Brag#699

MADE IN SYDNEY FEBRUARY 8, 2017

FREE Now picked up at over 1,600 places across Sydney and surrounds. thebrag.com

MUSIC, FILM, COMEDY + MORE

INSIDE This Week

T HUND A MEN TA L S

The experienced Tuka breaks new ground.

M A R DI GR A S F IL M F E S T I VA L

Showcasing the best of LGBTQI cinema in Sydney.

MOU T H T R IL OGY

Why the world needs Neil Cicierega now more than ever.

DUMPL ING S IN S Y DNE Y

A no-nonsense guide to the most popular styles.

UNDERO AT H

Back from hiatus and ready to celebrate their history.

Plus

TA RY N L A FAUCI L A GER S T EIN HO T SINCE 82 C A M K NIGH T A ND MUCH MOR E

PVT

PU T TING THE SPIRIT OF PUNK IN T O ELEC TRONIC MUSIC

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in this issue

free stuff

what you’ll find inside…

head to: thebrag.com/freeshit

“It’s a stupefying masterpiece of music and comedy, and it’s what the world needs. Desperately.” (11)

6-7

4

The Frontline

16

Mardi Gras Film Festival

5

Industrial Strength

17

Huseyin Sami, arts reviews

6-7

PVT are back, and they’re putting the spirit of punk into electronic music

18

Inside Jokes, Cam Knight

19

A no-nonsense guide to dumplings in Sydney, Lot.1 reviewed

8-9

8-9 “I’m an international minstrel, going from funky castle to funky castle.” (28)

Underoath reflect on a history of success, and look ahead to what comes next

20-22 BRAG Bars, Game On, Out & About

10

Stellar Addiction, A Band Called Twang

23

11

Why music needs Neil Cicierega and the Mouth Trilogy

27

Gig Guide

28

12

Lagerstein, Sons Of The East

Norman Jay MBE, the counterculture hero of dance

14

Taryn La Fauci, Spurs For Jesus

Album reviews, First Drafts

24-26 Laneway and live reviews

28-29 Hot Since 82, Off The Record 30

Thundamentals, Jay UF

Martha Wainwright

MARTHA WAINWRIGHT

Following the release of a new album crafted with a little help from her friends, Martha Wainwright is coming to make more friends Down Under. Goodnight City, released last year, featured compositions

by Wainwright’s peers and family, including her esteemed brother Rufus. She’s a regular visitor to Australia, but rarely does she perform at a venue as photogenic as Taronga Zoo. That’s where she’ll be as part of the Twilight At Taronga series on Saturday March 11, with Aussies Oh Pep! joining her in support.

We’ve got two double passes to give away to the show. Enter the draw at thebrag. com/freeshit.

the frontline with Tyler Jenke, Ben Rochlin and Anna Wilson ISSUE 699: Wednesday February 8, 2017 PRINT & DIGITAL EDITOR: Chris Martin chris.martin@seventhstreet.media SUB-EDITOR: Joseph Earp STAFF WRITERS: Nathan Jolly, Adam Norris, Augustus Welby NEWS: Harriet Flitcroft, Tyler Jenke, Brandon John, Nathan Jolly, Ben Rochlin ART DIRECTOR: Sarah Bryant COVER PHOTO: Jamie-James Medina PHOTOGRAPHER: Ashley Mar ADVERTISING: Tony Pecotic - 0425 237 974 tony.pecotic@seventhstreet.media PUBLISHER: Seventh Street Media CEO, SEVENTH STREET MEDIA: Luke Girgis - luke.girgis@seventhstreet.media MANAGING EDITOR: Poppy Reid poppy.reid@seventhstreet.media GIG GUIDE: gigguide@thebrag.com

PREATURES PHONE HOME

Sydney Uni alumni and triple j hitmakers The Preatures will return to their old stomping ground for O-Week next month. Isabella Manfredi, Jack Moffitt, Thomas Champion and Luke Davison, themselves products of USyd band nights and competitions, will lead a killer O-Week lineup thanks to the University of Sydney Union in March. Joining their Manning Bar show is Ngaiire. The Preatures headline O-Week at Manning on Thursday March 2.

Taste Of Sydney

BACK IN BLACK

California hip hop pioneers Blackalicious are live in Sydney this week. Rapper Gift Of Gab and producer Chief Xcel will be at Manning Bar this Friday February 10 to perform all the classics from their first three albums – 1999’s Nia, 2002’s Blazing Arrow and 2005’s The Craft – plus selections

AWESOME INTERNS: Anna Wilson, Harriet Flitcroft, David Burley, Ben Rochlin REGULAR CONTRIBUTORS: Nat Amat, Arca Bayburt, Chelsea Deeley, Christie Eliezer, Matthew Galea, Emily Gibb, Jennifer Hoddinett, Emily Meller, David Molloy, Annie Murney, Adam Norris, George Nott, Daniel Prior, Natalie Rogers, Erin Rooney, Spencer Scott, Natalie Salvo, Leonardo Silvestrini, Jade Smith, Aaron Streatfeild, Jessica Westcott, Anna Wilson, Stephanie Yip, David James Young

The Aoife Scott Band

TASTE THE FLAVOURS

Food lovers rejoice: the Taste Of Sydney food festival is returning to Centennial Park this March. From food markets to masterclasses with chefs, Taste Of Sydney has it all.

Attendees can check out established and new restaurants from around the city, including Saint Peter, Tequila Mockingbird, Four In Hand, Anason, Bouche On Bridge, Mercado and more. There’ll also be guest chefs appearing at the Lurpak Cookery School, plus experts from The Wine Society. Taste Of Sydney 2017 will run over four days from Thursday March 9 – Sunday March 12.

Please send mail NOT ACCOUNTS direct to this NEW address Level 2, 9-13 Bibby St, Chiswick NSW 2046 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of the BRAG. ACCOUNTS RECEIVABLE: Carrie Huang - accounts@seventhstreet.vc (02) 9713 9269 Level 2, 9-13 Bibby St, Chiswick NSW 2046 DEADLINES: Editorial: Friday 12pm (no extensions) Ad bookings: Friday 5pm (no extensions) Fishished art: No later than 2pm Monday Ad cancellations: Friday 4pm Deadlines are strictly adhered to.

Published by Seventh Street Media Pty Ltd All content copyrighted to Seventh Street Media 2017 DISTRIBUTION: Wanna get the BRAG? Email george.sleiman@ seventhstreet.media PRINTED BY SPOTPRESS: spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204 follow us:

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NATIONAL FOLK FEST EXPANDS

The 2017 edition of the National Folk Festival has announced another four international artists to the lineup of over 200 acts across one weekend.

The Dublin-based folk singer-songwriter Aoife Scott will be joining the fun in Canberra this Easter, playing highlights from her debut album Carry The Day. Likewise, Flats And Sharps out of Cornwall will be showcasing their unique blend of bluegrass, folk, country and pop for the crowds in the capital.

From Finland, the Accrowbatics Quartet are sure to offer something new as they play a set of music based on the diatonic accordion and Finnish roots music. And the last act from the new announcement, The New Macedon Rangers, are a duo from America and Australia who will be playing their Appalachian tunes. The National Folk Festival will be held Thursday April 13 – Monday April 17 at Exhibition Park.

from their most recent release, Imani, Vol. 1. Unlike many of their early 2000s peers, these guys are still going strong, and they’ll be joined onstage in Oz by Lateef The Truthspeaker and Jumbo.

ONE NIGHT OF NICOLAS JAAR

Chilean-American musician Nicolas Jaar has announced that he’ll be stopping over in Sydney for a one-off Aussie headline show while he’s in the country for Victoria’s Golden Plains festival. Jaar’s Australian sets will be the first since he won over the hearts of Aussie fans at 2014’s Splendour In The Grass, so this could be your last chance to see Jaar for another few years. Undoubtedly, this is going to be one of the most intriguing and immersive gigs of the year, so be sure to check it out at the Metro Theatre on Monday March 13.

MORRISONS LAUNCH TOUR

Sydney’s own The Morrisons have announced the release of their debut album alongside a national tour in March, beginning

with a hometown show. Merging traditional Australian stories with the soul of old-time American bluegrass, The Morrisons are a string band of the times, featuring banjo, fiddle, harmonica and a washboard. Yes, a washboard. Their self-titled debut release encompasses inspirational folklore with musical traditions of America’s Deep South, and with their high-energy shows garnering rave reviews across the board, their Aussie tour looks to be a real good time. Have some foot-stomping fun with The Morrisons at Newtown Social Club on Sunday March 12.

WIL HE OR WON’T HE?

