip?

Heaps of fun, actually. It was pretty exhausting because we had only one day to shoot it - because of budget reasons. Though we had a really good team, and things really worked out the way we wanted. At the end I think we captured a lot of the energy on the video. That’s all we wanted with this video clip - to capture a little bit of the

info@reverbstreetpress.com - 02 4929 4739

always prefer the live experience. I guess it’s the same with many other bands that play this type of music, which is really about dancing and connecting with the crowd and chanting and singing with everybody. So that’s what the live experience is with the album - when you really get people responding.

The title of your album (Tequila, Sangre y Fuego) doesn’t by any chance stand for ‘Tequila, salt and lemon’?

Ha ha no, almost. Sangre means blood, and Fuego means fire. Tequila, Blood and Fire.

Tequila, Blood and Fire live fidelity, to have the band playing and just nothing too complicated. It was just an introduction to the band and a video clip is such a great way to show people what the band is like.

Briefly, can you describe your three week tour of South Korea and Japan?

Briefly? Wow. It’s difficult to put it briefly, but I would say there was a lot of excitement. It was just an example of how close we are as human beings. I guess the music is the best way to get to know people, to understand a culture.

We had such as good response. I think it’s the beginning of many other tours in Korea and Japan, and not only that - it could be the start of tours in Latin America.

For an audience to properly experience Watussi, they would have to go to a live show?

Yeah, it’s certainly the best way to get into the band. I mean, I get people that have never seen the band and they love the album as well. So that tells me we did a good job with the album. People that see the band live; they

You’re from Sydney, how was your unique sound shaped?

It took a little while I’ll tell you. It took a little while for each musician to blend in, and to get each song’s sound together. I guess what Watussi’s sound is, is that not everyone in the band is Latin American. Just two of us are Latin American. Really what makes us sound different is that we are not looking to be just another Latin American band. We’re looking to create something new, and each musician putting their bit into the pot. Our sound is more international.

How would you describe your entire career so far in one sentence?

A journey of discovery. It’s been a journey of discovering myself, far away from my country and my land. Also discovering how close we are to each other, we all have the same type of problems, the same emotions. That which has brought me so far from my country has brought me close to Australia, that connection.

Where are Watussi heading in the future?

We don’t know what the future holds. I tell you there’s many places I would like to go; I would like to do our own tour through Latin America and Europe. We’re planning for a second album in mid 2009. We’re very happy with the new songs that have come out. Once you’ve been playing for such a long time, and with this period of releasing the first album you get a taste of maturity. So I’m really looking forward to this new album, to show it out there - you know, not just in Australia.

Catch Watussi at The Cambridge Hotel, Saturday January 24, 2009.

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Love Philosophy With over 10 million albums sold and a voice that you could recognise underwater, Shaggy’s Shaggy ’s music has gotten bodies moving right around the globe. January 2009 will see the Jamaican reggae artist travel to Newcastle with the Ragga Muffin festival.

Nick Milligan spoke to Shaggy about his career so far.

M

any of us can remember hearing ‘Boombastic’ for the first time. Who could forget that distinctive, guttural, sub-baritone voice? That fusion of reggae and hip-hop? The artist was Shaggy, and in July of 1995, his third album, Boombastic Boombastic,, rocketed him to superstardom.

Born Orville Richard Burrell, Shaggy moved with his family from Kingston, Jamaica, to New York as a late teenager.

Though he had an interest in music, he chose to join the military instead. Shaggy served as a Field Artillery Cannon Crewman in the United State Marine Corps, which took him to Operation Desert Storm in the Gulf War. During the monotony of marching, Shaggy developed his recognisable vocal style.

As Shaggy explains over the phone from his home in Kingston, “All of my friends were smoking pot and getting themselves arrested. I made a conscious decision to join the army because I felt it wouldn’t be long before I ended up behind bars. But I was by no means the model marine.”

Before returning to Australia as a part of the Ragga Muffin tour alongside Ziggy Marley, the singer is enjoying some relaxation time back in Jamaica. “Kingston is the kind of town where something is happening every night. You never know what can happen,” chuckles Shaggy.

Although we associate Shaggy with sexy lyrics and music videos that are bountiful with busty babes, he asserts that he is at the mercy of what people like to listen to in commercial music. “I write about different things now, but it hasn’t always been easy. I tried getting more conceptual in what I was writing, but then I realised that it’s not what people want.

They just want music they can shake their arse to. That’s been a hard thing to deal with,” says the singer.

Like other 90s artists, Shaggy has watched the rapid emergence of a digitally-orientated music industry. Does he mind if people can download his songs for free? “I haven’t paid for a CD in five years,” chuckles Shaggy, candidly. “You’d be an idiot to pay for it! You’ll always have [album] sales, but you can’t expect people to pay when they can get them for free. But it’s like when restaurants started opening. Some people still cook at home, some go out.”

Shaggy has certainly experienced highs and lows in popularity, but has endured as an artist since 1993 when he released his debut single - a dancehall version of the ska hit ‘Oh Carolina’. Shaggy has reinvented his sound many times since then, though his reggae vibe and deep voice remain a constant.

“No two Shaggy songs are the same,” says the singer. “The tone of my voice is always there, but the music is different.

I love that. I like to collaborate with other people, which keeps things fresh. But I don’t try to work with superstars,

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because they come with a huge ego and huge management. I work with people because they’re talented. I liked working with Rayvon.

He performed ‘Angel’ with me. We started out together so we have this great chemistry.”

Shaggy has been to Australia a number of times and looks forward to returning to Australia alongside Ziggy Marley, Eddy Grant and Ali Campbell - it’s a list of people he’s either played shows with or knows personally.

“It should be an enjoyable tour and good music,” says Shaggy. “Australia has always been a friend, so I can’t wait to get back.”

Shaggy performs as a part of the Ragga Muffin tour, performing at Newcastle Entertainment Centre on January 31, 2008. Best Of Shaggy: The Boombastic Collection is out now. now.

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

AT THE STATIO THIS MONTH....

Sunday Jan 4 front bar 8pm

The coconut Tree, Matt (enders game) Wednesday Jan 7 Front Bar 9.30pm

Grim Demise, Skura, Human Error Friday Jan 9 Backroom 10pm

Vaudeville tackle the BDO

Hot Girls, Athol, Crashing Planes, The Temperemental Pocket Sunday Jan 11 Front Bar 8pm

Vaudeville are playing the Sydney Big Day Out, a sign that this Newcastle band are successfully heading for “the big time”. Chris English talked to Veronique Moseley & Ross Beckley about the last 12 months.

Jaron Holmes Duo, Jen Buxton, Nicko

You made an enormous impression on crowds last New Year’s Eve at The Brewery in Newcastle when you were performed as one of the support bands. What have been the highlights for Vaudeville in the last 12 months?

Playing with our favourite bands such as Cog, Sparkadia and Birds of Tokyo has been great, and we’ve had a lot of fun touring up and down the East Coast – many an adventure has been had including when our trailer broke in half 30kms out of Glen Innes on our way to an Armidale show whilst going 100km/hr!

Sunday Jan 18 Front Bar 8pm

The song ‘Static In My Head’ is one which stays in people’s minds- one of those songs which inspire people to dance and sing along. In writing the song, did you have a special message in mind?

Half of the songs we have been performing for the last 12 months or so were written very quickly in preparation for our first gig, and ‘Static’ was written simply as a catchy upbeat rock tune which can either open or close a set with as much energy as possible! I think our next batch of songs are going to be much more “Vaudeville” and have a lot more depth to them, and this obviously just comes from maturing as a band.

Your music has been described as “alternative rock”. What/who inspires your music?

Singers like Ian Kenny, drummers/front men like Dave Grohl and Josh Homme, song writers like David Bowie, Bruce Springsteen and The Beatles.

You’re playing at Big Day Out, a huge accolade for any band. How did this happen and what do you hope will happen out of this opportunity?

Well we entered in a competition called Uncharted of which the winner’s prize was a slot on the entire 2009 Big Day Out tour. We managed to make it to the Grand Final and as we were on stage waiting to hear who had won the comp, Ken West announced that he would be giving the runners up a slot at the Sydney Big Day Out! This was not part of the prize when we entered the contest and we’re not even sure if anyone knew that Ken was going to do that!

It’s the first time in Uncharted that a runners up prize has been given so we were very humbled by that. It really sunk in for me when I called Ken West a few

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days later. First of all I couldn’t believe I actually got through to him, and that he had time to talk to me and remembered my name! Then when I asked him about the details of our performance slot he said something along the lines of “Mate, you’re going to have to give me a few days to sort it out, I have to change the time slots at the Big Day Out to get you guys on the bill!”. I was bouncing around the house for hours after that call, the fact that we supposedly impressed Ken West so much that he was will willing to fiddle with the logistics of the largest touring festival in the southern hemisphere for little old Vaudeville felt amazing.

You’re currently in the studio recording your next single and planning an album later in the year. Tell us a little about how you decided on the producer and recording studio?

Jae and I began researching producers earlier in the year simply by finding Australian albums/EP’s we thought were well produced and recorded and were something along the lines of what we wanted to leave the studio with.

Fortunately from Resonate we won 5 days studio time at Damien Gerard studios in Balmain which meant our budget for a producer was increased. We are all fans of Trial Kennedy (who we were lucky enough to play with this year also!) and Jae had their EP which was produced

by Melbourne based Kalju Tonuma. We then found out what else Kal had been musically involved with (Crowded House, Split Enz, The Butterfly Effect, The Living End, The Temper Trap) and decided that he had to be our producer! We sent him a copy of our EP which he fortunately really liked and met with him in Melbourne a couple of times whilst on tour. We get on really well with him and our sense of humour and taste in music is practically identical, which is really important!!

Is there anything else you’d like your fans or prospective fans to know about Vaudeville?

Mark Friday the 19th of February in your diaries people, Newcastle ‘Running On Empty’ Single Launch @ Queens Wharf Brewery!! And if you’re going to the Big Day Out be sure to get there nice and early and come and support us!!

Keep an eye on our myspace for details: http://www.myspace.com/vaudevilleaus

Wednesday Jan 14 Front Bar 9.30pm

Phoenix Down, Funky Farmer, Barry March The Coconut Tree, Luke from the Clap Wednesday Jan 21 Front Bar 9.30pm

Centre Section, Corporate smack, Nick Saxon Sunday Jan 25 Front Bar 8pm

Like Alaska (all night) Wednesday Jan 28 Front Bar 9.30pm

The Zillers, Watch the Left Saturday Jan 31 Backroom 10pm

Local Resident Failure, Chris Duke & the Royals, Excitebike, Ammadu, Floating Roach

Live It Up Karaoke thur, fri & sat 9.30pm Kurts Rock Trivia

Sunday from 7.30

Guitar hero Every Monday from 9

Pool comp Tuesdays $100 7.30pm $

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RUFF AND TUMBLE Born Ruffians’ endearing brand of minimalist pop may have already built an underground following overseas, but 2009 will see the Canadian three-piece make their maiden voyage to Australia for The Laneway Festival. Bassist Mitch DeRosier spoke to Noah Cross.

So the Laneway Festival tour will be your first trip to Australia?

Yeah! We’ve never been, not even for fun.

There’s been some interest in Australia. In fact, I just got an email to say that we’ve sold about 80 pre-sale tickets to one of our sideshows already.

What can audiences expect from your live shows? Similar to the recording?

A lot of people who see us live after having heard the record, think that we sound pretty different. But we don’t really notice that. But we think the songs sound more energetic when they’re performed live.

They come alive a little bit.

What sort of year was 2008 like for the band? Did it go quickly?

Yeah, actually. It felt like it took forever for our record to come out. I remember the day it arrived at our house. Holding the record in our hands was a surreal moment.

That now feels like so long ago.

also had more blues rock components, which are embarrassing to look back on, with ridiculous lyrics that didn’t mean anything. Our dads occasionally ask us to play one of our old songs like ‘It Stinks Like Rock ‘N Roll’, and we just say, “No, dad.”

Are you influenced or inspired by other bands at all?

I think we’re the most influenced by a band’s live show. We see other bands play live and they make us want to strive to be better than them.

You guys are from a town called Midlands, Ontario. What’s it like to live there?

It’s nice! It’s a small town of around 16,000 people or so. It’s on the water and a lot of people from the city have cottages here where they stay for the holidays. But growing up here and going to High School,

“...it sounds pretty lame – our touring stories are, ‘We were really responsible!

And we got to bed early, so we weren’t tired in the morning!’”

Did you have a clear idea of what you wanted to sound like when Born Ruffians were first forming?

We never sat down and decided how we wanted to sound. We just played and wrote songs the only way we knew how, and played songs that we thought we would want to hear. We formed around six years ago in High School and we’ve changed drastically since then. We never try to emulate any other band.

Compared to other Canadian bands, Born Ruffians have quite a minimalist approach to indie-pop. Was that always your intention?

Yeah, in Canada there’s a lot of bands playing around town that have seven members, or twelve members. We want to keep it as just the three of us and just the three instruments. We want to try to make a big sound with what we have.

What did you sound like in High School?

We sounded like bad Strokes songs. We

Is that where the name of your album, Primary Colours, comes from?

We pretend that that’s what it means

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(laughs). Once people started asking us that, we try to take credit for it. We named it after our song ‘Red, Yellow and Blue’.

It just seemed like a great theme for the whole record.

it can make you want to leave. There’s not much to do, so you start a band or go out every weekend and get drunk.

Are there many live venues in Midlands?

No. We play shows at YMCA in Midlands, so you’re playing in a gym. There’s another place called The Native Friendship Centre, but it’s just a big room. There’s really nowhere to play in Midlands, unless someone puts on a really big show – but that rarely happens.

What are you guys like on the road?

Do you party hard?

Not really. We found out very quickly, especially when we’re driving ourselves on tour, that we’re having to get up at nine in the morning to drive for ten hours in a van.

It doesn’t lend itself to the party lifestyle.

Although, I never got my driver’s license, so I don’t have to drive. But it sounds pretty lame – our touring stories are, “We were really responsible! And we got to bed early, so we weren’t tired in the morning!”

Will your schedule in Australia allow you some time off to see the sights?

I think we do have some time off, especially considering how hot it’s going to be. We want to go out and have fun. We have some time between shows and we’re even talking about staying afterwards for a little bit. We’ll have a mosey around and get in some trouble.

Do you have any New Year’s resolutions for 2009?

I haven’t even thought about it! But I think I should resolve to remind myself about interviews. I was shopping when I got my first interview call today, so I had to run home!

Born Ruffians perform on The Laneway Festival tour this Jan/Feb. For all information head to www.lanewayfestival.com.au.

Primary Colours by Born Ruffians is available now.

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

IN FULL SWING After relocating from Perth to London, Pendulum wasted no time in amassing an underground dance following. Their explosive ‘drum and bass’ sound has evolved in numerous directions, but is sure to impress audiences when they perform on the Big Day Out tour in 2009. Nick Milligan spoke to their vocalist and co-founder, Rob Swire.

Are you looking forward to coming back to Australia in 2009?

Yeah, man. It should be really good. We’re doing a home town show for New Year’s Eve, then we’re staying in Australia until the Big Day Out. Was it daunting to relocate to England?

Yeah, it was. I was 20 at the time and Gaz was 21. We had to move all of our equipment to England and try to recreate the same studio experience, after having only worked in the one place. It was a bit weird at first, but after a year we were back into it.

Did you already have connections in England?

Yeah, we’d already met some people in the drum and bass scene and had already DJ’d over there. The guy that was running our label let us stay in his flat for seven months without rent.

Would you recommend moving overseas to many bands?

Five years ago I would have said, ‘Definitely’, but now you seem to hear more about bands coming out of Australia – like The Presets. Five years ago you could tell someone in England about the biggest band in Australia and they wouldn’t have a clue about who you’re talking about.

I think that’s happening less and less.

But it depends on the band and their circumstances.

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Did it take long for you to feel a stronger fan base back in Australia?

We came back after about seven months of working in England and we could feel that it was different. Especially in the Perth drum and bass scene. We used to have 20 people come and see us at a local pub, but when we came back we were already filling venues with 500 people.

Did working in England have a big impact on your sound?

I think our circumstance influenced the music, but not specifically England. The idea behind the title of our first album, Hold Your Colour, was that we were trying not to be influenced by what we were hearing at these English clubs.

What are the biggest challenges involved in bringing your recorded sound to the live stage?

The main thing is trying to get the energy across. I come from mainly a producer background, and less of a musician background, so in the studio I find it very easy to capture our energy and that ‘Pendulum sound’. But when you do that live, you have heaps of different musicians and you’re dealing with sounds that need to be miked up and done acoustically.

Capturing the energy is a challenge, but with the technology we’ve got, it makes things easier.

Who are you looking forward to seeing on the Big Day Out tour?

We haven’t seen Cut Copy before, but

we’ve heard their album, so they’d be great to see.

How did you want your latest album, In Silico, to compare to the previous album, Hold Your Colour?

We knew we didn’t want to repeat Hold Your Colour, and while I don’t think we planned to make an album that far removed from the first one, it just happened naturally.

What is the defining aspect of Pendulum’s sound, that’s present in every song?

I think it’s the heaviness of the sound – that might sound clichéd. But it’s the sonic intensity that carries throughout both albums.

stuff at an early age, bringing these ‘wave’ tapes back from the UK. I got into a lot of that stuff.

Have you set goals for Pendulum in 2009?

We’ll be working towards a third album, and we’re also going to try to spend some more time in Australia and the States.

Pendulum play the Big Day Out tour in January 2009. For all info head to www. bigdayout.com. In Silico is available now through Warner.

Do you have an idea of what your third album will sound like?

We’ve got a mini studio on the tour bus, so we’ve been writing on the road. We have a lot of ideas – it’s sound a little heavier and we’ve taken a step back towards the electronic direction.

How old were you when you took an interest in writing music?

I can’t even remember – I must have been about nine years old. I was mashing my keyboard and multi-tracking into my mum’s answering machine.

Were you always drawn to electronic music?

Yeah, my cousin in Perth got me into that

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

Just months after Australia’s premier reggae tour, Ragga Muffin, wound up in early 2008, the headline act, UB40, lost their frontman. Citing managerial difficulties, Ali Campbell is now looking headlong into his third solo release and a return visit to Australia, again as part of the Ragga Muffin reggaefest. Marija Zeko spoke to a tired and worn out Campbell, who spoke about their big break, and the hurt he still feels regarding UB40.

Come Fly With Me I

t’s 9am, the phone rings and the loveliest brummy accent bids me a good morning. Sitting in the Holiday Inn at Brentford, London is Ali Campbell of UB40 fame, telling me how knackered he is working on his third studio album Flying High, due for release in the Summer of 2009. “Six original tracks have been laid down alongside some fantastic covers. There are a few famous contributors, I don’t want to say too much but I will let you know Busta Rhymes is on one of the tracks”.