Wil Anderson has announced his return to Australia from touring in North America with his Critically Wil stand-up show at the Sydney Opera House. Anderson has been involved in multiple projects over the years, including ABC’s The Gruen Transfer and the 2 Guys One Cup podcast. His work in broadcasting has earned him countless awards and nominations, but he’s still best known for his comedy chops. Find out why at the Concert Hall, Sydney Opera House on Saturday April 8. thebrag.com

Industrial Strength Music Industry News with Christie Eliezer

HILLTOP HOODS LIVE INITIATIVE FOR CANCER KIDS

Hilltop Hoods are about to launch a new initiative for the 23,000 Australians aged 12 to 25 who are suffering from cancer or dealing with a close relative battling it. The initiative, a partnership with Google, is named Side Of Stage, and is designed to provide those affected by cancer with free tickets to gigs, festivals and performances. Now, Side Of Stage is asking people in the music industry to help out. Already on board are promoters TEG, Universal Music Australia, Cattleyard Productions (those responsible for Groovin The Moo), Lunatic Entertainment (Laneway) and Blue Max Music. An earlier initiative between the hip hop trio and Google culminated in the award-winning Through The Dark interactive film project, which raised $34,000 for CanTeen, the children’s cancer charity, in three months. More details are available at canteen.org.au/sideofstage.

SXSW MEET-UP

Before the bands and delegates head off to South By Southwest in Austin, Texas (Friday March 10 – Sunday March 19), local rep Phil Tripp is organising a series of meet-ups around the country where all involved can get together and share tips. 750 delegates have been booked, with the Sydney meet-up going down on Monday February 13 at WeWork (100 Harris St, Pyrmont). The event will be hosted by Adrianne Nixon, with speakers ranging from Alex Hayes (Mumbrella) to Esti Zilber (Sounds Australia) and Douglas Nicoll (The Works). There is a $10 entry to offset the venue charge, but that includes free beer, cider and nibbles and can be booked via Eventbrite.

HACKERS PLAY ‘FUCK DONALD TRUMP’

Hackers managed to remotely break into seven conservative radio stations in the south of the US and play YG’s ‘FDT’ (AKA ‘Fuck Donald Trump’) on repeat for 20 minutes. The stations were forced to close down just to get rid of the pesky track. Meanwhile, a TV station

NEW SIGNINGS #1: WOODES @ UNIVERSAL PUBLISHING

THINGS WE HEAR • Will Tame Impala’s hiatus last longer than a year? Kevin Parker has gone on record to say he wants to spend time producing other acts, and the word from inside the Impala camp is that there’ll be no new record until he thinks it’s better than the current one.

• Is the world’s largest music streaming service, Spotify, planning to delay its listing on the stock exchange to strengthen its fi nances before it goes to the market?

• Which regional festival has resorted to asking locals to put up music fans in their homes, because local accommodation is fully booked out?

• Was Beyoncé’s revelation that she was expecting twins timed to coincide with the launch of her new fashion range?

• Was that announcement that Dave Grohl would join A Tribe Called Quest at the Grammys a touch premature by the award organisers? ’Cause it looks like it ain’t happening.

• At the Bruce Springsteen show in Adelaide on Monday January 30, Richie Sambora slipped onstage and joined in for ‘Tenth Avenue FreezeOut’ and ‘Shout’. The former Bon Jovi guitarist is back in Adelaide with girlfriend and guitarist Orianthi, hanging out with her family.

• After the Boss’ show hit Melbourne, Steven Van Zandt attended the Hoodoo Gurus show at the Melbourne Zoo. The Gurus spotted him in the wings and dragged him on for the fi nale, an unrehearsed version of The Seeds’ ‘Pushin’ Too Hard’.

• Nick Cave admonished a Perth punter fi lming his concert. “Put that away,” he told the audience member.

“You’re a big man, you don’t need that little phone.”

• As Guns N’ Roses hit Australia, so too comes the news that their 13 shows through South America grossed US$50 million while the nine-week North American run generated US$116.8 million. So far they’ve played to 1.8 million fans on their current tour.

• Nominations for the AIR

in North Carolina also got hacked and played the track for 30 minutes. A Seattle pirate radio station had it on repeat for a week – but that was intentional.

JOSH PYKE PARTNERSHIP RETURNS

The Josh Pyke Partnership, an initiative between Pyke and APRA AMCOS, is back for 2017 to provide a business plan for an

1.

Universal Music Publishing Australia has struck a global deal with Melbourne artist/producer Woodes, AKA Elle Graham. Her debut EP had 1.5 million streams, entered the iTunes charts in six countries and topped the Singapore alternative album charts. Graham says her early inspiration was music in TV shows, films and jingles. “I’ve always found the world of music placement fascinating,” she said. “This new chapter is something I’ve been working towards for so many years and I feel at home with the Universal Publishing Group.”

NEW SIGNINGS #2: ALEXANDER BIGGS @ SONY

2.

Sydney collective New Venusians have kicked off 2017 with a new single, the catchy and anthemic ‘Get Along’, and have announced that their debut self-titled album will be released via Portland-based label Fresh Selects in late March. Their last single ‘Keep Running’ got major thumbs ups from triple j, Double J and FBi.

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Last year’s winner Alex Lahey went on to tour nationally, play Splendour and release a debut EP. This month, she kicks off her European and US dates, as well as a showcase at SXSW. “It meant so much to me,” Lahey says. “It made getting a foot in the door of the national touring circuit financially viable and allowed me to get advice from some of the Australian industry’s leading figures, including Josh himself.” Applications are open at wonderlick.com.au until Friday March 31 and the winners will be unveiled on Monday June 5.

Newtown’s Botany View Hotel, one of the premier live venues in Sydney, has changed hands. The Murphy family, who owned the premises for 26 years, have sold it to Paddy Coughlan of Bourke Street for $6.4 million.

Coughlan has confirmed live music will continue at the venue.

KEEP SYDNEY OPEN PREMIERES THUNDAMENTALS VIDEO

3.

Sydney metalcore merchants Polaris have signed with Graham Nixon’s Resist Records, and have plans to re-release their 2016 EP The Guilt & The Grief on a vinyl in March. Currently on the road, the band starts work on its debut album this year. Singer and bassist Jake Steinhauser said Resist were “one of the first labels we used to dream of working with when we were young and starting a band”.

NEW SIGNINGS #4: NEW VENUSIANS @ FRESH SELECTS

artist to further their career. The winner gets $7,500 cash, mentorship with Pyke and a meeting with Gregg Donovan (Wonderlick Entertainment) and Stephen Wade (Select Music). “This will be its fourth year, and I’m really looking forward to seeing what amazing talent we can add to the excellent list of recipients so far,” Pyke said.

BOTANY VIEW HOTEL CHANGES HANDS

Sony Music Entertainment Australia has signed 23-year-old Melbourne singer-songwriter Alexander Biggs, the 12th most played artist on triple j Unearthed in 2016. His debut single ‘Out In The Dark’ got airplay on triple j, community radio and BBC1, and racked up one million Spotify plays. His new single ‘Tidal Wave’ peaked at number nine in Australia, 49 in the US, 31 in the UK, 40 in Poland and managed to crack the Spotify Viral Charts.

NEW SIGNINGS #3: POLARIS @ RESIST

Awards have been extended to Tuesday February 28.

• This year’s Splendour In The Grass will be held from Saturday July 21 – Monday July 23.

• 50 Cent has come out of bankruptcy after paying US$22 million to debtors. $8.7 million was his money, while the rest came from a lawsuit he fi led against other lawyers for allegedly mishandling his bankruptcy case.

• Heaven knows the triple j Hottest 100 countdown is broadcast in some strange places. This year part of it was blasted out under the ocean off Matilda Bay, Perth.

The University of Western Australia’s RiverLab team had the music playing through giant speakers as they measured how noise affected living creatures under the water. Little wonder, too, that they were hoping Amy Shark would win.

• The fall-out from the Hottest 100 countdown meant that in this week’s ARIA chart, Shark’s ‘Adore’ hit the top ten and Flume’s ‘Never Be Like You’ jumped back into the top 50 for its 44th week.

Keep Sydney Open has premiered the video for the new Thundamentals track ‘Wolves’, directed by Bryn Chainey and shot at Play Bar in Surry Hills. Jeswon of Thundamentals explained: “‘Wolves’ is both a celebration of anyone chasing their dreams and a critique of Sydney’s lockout laws. We consider ourselves to be wolves: people operating outside the parameters of mainstream society’s nine to five, Monday to Friday status quo. While most people are asleep, we are awake, howling at the moon in search of inspiration.

“With the diminishing support for community radio, arts organisations and physical spaces for musicians to perform under what was NSW’s Mike Baird premiership, the pickings for us wolves are slimmer than ever,” the statement continues. “But like all good scavengers, best believe we will find a way to survive! Awooooo!”

4.

SYDNEY’S X STUDIO EXPANDS TO SWEDEN

Ron Creevey’s state-of-the-art multimedia complex, X Studio – a conglomerate based under the Coca Cola sign in Kings Cross – is setting up a European outlet. Noise 11 reports it will be located in Gothenburg, Sweden, with a 4,500-capacity venue to broadcast acts around the world. Creevey also announced that Iggy Damiani will take over running the Sydney operations, as he spends so much time travelling abroad.

• ABC TV’s Media Watch told off the Daily Mail for using a photo of South London rap group Section Boyz to accompany a totally unrelated piece on gang violence committed by Melbourne’s Apex Gang.