Ali has had a busy year working with his new ”Dep band”, having played in Russia, Poland, selected gigs in Uganda, Sri Lanka, Mexico and Romania for New Years Eve. A month later and Campbell is down under and at the Newcastle Entertainment Centre with the Ragga Muffin festival. Australia has always received him well and he looks forward to revisiting.

The first 30 years of Campbell’s career has been spent with UB40, the Reggae band from Birmingham who has sold over 70 million records worldwide. Asked what it feels like to accomplish such a feat and Campbell humbly notes, “70 million is fantastic but it’s impossible to do that today with all the downloads and direction of music. We had a good run. In the 80’s we had more Top 20 hits than anyone else”.

“... I feel slightly betrayed, [my brother] supported me when I was venting and now he’s gone on to replace me.”

In January 2008, Campbell called it quits with UB40 after management difficulties.

In fact Campbell had been complaining about management inefficiencies for the last 5 years to no avail. Ultimately the band chose management over their lead singer, continuing with Duncan Campbell (Ali’s brother) as frontman. Campbell concentrated on his solo work yet the sense of betrayal hit hard when his confidante became his replacement. “(Duncan) was

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one of my strongest allies. I feel slightly betrayed, he supported me when I was venting and now he’s gone on to replace me”.

Campbell is “far too into his solo career to return”. Though the break up was difficult, working solo has quite a few perks. “It’s been like pulling teeth working with 8 people. It’s so much easier now calling the shots. I have a great new band now, am doing less work with more money.

The next plan is to take the act around the world”. As for UB40, “people are a bit confused about UB40, they turn up and there’s no Ali”.

and 27 years later the cycle has repeated.

“We we’re all on the dole when we started the band, there were 8 of us who were on unemployment benefits, so were 3 million others, so we had plenty of fans who could identify with us and now one in ten is unemployed again, so we’ve come full circle”. Despite the state of affairs, the jovial singer wants to spread some cheer as he embarks on the later part of his career as a

solo artist.

See Ali Campbell at the Ragga Muffin festival, Saturday January 31 at the Newcastle Entertainment Centre. Also appearing at Ragga Muffin will be Ziggy Marley, Eddy Grant, Shaggy, Arrested Development, Inner Circle and Bonjah.

UB40 started life in 1978, Birmingham as a bunch of friends who had a passion for reggae music decided to form a band.

Their name is derived from the form: Unemployment Benefits Form 40 as issued by the UK’s Department of Health and Social Security (DHSS). They played the local scene and were give their first big break when “Chrissie Hynde” from “The Pretenders” gave them the support act slot to her band. Their first single ‘King’/ ‘Food for Thought’ reached the UK singles charts at number 4 and from there on they hit the success heights with a bevy of hits such as ‘Red Red Wine’, ‘(I Can’t Help) Falling in Love With You’ and ‘Kingston Town’ among others, not to mention their debut album Signing Off spending 72 weeks on the UK charts and going Platinum or the astronomical over 70 million album sales.

“Auntie Chrissie” (Hynde) as she is affectionately referred to by Campbell “discovered us and asked us to support her on tour. Whilst on tour we released ‘I Got You Babe’...She is very sweet and a very calming influence, we love her”. Another big influence on the music was growing up in Birmingham that was a smorgasbord of ethnicities with reggae rubbing on Campbell household. So much so in fact, Campbell visits Jamaica frequently and has a hotel there. Kingston town was inspired by his love for the place and evident in the sweet reminiscence in which it is sung.

A socially conscious band, UB40 released the song ‘One in Ten’, capturing the state of Britain’s unemployment on a micro level and the world’s issue on a bigger one. The times have re-emerged as one in ten was unemployed at the time of writing (1981)

edition 030 - Jan 09 - 19

Kieran Ferguson Reverb Production Manager 01. The Herd - Summerland “With John Howard out of the picture there goes half of your political frustrations, response, music that celebrates life and society. Another cracker for the Herd, dynamite production and instrumentation plus sweet grooves and raps from Jane, Ozi and Urthy.”

“ The Presets crack the big time with a more trancey, dark take on their synth pop. And score about one million new fluro fans.

Despite that, solid” 4. Metallica - Death Magnetic “First take, it doesn’t suck. Further listens, it rocks out quite nicely.”

5. TZU - Computer Love “Another wicked collection of party tunes and solid cuts.

Intelligent raps to get your groove on.”

04.

02. Slipknot - All Hope Is Gone “The masks came off, the direction changes, the heavy phrases get heavier, the rockin’ bits continue to rock. Great live band, massive sounds from the 9.”

03. The Presets - Apocalypso

Kevin Bull Reverb Publisher 01. My Morning Jacket - Evil Urges “Where have you been all my life.

I listened to this CD, and realised that something had been missing in my soul. Alt-southern country rock done with class. They are the perfect support for Neil Young.

02. Black Mountain - In The Future “Bring on the prog-rock. My preferred style of heavy rock, and this satisfied my need for the year.”

emotion, and honesty.”

06.

04. Mercury Rev - Snowflake Midnight “Completely unexpected, the Rev do electronica, and do it brilliantly.“ 05. Beck - Modern Guilt “The man can do no wrong. I look forward to each release, just to see what the guy is up to, and each time I am not disappointed.”

07.

03. Drones - Havillah “Delving up the bones of Aussie band Crow. So much passion and

12.

Courtney Fitzsimmons Reverb Contributor 01. The Getaway Plan - Other Voices, Other Rooms “It’s always great to discover a new band and love a song.

To love the entire album is marvellous.”

02. Kings Of Leon - Only By The Night “Only one word is needed fantastic!”

04. Rihanna - Good Girl, Gone Bad “I really enjoyed the ‘touch your heart’ songs in this album. The softer songs compared to those that are getting pumped in the clubs. She’s doing well.”

05. Vaudeville - Self-Titled EP “A local band that have captured my heart with a great sound in vocals and musically. I was captivated the moment I listened”

I’m With The Band webzine owner

Reverb Editor

21.

Found Away’, and ‘In Vein’.”

01. Kings Of Leon – Only By The Night “A stellar album throughout, Kings Of Leon’s fourth studio album is an absolute cracker.

The day I bought the album I think I listened to it through and through at least five times, it was just that good from the get go.“

03. Here Come The Birds - Self-titled EP “Some times in these reader polls people will throw in a token local to make up the numbers - this is not one of those choices. Quite honestly Here Come The Birds’ debut EP made it into this list on their own merits. Definitely some of the best music I’ve heard all year.”

02. Alkaline Trio - Agony & Irony “It was pretty difficult to put this album in second spot, as I’m such a huge fan of Alkaline Trio, however it didn’t quite hit home as strongly as Crimson or From Here To Infirmary. Stand out tracks are ‘Into The Night’, ‘I

04. Rise Against - Appeal to Reason The last Rise Against album, The Sufferer and the Witness, was possibly the best album I bought last year - miles above everything else. This album didn’t quite live up to that, however there are a number of

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01. Fleet Foxes - Fleet Foxes 02. The Sound Of Animals Fighting - The Ocean and The Sun 03. The Drones - Havillah 04. Kings Of Leon - Only By The Night 05. MGMT - Oracular Spectacular 06. Black Mountain - In The Future 07. Birds Of Tokyo - Universes 08. My Morning Jacket - Evil Urges 09. Ryan Adams & The Cardinals Cardinology 10. Bob Corbett - Storyboard 11. Beck - Modern Guilt 12. Blitzen Trapper - Furr 13. Empire Of The Sun - Walking On A Dream 14. TV On The Radio - Dear Science 15. Guns ‘N Roses - Chinese Democracy 16. The Last Shadow Puppets The Age of the Understatement 17. Gnarls Barkley - The Odd Couple 18. Razorlight - Slipway Fires 19. Mercury Rev - Snowflake Midnight 20. The Presets - Apocalypso 21. Steven Malkmus & The Jicks Real Emotional Trash 22. Nick Cave & The Bad Seeds - Dig Lazarus Dig!!!

23. Metallica - Death Magnetic Nick Milligan

03, The Living End - White Noise “Definitely proud to have these boys representing our country. It’s a good rock album. Good new change from previous albums.”

Mat Packer

14.

Top 50 Albums

really solid songs that pushed it up into my top five and keep the CD in my car.”

05. Bayside - Shudder “Another solid release from these New Yorkers - it’s their fourth full length album, not including live albums. The band has grown musically with each release, and this album is no exception.

Really looking forward to catching their set at Soundwave.”

01. Fleet Foxes - Fleet Foxes “It’s as if Natalie Portman stuck a pair of headphones in my ears and said, ‘Listen to these guys.

They’ll change your life.’ Indeed, discovering this Seattle-based band was as spiritual experience as hearing The Shins ‘New Slang’ for the first time. It even rates up there with the first time you hear Hendrix howl, ‘Well, I’m standing next to a mountain...’

With their divine vocals, pastoral instrumentation and ability to write songs that hollow their way to your heart, Fleet Foxes represent everything that’s pure and wondrous about man’s ability to write melody.

02. The Drones - Havilah “While there was some strong competition, I feel this was the best release by an Australian

band in 2008. Perth’s The Drones benefited from the addition of Dan Luscombe on guitar who, along with singer Gareth Liddiard, tears shreds with his screaming solos. It’s the kind of epic record that we’ve come to expect from them, but it reaches heights of absolute chaos and wonder. An essential album even by international standards.”

03. Razorlight - Slipway Fires “While I didn’t mind Razorlight’s previous efforts, they never really lived up to the hype. Perhaps their very British sound failed to register amongst efforts from The Libertines and The Kooks. But the opening track on their third album, Slipway Fires, takes you firmly by the throat. The whole record, whether it’s upbeat pop (‘Burberry Blue Eyes’) or aching ballad (‘60 Thompson’) is deep and masterful. A lot of this is due to singer Johnny Borrell’s raw vocal delivery, which stands tall at the front of every song.”

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

Of 2008 24. AC/DC - Black Ice 25. The Mountain Goats - Heretic Pride 26. Cut Copy - In Ghost Colours 27. Death Cab For Cutie - Narrow Stairs 28. Supergrass - Diamond Hoo Ha 29. The Mars Volta - The Bedlam in Goliath 30. TZU - Computer Love 31. The Understudy - What Not To Think While In Love 32. Firekites - The Bowery 33. Conor Oberst - Conor Oberst 34. Slipknot - All Hope Is Gone 35. Laura Marling - Alas I Cannot Swim 36. Kasey Chambers & Shane Nicholson Rattlin’ Bones 37. The Living End - White Noise 38. Amanda Palmer Who Killed Amanda Palmer 39. You Am I - Dilettantes 40. Mogwai - The Hawk Is Howling 41. Sparkadia - Postcards 42. Elbow - The Seldom Seen Kid 43. The Herd - Summerland 44. Isobel Campbell & Mark Lanegan Sunday at Devil Dirt 45. Flogging Molly - Float 46. Dandy Warhols ...Earth to the Dandy Warhols...

47. Van She - V 48. Lightspeed Champion Falling Off The Lavender Bridge 49. End of Fashion - Book Of Lies 50. Bon Iver - For Emma, Forever Ago 04. The Sound Of Animals Fighting - The Ocean and The Sun “This manic and furious record was the biggest surprise of the year. Falling somewhere between the neo-prog of The Mars Volta and the 70s progressive rock of Black Mountain, The Ocean and The Sun shocks and amazes with every passing second.

One minute, it’s a spaced-out, rhythmic jam. The next - a thunderous, screaming whirlwind of emotion. Benefiting from twin vocalists and an unconventional approach to songwriting, you only need to hear this record once to be completely riveted and ultimately lost in the tumult.

Wow.” 05. Empire Of The Sun Walking On A Dream “When news of Nick Littlemore and Luke Steele’s collaboration spread, it was easy to get excited about the prospect of these two creative minds working together

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on a full-length project. The opening track from Pnau’s highly successful self-titled album, ‘With You Forever’, was a sneak glimpse - euphoric dance music with Steele’s mysterious and spiritual vocals. Walking On A Dream is an appropriate title. At times the record is unbearably beautiful. ‘We Are The People’ continues to give me butterflies every time I hear it (although I certainly don’t advocate drug use, this track goes down nicely at a ‘love-in’). While MGMT may have hogged most of 2008’s spotlight, for me Walking On A Dream takes you as close to musical nirvana as one can get.”

23.

Luke Logemann A&R/Label Manager Boomtown Records

“I pretty much hate hardcore as much as the next non-necktattooed, new-age sensitive dude, but we all wanna feel tough sometimes.”

1. MGMT – Oracular Spectacular “This album works for everywhere – parties, driving, working, Sunday morning chilling… can’t think of any other album that can do that.”

5. Rihanna – Good Girl Gone Bad: Reloaded “Seriously, have you tried having sex on drugs to this album? It’s smoking.”

2. m83 – Saturdays = Youth “Makes life feel romantic and epic. You can even feel like a superstar while you sit on a train.”

3. The Getaway Plan – Other Voices, Other Rooms “This record owned the year, not only ‘casue I worked with them, but because the songs and production owns.”

4. Bring Me the Horizon – Suicide Season

27.

Sarah Humphreys Musician, Central Coast 1. Bob Corbett - Storyboard “A beautiful album by one of my good friends and produced by my own producer, Michael Carpenter, who gives these already incredible songs even more life.”

29.

2. Kasey Chambers and Shane Nicholson - Rattlin’ Bones “From start to finish this is absolute gold, from the kindest and most genuine people in this business. My favourite songs are ‘Wildflower’ and ‘One More Year’ - A very deserving ARIA win.”

Josh Cunningham is outstanding.

4. Eddie Vedder - Into The Wild Soundtrack “I love hearing Eddie stripped back and so honest. Poignant songs with a raw delivery.”

5. Alison Krauss & Robert Plant - Raising Sand “A very unique and special sounding album that’s been worn out on my stereo!”

3. Sara Storer - Silver Skies Sara is a lovely human being and this record captures her beautiful spirit. Production by Matt Fell &

34.

Nathan Zervos Ruffneck Promotions

40.

1. The Herd – Summerland “This album shows The Herd diversity in style, attitude and, as always, political stand point.

With the enchanting vocals of Jane Tyrrell, The Herd continue to leave you guessing what’s next as you struggle to find a genre to categorise them in.”

2. You Am I – Dilettantes “One of Australia’s most underrated rock bands, these guys continue to deliver both in the studio and on stage.”

46.

Graham Seaton Ruffneck Promotions 1. MGMT – Oracular Spectacular Immediate standout tracks for me were ‘The Youth’, ‘Pieces Of What’ & of course, current radio fav, ‘Kids’. Hearing the tracks come to life live certainly made this a more enjoyable album to listen to.

2. The Futureheads – This Is Not The World “This one’s a classic party starter from the opening track, ‘The Beginning Of The Twist’. ‘Radio Heart’ is pure pop and the title track also stands out. A subtlely heavy album.”

huge!”

4. MGMT – Oracular Spectacular Simply awesome.

5. Lover – Face In Colour “Call it nepotism, but I strongly believe these young boys from Newcastle have a lot to offer the music industry. Their EP is both a quality recording teamed with intelligent lyrics and song structure.”

3. Tame Impala “‘The New Boys on the block’ with a sound that echoes the 60s, but transcends to the modern age. I predict these guys to be

3. AC/DC – Black Ice “It sounds like AC/DC have been sitting around listening to all the ‘rock is back’ bands of the last 10 years and thought they’d give everyone another lesson in how it’s done. Opening track, ‘Rock ‘n’ Roll Train’ is a lesson in itself.”

4. Kings Of Leon – Only By The Night “I like this album a lot – however, I also liked The Joshua Tree by U2 and Sam’s Town by The Killers. Lets hope KOL don’t follow the same awry path. I’ve heard ‘Sex On Fire’ played in some of the most inappropriate places (shopping malls, Sunrise etc) which is great.”

5. Oasis – Dig Out Your Soul “This is one of those albums a band makes when they have nothing left to prove. I think Oasis have made about three now. They don’t seem to be trying to please anyone but themselves. A very pleasant sounding record anyhow. ‘The Shock Of The Lightning’ is classic Oasis & ‘Waiting For The Rapture’ is classic Noel.

edition 030 - Jan 09 - 21

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FEATURE ALBUMS

PANIC AT THE DISCO ...Live In Chicago Fueled By Ramen/Warner

4/5 Some people are ashamed about liking Panic At The Disco - they’re almost too catchy... and they make no apologies for it. Two excessively theatrical and over-produced studio albums has certainly forced the Las Vegas power-pop band to pick up their game on stage.

This live recording from their recent tour showcases just how tight their musicianship has become. The upbeat tunes from their debut record have been reworked and evolved.

A must have for fans, the set list covers most of the best material from both albums, is sung along to by screaming teenagers, and features a brilliant acoustic version of ‘Time To Dance’. Good fun.

Nick Milligan

THE BLACKWATER FEVER Sweet Misery +1 Records 4/5 Debut CD for the Brisbane duo, and it is brimming with dirty, swampy blues. It is so raw at times you can hear the blood. Shane Hick’s vocals are perfect for this - gruff, nasty and full of dread, and with lyrics like “Late at night she will feed, and won’t rest till she’s picked my bones clean”, you better worry. ‘Blackwater’ races along behind the relentless stomp of the drums, and the guitar gets tortured to an inch of its life. But it is not all ‘in-your-face’. The title track smolders then burns under the duo’s weight. That said, it is when they kick the heifer in the arse with tracks like ‘Lovesick’ that The Blackwater Fever really shine (in a dirty way). Kevin Bull

OF MONTREAL Skeletal Lamping PopFrenzy 4/5 While Of Montreal’s music may be mining the conventions of 70s disco pop - everything from ELO to Queen and XTC, the structuring of their songs is constantly challenging and surprising. In a heartbeat, singer and songwriter Kevin Barnes leads his six-piece Georgian band through 15 tracks of manic, tripped-out pop music, that change direction and melody in a heartbeat. Ninth album Skeletal Lamping feels like a stream of consciousness, but calculated at the same time. Barnes’ lyrics tap into many corners of humanity, particuarly sexuality. An impressive ‘progressive pop’ release. Nick Milligan

THE RASMUS Black Roses Warner

3.5/5

BEN KWELLER Changing Horses Shock/ATO

3.5/5 Ben Kweller’s fourth studio album is a country record - and unashamedly so. The title is appropriate - it refers to the Texas-based songwriter’s decision to try his hand at alt-country. But is Changing Horses any good? Kweller’s father was good friends with ex-Crazy Horse and E Street Band member Nils Lofgren, so country has played a part in Kweller’s formative years.

He’s clearly familiar with the genre’s conventions, but hearing his distinctive voice waft throughout Gram Parsons-esque slow ballads like ‘Old Hat’, takes many listens to get used to. Ultimately, it’s the upbeat numbers like ‘Hurtin’ You’ that are the most successful, and Kweller is always endearing, but perhaps Kweller should be leaving this stuff up to Ryan Adams and sticking to infectious power pop. Noah Cross

22

If you’re from Finland, then it’s likely you’ve heard of The Rasmus. One of Finland’s highest selling rock bands, they’ve released seven studio albums over a 14 year career. The latest, Black Roses, is incredibly commercial sounding, but also engaging.

With polished production, The Rasmus put a modern twist on the power-rock bands of the 80s and 90s, evoking everyone from Kansas and Europe, to Savage Garden. The lyrics wash over you with little emotional impact, but there’s big riffs and hooks galore. Singer Lauri Ylönen has the vocals to pull off their derivative sound, but some of the songs do fall a tad short. Noah Cross

KARL HECTOR & THE MALCOUNS Sahara Swing Now-Again 4/5 If I had just walked into a dimly-lit upmarket bar in the bowels of Sydney, this would be the soundtrack. Karl Hector has only appeared on one previous release, back in 1996 with the Funk Pilots. My question is, why did we have to wait so long. Pulsing funk rhythms, afro-jazz workouts, and a touch of Can-krautness combine to create an infectious air of sophistication. With a groove that is rooted equally in James Brown and Fela Kuti, it is hard not to be swept up.

‘Debere’ with its punchy horn lines and sweet organ, ‘Nyx’ with its deep groove and wild free jazz, it all combines for a wonderful experience. Kevin Bull

MINISTRY OF SOUND

PSAPP

The 2009 Annual

The Camel’s Back

Universal 4/5

Domino/EMI

Yep, it’s time for Ministry Of Sound’s summation of the year that’s been – and what a year it was! Across two discs, John Course and Goodwill have put together a thumping mix. There’s the remix of Empire Of The Sun’s ‘Walking On A Dream’ by Nick Littlemore’s brother Sam, The Ashton Shuffle remix of Dizzee Rascal and Calvin Harris’ ‘Dance Wiv Me’, Fake Blood’s ‘Mars’, Ladyhawke’s ‘Paris Is Burning’ and ‘Pjanoo’

by Eric Prydz. The release also includes work

by Sinden, Dirty South, The Presets, Pnau, Deadmau5 and Fedde Le Grand. Grab a copy and bring back the year’s clubbing memories. Noah Cross

THE REPTILES Smell My Skin Independent 3.5/5 This is quite impressive. There is an unhinged garage rock feeling all the way through that gives it a sense of abandon. For most of the EP, it is full force guitar punk rock, tight playing by the band with frantic vocals. The lead single, ‘Bughouse’, begins the quietest, building to a chorus that is simply a scream, and ends with a burst of noise. Production is quite good, with enough air being left amongst the mess, and solid song structures.

The opener ,‘Bloodlust’, and closer, ‘Smell My Skin’, are the best cuts - dirty guitars, ideas that keep you involved, and heaps of power. Will be looking for their next release.

Kevin Bull

AU

Verbs PopFrenzy 3.5/5 Verbs, the sophomore album by Portland experimental pop collective Au, is so incredibly amorphous that it’s probably best described as a journey. What starts as a mournful cacophony of more than twenty singers (‘All My Friends’) becomes a lush orchestral stage piece (‘Are Animals’) which becomes a frenzy of African tribal song and dance (‘Summerheat’) which becomes a jubilant ragtime marching band (‘All Myself’).

Then there’s the dreamlike minimalism of songs like ‘Two Seasons’ and ‘Prelude’, which provide sudden moments of pause. The tracks may seem a little abstract for some, but it’s hard not to get swept up in this beautiful and crazy wash of sound. Hugh Milligan.

STEREOLAB Chemical Chords Inertia/ Duophonic 4/5 Stereolab have played around with pop for nearly twenty years, and Chemical Chords is the latest result of their tinkering. The tracks are short, sharp and intensely colourful episodes that marry love and science. Simple drum loops are a platform for decadent 60s harmony that moves in highly unpredictable directions. Lounge music tracks like ‘The Ecstatic Static’ and ‘Self Portrait with Electric Brain’, complete with strings, saxes and brass, are equalised by grittier offerings like ‘Pop Molecule’. For the most part, Chemical Chords maintains an amazing vividness and buoyancy. Hugh Milligan

4/5 The third album by British indie rock duo Psapp captures an exuberant and eccentric sound often similar to that of The Bird & The Bee, peddled together from instruments both acoustic and electronic. From the jungle-busting beats of ‘Mister Ant’ to the searing sax and guitar riffs of ‘I Want That’ to the innocent plunk of the title track, every song is catchy and unique. Factor in other styles as unusual as Indian folk music and the result is a quirky and charismatic pop-rock album. Hugh Milligan

DEAD LETTER CHORUS The August Magnificent Code One 4/5

My first thoughts after hearing the first minute of The August Magnificent was “if they can keep this up for the whole CD, it’ll be a cracker”. Opening cut ‘The Peaceful Sleep of Death’ builds and sweeps and dives, and is a beautiful song. ‘Down In The Valley’ is tender, with Gabrielle Huber’s vocal giving it a sense of innocence. The lament felt in ‘Chasing Hearts’ is palpable, engaging and with gorgeous harmonies. It is interesting to see that the press release focuses on the songs which have a distinct folk feel. For me, it is when they step away from folk and become adventurous that they really succeed.

Kevin Bull

WARHORSE Gun$ Timberyard/ Shock 3/5 Debut EP from Sydney four piece, and if you like your rock dirty, messy and with a touch of psych, then give Gun$ a listen. Opening with rumbling drums and choppy guitars, there is a droning quality to ‘Saigon’.

‘Kotter’ is where it all comes together. Great throbbing bass intro, and a psychedelic tone reminding me on the Black Rebel Motorcycle Club. Vocals are mixed a fair way back, giving it a rather dark tone. ‘Bear In The Big City’ and ‘Gun Club’ are the weaker moments, and let the EP down. The closer, ‘Skeletor’ is strong with vocals delivered just behind the beat. A nice introduction to Warhorse, and enough to make me interested in hearing more or seeing them live. Kevin Bull

TEGAN NORTHWOOD Last Days of Home Independant 4/5 NSW singer-songwriter Tegan Northwood is very much connected to her environment, and she draws upon numerous field recordings and samples in constructing the lush harmonic textures of her third album.

Each track is a dense verdant soundscape – layers of electronic ambience are guided by a driven guitar line and Tegan’s breathlessly ethereal vocals, which are often comparable to Joan as Police Woman. The effect is a warm, organic, primal sound that ebbs and flows through lyrics that are simple yet deeply personal. There’s a rejuvenating quality in listening to this album. Hugh Milligan.

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

Pnau

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023

ALBUM OF THE MONTH

THE PICTURES Kicking Indifference Independent 4/5 One of my most ironic musical memories is going to see Jimmy Eat World with my Dad at The Metro Theatre, Sydney, and checking out their unknown support act, The Pictures.

Their front man seemed to think he was a rock God - tight jeans, ‘cool’ hair, and a cocksure swagger. I turned to my Dad and with a snide chuckle I commented, “This guy seems to think he’s in You Am I or something.” The singer and guitarist turned out to be Davey Lane and yes, he is indeed the guitarist in You Am I. How ironic, I hear you say.

As controversial a statement as it may be, Davey Lane may be the most talented member of You Am I. The baby of Australia’s most quintessential rock band of the 90s, Lane has

shown off the depth of his musical prowess in this side project. His guitar work needs no introduction, nor defense, but his voice and songwriting are also sculpted from rock.

With an underground following of avid rock ‘n roll purists, The Pictures have had numerous releases, from their impressive 2002 debut EP, I Dealt A Rollercoaster to their 2005 debut record, Pieces Of Eight. When they’re good, they’re awesome.

Songs like ‘The Play You’re Staging’ are epic, blistering rock, seemingly made of spare parts from Neil Young and The Kinks’ scrap heap.

These days The Pictures are billed as a duo, and the contribution of Deserters front man Luke Thomas cannot be overlooked.

DONAVON FRANKENREITER Pass It Around Universal/UGM 2/5

Particularly as he sings half the tracks on their latest album, Kicking Indifference.

While Lane sings with a British twang, Thomas has a grounded, deeper voice. Alternating vocals between tracks adds depth and ecclectic flavour - think Gomez. Lane’s vocals evoke The Beatles, while Thomas conjures a more conventional Australian tone.

While Kicking Indifference is consistently catchy, one of its tracks knocks you for six - it’s an instant classic. ‘Give It Some!’ is an off-kilter, disco-funk, rock song. With semi-falsetto vocals and a slinking guitar riff, it’s funk to the max.

If you’re feeling indifferent towards rock, then this will kick you from your stupour.

Nick Milligan

MISSION CONTROL Innerspace EP etcetc 3/5

If you are looking for something original, groundbreaking, edgy, don’t buy this album.

You know what you’re going to get with this, easy listening, laidback, inoffensive grooves.

Frankenreiter’s voice is possibly his biggest asset, and it is used well here. There are some lovely horn arrangements that give a real punch to a number of tracks, but I get the feeling that there is just not enough spark amongst the beats to give it any longevity. It’s a bit like painting the hallway beige. It might go with everything, but in the end it is all the accessories that you add to it that creates the excitement. Pass It Around is the beige paint.

Kevin Bull

First taste from Melbourne electro quartet Mission Control, and it is full of promise.

There is a collision of influences, and most of the times it comes of. The soundscaping of Air, the hypnotic bounce of The Stone Roses, the guitar buzz of Sonic Youth. With all this being thrown into the blender, the risk of rubbish being the result can be high. Not the case here. Mission Control are able to give each element enough restraint as to not destroy the mix. Though I would not call it a brilliant release, maybe not even very good, but there is enough here to make it enjoyable, and a suggestion that there is a great release just waiting to come out. Kevin Bull

GRANT WOLTON

KANYE WEST

Pencilled-In Imagination Independant 4/5

Grant Wolter’s first full length album is a strong effort from the guitar playing, Novocastrian singer-songwriter. Opening with an old favourite included for his loyal fans and closing with a previously unheard tune, Wolter takes listeners on a trip through his musical range and lyrical power. ‘Spilt Coffee’ sounds fresher than ever before, and captures the energy that the 22 year old brings with him to the stage. ‘Limelight’ is also a particularly strong effort, capturing the pop/rock sensibility that drives Wolter in his work and comes from his many influences. Wolter’s quiet yet powerful style is captured perfectly on this album – the listener being exposed to his unique take on pop music through a series of alternatively upbeat and moving tunes.

Mitchell Meek.

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808s & Heartbreak Universal/Roc-AFella 1.5/5

Solo album number 4, and Kanye West is not a happy soul. With the recent loss of his mother, and a broken engagement, West’s aim was to capture this raw emotion in the recording studio. Unfortunately all he has achieved is to create music that will make the listener feel as he does, frustrated and despair. It is hard to empathise with West as he has failed any true connection. The use of the Auto-tune vocoder throughout the CD was used to emphasis the vulnerability apparently, but the coldness that we are left with kills any feeling we may have towards the singer. It’s a shame, there are some clever ideas in here, West just needed to wait some time before recording them.

Kevin Bull

SHANE NICHOLSON Familiar Ghosts Liberation 4/5 Shane Nicholson’s 3rd solo release owes more to his work with wife Kasey Chambers than his first 2 solo releases. The production has a strong country feel, and even though these songs stem for recently discovered, half finished recordings, they sound fresh and current. Minimal instrumentation gives a feeling of directness and honesty, and though the subject matter is often quite dark and troubled, there is always a positive tone to Nicholson’s delivery. ‘Summer Dress’ has a subtle vocal delivery that gives the song strength. Nicholson has always been a top class songwriter, and he may now find himself as one of our top line country singers. It would not surprise me if this release wins Nicholson many Country Awards at Tamworth next year. Kevin Bull

THE WATT RIOT

Paint The City Red Creative Vibes 4/5 Triple J Unearthed winners, The Watt Riot release their second EP, and it is a cracker.

Alive rawcous Rock n Roll is what these guys do, and with this second taster now delivered, the anticipation for the full lengther will be on the rise.’Reset Forget’ pulls the pace back a touch, but this only adds to the drama. Multimedia extras are a real bonus, and bloody funny. If you like great rock and roll, grab both of their EPs, and prepar yourself for tThe Watt Riot Kevin Bull

GUNS N’ ROSES

CLASSIC ALBUMS

JURASSIC 5 J5 Deluxe Re-issue Decon/Shock 4.5/5 I bloody love these deluxe reissues. Massive package here.

Out of print since 2004, you get the 1997 debut release, 25 previously unrelease B-sides, remixes and freestyles, plus the first ever J5 DVD release.

The DVD is a gem, featuring a live concert from the Brixton Academy in London, a behind the scenes documentary following the band on tour, and the music video for the biggest hit from the original album, ‘Concrete Schoolyard’.

The debut J5 release was a statement of intent, and presenting it in such a package is a celebration of such. Much loved here in Australia (and deservingly so), this re-issue should be snapped up Kevin Bull

Chinese Democracy Universal/Geffen 4/5 Man, it is so hard to review this. So much baggage. What you have is not the shambles we may have expected, nor is it a masterpiece, it is simply a bloody fine hard rock CD. Firstly, no one has a voice like Axl and it is great to hear it roar again (even if he is a dick). You even get his trademark scream as the first taste. Fitting I suppose. You get the ball tearers in the title track, ‘Scraped’, and a touch of industrial in ‘Shakler’s Revenge’. For me, ‘Better’ is the gem. Classic G+R and up there with his best work. To top it off, the funk groove of ‘If The World’ is a master touch. Impressed, I am pleased to say.

Kevin Bull

THE KILLERS

Day & Age Universal/Island /5 The Killers’ latest album seems to be inspired by every day and age except this one. It’s a hybrid of 70s disco, 80s pop and 90s rock that has produced a series of dazzling songs. Sizzling saxes, trippy synthesisers and fat bass lines all contribute to a retro sound with a distinctly modern edge. The tracks are well paced, as the otherwise driving rhythm is broken by moments of gentler balladry (like the intro to ‘A Dustland Fairytale’). It’s a highly polished album that borrows the best of different styles. Hugh Milligan

DIED PRETTY

Free Dirt (Reissue) Citadel/Aztec Music 4/5 With Died Pretty back on the Homebake and BDO stages, it feels appropriate for their 1986 debut Free Dirt to get the Aztec Music reissue treatment. What was initially a 9 track release has become a 28 track, two hour journey through the band’s birth.

The early singles and EPs are included, plus demos and live recordings. Their sound was more textured and grander, and failed to initially find an appreciative ear in Sydney.

Critical acclaim quickly followed the release of their first 2 singles and EP, and these are the real prize within this reissue.

Free Dirt itself was such a solid debut release, a rich, diverse mix of attitude and belief in one self. Died Pretty were on their own musical path, and they had delivered a clear statement of purpose. It would send the band overseas to fanatical fans, and set them on the path to two decades in the spotlight.

Kevin Bull

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Thursday 1 January The Domain, Sydney Field Days Festival

Thursday 8 January Avoca Beach Theatre Mike McCarthy and the Vigilantes Cambridge Hotel Psycroptic Enmore Theatre Tegan and Sara Grand Junction Hotel, Maitland Mark Wells Lizottes, Kincumber The Rodric White Quartet featuring Guy Strazz Newcastle Panthers The Black Keys + Gomez + Dr Dog Northern Star Hotel Ngariki Queens Wharf Brewery The Evening Son + Emily Sorenson

Grant Wolter

Friday 2 January Cambridge Hotel Grant Wolter Diggers @ the Entrance Mark Cashin and the Lil Hussy’s + Ben Roberts + Underscore Grand Junction Hotel, Maitland High Horse

Saturday 3 January Avoca Beach Theatre Mike McCarthy Cambridge Hotel Bright Lights + Slow Down Honey + Serenik + Avenue of Allies Metro Theatre Fleet Foxes + The Dodos Newcastle Panthers Public Enemy + The Tongue + Beat Working + The Last Kinection + DJ Matt Saxon + DJ Surian

Sunday 4 January Grand Junction Hotel, Maitland Bonjah Lizottes, Kincumber Demi Hines + Christine Anu + Sarah Humphreys Metro Theatre Mystery Jets Mingara Recreation Club Chontia Prince of Wales Hotel The Goodnight Kids + Grant Wolter View Factory Daniel March

Monday 5 January Hordern Pavilion The Kooks Oxford Arts Factory Lykke Li The Entrance Leagues Club The Butterfly Effect

Lisa Mitchell

Friday 9 January Bateau Bay PCYC Pergamum + Nonparcel + One Day At Horrorland + Revival Ashore + Spread The Ashes Beach Hotel The Mounzers Cambridge Hotel Whitley + Lisa Mitchell + Washington Chilli Lounge, Wyong Tycotic CD launch + Mind Over MatterXRSIZE - Scott Burns (ft. DJ mathmatics) + Mojo’s Lab + Double + Collective Crew + DJ Begzy Civic Theatre Delta Goodrem Grand Junction Hotel, Maitland Mischling Hamilton Station Hotel The (Temperamental) Pocket Lizottes, Kincumber Beccy Cole + Rose Carleo The Loft The Storm, Picturesque + Vegas In Ruins + Sienna Skies + The Future Divine + When Forever Meets Never View Factory Filastine and Maga Bo

Saturday 10 January Cambridge Hotel Tycotic CD launch + Blades of Hades + Mind Over Matter + Fortay + Syntax + Urban Freeflow + Soul Purpose + Dirt Squad Civic Theatre Delta Goodrem Kurri Kurri Bowling Club Kirsty Lee Akers Northern Star Hotel Move Trees Old Pub, Woy Woy Dan Granero View Factory Grant Wolter-

Tuesday 6 January Cambridge Hotel Donavon Frankenreiter Chilli Lounge, Wyong Bonjah + Benjalu + The Blinding Lights Enmore Theatre Franz Ferdinand + Red Riders + The Temper Trap Lizottes, Kincumber John Cleary + Donne Metro Theatre The Hives + The Galvatrons

Wednesday 7 January Cambridge Hotel Saltwater Is Us + The Mounzers Chilli Lounge, Wyong Wish For Wings Ducks Nuts Hotel Local Resident Failure + Crashing Planes Lizottes, Kincumber Hawksley Workman + Jill and Matthew Barber Northern Star Hotel Grant Wolter

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Sunday 11 January Cambridge Hotel Frankie Wants Out + Mojo Juju Grand Junction Hotel, Maitland 8 Ball Aitkin + Bird of the Phoenix Movement + Tim Crossey Lizottes, Kincumber Move Trees Prince of Wales Hotel The Rum Corps + Jessica Cain Wallarah Hotel, Catherine Hill Bay Dan Granero