• Ch-ch-changes: Melbourne prog metal outfi t Ne Obliviscaris have parted notso-amicably with long-term bassist Brendan ‘Cygnus’ Brown, citing allegations of domestic violence.

• Superheist, who recently lost their LA-based Aussie drummer John Sankey (Devil You Know), brought back previous bassist Si Durrant to fi ll their Australian dates.

• When Nicki Minaj was away on tour, someone broke into her LA mansion, trashed the place, cut up her clothes, smashed her photos and stole US$175k worth of jewellery.

• Pioneer Electronics Australia has given thousands of dollars’ worth of gear to NSWbased 19-year-old DJ Karime Baylis, a producer with disabilities, after thieves stole turntables his mum gave him for Christmas.

Lifelines Born: triplets to Pharrell Williams and fashion designer wife Helen Lasichanh.

Hospitalised: H.R. of Bad Brains for brain surgery on Tuesday February 21.

He suffers from massive headaches that strike suddenly.

Recovered: Daryl Braithwaite has left hospital after surgery for a “golf ball size tumour” and returns to the Red Hot Summer tour this weekend.

Sued: David Lee Roth by a landscape gardener who says he was bitten by his Australian cattle dog while working on his property in Pasadena. Roth’s people say the man waited 47 days before going to hospital and it’s a shakedown.

Sued: Frank Ocean by his dad for US$14.5 million. Ocean has spoken often about a childhood incident when his father dragged him out of a diner because of a transgender waitress whom he called a “faggot” and “dirty”. His dad says it never happened, and that the story has cost him fi lm and music jobs.

Died: Masaya Nakamura, 91, who ran the company that invented Pac-Man. Guinness World Records has named it the world’s most successful coinoperated arcade game after it was played over ten billion times.

Died: long-time Black Sabbath keyboardist Geoff Nicholls, 68, lung cancer.

Died: John Wetton, member and songwriter of Roxy Music, Uriah Heep, King Crimson, Wishbone Ash and Asia, 67, cancer.

Died: US singer Bobby Freeman, 76, of ‘Do You Wanna Dance’ fame.

Died: Deke Leonard, guitarist with ’70s Welsh band Man, 72.

Died: Robert ‘String’ Dahlqvist, 40, best known as a guitarist with Sweden’s Hellacopters. The cause is still unknown.

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PVT

COVER STORY

“IT SEEMS TO BE THE

THE SPIRIT OF PUNK

BY DAVID MOLLOY

“I THINK EVERY RECORD WE DO IS A REACTION TO THE LAST ONE. I DON’T KNOW HOW IT WORKS FOR OTHER BANDS,

Sydney trio PVT announced the completion of their fifth album way back in November 2015.

The record, titled New Spirit, finally lands next week, roughly 15 months after the recording process concluded.

It’s a sustained delay, but the ensuing period has seen PVT’s name return to the public consciousness, largely thanks to the re-release of their debut LP Make Me Love You and a corresponding stint of touring.

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VT vocalist and keyboardist Richard Pike and multiinstrumentalist/electronics mastermind Dave Miller are both eager to get their new music out there.

“We’re defi nitely not sick of it,” says Pike. “The good thing was we weren’t really playing it or doing many gigs, so we’re really excited to do that [now]. I came back to Australia, we did

a bunch of rehearsal and we’re really excited about it. That sounds a bit PR, but we actually are.”

New Spirit is the follow-up to 2013’s Homosapien, which was notably the first PVT album to feature vocals on every track. Correspondingly, it had a more poporiented sound compared to the instrumental experimentalism of their earlier work.

New Spirit tenders another stylistic shift, which is partially a reaction to the previous record.

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REALM OF ROCK’N’ROLL, TO BE POLITICAL. BUT MOST NEW MUSIC BY YOUNGER AND NEW BANDS IS IN SOME WAY ELECTRONIC THESE DAYS.” all the time,” Pike says. “I’m not saying there’s anything wrong with clichés, but we make a concerted effort to avoid them, to try and create something that excites us and doesn’t sound like anything else. When I hear something that I can’t understand how it’s made or how it’s put together, that’s really exciting to me. So that’s what we’re always aiming for.”

Although PVT don’t neatly slot into any one genre, they have a well-defined selfunderstanding, which means they’re occasionally compelled to assess whether something they’ve written has a PVTappropriate sound.

“We did have a discussion with one song on the record, which was ‘Murder Mall’, and Dave and I actually got into an argument about it,” Pike says. “It was a song that I wrote on my own on a guitar, then we adapted it for electronics and Dave was saying, ‘I’m not sure it’s PVT, I’m not sure it’s something we’d do.’

And I protested because I felt like it fits with the ideas of the record lyrically and it felt new and fresh to me. And I think in the end we made it sound like something we would do, even though the first version maybe wasn’t.”

As on Homosapien, Pike’s vocals are quite prominent across New Spirit, and the lyrics reveal a rather pointed political message. The band released a statement alongside first single ‘Another Life’ that spoke of its aim to fight back against new conservatism and the regressive policies of contemporary political leaders. These are troubling and volatile times, and it’s almost impossible to not have some level of political awareness.

“In some ways it was hard not to [make a political record], because it seemed to be all-consuming and it was hard to think about anything else,” says Miller. “What’s more important than your country going down the toilet? The place you live in and grew up in.”

“It was something we wanted to put back into music,” says Pike. “We felt like at least new acts, younger acts really don’t do it – and especially, strangely, [within] electronic music.

It seems to be the realm of rock’n’roll, to be political. But most new music by younger and new bands is in some way electronic these days.

“One of the people I think about is The Knife and their last record, how they just got really angry and went on a real tangent. I found that album really surprising and shocking and I thought, ‘Why don’t people do that in electronic music? What’s wrong with a bit of punk attitude in electronic music?’”

New Spirit’s political conscience specifically concerns Australian affairs, and the band sought inspiration from a shining light of Australian political songwriting. “We started thinking about our background and history and I was even listening to a lot of Midnight Oil at the time,” says Pike. “We realised that no one’s really doing it these days – people are starting to do it again now, because you can’t avoid it. If you’re not writing a love song, it’s the secondin-line thing to write about.”

Despite the weight of the lyrical themes, Pike’s words mightn’t be the first thing to catch listeners’ attention. The majority of the songs appeal on a sensual level at first – they’re sonically immersive and engage the body and the imagination. But the themes haven’t just been included as something to coat the instrumentation. Pike hopes listeners will pay close attention to the lyrics.

BUT THAT’S HOW WE GET CREATIVE.”

“It might be a funny one for people because our background is quite instrumental and electronic, but I like to think you can listen to it completely on that level and then if you dig deeper you’ll find that there’s a lot of thought gone into the songs.

PVT photo by Mclean Stephenson

“You always want to do something different and [the songs on Homosapien] were as popstructure as we’d done,” Miller says. “And in a lot of ways we wanted to break that. That was one of the focuses.”

“I think every record we do is a reaction to the last one,” Pike says. “I don’t know how it works for other bands, but that’s how we get creative.

We feel like we’ve made this piece of art and then we want to feel our way into how to make it better or explore a territory that we felt was untouched or not focused on in the last record.”

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The pop focus has been pushed aside on New Spirit, and in its place is an emphasis on left-field electronics. “I felt like we were taking the brakes off on the idea of whether it should be half-[live], half-[electronic],” says Pike. “You know, not being afraid of the computer. Not that we were before, but this album was more of an embrace of electronics than before.

“Over the last few years I’ve been getting deeper and deeper into that side of things, so I just went for it. I started PVT playing guitar and I’ve gotten way more into synths and computers.”

PVT have always been a difficult band to categorise. Terms like ‘electro rock’ and ‘prog rock’ have long been thrown around, neither of which are particularly colourful signifiers.

Making genre-specific music is never really the point, but finding a unique stylistic identity is important to PVT. They have one overarching aim when working on new material, and it’s reflected in their ongoing artistic progression.

“What we do talk about is whether something avoids clichés, because clichés are everywhere in music and when you’re writing they pop up

“That’s what you do as an artist, is try and reflect your world in some way and turn it into some piece of music or art that exists in its own world. And I think we’ve done that to a certain degree.”

What: New Spirit out Friday February 17 through Create/Control With: Jack Grace, Willaris. K Where: Oxford Art Factory When: Friday March 3

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FEATURE

Underoath This We Swear By Anna Wilson

I

n 1997, a group of high school kids from Florida set out to give metalcore a makeover. Back then, Underoath had no real grasp of just how big they would make it. They would go on to tour relentlessly, release seven studio albums between 1999 and 2010, and go through a personnel makeover of their own. After all that, Underoath were left feeling overtaxed, with the physical and emotional demands of the band taking a hefty toll.

In October 2012, Underoath announced they were parting ways, with lead guitarist Timothy McTague saying of the break-up: “Underoath was never supposed to be my career.” These princes of metalcore departed with the release of a careerspanning album, Anthology: 1999-2013, and a farewell tour that concluded with an emotionally charged fi nal performance in January 2013. It was the end of Underoath – or so we thought.