Wednesday 14 January Cambridge Hotel Brittle Chilli Lounge, Wyong Trial Kennedy Lizottes, Kincumber Jesse McIvor + Grandmaster Monk + Mitchell Bayless + Fiona McGee

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Thursday 15 January

Friday 23 January

Chilli Lounge, Wyong The Mischiefs Grand Junction Hotel, Maitland Neil Murray Northern Star Hotel Mark Wells Oasis Youth Centre, Wyong Bleeding Through Queens Wharf Brewery Grandvue

Michael Peter

Cambridge Hotel The Exiled Grand Junction Hotel, Maitland Zoe K and the Money Shot Band Lass O’Gowrie Hotel Enola Fall Lizottes, Kincumber Ian Moss + Kara Grainger Northern Star Hotel Brewster Brother Sydney Showground Big Day Out

Saturday 24 January Beach Hotel The Dread Sky + Mad Charlie Cambridge Hotel Watussi Enmore Theatre Serj Tankian + The Fantomas Grand Junction Hotel, Maitland Chicken Head w/ Johnny Langford Hordern Pavilion The Prodigy Lass O’Gowrie Hotel Grant Wolter Lizottes, Kincumber Ian Moss + Kara Grainger Metro Theatre TV on the Radio Sydney Entertainment Centre Neil Young + My Morning Jacket

Friday 16 January Beach Hotel Grant Wolter Cambridge Hotel Frair Rush Diggers @ the Entrance Michael Peter Band + Racz and Waters Grand Junction Hotel, Maitland A Place In Space Hunter Valley Brewery, Maitland Tycotic CD launch + Hyjak N Torcha + The Havknots + Tunz One + Urban Freeflow Lizottes, Kincumber Chris Gudu Metro Theatre Spiritualized + Silver Apples

Saturday 17 January Cambridge Hotel Zumanity Cockatoo Island All Tomorrows Parties Festival Lass O’Gowrie Hotel Crystal Cove Lizottes, Kincumber Walk The Line (Johnny Cash tribute) Northern Star Hotel Brett O’Malley Sirens, Gosford Tycotic + Hyjak N Torcha + Dirt Squad + Section 9 + Patos Breegz Woodport Inn, Erina Modern Joy CD launch

Sunday 18 January Cambridge Hotel Bleeding Through + Between The Buried and Me, + As Blood Runs Black + In Trenches Cockatoo Island All Tomorrows Parties Festival Grand Junction Hotel, Maitland The Bakery Lizottes, Kincumber Dougie MacLean Oasis Youth Centre, Wyong Boys of Summer w/ Carpathian + Comeback Kid + Verse + Against Prince of Wales Hotel Veto + Emily Rose

Sunday 25 January Cambridge Hotel Hot Damn Enmore Theatre Pendulum Grand Junction Hotel, Maitland The Pirates of Beer w/ Chris Wilson Lizottes, Kincumber Ian Moss + Kara Grainger Metro Theatre Dropkick Murphys Prince of Wales Hotel Of The Red Sea + Ange Murphy

Monday 26 January Isobar BeachTED Party 2009

Wednesday 28 January Cambridge Hotel Inhale The Sea + Shaded Glass Lizottes, Kincumber Liz Green + Holly Kirsten + Mark Cashin + Racz n Waters

Thursday 29 January Cambridge Hotel The Berzerker + The Amenta Enmore Theatre Ryan Adams and the Cardinals Grand Junction Hotel, Maitland Ngariki Lizottes, Kincumber Grant Walmsley and the Agents Of Peace Metro Theatre Razorlight Queens Wharf Brewery Bright Lights + The Elevators

Tuesday 20 January Enmore Theatre Lupe Fiasco Metro Theatre The Ting Tings

Wednesday 21 January Cambridge Hotel Adelle + Porchlight Fiasco Enmore Theatre Hot Chip Lizottes, Kincumber Ross Wilson + Bob Corbett Pippies @ the Point Grant Wolter UNSW Roundhouse Bullet For My Valentine

Thursday 22 January Avoca Beach Theatre Birdlife + Guava + Jess Locke + Dan Lee Kendall Enmore Theatre Arctic Monkeys Lizottes, Kincumber The Neilsen Gough Quintet featuring Dale Barlow Metro Theatre My Morning Jacket Northern Star Hotel Ngariki

Local Resident Failure

Friday 30 January Annandale Hotel Spiral Stairs Enmore Theatre Jeff Beck Grand Junction Hotel, Maitland Local Resident Failure + Chris Duke & the Royals Lizottes, Kincumber The Carpenters from Kempsey

Jan 5

Saturday 31 January

Kara Grainger

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Bimbadgen Estate Leonard Cohen + Paul Kelly Cambridge Hotel Lover + Chaingang + Empire Burlesque Enmore Theatre Jeff Beck Hamilton Station Hotel Local Resident Failure + Chris Duke + Ammadu + Floating Roach + Excitebike Lass O’Gowrie Jason Lowe + Sarah Hunphreys + Bob Corbett Lizottes, Kincumber The Brewster Brothers Trio Newcastle Entertainment Centre Ragga Muffin w/ Ziggy Marley + Eddy Grant + Ali Campbell + Shaggy + Arrested Development + Inner Circle + Bonjah Northern Star Hotel Glen Terry

Jesse McIvor + Grandmaster Monk + Mitchell Bayless + Fiona McGee

Jan 28 Liz Green + Holly Kirsten + Mark Cashin + Racz n Waters Feb 4

Andrew McCall + Daniel Lee Kendall + Krystel Keller + Dai Pritchard

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Talking to Yngwie Malmsteen for the release of his latest album Perpetual Flame, he jumps in with the quirky remark “it’s amazing people still want to talk to me.” Why wouldn’t they?” I ask as I’ve been gagging to reacquaint myself with the guitar maestro. By Marija Zeko

By Malmsteen’s estimates he owns over 300 guitars that are all over the place such as behind the sofa and on the sofa. His signature guitar is a cream coloured, scalloped neck Fender Stratocaster. Despite having every colour there is, “It’s so beautiful, it couldn’t be more perfect. When you wear black onstage, a black guitar doesn’t show up - that’s why I use cream,” says Malmsteen.

For my last interview I asked all the questions that an avid fan would want to now. “Who is your favourite composer?” Bach. “How many Ferraris do you have?”

Three. Yngwie Malmsteen also tells me that he picked up the guitar the day that Jimi Hendrix died. He wanted to do a Queen song for his new Inspiration album – as he’s a big fan, but he had 99 songs in the pipeline. The guitarist also plays a host of instruments, including drums, and plays tennis to keep fit. “But I’m no Roger Federer,” he modestly reveals. Not forgetting, he has given up on the cigarettes.

“Oh my God! That was a long time ago. I gave that up, oh yeah!”

The biggest headache of the profession for Malmsteen is the touring, and he should know - he’s been on the road nonstop for the past two years. “Oh my God! This year it’s been extreme travelling, but it’s part of the gig,” he says.

Australia is sure to be on the agenda sometime next year, as is Japan, who are known for their strong following. I ask cheekily if they still love him to death. Surprised, he says, “I hope so!” He let’s out a chuckle and states, “They’ve always been very loyal!”

The album covers can be brash, the solos eccentric and unless you have had the good fortune to speak to him personally, you may think he’s arrogant. To my luck, he’s far from it, being nothing short of accommodating.

Malmsteen’s album output is prolific, averaging an album every two years, with the latest introducing Tim “Ripper” Owens on vocals.

Judas Priest fans may remember Ripper as singer Rob Halford’s replacement during those feuding years. Ripper seemed the right candidate for this album, which required heavier vocals. “I started writing when I was touring. I came back and put live guitars (on the songs), started writing lyrics, toured again and every time I wrote lyrics they got a bit heavier... as the songs were done I began to realise I needed a different singer. The old singer was good, but this wasn’t going to come across the way I wanted it to. Writing these lyrics, I knew exactly what I wanted. I invited Tim to sing and the songs sounded amazing,” says Malmsteen.

This is the first album on the ‘Rising Force’ label. The title appears on numerous records i.e. his 1984 debut album Rising Force. It’s become enigmatic but is clear to Malmsteen who lets out a laugh as I ask him to explain.

“Many years ago when I lived in Sweden I started a band

Eternal

Flame called POW and I had a band called Rising Force. I had many bass and guitar players that came and left. That was my vehicle so to speak, up until I came to America. So when I did my first solo album after Alcatraz, I decided to add Rising Force because it is mine... It is basically another name for me. A bit of a tag name,” says the guitarist.

Many of Malmsteen’s records are credited as ‘Yngwie Malmsteen’s Rising Force’, whereas others are credited as ‘Yngwie J Malmsteen’. Why does Malmsteen only sometimes include the ‘J’ (which stands for Johan)? “I don’t know!” he responds. “The first time I did it no one knew what it stood for! Then I took it out, but the funniest thing is that the guy from Spinal Tap said (putting on an English accent), “There’s this bloke called Yngwie Malmsteen who uses J. The good thing is that you won’t confuse him with Yngwie Malmsteen.” We both let out a laugh as he tells me he thought that was really funny. “Sometimes it goes up, sometimes it doesn’t. I don’t know exactly why.”

The album reviews according to Malmsteen are “so far, so good. People seem to really dig it... touch wood.” The significance of the title “Perpetual Flame” is “exactly what it says! It’s amazing, it’s all of that (touring, recording albums etc...) but it’s also about that inner fire, that machine pushing forward all the time.” Funnily enough, that inner flame is stronger now than when he released his first solo album. “That’s even more remarkable!“ he says, letting out a giggle. “I don’t know how to explain it, it’s a very strange thing. Back then, it was strong and I was very young. Now it’s simple, I’m focused, it’s not blurry, it’s crystal clear. It’s a big difference from when I was younger.”

Having played for the bulk of his life, he must have sore fingers by now. To the contrary, he confirms, “They don’t get tired, no! I always have a guitar with me, even when watching television.” Perhaps that’s the reason for the ongoing albums. I remark that they seem fresh every time.

“Thank you very much for that comment, sometimes people say the exact opposite... I think it comes from a conscious effort to do good. I don’t want to leave it a little bit ‘ok’ or halfway. I want it to be good. It’s very passionate, capturing the moment in time and trying to keep it fresh.” On that note, we say our goodbyes and I’m satiated in the knowledge that the Perpetual Flame is still burning after all these years.

Perpetual Flame is available through Rising Force Records.

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Sunday, 4 January 2008

Demi Hines + Christine Anu w/ Sarah Humphreys - $103.50 Tuesday, 6 January 2008 Jon Cleary w/ Donne - $75 Wednesday, 7 January 2008 Hawksley Workman w/ Jill and Matthew Barber - $32 Thursday, 8, January 2008 The Rodric White Quartet featuring Guy Strazz - $15 Friday, 9 January 2008 Beccy Cole w/ Rose Carleo - $95 Sunday, 11 January 2008 Move Trees - $15 Wednesday 14 January 2008 REVERB presents Live & Local - $12.50 Friday, 16 January 2008 Chris Gudu - $65 Saturday, 17 January 2008 Aussies Walk The Line ( Johnny Cash tribute) - $80 Sunday, 18 January 2008 Dougie McLean - $75 Wednesday, 21 January 2008 Ross Wilson w/ Bob Corbett - $99.50 Thursday, 22, January 2008 The Neilson Gough Quintet featuring Dale Barlow - $25 Friday 23, Saturday 24, Sunday 25 January 2008 Ian Moss w/ Kara Grainger - $110 Wednesday 28 January 2008 REVERB presents Live & Local - $12.50 Thursday, 29, January 2008 Grant Walmsley and the Agents of Peace - $15 Friday, 30 January 2008 The Carpenters From Kempsey - $55 Saturday, 31 January 2008 The Brewster Brothers Trio - $65 Sunday, 1 February 2008 Adam Brand - $70 Wednesday 4 February 2008 REVERB presents Live & Local - $12.50

Phone: 02 4368 2017 Lot 3 Avoca Drive Kincumber NSW 2251

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There was never really a point where we sat down and listed our influences. We all had a vague idea of the direction we wanted to take the record, which we collectively agreed upon. When it came time to the write the album, we wrote a heap of material aimed at the sound we were going for. It was our song writing, coupled with Devon’s (Devon Townsend, metal producer) help producing the record; adding in extra elements, production of strings and the orchestra that gave it the sound we were all striving for.

DECLARING DOWN UNDER Bleeding Through have gone from being Orange County’s biggest metalcore export, to one of the world’s most highly acclaimed metal bands. Latest edition to the line-up and former I Killed The Prom Queen guitarist Jona Weinhofen, informs Nathaniel Try of the decisions that recently found him relocating from Australia to America to join the group.

How did you come to pack up your life in Adelaide and move to Orange County to join Bleeding Through?

The whole thing was a pretty abrupt decision to be made. At the time I was in I Killed The Prom Queen, on tour supporting Bleeding Through. Through the grapevine I found out that they were parting ways with their old guitarist. Things in I Killed The Prom Queen weren’t too stable at the time, so I started talking with Brandan (Bleeding Through’s vocalist) and decided I was going to try out for the band. Between that decision being made and me moving to California was a matter of weeks. So it all happened really fast, but it’s something I’ve never looked back on.

Mid-2008 saw Bleeding Through release Declaration. This was the first album where you have been involved in the song writing process. How much input did you have?

Well, I was in the band since the beginning of the writing for the album. I didn’t write a whole lot of the material itself. For the most part I was just there offering my thoughts and ideas on the structuring and adding little guitar harmonies. I guess you could call it “Jonafying”. I also wrote one complete track, which is “Sister Charlatan”.

Declaration delivers a noticably different sound than 2006’s The Truth. Were the band’s influences for the album openly discussed?

In 2007, you guys toured along side Slayer. What were the best and worst parts about supporting one of the most influential metal bands in existence?

Honestly there wasn’t really anything bad about it. We definitely thought we would be getting drowned out by Slayer chants every night and having stuff thrown at us.

From what we heard from other bands, that’s what happens when you tour with Slayer. If you’re the support band, nothing makes the crowd happy other than seeing Slayer. We actually made it through the whole tour with no chants and only one bottle thrown at us! The best part about touring with them was learning that all of the guys are really down to earth. It was even more awesome that Kerry King still sound checks his own equipment, hung out with us a lot of the time and was always open for a chat. Learning that dudes from one of the world’s biggest metal bands are straight up decent people is very refreshing.

So you are kicking off 2009 with Bleeding Through’s fourth national tour of Australia. What are you most looking forward to about this tour?

We’re definitely playing a lot of regional towns, so I think that’s a really cool thing for an international band to be able to do.

Some of the spots we are playing in would never even get thought of when most

ground for artists. “First of all, I’m a fiercely proud Canadian,” Workman enthuses. “I think it has something to do with the fact that we all came from snow. There are quite incredible extremes that we have to live through and remain ourselves throughout.”

“Also, we really don’t want to be Americans and Canadians are more culturally inclined to watch rather than act, which gives us a more introspective cultural outlook that is perfect for songwriters,” he continues.

While this may be so, Workman explains that he is still looking forward to escaping the blistering cold of his home country for an Australian summer. “We’ve had the most abysmal weather over here of late. We had like one metre of snow yesterday, and then it warmed up and a massive deluge of rain came. I actually had the Pentecostal roof shovelling people over the other day and I made some comment about it feeling a little like Armageddon…I don’t think they were too impressed,” he says.

The Canadian Workman After a decade in the studio producing ten albums, Hawksley Workman is on his way to Australia. Stephen Bisset spent some time with the Canadian discovering some of the work behind this most recent album.

There must be something in the water over there in Canada. The country, once described by comedian Robin Williams as “…a loft apartment over a really good party”, has produced a seemingly endless stream of great songwriters. Artists such as Neil Young, Joni Mitchell and Gordon Downie, to today’s crop of creative Cannuks like Dan Bejar, AC Newman, Joel Plaskett and Spencer Krug, who have all left their indelible mark on our collective musical psyche. Oh, and let’s not forget the Juno awardwinning Hawksley Workman, who is hitting our shores in late December to promote his tenth studio effort, Los Manilicious. It’s his seventh Australian tour.

Workman says it is Canada’s vast and sometimes unforgiving environment which provides a fertile breeding

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For the uninitiated, Hawksley Workman (real name Ryan Corrigan) has been plying his eclectic blend of passionate rock and cabaret pop for ten years across ten studio albums, and has been described as a ‘one-man epic pop orchestra’ and drawing not overly hyperbolic comparisons to Bowie, Tom Waits and the criminally ignored Canadian band The Rheostatics.

Never one to rest on his laurels, Workman released two albums this year – Between the Beautifuls and Los Manilicious which broke the Hawksley Workman tradition of producing his own albums – the latter, rockier effort employed a number of producers such as Bob Ezrin (Pink Floyd, Lou Reed, Jane’s Addiction) and fellow Canadian songwriter John Southworth.

international tours are booked. Reaching kids living in remote areas and giving them an experience they may never get otherwise is a great thing to be doing.

On a personal note, you are one of Australia’s most successful hardcore/ metal musicians. What do you believe is your biggest achievement in your career so far?

First of all, thanks for the compliment. I’ve never really thought of myself in that way, but that’s awesome! I can’t really pin point a single greatest achievement. In my eyes, everything I ever do on tour, every time I play in a new city, release a new record or when I meet a fan who likes one of my riffs is all really positive stuff. It all makes me feel really good. Just the ability to tour the world, making a living out of something I love so much is the biggest achievement I could ever hope for.

Bleeding Through last played in Newcastle in 2005, with As I Lay Dying and Carpathian. What final words do you have for fans reading this interview that may have never seen you play before?

If anyone who is reading is a fan of I Killed The Prom Queen, or any metal, hardcore or punk rock bands, you should come and check out a show. We offer a pretty intense live show, we’re a reasonably tight band and we’re all really good people.

We’re the kind of band who likes to meet and hang out with our fans before and after the show. There’s no rock stars sitting back stage not wanting to meet people or anything like that. Come to the shows!

If you want to say hi, or get a photo or autograph that’s fine don’t be shy. Just come up and have a chat!

Bleeding Through play Oasis Youth Centre Wyong on Thursday January 15 and The Cambridge Hotel, Newcastle, on Sunday January 18, 2009.

Workman says stepping back from the desk on this album (he still produced a couple of tracks) allowed him to concentrate on the record from a musician’s perspective.

“One good thing about it is that [producers are] responsible for finishing the record,” he says. “If someone is doing all the grunt work that comes with making an album, it totally takes the pressure off me and allows me to concentrate solely on the performance.”