Last August, after months of the phrase “Rebirth is coming” being teased across social media, the band announced a reunion. Now, McTague admits they were more a part of each other’s lives than they had realised.

“It’s called ‘Rebirth’ because it’s the band coming back,” he says. “In 2013 we thought it was the last time we were gonna play music. We sold our gear and got regular jobs. Then in 2015 we got together and said, ‘What if we do another tour and see how it feels?’ We realised we missed each other and we love each other – now we’re back!”

Underoath are already several months into the Rebirth Tour, and shows have sold out the world over. It begs the question: why did they break up in the first place, if the demand from fans was still so rabid?

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“OUT OF NOWHERE WE SOLD 150,000 ALBUMS AND OUR LABEL TOLD US, ‘YOU GUYS ARE ON YOUR WAY TO BEING ONE OF THE BIGGEST BANDS ON THE SCENE.’” “We just hit a spot where we weren’t healthy together,” says McTague. “We were going ten, maybe 11 months of the year together for ten years. The dynamic on tour started suffering and the thought of writing music together in such a fragmented state felt like an impossible feat.

“We tried to fi gured out how to make any and all situations work, and no one could agree on anything. We realised, ‘Wow, the chapter’s closed.’ It was emotional, it was the end of an era for us and we thought it was done, but we were happily wrong.”

It’s hardly surprising that reviews of their reunion performances are overwhelmingly positive, though it makes you wonder if there’s a greater sense of urgency surrounding these shows. McTague certainly thinks so. “We starved the market accidentally for three years. All these people who didn’t come to the shows because they thought, ‘Oh, they’re gonna be here forever,’ then it hit: ‘Oh crap, we missed it.’ Now we’re back, people are gravitating towards us in case we go again.

“We realised we were appreciated – and probably a lot of our fans underappreciated us – and a lot of the band didn’t appreciate the fans, because you lose that spontaneity, romance and excitement. When we went away, it was a sharp, harsh, quick reality.

There were a lot of people that were pissed.

It was more at the time when we broke up, it was so far gone that certain dudes had fulltime commitments – but it was in no way a dip or a slight.”

Performing their albums They’re Only Chasing Safety and Defi ne The Great Line in full, the Rebirth Tour recalls Underoath’s rise to become a genre-defi ning band.

“When Chasing Safety came out, I was 21,

I was a child – we didn’t give a crap back then,” McTague says. “We were in the metal scene – we were too heavy for the poppy kids and too light for the heavy kids, but they embraced us and said, ‘No, this is exactly what we need right now.’

“Out of nowhere we sold 150,000 albums and our label told us, ‘You guys are on your way to being one of the biggest bands on the scene.’ So yeah, it was really weird, it was rad, it just kept selling and we just had no idea why. Defi ne was written after that, and we didn’t wanna be embraced as a poppy heavy band.”

These two albums stand out for McTague as being the most musically diverse. “The thing that happened when those records came out was a different thing,” he says.

“There’s a lot of people that have tried to replicate that and a lot that have done better and worse. [Other bands] asked us, ‘How can my album do this? What did you do to get so big?’ We were getting asked like we were masterminds – the reality is, we were kids.

THU 9 - SUNS OF THE EAST + THE SWEET JELLY ROLLS

FRI 10 - HEY GERONIMO + RAINDROP

SUN 12 - THE STRIDES

“I don’t think we ever set out to be a genredefi ning band – I think by osmosis and the sheer size of our band, it was never the goal.

A lot of bands say they were encouraged [by us], even Bring Me The Horizon and A Day To Remember, so I do think we played a role in showing that you can be heavy and melodic at the same and still be successful.

“You can never be deluded by your music for the sake of your success – that’s where our baton stops and other bands took that idea of being authentic but also catering their music.”

With: Sleepmakeswaves Where: Enmore Theatre When: Saturday February 11

Singles 4

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BRAG :: 699 :: 08:02:17 :: 9

FEATURE

“I LIKE IT WHEN I CAN PICTURE THE FUTURE OF THE SONG – IT GIVES IT PURPOSE BEYOND JUST WRITING TO [CAPTURE] WHATEVER I’M FEELING AT THE TIME.”

Stellar Addiction

WITH MAREE

The Habit Of Success By Joseph Earp

T

he history of contemporary music is full of performers working unusual jobs in order to support their art. Kurt Cobain slaved away as a janitor before he hit it big, Bloc Party’s Kele Okereke worked tirelessly as a cinema attendant, and Jarvis Cocker of Pulp fame was a fishmonger.

Yet of them all, Stacey Abdilla may well win the award for most offbeat occupation. Now the frontwoman for Sydney’s own Stellar Addiction, Abdilla used to make money wandering around supermarkets, dressed, uh, unusually.

“I used to dress up as a giant Ribena berry in shopping centres to make extra cash,” she says.

On top of embarrassing jobs, Abdilla also had to overcome a number of other hurdles on her way to becoming a musician. When she was younger, the stage was more a threat than a home, and she battled nerves constantly.

“I started singing lessons at nine years old and used to compete in eisteddfods in my local area. Pretty sure I was awkward as hell and stayed that way for some time. It wasn’t until I went to study music at TAFE and was regularly performing in bands there that I began to feel confident onstage.”

That said, when Abdilla discovered her true purpose, she went for it – hard. “The first time I performed in a rock band, I knew that was where I wanted to be and haven’t looked back since,” she says.

In the time since forming the band, Abdilla has gone from strength to strength, both as a performer and a writer. Though Stellar Addiction might not yet be a household name, they are certainly becoming an enticing live proposition, and are attracting a fair amount of attention with their artful pop-punk tunes. That critical rise is set to continue with the release of ‘Unbroken’, their thrashing new single.

10 :: BRAG :: 699 :: 08:02:17

speed date

“The song started out as a few chords Tanya [Carboni, drummer] was jamming on piano one day,” Abdilla explains. “I really clicked with it and immediately started singing some melody over the top. Over the course of about a week I wrote lyrics, and Tanya and I played around with them and the structure of the song. We took it to the band about two weeks later and jammed out pretty much the structure that you will hear on the final track. It was a pretty organic process.”

That ‘organic process’ also tends to involve a lot of conceptualising and brainstorming – and not always about the songs themselves. “We laugh at ourselves all the time because even before the song has lyrics or a real structure, we are talking about what kind of lighting we would want, and where we could build the song up to get the crowd feeling it as much as we are,” Abdilla explains.

Growing Up I grew up in the 1. small country town of

Beaudesert, Queensland.

My grandmother played honky-tonk piano and my sister and I learned from a young age, but it didn’t stick. I wanted to play drums but that wasn’t going to happen, so I annoyed my mother enough to get me my first guitar at 11 and taught myself to play, one string at a time.

We listened to Charlie Pride, Glen Campbell and Patsy Cline, Hank Williams and Ray Charles, but Tom T Hall’s ‘Watermelon Wine’ will always remind me of my childhood.

“Most of the time we are even coming up with ideas for a video clip for the track as we are writing too. I like it when I can picture the future of the song – it gives it purpose beyond just writing to [capture] whatever I’m feeling at the time.”

2.

And yet all that writing and planning seems unimportant when compared with Abdilla’s true love: getting up onstage and unveiling the songs for her fans. “I love interacting with the audience,” she says. “I really live for their energy. I do have some moments though where I disappear into my head – usually if I’m really getting into a song I’ll close my eyes for a second and completely forget where I am. But then I see a familiar face singing back at me.”

Your Band Tim, Dan and I 3. have known each other

What: Punk Out With Camp Out! With: Mixtape For The Drive, We Take The Night Where: Annandale Hotel When: Saturday February 18

GWYNNE FROM A BAND CALLED TWANG

Inspirations I love a great storyteller; that’s what inspires me the most.

Musical style is like personality – we all have one, and we hang out with the ones that rub us up the right way.

for around 20 years, while Toby, who comes with an extensive rock and blues CV, joined us on the skins a couple of years ago.

You just couldn’t beat the music out of any one of us if you tried.

We bring to the band those early true grit elements of where we’ve all come from.

The Music You Make 4.

We play rockabilly

Americana and country roots, from heart-torn milk bar ballads to high-energy roots and rockabilly tunes.

Our second album Rootin’ Tootin, recorded at Rippletin Studios on the Sunshine Coast with Joel Saunders at the helm, will be available at our forthcoming gig at the Sydney Rock ‘N’ Roll & Alternative Market on Sunday February 12.

Music, Right Here, Right Now 5.

I just read a post by Kasey Chambers on Facebook.

Her comment:

“Feels pretty good to be a 40 yr old country singing mother of 3 from The Nullarbor & have the NUMBER #1 ALBUM IN AUSTRALIA!!” She totally sums it up! Just get out there and give it all you’ve got – anything is possible.

We’re humbled to be supported by an amazing bunch of people with the opportunity to play at some of the best festivals in the country.