For Workman, who has also notched up a rather impressive resume as a producer in his own right (Tegan and Sara, The Cash Brothers, Great Big Sea), spending time behind the desk is a bittersweet experience.

“It really is a terrible job, I both love it and hate it,” he laughs. “I like it because it gives me the opportunity to work alongside other artists. I’m a big fan of people with ideas and sometimes artists can’t see how they are special and I like the idea of bringing that out in them as a producer. But again there is an awful lot of grunt work involved and there is such a sweeping landscape in being a producer, so sometimes it can be a bit daunting.”

Living outside his comfort zone is something that Hawksley is used to after travelling to Bangladesh in 2003 as part of a documentary looking into Bangladeshi sweatshop labour – an experience Workman says informed his songwriting and outlook on life immensely. “Going to Bangladesh was great,” he muses. “I’d never been somewhere so vastly different from what I knew, although I felt right at home with the simplicity of it all. Some of the images I’m left with are just so colourful and indelibly locked into my brain.”

“There was just so much poetry going on over there,” he continues. “I saw a farmer lead a cow right through the city to the only park in town and there were all these kids playing cricket and they just started bouncing the ball off the cow. It’s stuff like that that stays with you.”

Hawksley workman can be seen 31st December at the Peats Ridge Festival, 12pm, Glenworth Valley and 7th January at Lizottes, 8pm, Kincumber.

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in reference to Shakespeare’s character Prospero from The Tempest, as it “has positive connotations, people associate with prosperous, good fortune”.

Past album’s lyrical themes were “reasonably personal stuff about a young person settling and finding his way”, quite reflective as to where the band were in their infancy. These albums also reflected on the “frustrations about John Howard’s Australia and were more visual arts cultured with themes of artistic beauty”.

Prospero on the other hand is the album “that we wanted to make”, capturing where they are now, and a good place in their lives. Work is taking place on the next album despite a busy schedule promoting the current one. Brayovic explains it won’t be such a difference in musical styles, maybe a little thrashier. ”I was more mellow when I was younger, but I’m still fit and have a lot to offer, I feel better now”.

There was that parental fear when Brayovic was younger as to what will become of his interest in music. “My parents were a little worried at first but when they saw how much enjoyment the guitar gave me, they relaxed”.

t s e p m e T e h t g n i r Delive It’s half five and Bruno Brayovic, lead singer from Peabody calls for our interview. Halfway through dinner, I quip we’re on for 6pm, as he apologizes and promises to call back. Not a minute early nor late, Brayovic calls back, asking enthusiastically “So what did you have for dinner?”, writes Marija Zeko.

Brayovic was born in Santiago, Chile, and immigrated to Australia with his family when he was seven. He’s been to Chile many times since and grew up in the Sydney inner west suburb of Campsie. When he came of age he moved to Newtown as many young artistic types do. Twelve years later, Marrickville is now the nesting ground where this Marine Biologist lays.

Peabody have released their third album Prospero and it slightly means “to prosper””, but more so it’s

All band members hold day jobs but work tours around their schedule. “We have fun touring and playing live. When you’re tired, hung over and drink, it makes you feel like a real band… we don’t have huge acclaim. We’re in it to be widely heard and the artistic expression. No artist can say they’re in it for altruistic reasons. There’s an exhibitionist side to it, to give people and yourself some enjoyment”.

The immediate future sees Peabody touring, a trip to Spain for Brayovic after Christmas and then the Playground Weekender Festival at Wiseman’s Ferry.

Writing songs for the next album is on the agenda but if you think Peabody is superman, take note ”these things take longer than expected”. The name Peabody “came from a friend’s cat name, we named it after that, boring but true”. Nothing’s boring about a band that will assure to be on the Australian music scene for many more years to come.

NOTHING TO GET FRIGHTENED ABOUT After a bit of a mix up, I finally get through to Grant Hutchinson of indie-pop group Frightened Rabbit. He’s taken a few interviews and it’s all starting to get a bit tiresome - not that you could tell, as he gives me a big “Hi there”, in a notable Glaswegian accent. By Marija Zeko Frightened Rabbit will reach our shores on New Year’s Eve, playing The Peats Ridge Festival, Pyramid Rock Festival and The Purple Sneakers’ House Party. These back to back shows means that Grant is vying for some free time. “We haven’t really stopped since the album came out in April. We had a four and half week tour in the US, but there’s nothing more we’d rather be doing,” says Hutchinson.

that music’s part of Glasgow.”

The latest album is The Midnight Organ Fight, following on from 2006’s debut album Sing the Greys. The band originated from Selkirk, Scotland, with all members less vocalist Scott Hutchinson residing in Glasgow, because “that’s where the music is”. Grant plays drums whilst Billy Kennedy is on guitars and Andy Monaghan is on keyboards/guitar.

Without hesitation the drummer informs me that he wants to try an “Anzac biscuit” as though it’s some sort of delicacy. “Will you have that with a cup of tea?” I ask, assuming the two go together. “I’m not a fan of tea, it tastes like shit,” he replies. “It’s huge here in the UK, but I hate it! When you’re stressed, someone says have a cup of tea - that’s the last thing I want. Give me some coffee, so I can stay up.” Confirming his stance he throws in, “I cannot wait to try an Anzac biscuit and a good coffee.”

Another Glaswegian band doing well is Biffy Clyro. I had the good fortune to interview them followed by viewing their concert on their last trip down under. Vocalist Simon Neil was awfully timid, yet accommodating when being interviewed, but when he took to the stage, he let loose and a real madman exploded. Hutchinson can relate to this, summing it up as that Glaswegian passion.

“We’re both equally passionate bands. It’s a very different thing being onstage and letting go - you get to express yourself.

It’s important the crowd is feeling it. In Glasgow, they are fuckin’ mental. You get a big group of Scotsmen, we like to drink, we let ourselves go. It’s ingrained in our brain.

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The intention when they land here is to let themselves go. The agenda will be “driving from Sydney to Melbourne, doing it over four to five days because it’s our summertime, you can’t do that in Scotland.

Basically I want to see some sun, the coast, want to be away from the music for a while,” says Hutchinson.

Aside from Anzac biscuits and coffee, a good cider is also on the plat du jour as our conversation veers from the music to a menu query, “Do you have cider In Australia?” We do, but not as widely spread nor sought after as in the UK. Grant is “after a good cider, I want to try some cider.” If you have the good fortune of attending a concert, bring along an Anzac biscuit to fulfil Frightened Rabbit’s humble desire. The reward could be a maddening Glaswegian performance.

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

GETTING JACK OF IT Recently voted in as the Jack Daniel’s JD Set Award 2008 winner, The Lazys are set to tour yet again. Veronique Moseley & Ross Beckley interviewed guitarist Ant Kurjakovich to get a lazy update.

The Lazys played on the Coast at GOATS and Coaster this year to crowds that went wild and this seems to be the pattern at every gig you’ve played over the last 12 months.

What was the most exciting gig for you guys and what made it different from the others?

Coaster would be a tough one to beat.

It was insane. A massive stage, loads of people, all your best friends playing during the day to a home crowd. Stealing beer from Chris Cheney, pole dancers and ping pong backstage - it really had it all.

What has been The Lazy’s biggest challenge?

I think the biggest challenge so far has been trying to juggle everything. In between touring a lot this year and writing/ recording new material we have been super busy. But that’s cool, what else would we be doing?

How do you guys stay motivated to continue The Lazys’ journey?

Staying motivated is the easy bit. If you love something enough, staying motivated should not be a problem. The music will always look after you.

Obviously your music is a priority in life - does the touring have a negative impact on your family/ friends or are they fully supportive?

Did it cause issues in the beginning when you first started touring?

Yeah, it can get a bit weird. At first it was really hard because all of a sudden we just weren’t home for three months. Eventually everyone gets use to it and realises it’s our job so they are pretty cool. We all have

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super supportive gals, which makes things a lot easier!

Where does inspiration for your music come from?

The majority of our songs are about standing up for what you believe in. A lot of inspiration can come from a lot of bad things that are happening in the world right now.

What are some the major issues in the world that worry you at the moment?

There is a lot of crap going on in the world in every way shape and form. I think the main focus of The Lazys is just standing up for what you believe in. A relative example of a ‘worrying issue’ that is extremely frightening would be the music industry at the moment. It is just filled with so much junk that most people don’t even have a choice of what they listen to. Bands flooding the internet with nonsense and hype taking away so much from what Australian music has been built on. I think that in itself is enough of an inspiration for any aspiring artist do just do what they love doing, and fight the war against all the bubble gum that is ruining our culture.

You’ve toured fairly extensively. Do you intend to continue touring and if so, what are your destinations?

We plan on touring until we cannot scratch ourselves. At the moment we are recording our new EP and its looking to be a cracker.

Our national tour, sponsored by Jack Daniels, and supporting our new single will kick off in March. Visiting QLD, VIC, NSW, TAS and anywhere in between.

Where would The Lazys like to be in five years time?

We plan to be playing Rock ‘n Roll every night to everyone and anyone until our legs fall off.

The Lazys are playing a few one off shows until the EP is released, one of which is with Something With Numbers and The Inheritors at the Doyalson RSL on Feb 20th.

Check out The Lazys on their myspace: http://myspace.com/thelazys

THE CALL OF

THE WILD As the latest darlings of Modular Records, Tame Impala are in impressive company.

But with a sound that echoes sunny 70s psychedelia, they’re doing a lot of impressing of their own. Singer/songwriter Kevin Parker talks about their debut EP. How did you meet the guys from Modular Records?

They got in touch with us in early 2008. They liked our stuff and wanted to work with us. I didn’t really know who Modular were at the time – I had to ask my friends. The reactions I got said it all.

Have you given much thought to what your next release might sound like?

Yeah, quite a lot of thought, but I don’t know what it’s going to be like to record it. Up until now, Tame Impala has mostly been a solo recording project, where I’ve just made recordings by myself. I’ve always had the other guys there live and they contribute, but the EP is mostly me.

It will be a different experience going

into a fancy studio with an engineer.

The time restraints will be the biggest difference. In the past I could do a guitar take once a week if I felt like it!

What’s it like to have your recordings out there for people to listen to?

It’s a very strange feeling. I’m more selfconscious now when I write, because I think about all the people that are going to hear the song. I didn’t expect for the recordings to be out there - most of the songs don’t even have proper endings. Instruments will stop and then the song will just fade out, because when I was writing I didn’t care about the endings. So I guess in that sense there is an innocence to the recordings.

Although the songs were recorded some distance apart, do you feel that there is still a musical thread through the EP? Yeah, definitely. We were going to arrange the track listing chronologically, in order of when they were recorded, but they didn’t really fit together properly. The five songs on the EP were chosen from around 25 recordings and they weren’t necessarily the best songs by most people’s opinions. These were the five most cohesive tracks.

Tame Impala play the St Jerome’s Laneway Festival. For all details head to www.lanewayfestival.com.au. You can also catch them at Nevereverland at the Hordern Pavillion on December 13. Their debut EP is out now through Modular.

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G N I K N I H T E V I T I S PO

They might be Daniel Radcliffe’s favourite band, but you definitely shouldn’t hold that against them. Brooklyn’s The Hold Steady create clever rock with a distinctly American flavour. Guitarist Tad Kubler spoke to Nick Milligan about why you should never accuse his band of being uncool.

What have you guys been up to?

We’ve just finished a tour last week with the Drive-By Truckers, which was great.

But we’re all really looking forward to getting back to Australia. We all really love it over there. It’s a difficult trip to make, but whenever we’re putting together a schedule, we want to fit Australia in there.

What did you enjoy about your trip to Australia last time?

The people are really phenomenal. I was surprised by how friendly everyone was towards Americans. It’s been a weird eight years for us (in America) and when you travel abroad, it’s something you can’t help but notice. With the election over and us having elected a President that can spell his own name, I think people will have a tendency to treat Americans differently.

Apparently you guys were very inspired by The Band when you were starting out as The Hold Steady?

This seems to be coming up in Australia a fair bit! The Band are obviously a phenomenal band and we love them a lot, but what really inspired us about them was how much they enjoyed playing together. So many bands that we saw in New York seemed to care more about what they were wearing, than what they were playing. That seemed a little ridiculous to me. But I don’t want to say

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that The Hold Steady was formed as a retort to that kind of thing, because that’s not it at all, but I like to hang out at clubs and see bands, but I could never see anyone that looked like they were having a good time – and that was a drag.

The subject of ‘image’ is encountered by a lot of bands in the music industry. Have The Hold Steady been encouraged to think about their image?

Of course. We get slagged off a lot because we’re older guys. We’re not twenty-something kids wearing tight jeans. It would be easy to take a shot at us and call us ‘dumpy’, but I was a fashion scout before I started playing music, so if anyone wants to sit down and talk about what’s cool and not cool, I’d be more than happy to (laughs). Because while you’re taking the garbage out at a Marc Jacobs store, I’m going to be on stage rocking to about 3,000 people.

In what ways have the band developed since you first formed?

In a lot of ways. I think we’ve become more confident as players and songwriters. I think we’ve conquered the big rock riffs – well, conquered might not be the right word – but we wanted to use more dynamics on Stay Positive. I know that Craig [Finn, singer] wanted to use his voice as another instrument, rather

than someone just telling stories over the music. But overall, we wanted to grow a bit. We don’t sit around discussing it – it just happens. It’s interesting, because I’ve heard people say, “There’s not much difference between your first and fourth records.” But, we’ve released four records in five years. If you can name me another band that’s done that in the last decade and chart out their growth, then maybe we can compare and contrast. I think there is definitely growth across our four albums, but it’s harder to notice because there isn’t much time between [the release of our] records.

A lot of bands make a record every three or four years, some every five or six years.

We’ve made a record almost every year since the band started. The development of our sound might not be as noticeable as it is in other bands. But hopefully we’ll be able to keep this pace and you’ll be able to track our growth between our first record and the last.

Why are The Hold Steady so prolific?

Do you guys become restless when you’re not writing new material?

We just like to stay busy. We weren’t very ambitious when we first started out. We didn’t know what we were going to do – we basically just wanted to hang out, play some music and do some shows around town. Things took off very rapidly.

Once we realised that the band was going to be our life, we treated it as that. We thought, ‘Well, if this is all we have to do, then we’re really lucky. So let’s do it all the time.”

“...while you’re taking the garbage out at a Marc Jacobs store, I’m going to be on stage rocking to about 3,000 people.”

The piano plays an important part in your music. Were you always intent on having a pianist in your band?

On the first record we had Franz [Nicolay, pianist] come in and play on a couple of songs, but we didn’t have an official piano player. But when I was writing the music for Separation Sunday, I knew that the songs needed something else. They didn’t feel complete.

The Hold Steady perform at the Laneway Festival in Jan/Feb 2009. For all information head to www.lanewayfestival.com.au. Stay Positive is out now.

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Keys To The

KINGDOM

Pacing in his kitchen on a weeknight, leading up to another Australian Tour, Patrick Carney talks to Sarah Shields about his thoughts on Black Flag, living on McDonalds and why the Black Keys aren’t blues.

Since the Black Keys first rumbled onto Australian radio in 2003, following the release of their distinctive debut album, Thickfreakness, it’s seems that audiences can’t get enough of their soul-soaked rock and roll.

The Black Keys have come a long way from their modest beginnings of independent record labels and home-recordings, as drummer Patrick Carney recalls, “I ate McDonalds every single day.

I ate off the dollar menu because it was all I could afford. I had two dollars a day for sandwiches, two dollars a day for beer, two dollars a day for cigarettes and two dollars for coffee – I lived off 10 dollars a day for a long time”.

“I refused to live off college loans, I just worked shitty jobs; I washed dishes, I flipped burgers, I mowed lawns, I delivered newspapers, I was a telemarketer – I had a whole gamete of shitty jobs,” Pat said. Today, the Black Keys have paid off their debts and are enjoying their taste of success, but their hometown of Akron keeps them grounded, as Pat says, “I was broke, but most of my friends are still broke”.

When asked about the Black Keys sound of 2008 Pat said, “I definitely wouldn’t say it’s blues.

But maybe that’s because I grew up generally hating any stuff that I thought was blues, but it was fourth generation lawyer blues. We play rock and roll”.

“My dad introduced me to Led Zeppelin when I was really young and the Beatles and the Rolling Stones and countless other bands.

I think by the time I was 12 years old I think I pretty much knew most bands from the late 50s, who were top 40 I guess. If it

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weren’t for that I probably would have ended up falling in with the kids who were listening to bands like Black Flag. Those kids were my friends, but I’ve just never respected Black Flag and their ethics. I’ve never really gotten into that kind of music and I was never really inspired by those bands,” Pat said.

“When I turned 21, I noticed a lot of my friends who were listening to crust-punk, started listening to Led Zeppelin. And it to them it was almost like a novelty, but for me - I loved these bands,” “As you get older, it’s funny how people’s music taste changes. And it’s funny to watch some people and see how their taste doesn’t change and how they are kind of stuck in one time period. I have a couple of friends who are stuck in 1995, still listening to Pavement and Sonic Youth – I like these bands, but they are kind of depressing. It’s like watching the same 20 movies over and over again.”

“As long as you have the opinion that you think you can be better, rather than just maintain, I think you will be satisfied as a human.”

Acknowledging the shift in approach Pat says, “I think our sound is changing and we’re changing, but it’s gradual. It’s one thing when a band flips the switch and goes from making a rock record to trying to make another kind of record”.

“I’m 28, so if by the time I’m 35 - I’m stuck associating with

something I made when I was 21, that would be kind of depressing.

I think we’re both really tired of what we were doing and we both think we can make better music.

As long as you have the opinion that you think you can be better, rather than just maintain, I think you will be satisfied as a human.”

Pat said.

“Dan and I have been playing music together as a two-piece since we were in high school in the late 90s and I think we have a lot of similar tastes and we also have a lot for things that aren’t in common musically, so it never get tiresome,” he said.

When questioned on their approach to songwriting, Pat explains “Dan writes all the lyrics – usually what happens is we will get together and just jam and come up with a couple of ideas and Dan will see if he has any lyrics that will fit that and if he does than we will structure it into the song.” So when I asked Pat about the motif of strange and alluring women in their music, such as ‘Psychotic Girl’ from their latest offering, Pat reminded me that he is married and said with a laugh, “Dan has had his share of weird times”.

The Black Keys gained a lot of public attention in early 2008

for their surprising collaboration with Grammy Award-nominated producer and musician Danger Mouse, aka Brian Burton on their album more experimental album, “Attack and Release”.

Pat emphasised that Danger Mouse was introduced as an equal collaborator, as he explained, “I think a lot of the reviews were probably like, ‘Okay, there’s synthesizers in this song, and there’s a flute here, this is all Danger Mouse’, but it was Dan who wanted to incorporate more stuff and the flutes were played by my uncle, who I asked to come out and lay down a track”.