What: Sydney Rock ‘N’ Roll & Alternative Market With: Spurs For Jesus, The Hellcat III, The Drey Rollan Band and more Where: Manning Bar When: Sunday February 12

thebrag.com

Why Music Needs Neil Cicierega Just A Tiger Man By David Molloy

N

ame three of the most significant releases in the history of music. Geez, umm… alright, I got this. John Lennon spreading peace, love and optimism with ‘Imagine’; the release of the Shrek soundtrack led by Smash Mouth’s indisputably perfect ‘All Star’; and the moment Neil Cicierega decided the two would work perfectly together.

John Lennon

Neil Cicierega

FEATURE

This is the story of a girl…

In 2014, Cicierega – a prolific content creator and Internet Person best known for Newgrounds’ ‘Potter Puppet Pals’ – dropped Mouth Sounds, a mixtape that used nostalgia like an inflatable weapon Smash Mouth against the listener. It playfully desecrated every icon of the ’80s, ’90s and now, usually by liberally applying Steve Harwell’s cut-up and distorted the people around you that don’t lock step into reminiscence on what somebody had once told him. their niche, the funnier it gets.

The follow-up (and ‘prequel’), Mouth Silence, left ‘All Star’ behind, upped the irreverence and doubled The trilogy allows for our generation to indulge down on millennial TV references. in our nostalgia without the guilt of arrested development. We never have to go back and Now, the trilogy is complete – Mouth Moods (the see how badly Home Improvement has aged, ‘zequel’ or ‘squeakquel’, depending on where you because ‘Annoyed Grunt’ gives us new lines of look) is loose upon the world, and Cicierega’s inquiry: “How do you explain Tim Allen?” and masterpiece is complete. Moods is the best of both “Why the fuck would anyone make this?”. worlds; a collection of immediately recognisable tracks lovingly and meticulously pieced together to form something unconscionably stupid. To say that it’s annoying is both an understatement and an underestimation of the Mouth Trilogy’s value within its current context: it makes annoying into an art form.

To spoil the surprises of Mouth Moods would be to do the album a disservice – it’s got all your (least) favourite samples from the first album, brand new misplaced memories, and enough niche pop culture referencing to make Tumblr look out of touch. Simply put, it’s a stupefying masterpiece of music and comedy, and it’s what the world needs.

Desperately.

Cicierega was far from the first to mash up songs for comic effect, but he’s arguably perfected the form. Like his predecessor Girl Talk, he has adapted sampling to reappropriate music as meme – his pastiche works are infinitely replicable, mutable and distanced from their points of origin. The difference is intent: Girl Talk gets club floors shaking, while Mouth Moods provokes disgust, hilarity and unexpected catharsis in roughly equal measure.

More distinctively, Cicierega has retained his online roots. The Mouth Trilogy is synecdoche for net culture – an environment in which sincerity is considered naive at best, repellent at worst, and where nostalgia is baited, indulged in and deeply scrutinised. It’s an environment in which the content creator is king, and the limits are twofold: the imagination, and YouTube’s copyright filters.

Mouth Moods is as much the logical conclusion to the cut-up work that Cicierega began with his lyric video to ‘Fly Away’ as it is the precursor to Run The Jewel’s Meow The Jewels; the bastard child of Danger Mouse and vaporwave. It shares DNA with #flutedrop creator D.J. Detweiler and Canberra’s own SoundCloud shitposter Dead DJ Joke (whose recent crimes include blending ‘Hotline Bling’ with the Angry Beavers theme, dancifying the Mortein ad and transporting Smash Mouth to Twin Peaks).

And it has inspired fans to create video art matching his work.

“IT’S A STUPEFYING MASTERPIECE OF MUSIC AND COMEDY, AND IT’S WHAT THE WORLD NEEDS. DESPERATELY.” “I doubt you will find two mash-up albums that will elicit as many emotions as these two will, and strong emotions at that,” said The Needle Drop’s Anthony Fantano, speaking before Mouth Moods’ release. It is a mind-boggling statement to make about a record in which ‘Love Shack’ and the Psycho soundtrack coexist, and yet entirely accurate. How can trolling be this touching?

“I hope that children continue to be an important voice on the internet because that kind of twitch humour and DIY ethic that children have is the lifeblood of internet humour,” Cicierega said during a presentation at last year’s XOXO Festival in Portland, Oregon. “I think it’s important to be nostalgic as much as you can and stay in touch with who you were as a kid, and keep all your old files, because you want to keep those synapses alive, so that it’s easier for you to remember that feeling that everything is hilarious and wonderful and new.”

Cicierega manages to make the old new while flying in the face of the expected, or even the desired (no one could possibly want this much Smash Mouth). His remixes exist solely to bring joy to the listener. Familiar sounds herald new discoveries. Each track is undemanding, immediate, frustrating and immature, and the more it annoys thebrag.com

Cicierega creates on impulse, and (hopefully) for the same reason some idiot would spend 900 words in this magazine extolling for you the academic virtues of ‘Mullet With Butterfly Wings’. His music, goofy and nonsensical as it is, is an investment of love in both the past and the present. There’s nothing disingenuous about the way he lovingly trashes the past. He and his contemporaries innocently play poorly tuned flutes atop a wrecking ball swinging through your

media library, then invite you to play with them in the ruins, where new wonders await.

His timing is perfect. We could all use a little change.

The Mouth Trilogy – Mouth Sounds, Mouth Silence and Mouth Moods – is available (hey) now at neilcic.com.

MELBOURNE SKA ORCHESTRA’S

TOUR

featuring:

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SUN MAR th 5 THE FACTORY THEATRE Marrickville 4PM - 10PM TICKETS AT MELBOURNESKAORCHESTRA.COM FACTORYTHEATRE.COM.AU

BRAG :: 699 :: 08:02:17 :: 11

FEATURE

“I REMEMBER US TALKING ABOUT WANTING TO BE A BAND WHERE WE COULD DO BEER BONGS ONSTAGE, AND THAT WAS KIND OF THE BEGINNING.”

Lagerstein

speed date WITH

A Pirate Party By Adam Norris

L

ook, it’s something we’ve all wondered.

Ninja versus pirate: who would win?

And sure, while the smart money is on the ninja, there’s something deep inside all of us – the small part of us that loves chaos and craves dressing up in eccentric garb, with an eyepatch and a rum-swilling accent (“yaaaaar!”) – that knows whatever the outcome, the pirate is having much more fun.

In fact, as Mother Junkst of pirate rockers Lagerstein explains, the driving force behind the band’s shenanigans is the pursuit of all things fun. As the fourth Lagerfest hits the road this month, you’ll soon have the chance to experience this pirate wonderland yourself.

“Lagerfest at its heart is about fun,” Junkst says. “It’s bringing together a unique day, where there are lots of things to do. You can come and see some awesome bands – and we’ve worked really hard to put on a really diverse lineup – so you’re going to find someone onstage very different to whoever just went before them. We’ve always felt that a really long day of bands can get a bit overwhelming, so the plan for Lagerfest is to have all sorts of options. If I don’t feel like seeing bands, I can play some beer pong, or just check some of the acoustic artists. It’s a ‘have it your way’ kind of day; there’s just heaps to do.”

Lagerfest is still a relative newcomer to the annals of roving festivals, but in short order it has amassed an impressive following thanks to both the quality of music – the sheer energy of the seven-piece Lagerstein is astounding, let alone the likes of The Stiffys, Darker Half and more – and the atmosphere it encourages. It’s loud, it’s raucous, but mostly it’s about the fun. And the rum, of course. “[At] our very first [Lagerfest], our drummer was the manager of a pub and convinced them to let us use their entire car park, so we 12 :: BRAG :: 699 :: 08:02:17

SONS OF THE EAST

had this really huge space to put on a gig,” says Junkst. “And it seemed natural that you would have a gig of many bands if you had such a sweet outdoor space. And the guys in the band, we’re just silly as. We love playing games, and so we wanted it to be more than a normal gig. At that first one, we had a dunk tank, a bungee run. We wanted it to be this day that’s all about fun, like a big house party where everyone is getting along great with awesome music.

only a handful of people – literally, you could touch the whole audience with one hand.

Current Playlist Right now we’re 4. listening to an array of

things. Loving lots of The Growlers, DMA’s, Creedence Clearwater Revival. Recently went to Dope Lemon and the whole show – lighting and visuals especially – was dope.

“Last year at the Triffid [in Brisbane], we had so many people dressed as pirates. I always find it’s a really diverse audience. We have people in their 50s to people just turned 18, and I think what really characterises a Lagerstein or Lagerfest show is that everyone is there to enjoy this spirit of fun and camaraderie. It’s really great.”

To that end, the vision of the festival isn’t all that different to their original vision of the band itself: fun, camaraderie, and a whole armada of booze.

“The core of us all met around six years ago, just playing around the Brisbane scene in a heap of symphonic death metal bands. We had this idea that we wanted to be in a band that was just… more fun. Still great music, but not as serious as that really epic death metal. It’s kind of a random background for a bunch of pirates to come out. But I remember us talking about wanting to be a band where we could do beer bongs onstage,” he laughs, “and that was kind of the beginning.”