Pat explained that they wanted to make a record that was different from their previous record, saying, “The role that Danger Mouse played was more, overseeing that process and he would let us know if we were going too far or if we were going in the wrong direction he would come up with an idea”.

“In the days leading up to the sessions, we were both nervous about what would happen and we weren’t even sure if we would end up with a record from it. He came out for two weeks and that was the only two weeks he had to work on it and we weren’t sure if it was going to take us three days to do a song, if it was going to be

take after take, or if he would let us do it like we normally would with plenty of time,” Pat said.

“When we go into the studio – we go to make a record and write and stuff, but there really aren’t any preconceived ideas of what the final thing should be.

We just take it song by song and if we see a pattern developing we might like do something with that,” he said. “I was nervous that he was going to be harping on my drumming too, because I don’t really keep what most of people would consider ‘perfect time’. But he didn’t really give a shit,” he said with a laugh.

“All our other records were pretty much recorded either in our practice space or in my basement, with microphones that cost like 200 dollars. If we wanted to make record that sounded like our old record all we would have to do is use shittier equipment. This time we wanted to get a more full sound. I’m happy with it,” he said.

“We’re just two dudes from Ohio, and I think our self-confidence kind of reflects that at times. It still feels weird to me – I feel weird. I don’t expect people to give a shit that we’re in a band.”

See the Black Keys live at Newcastle Panthers, January 8, 2009.

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

W

ith two of our regular contributors recently graduating from the International College of Creative Arts, it is time for Reverb to focus of the talent we have working for us. Both Linda Wales and Sarah-Kate Harris regularly photograph gigs for us, but there dreams are a lot more grand. By Krystal Ryan Photography comes naturally to Linda Wales whom recently graduated from The International College of Creative Arts. Her work captures the essence of fashion and style. For inspiration Linda doesn’t have to travel far, she is surrounded by it daily on her own back door the Central Coast. Her work is growing from strength to strength. There is a lot of buzz surrounding this down to earth photographer.

What inspired you to study photography?

I have always been interested in a career in a creative field. I studied Visual Arts and photography at school so studying photography after school seemed like the natural progression.

And I think photography is the only thing I could do with my life.

Is the Central Coast a great source of inspiration for your work?

I love all of Australia, but the Coast is special. The big skies, thunderstorms, the ocean and the amazing characters that live here inspire me. The Coast is like a club. You know if you’re in that club and you feel like you belong here. I am working on a series on the Central Coast which I will hopefully exhibit at the end of next year.

What is the best thing about being a photographer?

I love moments and getting to capture and keep those is an amazing privilege. It’s a good balance between being an artist in a creative job and making money.

What is your next step since graduating from the International College of Creative Arts?

I will keep shooting and building my portfolio. I want to do some more travel, being somewhere new is such an amazing inspiration. Just take the time to really find my style. It takes a lifetime to be an amazing photographer and I will keep working on that till the day I die!

Where would you recommend studying, if someone is interested in pursuing photography as a career?

TAFE is cheaper than going to a private college and it is the same course. The best way to learn is to get assisting work, and just get out there and shoot!

If you love landscape, go camping and shoot! If you live shooting shows, go out and shoot gigs! If you like shooting people, find someone who likes to be in front of the camera.

What type of photography do you like the most and why?

I love documentary and street photography.

But I also love music, portraiture and fashion. If I have the chance to do it all I will! I love documentary photography because it gives you a voice, you can really say something with a powerful image and hopefully change the world for the better.

If you could photograph anyone in the world who would it be and why?

Oh! Alive or dead?? Dead, Jeff Buckley, he has the deepest eyes. and Alive, Annie Leibovitz, I want to turn the camera back around on her! She is such a huge inspiration to me!

Where can we view your work? www.flickr.com/photos/rockyasock

info@reverbstreetpress.com - 02 4929 4739

THROUGH THE LENS Sarah-Kate Harris is the epitome of cool. A photographer whose work pushes the boundaries to create images that are emotional, edgy, original, and most of all capture a unique moment. Recently graduating from The International College of Creative Arts I am sure you will be hearing a lot more about Sarah-Kate Harris in the near future.

What inspired you to study photography?

My mum was enrolled in a community college photography course when I was in high school.

She set up a darkroom in our spare room at home and I helped her developing some prints every now and then, I guess that’s what introduced me to it. After doing photography in year 11, I knew it was definitely something I could do for the rest of my life... So I dropped out of high school to pursue it, and never looked back.

Is Newcastle a great source of inspiration for your work?

No, I find my friends and family are what inspires me most. I have been completely blessed with amazing people in my life and find inspiration in them. I also draw a lot of inspiration from other creative industries such as music, graphic design, fashion design, tattoo artists and of course, fellow photographers who I look up to for their work.

What is the best thing about being a photographer?

Freedom and Variety, definitely. Each day I’ll be presented with a new concept to shoot, great creative individuals to work with and a new challenge... plus I get to be myself and do what I love everyday. I’m heaps stoked for that!

What is your next step since graduating from the International College of Creative Arts?

I’m currently looking for photography work in the advertising industry. I just really want to grow in my style as a photographer and meet great people along the way. I do however see myself working in America in a few years time for a magazine... That’s the dream that I’m working toward anyway.

Where would you recommend studying, if someone is interested in pursuing photography as a career?

Honestly, some of the best photographers I know are self taught. I know a dude who came to my college for the first 3 months and basically said ‘this is a waste of time, I can make it on my own’ and now he’s travelling all over the world with it.

It really depends on your style and unfortunately - the amount of cash you have. If you have the drive and passion for it, you could spend everyday practising taking photos and doing tutorials on the internet and after 2 years you’d walk away with as much knowledge as someone who studied in uni or tafe. If you do wish to enrol in a course though, I’d recommend going to a career expo day and finding out what you’ll benefit most from. Also you must know that you’re looking at around $5,000 just for equipment to get you through, so make sure you’re serious about it.

What type of photography do you like the most and why?

I have been concentrating on Fashion photography for the past year and will continue to do so, as I love the creative control and input I get in the genre.

I also love doing live and promotional photography for bands and will always do that on the side for the love of it.

If you could photograph anyone in the world who would it be and why?

This is a hard question. Maybe Dallas Green of City and Colour for his amazing voice and incredible looks! haha Where can we view your work?

You can check out my photos on www.flickr.com/sarahkateharris for now, until I get a website up and running! Also I’d love if you dropped by and had a chat or left me any feedback at sarahkateharris@hotmail.com

edition 030 - Jan 09 - 33

The Urbanites Photography by David Payne Models - Nathan Phillips and Jessica Lee

This Page: Top Left - Out To Go ‘Tuesday Night Band Practice’ dress Tee RRP $120, NCAC denim $139. Top Middle - (girl) Haughty Belle ‘Averill’ top RRP $89, Haughty Belle ‘ Meg’ shorts RRP $89, (boy) LS cut singlet RRP $65, Tuesday Night Band Practice ‘Spider Vamp’ tee RRP $85, NCAC denim $139, unity glasses $30. Top Right - Popissue ‘Into The Sky’ tee RRP $110, Popissue black satin bomber RRP $249, NCAC denim RRP $139, untity glasses $30. Bottom - (girl) ML threads oversized singlet RRP $65, illionaire high waisted shorts RRP $99, (boy) LS vest with detachable hood RRP $99, City Hangings jewellery $60, NCAC denim $139, Unity glasses $30. Opposite Page: Top Left - (girl) Love Is Treason silk dress RRP $199.95, (boy) Popissue ‘Into The Sky’ tee RRP $110, LS cut singlet RRP $65, NCAC denim $139, Silence Is Nothing shoes RRP $160, Unity glasses $30. Top Right - illionaire double up dress RRP $110. Bottom - Love Is Treason silk dress RRP $249.95, Unity glasses $30. All clothing available from Who’s Yoko? Fashions, 178 King St Newcastle NSW 2300. Ph. (02) 4929 2432

general motoring

Slipping The Boot In Go Sick ‘em Rex - Peter Douglas Dud, cracker, dud, cracker, dud, cracker - sounds like a hiphop beat but it is infact a reflection of how Subaru produces its mean little WRX Impreza, aka Rex. After every good one, there seems to be a dud stretching right back to when it started in 1994. Last year’s model was a dud - too slow, average handling and good grief... a hatchback only. They were having a lend....

Now there’s an ‘09 model in sedan and hatch and it’s a definite cracker - evil, wicked, mean and nasty - just the way you want your Rex. Power is up to 195kW, near STi levels, and there’s 343Nm in that 2.5-litre turbo four pot waiting to be unleashed. Which is exactly what we did recently at Winton Raceway in Victoria for the launch of the new ‘09 model power-up Rexxie.

Fanged the arse off it around Winton we did, burned some rubber, glazed the brake pads, used obscene amounts of fuel, revved it to the engine cut out every lap then had to eat humble pie after the Rex was expertly driven by Luke Youlden - a highly experienced race driver.

Sheeeiit those blokes can get a car honking - four wheel drifts through each corner and braking so late you get a stomach upset. But the circuit work was only a part of it. We also had a punt through the back blocks of

northern Victoria, risking imprisonment for going 2kmh over the limit. We went plenty more than 2km over but made sure there was someone else on point running shotgun.

As well as being damn handy at the track, it’s a great touring car due in part to the hefty torque output and strong in-gear acceleration. You can be a real lazy bugger and leave it in top for most highway driving.

Fanging on mountain roads is another thing altogether. That’s where you get to enjoy the short throw gearshift and light controls, tenacious grip and blistering point to point performance.

We couldn’t get enough and had to be dragged kicking and screaming from the metallic white sedan we were punting.

Though the hatch is still a bush pig to look at, the sedan looks the biz’ with overtones of Liberty and other relatively attractive cars.

Under the bonnet are some substantial modifications to last years engine including a modified version of the STi’s larger turbocharger. It has more boost than last years model and there are other internal changes to maximise output without turning the Rex into a guzzler.

The exhaust is bigger as is the catalyst, giving less back pressure. Turbo boost is a little over 13psi, nearly 1bar. There’s a teflon seal in the turbo to maximise boost and the five speed manual tranny is a close ratio unit.

“Handling is much more aggressive than before and steering is more responsive thanks to minor tweaks and wider tyres.”

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The engine changes allow the Rex to produce fewer emissions which is a step in the right direction. Weight remains pretty much the same as last year but the extra mumbo allows the WRX to put away a 0-100kmh sprint in about 5.2 seconds. It’s speed limited to 220kmh.

Sooby engineers have reworked the car’s dynamics to match the go department with stiffer springs, firmer dampers and thicker stabilisers. There’s a central viscous coupling and 17-inch Dunlop SP Sport rubber to help put it all to the ground through a symmetrical all wheel drive system.

Handling is much more aggressive than before and steering is more responsive thanks to minor tweaks and wider tyres.

A rack damper limits the amount of backlash through the wheel on rough corners.

ESP is standard on the WRX (and all Subarus) and it gets a five star crash test rating.

The inside is still a mass of horrible hard grey plastic with two curved swatches of mock aluminium fascia either side of the centre console. But the interior is not a bad place to be with red stitched cloth seats (optional leather), decent audio with iPod connector, aircon and a great driving position. The exhaust note is muted but pleasing and Sooby doesn’t offer any performance options with this model - it doesn’t need to ‘cause the thing is damn near as quick as the STi in stock trim.

The main competitor is Mitsubishi’s Lancer Ralliart but it has a lot less power and costs a few grand more. Rex misses out on a double clutch automated manual this time around. Rumour has it there’s one in the pipeline.

Apart from the avalanche of positive vibes with this car, the price serves as icing on the cake - $39,990 for all you can eat - sounds like a feast of fun to us.

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

eye on the world - live music photography part 3 Super Massive

Welcome to Part 3 of the Reverb Live Music Photography tutorial. Now that we have looked at the equipment you need (Part 1) and the camera settings required (Part 2), we delve into what makes a classic live music image.

Whether an image is considered a success is really up to you. What one person sees as a beautiful photograph could easily be disliked by the next viewer, so as long as you are satisfied with the results, then that is all that matters. That said, there are a number of elements that will increase your chances of capturing that perfect image.

What you are trying to capture is twofold.

You want to feel the music in your image, the dynamics and the power of the event. This could be through actual physical movement of the artist, their facial expression, their hand gestures, or even the lighting of the show. Secondly, you want to capture the artist’s personality. This may be a cheeky grin, the interaction between the band members, or a particular way that they stand.

By Kevin Bull, Mathew Packer, Jim Graham, David Campbell and Joel Courtney

Framing

Artist Behavior

Possibly the most important thing is to be very aware of what is being captured while looking through your viewfinder. Don’t just concentrate on the musician’s face. Take notice of what the edges of the viewfinder are cutting off, and what is in the background. That perfect shot of the singer can be totally messed up by the guitar in the background that appears to be protruding from his ear. It might only take a step to the right to avoid this.

Take time to notice how the artists behave on stage. Does the singer tilt his head to the left when he extends himself? If he does, stand so he turns towards you. Does the guitarist pull a classic ‘rock-face’ at the end of each solo? If he does, be ready for it. Does the bass player just stand there doing nothing? If he does, well, there’s not much you can do. Maybe a nice tight head-shot will show some emotion.

Example Two images taken a fraction of a second apart. The first has the mic and the hands of the singer in front of his face too much.

The second he has pulled away, extending himself while singing, and it makes for a far better image.

One fault I can see in the second image though is that his right elbow is cut off, as well as the end of the microphone. The image should have been taken not as tight, or alternatively in a horizontal ratio.

Faces

Singers

Guitarists

Ultimately, you want to see an artist’s face so be aware of anything getting in the way.

This could be a microphone, the artist’s hair, the neck of the guitar, or even the artist turning away from you. That said, there are occasions where not seeing the artist’s face can still produce a stunning, artistic image. These can be rare, and if you are shooting for a publication, the editor will want a photograph where you can see the artist.

The enemy while shooting singers is the microphone.

There is nothing worse than having a mic covering up a performers face. Be very aware of this. The easiest way to avoid this is to shoot at an angle to the singer, and wait for him to pull away from the mic.

When shooting guitarists, try and get as much of the guitar (if not all) in frame. I would say that the most important piece is the headstock. If you need to turn your camera at an odd angle to ensure this is in frame, then do so. There is not rule that says you must shoot exactly vertical or horizontal. In fact, an image taken at an angle can often feel more dynamic. If the guitarist is also standing at a microphone, the same caution regarding mics covering the face applies.

Also take note of the hand he holds the mic with. Position yourself so the palm is facing you rather than his wrist. This will open up his face alot more.

Movement Finding yourself in front of a band that are constantly moving might be a challenge to focus on, but these nights will often produce the best images. With all that energy on stage, capturing it in a photograph is inevitable. Don’t wait for them to stand still, take that shot while the guitarist is soloing while running across the stage. That just may be the money shot.

Jump Shots Another image that is favoured but is hard to capture is the jump shot. Getting a shot of an artist in midair can be quite satisfying, and there are some bands that are renowned for it (Faker, Bluejuice). All I can suggest is to be aware that it will happen and be ready for it. I have only achieved one really successful jump shot so far, and I was so pleased when I realised that I had caught it.

info@reverbstreetpress.com - 02 4929 4739

037

Wide Angle

The legend of Australian Music Photography, Bob King @ Homebake

Lighting Be aware of the lighting as well. You will be exposing your images for the artist you are photographing, so as it changes, you will need to alter the camera setting to compensate for it. If you have a front spotlight specifically for the artists, then you are in luck. Alternatively, if the show is predominately backlit, be careful. Those lights at the back can wreck havoc with your exposures. At many shows, lighting can change quite quickly, too quickly for you to change the settings on your camera. I find the best way to handle this is to have the exposure set for a specific set of lights, and as they come on you take the shot. When the lights on the singer changes between red, blue and white within a second, and you want to capture him with the white light, timing is everything.

The other option is the simply take a burst of images, hoping to get the right lighting.

Personally, I feel that the lighting behind the artist you are photographing plays a big part in making the image work. When a show includes a smoke machine, you will see distinct beams of light.

Try and line these up in the background for the best effect. Also look for lights that line up directly behind an artist. The effect that this causes may be cliché, but it is still stunning.

Example Lots of things happening in this image. Emotion in his face, movement of the guitar head, in the colour version there is a beautiful green tone, and he is being backlight causing a rimming effect. This is also

an example of negative space, where the empty space to the left of frame is balanced by the guitarist looking in the other direction.

The only fault is that the guitar is While shooting from the front of cut off at the bottom. That night stage, it is natural to take images I was using a 50mm lens, and that portray the closeness of the should have taken a step back. event. This would include head and body shots. Keep in Negative Space mind that an ultra wide Slow Sync Flash angle image can deliver Do not underestimate to power of negative the same sense of power, When flash is allowed space. Having room in your image for the artist and in fact can give a truer at a gig, using slow to move into or out of can add a dynamic that feeling of being there. If sync flash can produce is not necessarily there. When the singer reaches you are lucky enough to dynamic images. This out to the crowd, you want some space in front own an ultra wide angle technique is essentially to of him to move into. Having space behind a lens, and I am talking 10use a slow shutter speed guitarist that is running across the stage gives a 20mm, the images can be (1-2 seconds) and narrow sense of the energy that HAS been happening. truly stunning. aperture (f/8) to capture the ambient lighting, and have the flash trigger as His hand and mic is away from his Example the shutter is about to face and you can clearly see the effort close. The flash is what will he is putting in.

Even though his hair An image full of energy and highlight the artist. You is covering his eyes, it is his mouth movement. The singer came directly end up with light trails that is the focus, and the image at me while I was front of stage, and from the on-stage lighting works.

I took a burst of images. As can be and the artist, and a nicely seen in this sequence, the first image exposed and in focus Though there is an element of luck has the singer’s head cut off, the artist. This can be very in getting this image, all camera second he is moving towards me and tricky to get just right, but settings had to be correct in the first into frame, and the third, nailed it. can look great especially place, and anticipating the moment for hardcore music. was essential.

edition 030 - Jan 09 - 37

live reviews

038

RAILWAY BLUES Richmond Vale

Saturday November 22, 2008 Arriving not long after midday, I find that Chase The Train have already played.

Bugger. To make up for my disappointment, I jump on the next historic train to catch a very up close and personal performance by Glen Terry. What I did not expect was Paul Robert Burton on bass and Gail Page guesting.

Seeing a performance like this is a unique experience, and all three put in blinders.

Glen Terry

Jumping off the train, I grabbed something to eat and made my way over to watch Dan

Granero. Unfortunately I only manage to see the final couple of songs but if they were anything to go by, it would have been white hot.

Leaving Dan, I get settled to watch Gail Page. The wind has picked up and the sun is now quite strong, but it did not dampen Gail’s style. This lady is a star waiting to happen with a voice laced in the truest soul.

Always a joy.

It is back onto the train to catch Dan Granero with an acoustic. He is so at easy with the instrument but it only made me wish it was an electric plugged into an amp.

Really disappointed I missed his electric set.

SATELLITE NATION Chilli Lounge, Wyong Saturday November 29, 2008

A night of local music at the Chilli Lounge, I always enjoy catching up on what the Coast has produced.

First band tonight is Omnishow and it was a stand and deliver performance. This can work when the music is grand and all encompassing, but when it is rock you want to see the rock.

The Satallite Nation

Vetna have been around for years now and the lift in stage presence was measurable

In the final carriage, Mojo Juju had everyone entranced with their gypsy vibe. Mojo and her minstrels do this sort of thing effortlessly, and it is lovely to have them residing in Newcastle.

All up a very enjoyable day. Let’s hope that we see the 2nd Railway Blues next year.

Review and Photography by Kevin Bull

when compared to Omnishow. Solid songs and delivery. It is great to see steady progress in a band.

band full of experience with the ability to add colour and shade to a strong performance.

Well done.

If Vetna lifted the bar for stage presence, He Died Gallant simply blew the bar to bits. With a manic vocalist that had you enthralled, it was hard to take your eyes off him. Tight and powerful songs, they appear to have a pretty complete package. A band to keep an eye on.

Where He Died Gallant was 100% forceful, Six and Sevens mixed in some clever dynamics to make for a more pleasing experience. Having formed from the remnants of The Friday Kill, we now have a

But tonight is special due to it being The Satellite Nation’s first gig on the Coast for near two years. Time spent playing the Canadian and US circuit has tightened and unified the band. The songs definitely rock but are still very accessible. What I was looking for was some distinguishable element that was a result of time overseas, but what I saw was the lift in our own local bands.

The Satellite Nation definitely put on a classy show, but no more than Six and Sevens, and He Died Gallant.

Review and Photography by Kevin Bull

must mention that the real star of the night was Edin Karamazov, a genius on the lute. He was the highlight of the night, manhandling his awkward looking instrument to produce some of the most beautiful music. Strong support was also provided by Stile Antico, an eight-piece a capella group from Britain.

For the encore we moved away from the music of Dowland. The Beatles ‘My Life’ and Sting’s own ‘Fields of Gold’ were far better as Sting’s delivery returned to what his voice is best suited for. A version of The Police’s ‘Message In A Bottle’ sounded lovely, but it did highlight just how weak the lyrics are.

Sting was definitely the second-string lutenist on stage, and unfortunately his untrained voice just did not work with the music he was involved in. He sounds great singing rock and pop, but in this environment it was totally unsuited. His lower register was painfully weak.

I suppose my impression of the night can be best summed up by the following exchange.

After he left the stage following the first set, my partner leant over and asked me, “do you think he will come back on?” I could not help but say “I hope bloody not.”

STING

Opera House, Sydney Sunday November 30, 2008 For the past couple of weeks, whenever I have mentioned that I saw Sting at the Opera House, the response has been “Wow, that must have been great.” I have then had to make it clear to the enquirer that Sting played a lute all night, and performed the music of John Dowland, a 16th Century composer, singer and lutenist. “Oh my God, what was it like?”

Where do I begin? Before I get to Sting, I

KID CONFUCIUS Empire Burlesque

Cambridge Hotel, Newcastle Friday December 5, 2008 Before experiencing the pop filled extravaganza that is Kid Confucius, the audience at the Cambridge were presented with Empire Burlesque, by means of a less than impressive performance. Although some of their songs were hypnotic and catchy, like their hit, ‘So Little You Can Do’, I was more focussed on the lead singer’s ability to match jeans with a patterned man-scarf.

THE MOUNTAIN GOATS Cambridge Hotel, Newcastle Saturday December 6, 2008 It was a real coup to have The Mountain Goats play in Newcastle for the first time and the 200-strong crowd that turned up was a testimony to their ever-growing cult popularity. With Homebake happening on the same day, crowd numbers were definitely effected.

Two things made this performance so amazing. One was the intimate venue – The Cambridge. Singer/songwriter John Darnielle had the crowd in the palm of his

38

Moving through the train I bump into the No Pressure boys playing an acoustic set. I did get the feeling that they felt uncomfortable in such a setting, and their performance showed.

Review and Photography by Kevin Bull

With new influences in Phoenix and the ever popular Kings of Leon, it’s no surprise that Kid Confucius has become even more of a pop rock sensation. Their new single, ‘Darling, I Need Ya’ went down a treat with the disappointingly small audience at the Cambridge who seemed to just be Kid C’s groupies.

Other top performances were, ‘Last Straw’, and ‘Good Luck’, with some extravagant dance moves played out by Hezkial and guitarist Andrew Guirguis in ‘We Want a Piece of You’. Needless to say, the crowd joined in, especially in the call and response style singing that went back and forth between the band members.

The band has a great sound, especially with newcomer James Manson on board with lead guitar. And you can’t beat that quality saxophone sound that rings through every one of their shows. Honey coated lyrics performed by Rob Hezkial were the highlight of the night, with everyone impressed with the singer’s prowess.

If you are ever lucky enough to experience a Kid C gig, make sure you wear comfortable dancing shoes as Kid Confucius has certainly moved into a new chapter in their career, and it’s set to be a success.

hand from the opening tune. The second aspect was the inclusion of a drummer on this tour. The Mountain Goats’ past two trips Down Under have been as a duo – Darnielle and bassist Peter Hughes. This time, accomplished drummer John Wurster was with them. Wurster famously plays in indie-rock band Superchunk, but has also performed with everyone from Ryan Adams and Rocket From The Crypt, to R.E.M. and The New Pornographers.

Wurster’s involvement meant that this performance was far louder than the more measured and quiet sets that Australian Goats fans expect. The last third of the set featured Darnielle on his electric guitar,

Review by Abbey Wright Photography by Courtney Fitzsimmons

which turned the show into a raw, rockout. Prior to this unexpected explosion, Darnielle performed a number of tracks on his own (taking requests), ultimately giving The Goats’ Newcastle date a lot of dynamics.

The adoring crowd sang the lyrics of almost every song, and laughed loudly at Darnielle’s always enigmatic stage banter. While a fun time was having had

by Novacastrians down at Homebake, The Cambridge experienced its most wondrous show of the year. Hurry back, guys.

Review by Nick Milligan Photography by Emma Schmidt

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

live reviews Rockin The Black Dog

Camp Shortland, Newcastle Saturday December 6, 2008 Rockin’ the Black Dog was a festival conceived

by Gareth Hudson and Russell Frith as a way to educate the community about depression and other mental illnesses, as well as honour the memory of Julie Frith who lost her battle with clinical depression earlier this year.

Vaudeville

A free event at Camp Shortland, the weather was hot and the music was filled with life and

enjoyment. Donations were able to be made throughout the day, with proceeds going to the Hunter Institute of Mental Health. Whilst the day itself featured numerous Australian artists to cater to a variety of ages and tastes, it was the Newcastle bands that became the highlight of the event.

Rubix Cuba replaced Fictions, and while my disappointment was palpable, it is always a delight to see this local band perform, and hard to stop yourself dancing erratically.

Recently returned from New York, The Seabellies were the band I was craving to see, and they never fail to live up to their popularity. Vaudeville proved why they

HOMEBAKE

Put on a stinking hot day, get thousands of kids, put them behind fences and blast them with music. Welcome to Homebake.

After grabbing a quick feed at a local café, I squeeze my way through the scrum that is the Homebake entrance and head straight into the seething mass of the mainstage.

Let me begin with the final band first.

Crowded House transcend generations. It was pleasing to see 16 year olds overjoyed when they hit the stage. They played beats to compete with the noise of Cut Copy, and encouraged everyone to smoke that hidden stash. You’re a naughty man Mr Finn.

Kasey Chambers

Karnivool

Kasey Chambers is also much loved.

The Getaway Plan

BILLY JOEL

Acer Arena, Sydney Tuesday December 9, 2008 Entering a packed-to-the-rafters Acer Arena, I admit that I had my doubts that a man pushing 60 could live up to the hype and deliver his distinguished catalogue with the class it deserved. After the first three songs, I realised that I need not have worried.

Performing in the round with a piano that revolved so that, as he said “everyone gets a turn at having the shitty seats”, Joel opened with ‘Angry Young Man’, ‘My Life’ and ‘The Ballad of Billy The Kid’. This was the start of a

MGMT

Hordern Pavilion, Sydney Tuesday December 9, 2008 Oh, what a repulsive crowd. If MGMT’s turnout at the Hordern Pavilion was a preview of the summer festival crowds to come – I’m going to batten down the hatches til May and live vicariously through YouTube videos.

Sadly, I spent half the gig writing hate mail in my head to the trollip who spilled her Smirnoff down my dress, without apology or acknowledgment of the fact that she was being a complete twat.

The stage was warmed by the ever-intriguing

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deserve their billing at Sydney’s Big Day Out next year and the Boat People ended the day with fun filled music that appealed to the entire crowd.

So what could have made this festival any better, beyond picturesque weather, central location and good Aussie music? There should have been more people attending for such a worthwhile cause; I was disappointed by the lack of support and awareness. My only hope is that everyone that did attend remembered the cause and donated. Every little bit counts Review by Sami Thurtell Photography by Mel Woodward

For a rock crowd to embrace the sound of country is reassuring. Good music will be heard regardless of genre.

The Domain, Sydney Saturday December 6, 2008

Crowded House

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Super Massive

Gabrielle Cilme is the real deal. I am convinced. All confidence and class on stage, great voice and all the moves. She’ll be massive worldwide in 12 months.

But the day was stolen by Pnau. To the sound of ‘Wild Strawberries’, Nick Littlemore flew onto stage, literally.

Suspended by wires, he swung, he glided and he tumbled high above the mainstage.

It was a sight to behold and absolutely blew the crowd away.

Pnau

If there will be one thing remembered from this year’s Homebake, it will be the flying Nick Littlemore.

Review and Photography by Kevin Bull

Died Pretty

2 ½ hour hits-laden night.

There were many highlights. ‘Scenes from an Italian Restaurant’ was stunning, and the breakdown of ‘Need You Tonight’ (INXS) in the middle of ‘The River of Dreams’ was a lovely touch. But one of the biggest crowd reactions came not due to Joel, but for the guitar roadie ‘Chainsaw’. Having being called to the stage by Joel, this bulk of a man took the mic and ripped the roof off the Acer with ‘Highway To Hell’, throwing water over the $300 front row seats. The crowd roared with delight as they screamed the lyrics along with Chainsaw.

Following a short break, Joel and band

second-support, Luke Steele (Sleepy Jackson, Empire of the Sun) who played an erratic and varied set, with a pre-recorded backing track.

Unperturbed by the inattentive crowd who seemed disappointed at the lack of familiar tracks, Steele made his own fun with a bunch of erratic-acoustic guitar bust-outs that were nothing short of amusing.

After some fussing about on stage, MGMT erupted into an extended version of ‘The Youth‘ that despite rattling on a bit long, proved to be a thrilling opener. The boys from Brooklyn played a tight set against a psychedelic backdrop that stayed surprisingly true to the sound of their debut album, Oracular Spectacular.

Gabrielle Cilme

Sneaky Sound System

returned for a rock hard version of ‘Only The Good Die Young’. He then sat at his grand piano, attached his harmonica holder, and began ‘Waltzing Matilda’. 20,000 people sung with pride as he led us into the opening strains of ‘Piano Man’. This was a sign of a masterful performer and showman.

When it was all over, the Acer Arena rose to its feet to thank Joel for what was one of the best shows they had surely seen all year. And before leaving the stage, he spent time to shake hands with the people at the front of the stage, even turning around so he could be spanked on the arse. The cheeky bugger.

Review and Photography by Kevin Bull

Not the keenest of talkers, MGMT skipped on the crowd interaction, and their tie-dyed t-shirts and standout hits, ‘Time To Pretend’, ‘Electric Feel’ and encore song, ‘Kids Do The Talking’. Despite Andrew VanWyngarden uninspired stage presence, ‘Electric Feel’ surpassed the recording and substituted the flutes with guitar, offering all the energy and joy of the first hearing that almost made me forget about it’s recent radio-bashing.

Given that the duo has just one album, and only a sprinkling of well-received new tracks, I was very impressed – just a shame they can’t choose their fans.

Review by Sarah Shields Photography by David Campbell

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THE BRONX

Manning Bar, Sydney Thursday December 11, 2008 Peeking from the side of a stage is a Matt Caughthran that I never expected to see.

Looking out to a sold out Manning Bar crowd, he looks nervous... I used to have a poster of this guy on my wall dressed as a cop, so when I went to see The Bronx play live, I was half expecting some dude dressed as a bad ass NYPD guy. Instead, I got a guy with a shaved head, but that authority feeling still suited him well.

They walked on and instantly glistened with

THAT 1 GUY

Festival favourite and regular visitor to Aussie shores is Mike Silverman, better known as That One Guy, has played in the Hunter region at Groovin’ the Moo but this was his first non-festival gig in Newcastle and he drew an impressive crowd.

For the uninitiated, That One Guy (as the name implies) is a one man band who uses an instrument he invented that is known as The Magic Pipe. It looks like a cross between a double bass and a vacuum cleaner consisting of

Opening the show playing his Magic Pipe with a bow which I believe was an instrumental version of ‘Somewhere Over the Rainbow’.

Then with a few tweaks of the various gadgets surrounding him, he was in full swing. A

PARKWAY DRIVE Newcastle Panthers Saturday December 13, 2008

Ex-I Killed The Prom Queen vocalist and hardcore scene celebrity Michael Crafter’s latest project, Confession opened proceedings to a full house. Playing an unoriginal, yet well executed style of melodic mosh metal, the quintet entertained with songs from their recently released debut EP Can’t Live, Can’t Breathe.

Unfortunately, the negativity of Vincent Bennett, vocalist for Massachusetts band The Acacia Strain was slightly more of a talking

Review by Jason Michael Henson Photography by Joel Courtney

huge portion of his set is instrumental and in a percussive techno vein but I feel he shines the most with his more traditionally structured songs with vocal. Songs such as ‘Weasel Pot Pie’ and ‘Buttmachine’ were among the picks of the night with his quirky lyrics, delivered in a nasally tone and bass driven grooves. Then came a cover of Cameo’s 80s classic ‘Word Up’ which was both hilarious and cool at the same time.

I did find the techno element of his act to become a bit repetitive over the course of a whole show. But it had the kids dancing and I am sure it is this element of his music that makes him so popular on the festival circuit.

Review and Photog by Mark Snelson

Blending the poppiest of melodies, with the grunts and growls of death metal, is where it’s at for A Day To Remember. A cover of Kelly Clarkson’s hit single ‘Since You Been Gone’ was an interesting inclusion, in an overly lengthy performance.

Fellow Americans Suicide Silence has spent the last seven years finding their feet, after releasing their maiden full length The Cleansing last year. With a line up containing no original members and an entourage of 19 ex-members,

the Orlando based visitors rounded out the night’s support acts.

The well travelled Parkway Drive seemed pleased to be back in Newcastle. The young quintet from Byron Bay, employed an offering of songs from 2005’s Killing With A Smile and 2007’s Horizons, including “Boneyards”, “Gimme a D” and “Smoke Em If You Got Em”. Sing-a-long favourite “Romance is Dead” finalised a flawless, well rehearsed set. Keep your eyes peeled for the DVD Parkway Drive will be releasing early next year, containing footage from this tour.

Review by Nathaniel try Photography by Sarah-Kate Harris

The strong beat coming from Battersby behind the drums was intense...the guitar was clangy and wailing and the meaty roar vocals from Merry drilled into everyone there.

The sound around the room that reverberated eardrums seemed to come from more than just a two piece band.

Woodport Inn, Erina Saturday December 13, 2008 Tonight held two firsts for me... I discovered how utterly unreal The Fumes are live, and experienced the underground feel of the Woodport Inn, the Vibe that I usually travel to Sydney to experience.

The Fumes in the flesh broadcast an awesome show and the boys had an amazing roaring presence on stage. They had everyone up and moving with the bluesy rhythm and I couldn’t help dancing to the upbeat, fast paced sound of American country music.

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They brought the show home with ‘Small Stone’, ending a good night, but at the same time I’m looking forward to their return.

point than the band’s musical capabilities.

At one point Bennett stating, “Love is fake, the only true emotion is hate...”, in between delivering one of the night’s stand out performances.

THE FUMES

Klaxons

But I feel that I leave the rest of the band behind, which is just not fair. The band hit harder than they do on the CD’s or the leak that everyone magically acquired, driving forward and really getting you. Something that the Manning Bar always manages to do, but this time it’s that little bit more.

The Bronx were here to push their new self titled album which honestly doesn’t have the guts that they used to have, and that became apparent when they slowed it down, playing ‘Knifeman’. The thing I respect about Caughthran is that he isn’t afraid to get into the feel of things. Numerous times he found himself in the crowd, whether being pulled in, or willingly launching there. He gets into it, ignoring security, and just playing the

one string, metal tubing and a few triggers for setting off samples. From this device he is able to create an array of sounds that rely mostly on percussion up and down the tubing and a heavy bass sound from its one string that bears some resemblance to Les Claypool’s (Primus) sound. He also has a snare drum at the ready that he plays every now and then by whipping out a drumstick from his back pocket. Watching his hands move is a sight to behold as they pluck and slap away at lightning speed all over his strange and wonderful instrument.

Cambridge Hotel, Newcastle Friday December 12, 2008

music.

that stardom that only accomplished bands have. The authority of San Francisco band The Bronx filled the Manning Bar. They were in charge, and for the next one and a half hours we were their dolls in a marionette, and they were stringing us along for every sing along and shout out.

The 3 support bands are worth a mention... they were really good. I urge more music lovers of the Central Coast to experience this intimate music venue... and if you like the Fumes, even just a little...you absolutely have to see them live!!

Review by Liana McDonald Photography by Linda Wales

NEVEREVERLAND

vocals end, and she began.

Hordern Pavilion, Sydney Saturday December 13, 2008

Next, it’s out to the Bang Gang tent where Jamie Doom is ripping the crowd to pieces, and loving every second of it.

I have been to some amazing Modular parties over the years and for their 10th birthday party, NEVEREVERLAND, the Modular kids did not disappoint.

Hercules and Love Affair were absolutely amazing, complete with brass section and massive sound despite being down one member.

We kicked the day off with Van She. These guys have been firm favourites of mine for the past few years and keep getting better every time I see them play live.

Cut Copy pull us in next and despite taking three songs to warm up, smashed the rest of their set with songs like ‘Lights and Music’ and ’Future’.