What: Lagerfest 2017 With: Darker Half, Valhalore, Saralisse, Keggin and more Where: The Bald Faced Stag When: Saturday February 18

Your Ultimate Rider Our usual rider is 5. just some cold beers and Your Profile Hey there, we’re just 1. three lonely guys looking for some fun. We only date as a three-piece – if you want one you get us all. Hopefully we won’t disappoint you, but we’re not making any promises.

Don’t forget to tell all your friends about us.

Keeping Busy We’ve just been 2. touring the new single ‘Lost

Cause’ around Australia, which will be featured on the upcoming record. We have spent the last few months writing as many songs as we can, so we can pick the best of the best.

We each took a little holiday in January but are getting straight down to business

now that we’ve returned refreshed and ready.

Best Gig Ever The best gig we’ve 3. ever played was definitely

the launch of our single ‘Lost Cause’ at Oxford Art Factory with our friends Borneo in September last year. We sold it out and then some, the place was heaving and there was a great vibe. Everyone was boogieing and singing, it was an outstanding audience, and a goodlooking one at that. On the very same tour we went regional, which was a bit ambitious and probably against our better judgement. It certainly brought us back down to earth a little as there were

some sort of snack. But the ultimate rider, eh?

Chicken wings, ribs, sweet potato chips, blueberries, strawberries, raspberries, mangoes, rum, whisky, Scotch, ginger beer, fresh apple juice, fresh pairs of socks, a cabinet of bandanas and scarves to choose from, a pack horse, two Roman candle fi reworks, bonsai tree, Chinese checker board, oven mitts, hand-stitched fl ag (any fl ag), a Spanish language teacher, a box of puppies and a smoothie machine. One day… one day.

Where: Moonshine Bar, Hotel Steyne When: Thursday February 9

thebrag.com

thu

08 Feb

(9:00PM - 12:00AM)

09 Feb

(9:00PM - 12:00AM)

fri

10 Feb (5:00PM - 8:00PM)

(10:00PM - 1:45AM)

in the Atrium

wed

SATURDAY AFTERNOON

SUNDAY AFTERNOON

sat

sun

11

5:45PM  8:45PM

Feb

12

Party DJs in the

Marine bar

JAY

in the M

sat

11 Feb

(7:30PM - 10:30PM)

11:30PM  3:00AM

thebrag.com

mon

13 Feb

in the Atrium

Steve Zappa

10:00PM  2:00AM

3:30PM  7:30PM

Feb

(10:00PM - 1:15AM)

EVERY SATURDAY NIGHT

Ed & Astro

Brag SPURS FOR JESUS A BAND CALLED TWANG 125mm x 180mm THE HELLCAT The Rocksteady Ratpack The DanIII Barnett Swing 5 w

w

w WesDrey Pudsey &Rollan the Sonic Aces The Band w

the Jetbacks Limpin’Narelle Jimmy Evans & the& Swingin’ Kitten Andy Travers w The Crimplenes ecord Grazza w MC Limpin’ Jimmy rfai r 2017

(8:30PM - 11:30PM)

Sunday Feb 12 TH

tue

14 Feb

(8:30PM - 11:30PM)

www.rocknrollmarket.com.au UNDER 18s MUST BE ACCOMPANIED BY AN ADULT

BRAG :: 699 :: 08:02:17 :: 13

FEATURE

“PEOPLE LOVE CONSUMING MUSIC, BUT THEY DON’T OFTEN KNOW WHAT THOSE MUSICIANS GO THROUGH BEHIND THE SCENES.”

Taryn La Fauci WITH

A Holistic Approach By Adam Norris

T

aryn La Fauci has established herself as quite a promising name on the Sydney music scene. Originally hailing from Townsville, La Fauci drifted down to the Harbour City five years ago and rose through the ranks the old-fashioned way, throwing herself into various open mic nights across town until a pattern began to emerge and people began to take notice. She will next be spearheading Top Of The World’s In The Round performance/podcast at the Seymour Centre’s Courtyard Sessions, and takes some time out to look back on the road to now.

While the Courtyard Sessions provide a tremendous avenue for artist exposure – the calendar features the likes of Frank Sultana, Jordie Lane, Amber Rae Slade and many others – the Top Of The World event is unique.

Not only does it feature amazing talent, but it allows La Fauci to talk with these performers about insights beyond the music; what their own stories and sojourns to performance have been.

“I fi nd sometimes artists just get up and play, so it’ll be nice to have these musicians 14 :: BRAG :: 699 :: 08:02:17

THE REVEREND K.D TWANG FROM SPURS FOR JESUS

– all female – be onstage and sing, but also have a chat. People love consuming music, but they don’t often know what those musicians go through behind the scenes.

Working out their journeys, how they write, how they create and pay bills living in Sydney. That was something I personally wanted to know about as a musician, ’cause I’m still trying to juggle it. How does everybody else do it? [‘In the round’ events] are big in America but don’t happen quite as often here. They do at places like the Petersham Bowling Club, which is great, but we’re hoping this can become another place for artists to get up and show something that’s maybe behind the music too.”

As such, the night will not only be of interest to fans of live music in general, but an invaluable insight to those still trying to fi nd exactly what it takes to make the Sydney music scene take notice.

“Go to songwriter nights, and once you go around to those, you start to meet people,” La Fauci suggests. “There are so many little sessions around, all of these little backyard gigs, but they can be hard to fi nd when you’ve just hopped off the train. So you search out the open mic nights. I was playing a few of those around Newtown for about a year before I found Coogee. There’s The Little Guy in Glebe, where my friend Julia Jacklin would play, and Ryan Brennan, who is now producing my album, and Lady Lyon, who is on my podcast. If you want to grow as an artist, I think that’s where you start. You meet people, and then if you’re lucky enough – and good enough – that’s how you’ll grow.”

What: Top Of The World Presents In The Round Where: Seymour Centre When: Friday February 17

Growing Up Ahh, yep. It was in 1. my early years that the love of country really set in. I mean, the rural expanses of Oatley left you with no other option than to grab a washboard, turn K-Tel’s Superstars In Country Music up to eight and let it wash (pun intended) all over you. Good – no, great times.

2.

Your Band Having recently 3. gone through a bit of a Inspirations Evel Knievel.

personnel shuffle, Spurs don’t know if we’re Dolly or

Willie! One of our founding fathers, Marty ‘The Moose’ Morricone, hitched the wagon and headed north seeking greener pastures, then his replacement, Crank Williams, had two rehearsals and decided he was moving to Darwin!

Yep, guitar slingers – seems they can’t get far enough away from us.

Thank Buck that Spatsy Cline, Gwen Campbell and Dirt Track Daisy have hung around.

The Music You Make 4.

Imagine Roger Miller,

Johnny Cash, Dolly, Loretta, The Clash, Mojo Nixon, The

Blasters and The Banana Splits had an orgy. We’re the result of that tender, tender love.

Music, Right Here, Right Now 5.

Now I can’t get that damn

Jesus Jones song out of my head. Thanks BRAG! Hey – Spurs For Jesus Jones – the next concept?

What: Sydney Rock ‘N’ Roll & Alternative Market With: A Band Called Twang, The Hellcat III, The Drey Rollan Band and more Where: Manning Bar When: Sunday February 12

thebrag.com

Taryn La Fauci photo by Nicole Robinson Photography

“I was pretty lucky coming to Sydney,” she says.

“I had a share house with someone interested in jazz, so I was meeting people that way. But then I made this friend, Caitlin Harnett, who is also a singer, who took me down to the Coogee Diggers. I found a great community there, and also through Home Sweet Home, these Inner West house concerts we used to be involved in. I was meeting these communities and realising they were all kind of connected. I actually met Larry [Heath, Courtyard Sessions booker] through Fanny Lumsden, who I’d met at the Bunker [at Coogee Diggers], so these little connections just kept happening. That’s how Top Of The World came about. I’d met so many musicians, I thought it would be nice to have them talk not just through music, but through conversation as well.”

five things

BRAG’s guide to film, theatre, comedy and art about town

arts in focus a cinema showcase of diversity

xx

mardi gras film festival also inside:

CAM KNIGHT / ARTS REVIEWS / MISS SLOANE / INSIDE JOKES thebrag.com

BRAG :: 699 :: 08:02:17 :: 15

arts in focus “AN IMPORTANT FACTOR WAS DIVERSITY – DIVERSITY OF SEXUALITY, DIVERSITY OF GENRE, DIVERSITY OF AGE AND COLOUR.”

FEATURES

Mardi Gras Film Festival [FILM] A Festival For Everyone By Adam Norris

O

ver 24 years, Queer Screen’s Mardi Gras Film Festival has not only showcased some of the best and brightest LGBTQI cinema from home and abroad, it has also helped launch the careers of many emerging fi lmmakers and encouraged a diverse audience base that is growing year by year. With over 100 screenings scheduled across two weeks this year, we chat with festival director Paul Struthers about his personal picks, and how he feels the landscape of queer cinema has evolved since the festival’s inception.