Next up, Ladyhawke who had great stage presence and sound, but her voice was so layered it was hard to tell where the backing

The Klaxons whipped the crowd into a frenzy with their energetic set showcasing some new tunes which has me very excited for the release of their new album.

Of course the night belonged to The Presets. Coming off their biggest year yet Julian and Kim were on fire from the moment they hit the stage with ‘Talk like that’. The entire set was one killer track after the next and they proved without a doubt why they are the best in the game. The sound was flawless and the light show one of the best I’ve seen in some time. Their performance of “My People’ was a fitting finale to a day with the entire crowd coming together as one.

Nevereverland was a brilliant showcase of what Modular has on offer and left me eagerly anticipating what will come next.

Bring on the next ten years!

Review by Chrissy K Photog by David Campbell

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

DVD reviews

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KAISER CHIEFS - LIVE AT ELLAND ROAD Opening with some spectacular aerial shots of Leeds’ Elland Road Stadium, this live DVD captures the homecoming show of Kaiser Chiefs’ latest tour. It’s certainly a big production, with a screaming audience of 40,000 fans and an impressive light show.

Myriad cameras capture all the action, zooming on cranes across the heads of the audience, as well as close-up photography of the band on stage.

From the opening bars of ‘Everything Is Average Nowadays’, singer Ricky Wilson and his band have the crowd in the palm of their hand.

The set list covers all the best tunes from their first two albums, Employment and Yours Truly,

Angry Mob, but also includes a couple of killer tracks from their latest record Off With Their Heads (‘Never Miss A Beat’ and ‘Can’t Say What I Mean’).

The audience is littered with Leeds United football jerseys and flags - you can really feel the love.

Especially when Kaiser Chiefs are joined on stage by Cribs vocalist Ryan Jarman for a powerful rendition of ‘Modern Way’.

As far as live DVDs go, this one’s a corker. If you’re a fan, grab a copy.

SPECIAL FEATURES It’s a shame there’s no behindthe-scene’s footage, but there you do get a bonus concert - six tracks performed at the BBC’s Live At Electric Proms. A nice addition.

KASEY CHAMBERS & SHANE NICHOLSON - RATTLIN’ BONES Review By Kevin Bull If intimacy is your idea of the perfect gig, then this performance and presentation will be perfect for you. Recorded midway through 2008 at The Studio in the Sydney Opera House, this Max Sessions recording has the feeling of being invited into the pair’s living room.

Naturally, the tracks from Rattlin’ Bones get a good viewing, with standouts being ‘Monkey On A Wire’, ‘Wildflower’ and the title track. The Chamber’s signature tune ‘The Captain’ is included, plus ‘Short Fuse (Part 4)’ from Nicholson’s latest solo release Familiar Ghosts. Features are sparse, with the videos of ‘Rattlin’ Bones’ and ‘Monkey On A Wire’ included, as well as a short interview on the making of the Rattlin’ Bones album.

The quality of music and recording is wonderful. The way that Chamber’s and Nicholson’s voices meld together is a

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‘meant to be’ moment. The bottom end of Nicholson has the effect of taking to edge of Chamber’s top end. Hearing this on record was uplifting, to see it occur in front of your eyes is truly magic.

At 54 minutes, it does feel short in length.

Though this was recorded for the Max Session 60 minutes TV program, it is understandable, but the question still remains, why was there not a 90 minute performance recorded for the DVD, 60 minutes of which could have been used for TV. My second criticism is that it does feel like a TV program. From the spoken introduction to the performance, to the continuous slow panning of the cameras, there is no getting away from where this footage came from.

Taking into account these minor flaws, this is a gem of a DVD release, highlighting one of the best vocal pairings in the country.

SMASHING PUMPKINS IF ALL GOES WRONG Review By Nick Milligan If All Goes Wrong is a documentary that charts the return of Billy Corgan and his band Smashing Pumpkins. After playing their last show in Chicago in 2000, few thought they would return. But, in 2007, a nine-show residency was announced at a small, little known venue in Ashville, North Carolina called The Orange Peel (capacity 942). Fans who bought tickets did not know what to expect.

If All Goes Wrong is a rare insight into the enigmatic Corgan, who provides a voice over for some of the footage. The songwriter pens tunes while staying in Asheville and performs them at each night’s performance, giving the concerts an honest and immediate quality. While Corgan has maintained a sense of mystery throughout his career, he is very open in the film and it’s a truly amazing insight into his personality. As he wanders around the town, occasionally bumping into awestruck fans (the two girls that bring him a

bust they have sculpted of his distinctive facial features is particularly awkward), you feel privy to a series of moments and a man who has remained so elusive and challenging in his behaviour and ideas.

The second disc is a live concert put together from the residency shows, which includes a second residency at The Fillmore in San Francisco. For some people, this will be considered an indulgent set list, as it features entirely new material (some written in Asheville, others from the Zeitgeist record), as well as three tracks from Machina (the group’s least successful album).

SPECIAL FEATURES The package includes an interview with Who guitarist Pete Townshend, who provides his opinions on the Smashing Pumpkins residency and gives academic views on the relationship between an artist and his/her fans. There’s also a featurette, where fans are interviewed after the performances.

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DVD review by Mark Snelson

Batman via a reluctant Lt Gordon, the only member of the force that Batman trusts.

Meanwhile, a face painted menace has stepped into the scene in a big way by robbing a huge amount of mob money from one if their banks. This is a move not motivated by profit but mainly to set off a trail of chaos in order to bring Gotham to its knees and in the process expose the man that protects its streets at night.

DARK KNIGHT In 2005 Christopher Nolan reinvented the Batman movie franchise with Batman Begins by stepping beyond the usual cornball affair of the super hero genre and delving deep into the psyche of the man behind the mask as well as the city that created him. With The Dark Knight he once again raises the bar and outdoes his already memorable predecessor.

Having established the Bruce Wayne/ Batman back story in Batman Begins allows Nolan to get straight to business in The Dark Knight. This gives the audience a deeper insight into the underbelly of Gotham City than Batman Begins was able to do. The police force is riddled with corruption and various factions of the mob are running the banks giving them huge amounts of power. In steps Harvey Dent, a DA determined to bring down the city’s biggest crime families in one fell swoop.

He also happens to be dating assistant DA Rachel Dawes, Bruce Wayne’s childhood friend and potential love interest which makes for an interesting love triangle sub plot – especially when Dent wants in on

Film review by Mark Snelson

TWILIGHT Based on the Stephanie Myers novel of the same name, Twilight centres itself around the life of 16 year old Bella Swan (Kristen Stewart). After her mum remarries, Bella decides to move back with her father in the rainy town of Forks, Washington. She has always been a bit of an outcast, never really fitting in with the trendy crowd and having very little interest in the boys of her hometown in Arizona. However, at her new school she is instantly attracted and intrigued by Edward Cullen (Robert Pattinson), a pale and mysterious boy who seems to be equally interested in her.

Then one day in the parking lot, Edward saves Bella’s life in a feat of superhuman speed and strength. Instead of freaking her out, this just adds to his appeal and she pursues the truth about Edward resulting in him revealing to her that he is a Vampire. But

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The screenplay here is amongst the best crime dramas ever written. Nolan co wrote it with his brother Jonathan and if you forget for one moment that it is about a vigilante fighting crime in a bat suit, you soon realise that it is as expertly written and as complex as the likes of Infernal Affairs or The Usual Suspects. The Nolans are great story tellers and they have you hanging on to every line in this film. They have also finally put The Joker on the screen as he should be – completely anarchic, freakishly insane and as menacing a villain you will ever see. It is The Joker’s love of chaos, lack of fear, unpredictability and no clear agenda that make him the one of the most fascinating and chilling villains ever to grace the screen.

Ledger’s immersion into the madness of the Joker has to be seen to be believed.

He embodies this role in a way that very few actors would be capable of and I must admit I was a sceptic when he scored the gig as the Joker. But he proved me wrong and I am not saying that just out of respect for the dead. He truly has you captivated with every scene that he appears in a menacing and unnerving way, turning a super hero/crime drama into a psychotic thriller with his mere presence.

Christian Bale is once again brilliant and easily the most suitable actor ever to step into the bat suit. He plays the smooth arrogance of Bruce Wayne perfectly and switches to the bitter troubled soul of Batman effortlessly. Supporting roles are perfectly played by all involved, most notably Aaron Eckhart who shares almost as much screen time as Bale and Ledger in a commanding performance. Overall the talent line up here is a casting masterpiece.

On the technicality front The Dark Knight also shines. It is stunningly shot by Wally Pfister and expertly edited by Lee Smith. It also has some of the best action sequences I have ever witnessed. There is a car/truck/motorbike chase scene that is truly spectacular as well as some very well

he is a good vampire who has learned to control his lust for human blood and is able to gain is nourishment from wild animals.

He is also able to run at blinding speeds, has limitless strength and does not age – all traits he shares with the rest of his foster family of vampires who live in the hills of the town.

when there so many painfully long scenes where the leads are just gazing into each other’s eyes or just looking forlorn. On the acting front I think the leads are impressive and show some great potential for future roles and there is some solid support particularly from Bella’s father played by Billy Burke.

So an unlikely and somewhat dangerous love affair blossoms between Bella and Edward and things are sailing along smoothly until a nomadic trio of vampires invade the Cullen family’s turf killing a number of residents and threatening their peaceful existence in the town. Things are made worse when one of these visitors makes it his personal mission to hunt down and kill Bella once he literally gets scent of the fact she is of humankind.

This is where the action kicks in and it becomes a battle between the Cullen’s and the unwelcome visitors.

Technically the film does look quite good but not as spectacular or as it should and I think this is down to the fact that director Catherine Hardwicke’s roots are in gritty indie films (Thirteen) and also that cinematographer Elliot Davis has never tackled anything as epic or grand in scale as this story demands. Another thing that might of helped would have been a bigger budget as some of the special effects fall into the ‘made for TV’ category and do not fare well on the big screen – they had approx $37 million to work with which is at least a quarter of most sci fi/fantasy films made nowadays. A factor that will undoubtedly improve in the sequels considering it doubled this figure at the box office in the US on its opening weekend.

I have not read the book so I cannot comment on the faithfulness to the source but if box office figures are anything to go by, the fans have been pleased with the results. I do know it is 500 odd pages long and I am sure more substance could have been put into this script, especially

There is little doubt in my mind that the teen female audience that Twilight targets will adore it – I actually heard sighs from girls

choreographed fight scenes. Striking a perfect balance between CGI and real life stunts, Nolan delivers action that will have you mesmerized.

The Dark Knight is as perfect as any action movie ever will be. It is dark, complex, brilliantly cast and action packed - pure cinematic brilliance.

SPECIAL FEATURES The DVD release is a 2 disc set with special features include a featurette showing how the all new sleeker bat-suit was developed.

There are also six sequences shot for IMAX format, episodes of Gotham Cable’s premier news program plus poster art and production stills.

in the audience when Edward first appeared on the screen and there was applause when the credits

rolled. But for the rest of us it is way too long for its own good and is a bit of a chore to endure.

Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

gamer’s corner presented by Wednesday Wii Games @ Crown & Anchor

GAME NEWS

Winner!: Fallout 3

By Noah Cross IGN.com ANNOUNCES FAVOURITE GAMES OF 2008 The internet’s biggest authority on all things gaming has announced its favourite releases of 2008. The big winner on XBox 360 was Grand Theft Auto IV, which won best action game and Fallout 3, which won the coveted game of the year for the XBox 360 platform. “You could (and should) play Fallout 3 for dozens and dozens of hours and still turn it on the next day and find something new and exciting. It just doesn’t get better than this on Xbox 360 in 2008,” said the website.

No More Heroes won best action game of the year on Nintendo Wii, while WiiWare’s World Of Goo was a surprise winner of Game Of The Year, edging out Super Smash Bros. Brawl. “Full of brain-teasing puzzles and engulfed by beautifully stylized graphics, it’s a WiiWare game that redefines what is possible on Nintendo’s download service and simultaneously puts the majority of retail Wii games to shame,” said the statement from IGN.com.

Metal Gear Solid 4: Guns Of The Patriots won both Best Action Title and Game Of The Year on Playstation 3. “Hideo Kojima’s final (No, really, this time! Maybe...)

Metal Gear Solid managed to tie almost every plot point together, piled on the cinematic flair and played more accessibly than any previous game in the series. In short, it was awesome, and simply must be experienced,” said the website.

info@reverbstreetpress.com - 02 4929 4739

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Japan will be the launching point for the service, but Nintendo says that it is also looking into overseas developments. Unlike the recent fortune telling channel, you can probably look forward to this latest channel in your part of the world at some point.

CRY-ON CANCELLED Interactive delivered some some sad news just in time for Christmas with the announcement over in Japan that Cry-On has been cancelled.

NINTENDO DETAILS NEW Wii VIDEO CHANNEL Nintendo Japan has announced a new video download service for the Wii, which is set to begin in Japan this Spring. First details were leaked out earlier in the day through Japan’s Nikkei business daily.

Different from previously announced manga, karaoke and movie download services, the new service will be handled

by Nintendo itself. Nintendo is taking care of development and management of the service and is working with Japanese media firm Dentsu on the content side of things.

According to Nintendo, Dentsu is in talks with a number of companies for bringing content to the service.

Also different for the new service is that it will be an actual Wii Channel. Previously announced download services are set to make use of special WiiWare apps.

The name for the new channel is “Wii no Ma Channel.” This Japanese name is a fusion of Wii and the Japanese word “Ochanoma” and is meant to suggest a communication space for friends and family who’ve gathered in front of the living room television.

While Nintendo did not share specifics, it did say to expect a wide range of content with no set genre or target. The focus will be on original programming. As suggested by the channel’s name, content will likely be family oriented.

Programming will initially be free. However, Nintendo is looking into optional paid services to begin in the Summer. The original Nikkei report said that free content would be supported through advertising.

Why should you care about this? CryOn was the latest Xbox 360 RPG from Blue Dragon and Lost Odyssey developer Mistwalker. The game was to be codeveloped between Mistwalker and Cavia and was set to feature character designs

by Kimihiko Fujisaka and music by Nobuo Uematsu.

Mistwalker prez Hironobu Sakaguchi was the game’s producer and scenario writer. At the initial announcement in late 2005, he described a game in which players parter up with a giant sand creature. He said the game would have the theme of “tears.”

We’ll leave the puns to you and your family as they gather for these festive holidays.

The game was cancelled, according to a statement from AQ, following considerations involving the current and future state of the games market. Aside from Sakaguchi’s commentary and a few pieces of artwork, hardly anything was shared on Cry-On, giving it clear vaporware status. Sakaguchi did say initially that the game’s scenario was 50% complete and that development would take an additional 1.5 to 2 years.

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Newcastle, Hunter and Coast’s largest music, entertainment and lifestyle magazine

The 9th

AustralAsian Music Business Conference

REGISTER NOW & WIN A TRIP TO SXSW + A VIP BADGE

August 20-22, 2009 Acer Arena, Sydney The 9th AustralAsian Music Business Conference announces its first 10 major speakers and first keynote for the 3-day event, which will comprise 9 panels, 6 keynotes & 50+ speakers. Early-Early Bird registrations are now being accepted at a special low price of $385, limited to the first 100 registrants who register before January 1. Those who take advantage of this offer may enter a competition with the winning entry receiving a round trip to South by Southwest in Austin, Texas plus a full VIP Platinum Pass to the SXSW Music, Film & Interactive Festivals.

1st Keynote: Jon Satterley–Senior Vice President New Media and Global Business Development for Roadrunner Records in New York, former CEO of Roadrunner Records Australia Shaun James–General Manager Music Channels for XYZ Networks (Channel [V], V2, Max, Country Music Channel); former Chairman Warner Music Australia Karen Farrugia–Market Manager Nokia Music Service; former Mobile & Online Content Manager at Universal Music and MTV Network Digital Strategies Jeremy Macvean–Head of Digital Strategy for the Austereo Network and formerly Austereo Marketing Director, he came from an advertising background Julia Davis–Director New World Artists, a leading booking agency with a unique culture & ethos based on sustaining long term artist careers across many genres Marcus Seal–CEO, Shock Entertainment Group, he's a veteran of Festival Mushroom moved to BMG as Marketing Director & Sony BMG International Marketing Ken Outch–Director Of Commercial Music Sony Music Australia; a digital visionary formerly with Destra, Festival Mushroom, Sanity Music and BMG Music Sharon Ashworth–Music Marketing Manager Vodafone, she's also worked with Destra in its heyday and a veteran of Festival Mushroom, Shock and EMI Keith Welsh–Co-Publisher The Music Network, AMCOS Board Member, partner in publisher Rough Cut Music and owner of Catalyst entertainment consultancy Georgia Hull–Senior Director New Media and Digital Business Development for Roadrunner Records Australia Specific seminar topics and agendas as well as speaker allocations on the days will be available after January 15 when daily, two day and three day rates are announced.

Sponsorship, Premium Marketing Opportunities, Showbag Inserts & High-Visibility, Industry-Targeted Programs Available—Phil Tripp tripp@immedia.com.au Early Early Bird Registration-$385 for 3 days. Go to www.immedia.com.au/ambc or call (02) 9557 7766

Alicia Keys (Photo by Kevin Bull)

Bimbadgen Estate, Hunter Valley - Saturday December 13, 2008

coming soon to ... THE

WOODY

fri jan 9 sat jan 31

NICK SKITZ

AUSTEN TAYSHUS

myspace.com/nickskitzofficial

W/ 3 COURSE DINNER www.austentayshus.com

sat jan 10

TUBES 4GOOGS

sat feb 7

MARTY SIMPSON

CHARITY BENEFIT NIGHT t4g.com.au

sat jan 17

(cd launch) W/ One Jonathan myspace.com/martygeorgesimpson

MODERN J OY (cd launch)

myspace.com/modernjoy

thurs mar 12 fri jan 30

DOWNSYDE / DRAPHT

TIMMY TRUMPET

myspace.com/downsydecrew myspace.com/drapht

myspace.com/timmytrumpet

Downstairs

Tuesday Wednesday Thursday

$10 SCHNITZEL $ 1 0 PA S TA $ 1 2 T- B O N E

Woodys Bar

3 STRIPE AVENUE SATURDAY 10.01.08 TUBES 4 GOOGS FRIDAY 16.01.08 PETER HEALEY & THE HURRICANES SATURDAY 17.01.08 DAN GRENERO FRIDAY 23.01.08 STEVE EDMONDS SATURDAY 24.01.08 SQUEEZE FRIDAY 30.01.08 COVER UP SATURDAY 31.01.08 VIAGRA FALLS FRIDAY 9.01.08

for mor e info contact the venue :

207 entr ance r d

ERINA 4367 5222 for ar tist enquiries contact 4367 5222

w w w. w o o d p o r t i n n . c o m . a u

Tickets Available Fr om Website