Women Who Kill

“One thing that I’ve noticed in the past few years is the infl ux of festival guests,” Struthers says.

“Every year we seem to have more directors, actors, and I think even more this year. For example, we have 14 delegates from Asia-Pacifi c queer fi lm festivals, we’ve two chaps from GLAAD, the advocacy organisation in LA, and we have countless other fi lmmakers.

“So that’s something that’s really grown, the presence of local and international guests. And I quite like that, because a festival feels most like a festival when someone behind the fi lm is there to introduce it and to take questions at the end.

For example, opening night we have the producer of A Date For Mad Mary, and closing night we have the director for Handsome Devil. There are lots and lots of discussions and Q&As this year.”

Teenage Kicks

For those who are either new to the festival, or unfamiliar with queer cinema in general, it is worth nothing that the program is not exclusively about sexuality and gender, though these are clearly cornerstone elements to the event.

But there are also strong themes of political asylum, of economics and equality, of Safe Schools. It is a fi lm festival thriving on a huge amount of content, and both the calibre of talent and the broad audience demographics attest to this.

“It’s supposed to highlight the community and how multifaceted it is,” says Struthers. “When you look at the program, you want to refl ect that, and so for me an important factor was diversity – diversity of sexuality, diversity of genre, diversity of age and colour. We just wanted to have a good mixture of fi lm there so that there could be something for everyone.

Something Like Summer

“Obviously our core audience is LGBTIQ. In recent years we’ve increased the amount of lesbian and transgender fi lms, and in turn we’ve seen an increase in attendance from those groups.

I suppose also because we’re playing fi lms from top international fi lm festivals, like Berlin, Toronto, SXSW, Edinburgh, we’re getting fans of cinema in general who are coming along.”

“You need to make sure there’s diversity there,” Struthers continues.

“And genre is important. We can’t just have all miserable dramas. You need your light-hearted comedies as well. But at the same time, you

Bad Girl

16 :: BRAG :: 699 :: 08:02:17

“WE CAN GIVE SMALLER FILMS A CHANCE, BECAUSE ULTIMATELY, IF YOU GET INTO ANY FILM FESTIVAL YOU CAN PUT IT ON YOUR CV.”

need films that hit on contemporary issues, that hit on the LGBTIQ community here and abroad. It’s about finding that good mix. This year was really strong. I mean, I could have had 20 more films.

However, it wouldn’t have tied in with the overall mix. I think we’re at that perfect point of screenings.”

A further commendable aspect of the festival is the My Queer Career initiative. Itself 23 years old, it is a competition that sees best new short fi lms by queer fi lmmakers compete for the Iris Prize, a fi nancial boost to allow the winner to undertake a larger work.

While there are many big-budget features from across the globe to be found here, the fact that smaller fi lms are fi nding encouragement (and crucially, an audience) is a wonderful thing.

“GENRE IS IMPORTANT. WE CAN’T JUST HAVE ALL MISERABLE DRAMAS. YOU NEED YOUR LIGHTHEARTED COMEDIES AS WELL.” “It’s a great session to showcase up-and-coming talent, and is good for filmmakers who are thinking of making shorts to come along and see what else is being made in Australia. We’re quite a big film festival now in the LGBTIQ scene, because we have around 100 sessions including Canberra, Riverside [at Parramatta], the Blue Mountains. And because we do have so many sessions, we can give smaller films a chance, because ultimately, if you get into any film festival you can put it on your CV, and the next time you’re applying for funding or looking for investors, it really helps. So we’re not just looking at the bigger LGBTIQ films, we’re looking at the smaller things too.

There are some great low-budget films being made all over the world.”

With such an expansive program, choosing personal favourites is a tough ask. Nevertheless, Struthers does have a handful he has found particularly striking.

“Opening night [A Date For Mad Mary] is a wonderful comedy from Ireland. She’s looking for a date for her friend’s wedding, but all the men she meets just don’t work out.

And then she meets the wedding photographer, who is a woman, and well… Another one, Being 17, is a French film about two young men at school. They almost hate each other, because they’re quite violent, but it’s covering up this love story – it’s a beautiful, beautiful film.

“Coming Out is a great documentary about a guy who films himself coming out to his friends and family. And if you’ve ever come out yourself, it’s really edge-of-yourseat stuff. I remember when I came out, the first step was the hardest and then it became easier, but telling your friends and family can be tough. There’s also The Pearl, a transgender documentary about four older trans women. And it’s just so rare to see such a well-made documentary. There’s just so many to choose from.”

What: Mardi Gras Film Festival 2017 When: Wednesday February 15 – Thursday March 2 More: queerscreen.org.au

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arts reviews

free stuff

■ Film

GOLD

head to: thebrag.com/freeshit

In cinemas now If Gina Rinehart’s autobiography gave you the warm and fuzzies, you may wanna bring a spare pair of pants along to this one.

Kenny Wells (Matthew McConaughey) is your average blue-collar Joe, slumming it as the successor to his father’s successful mining company. When he nearly sinks the company, he takes a wild punt on claims by geologist Michael Acosta (Édgar Ramírez) and heads to Indonesia to seek a fortune.

Gold desperately wants to be The Wolf Of Wall Street, a serious Academy Award nominee; one that furthers the unstoppable McConaissance and tells the captivating story of an inspiring, though flawed individual. What it has instead is McConaughey as an Oscar-bait Louie The Fly, in an aggressively awful biopic with a clichébloated screenplay reliant on a tale with no inherent worth. From its hacky narration to its narrative jumps, its poor plotting, its amateur soundtracking, its unforgivable dialogue and its utterly morally repugnant core, there is not one positive thing to say about this entire film.

What’s worse is that screenwriters John Zinman and Patrick Massett, both graduates of Friday Night Lights and Caprica, know all this and try to act nonchalant about it. Strap yourself in for the most predictable ride of your life into the jungles of Indonesia, where the moment a shot of the canopy emerges, so do those oh-so-ethnic jungle drums. Witness as inconsistent make-up and misaligned camera lenses obscure the uninspired, functional framing of each shot. The only stylistic flair ■ Film

LIVE BY NIGHT In cinemas now Ben Affleck has proven himself to be a talented director in recent years with films such as Gone Baby Gone, The Town and Argo all enjoying critical acclaim. Unfortunately, Live By Night is unlikely to add to his list of directorial successes.

The film opens with the introduction of Joe Coughlin (Affleck). Disenchanted after WWI, he has no interest in taking orders or sides in the Italian/Irish mob conflict sweeping through 1930s Boston. However, after he suffers a personal tragedy at the hands of Italian mob boss Albert White (Robert Glenister), Coughlin joins the mob with the ultimate goal of becoming powerful enough to destroy his nemesis. He ends up being sent to Tampa, Florida to run the Cuban rum trade during the height of Prohibition, where he starts a relationship with Cuban businesswoman Graciela Sanchez (Zoe Saldana).

The KKK makes a memorable appearance, there’s a token incorruptible police chief, plus the religious fanaticism element that you’d expect to find in the South, but essentially what this adaptation of Dennis Lehane’s 2012 novel of the

arts in focus

Miss Sloane

shown is in two sequences where windows muffle the dialogue, giving us a moment’s reprieve from the script.

Meanwhile, the film does everything it can to romanticise mining and the valuable work of stockbrokers. Wells “doesn’t care about money, he cares about gold”, which is a statement the writers clearly thought profound. He also doesn’t care about profiting off underpaid workers, or the fact that he ends up bankrolling a genocidal dictator, but it’s fine, because neither do the filmmakers.

Their focus is on ensuring that McConaughey is holding the box of Marlboro cigarettes the right way round; to show off that Winston logo when he feels like drawing back on something different. And boy, does Wells love smoking.

Now, who could possibly have bankrolled this two-hour ad?

MISS SLOANE

Gold aspires to The Social Network, painting a revolutionary as a bit of a prick, but it fails in that conceit while being paced like a bowel movement on a fibre-free diet. Like Acosta’s mine, there is nothing at Gold’s core.

The eyes of the world are on Washington, D.C. this year. It’s a murky place of backroom deals and secret handshakes, where the powerful and powerful-in-waiting do whatever it takes to win. John Madden’s political thriller Miss Sloane is a case in point: it follows the eponymous Elizabeth Sloane (Jessica Chastain), the most sought-after lobbyist in D.C., whose results precede her reputation. Now, she faces the most powerful opponent of her career. Will winning come at too high a price?

David Molloy

The film also stars John Lithgow, Alison Pill and Jake Lacy, and opens in Australian cinemas on Thursday February 16. We have ten in-season double passes to give away, so visit thebrag.com/freeshit for your chance to win.

same name gives us is ‘gangster lite’.

The main issue with the film is that there are so many subplots and superfluous characters woven into the central narrative that it’s hard to tell what the main focus or conflict actually is. The fact that a narrator is required to explain developments in the story only reinforces this point. What’s more, just as one character seems to rise above the rest and become a significant player, they disappear off screen or are awkwardly killed off.

five minutes WITH

HUSEYIN SAMI

As a result, it’s hard to say that any of the characters are particularly endearing – not even Coughlin, who seems to want to convince the audience and himself that despite the rising body count, he is a benevolent protector of the people and is just doing what needs to be done until the real bad guys are run out of town.

Arguably, the most original aspect of the film is its setting. Seeing Coughlin and the Cubans packed into a speedboat and cruising through the Everglades makes for captivating viewing, but ultimately this change of scenery isn’t enough to dispel unfavourable comparisons with genre greats like Gangs Of New York or The Sopranos.

Nena Serafim

■ Comedy

OTTO & ASTRID Reviewed at the Magic Mirrors Spiegeltent on Thursday January 26 as part of Sydney Festival 2017 The zany Otto & Astrid of Die Roten Punkte fame took the stage at the Magic Mirrors Spiegeltent to a fervent and excited late-night crowd. It’s a testament to both the passion of the duo’s music and the fan base it inspires that the audience was as big as it was, despite the hour nearing midnight.

Otto & Astrid photo by Jamie Williams

Though the pair recently released their comedy web series, their live show at this year’s Sydney Festival was all about their most recent album, Eurosmash!. They kicked things off with a bang, delivering a rendition of ‘Do You Speak Dance?’ drenched in smoke machines and Auto-Tune filters. However, it didn’t take long for the pop facade to fade, and the audience itself to become embroiled in the hilarious but relatable dynamic between the two.

Otto & Astrid’s live show brought their unique sibling rivalry to the forefront of the performance, incorporating the crowd at every turn. They’d interrupt one another, correct one another and throw themselves wholeheartedly into a friendly tug of war over the spotlight. It was never quite clear what was rehearsed and what was improvised, but the banter remained funny throughout.

One standout moment saw Astrid descend into laughter during the sing-along chorus of ‘I Wanna Go To Tokyo’ when she seemingly thebrag.com

Y

broke character to reveal that the song’s call and response chant (“I wanna go to T-O-Y-K-O”) boasted a glaringly obvious typo. All told, there was an ongoing and palatable enthusiasm inherent to the physical nature of the pair’s performances that kept the audience engaged and entertained.

As the clocks marched towards and beyond 12am, the performers embarked on a lengthy and mythic “mini-rock-opera” about their background growing up in Berlin and being inspired by the music of David Bowie. This part of the show wore a little, but shed some light on the deeper dynamics connecting and ultimately defining the two competing personas onstage.

At the conclusion of the show, Otto & Astrid warned audiences to beware fake merch sellers lurking beyond the walls of the Spiegeltent.

However, there was little to fear. After all, these two are one of a kind.

Fergus Halliday

ou’re known for your live painting performance work.

Exactly what does that involve?

The performative element of my practice revolves around developing ideas of how to paint, and with that comes a series of rules and considerations that pertain uniquely to each specifi c performance-based piece.

These performances reveal some essence and conceptual parameters of my art practice on a whole – a private operation of the studio process revealed in the public realm.

What inspired you to make things more ‘difficult’ for yourself and your painting?

I think that for me the performances explore the nature of my curiosity with painting and art-making in general. Pushing the boundaries of the material

and questioning the process of art production – how to make a painting, how paint can be handled and shaped – in search for something new allows me to continue a progressive and relevant practice. Exploring these boundaries by making things uncomfortable or ‘difficult’ exposes an edge which you can then slowly peel back.

Do your tools have a mind of their own, and if so, how do you remain in control?

I think the whole idea of control is something which is being put into question and challenged with these works. The question of the artist’s role and presence in the works becomes a focal point and how the element of chance is an important and potential contributor to the fi nal outcome.

How different is the experience of painting as performance, rather than as an activity behind closed doors?

The only difference is that people become a part of the process, recording these movements and material matters in real time and presence.

Are you looking forward to exhibiting alongside the other artists at Superposition Of Three Types?

Absolutely. All of the artists involved have very unique and engaging practices which contribute strongly to the local and international art terrain. It’s great to be thrown into this mix.

What: Superposition Of Three Types Where: Artspace When: Friday February 10 – Monday April 17

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arts in focus

inside jokes

FEATURE

“THERE ARE PEOPLE IN THE INDUSTRY THAT STARTED OUT IN RAW – IT HAS BEEN A USEFUL TOOL FOR A LOT OF PEOPLE.”

Comedy, Life and Bullshit with Cameron James

I

t’s too hot to be funny. Something happens around this time every summer, when everybody’s brains jam up like Hubba Bubba in bicycle spokes and you hear the same sentences again and again.

“How hot is it!”

“Apparently it’s gonna be 38 on Thursday.”

“Man it’s a hot one, like seven inches from the midday sun.”

How is it that between March and November, every year, we all forget that summer exists? Then it shows up and confuses us so much that the temperature is all we’re capable of discussing. Now, some people think it’s basic to talk about the weather, but not this guy – I’m all for it.

First of all, the weather is interesting as fuck. I don’t know how seasons work, or why cold wind colliding with warm wind makes a twister (note to self: watch the movie Twister again). We should be talking about the weather all the time; that’s how amazing it is! And secondly, I’d much rather have a strange chat about the weather than make any kind of meaningful small talk with these people. Imagine if instead of commenting on the inevitable heat of summer, that guy at the bus stop leant over to you and said: “I can’t connect emotionally with my nephew.” or “I’m afraid I’ll never be loved by anyone, because ultimately, I can’t love myself.” or “Let’s give Trump a chance.”

That nightmare aside, it is too hot for comedy at the moment. You can feel it in the comedy clubs.

I gigged on Monday night at a room that is always great, but Monday night was one of those HubbaBubba-in-bicycle-spokes nights. The host was pouring sweat, looking more and more like one of those chubby angel water features that nans have in their backyards. The heat got to every one of his jokes before it hit the crowd, frying it to dust before they had a chance to enjoy it.

They weren’t a bad audience, but they were glowing with that thin sheen of sweat you get after a light jog.

They had their arms pulled in close to their bodies to avoid touching sticky elbows with the stranger beside them. They were smiling, but laughter was not an option. It takes up too much energy, and forces more hot air into the low-ceilinged bunker of the club.

“IMAGINE IF INSTEAD OF COMMENTING ON THE INEVITABLE HEAT OF SUMMER, THAT GUY AT THE BUS STOP LEANT OVER TO YOU AND SAID: ‘I CAN’T CONNECT EMOTIONALLY WITH MY NEPHEW.’”

Look, most comedians are too vain to tell you they struggled. Not me – I’m real and brave and true. I did very mediocre that night. I tried, but it’s just hard to be funny when you can feel a small river running from the back of your neck to your arse crack.

The biggest laugh I got was when I blurted out, “Fuck this, let’s go to the pool.” It’s not a witty line. It’s literally just talking about the weather. But for that one moment we were all at the pool. Splashing around in the cool, clear water. Chilling our sizzling flesh.

Someone was handing out pool noodles. The boys were tackling each other into the deep end. Marco Polo in the shallows. We were laughing, we were cool, we were loving summer. It’s the prime of our lives, the water was fine, and we were never going to die.

For one small moment.

Then we were back in the sweat pit and I still had six minutes to go. It’s too hot to be funny.

what’s funny this week?

Wednesday February 8 Dirty Thunder at Hemingway’s in Manly. A fun, underground comedy club that always packs out.

Thursday February 9 A Mic In Hand at The Friend In Hand. Sydney’s best pro comics and up-and-comers doing their best gear.

Thursday February 9 – Saturday February 11 The Comedy Store. The best comics in Australia and the world do this room. (Plus I think I might be on.)

Cameron James is a stand-up comedian.

You can follow him on Twitter at @iamcameronjames, or in the streets.

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Cam Knight [COMEDY] Splitting Sides By Anna Wilson

“I

s this about Raw? Oh, sweet!” It’s understandable that Cam Knight has spaced on the reason for his interview with the BRAG, for the much-loved comedian-cum-actor-cum-writer is in a constant fluster of activity – he’s just had an audition for a radio show, and he bashfully remarks: “I think it went alright, but I can’t say anything else – who knows?”

Yes, even the most successful of the entertainment crop are still required to audition for new roles – but occasionally, an audition takes the form of a fun competition, particularly for the next generation of comics.

Enter the Raw Comedy competition. Melbourne International Comedy Festival’s annual hunt for the nation’s next undiscovered wit is holding its Sydney heats this month, and Knight emphatically dives into all things Raw. “It’s an [original comedy] competition that triple j has been running forever – the national grand champ winner has the opportunity to get taken over to Edinburgh Fringe Festival, then after that who knows? It’s a good opportunity for kids.

“I wish they’d stop doing it, but that’s just because I’m an old comedian who doesn’t need any more competition,” Knight adds, laughing. “Stop getting these children on, I’ve got bills to pay!”

Knight will be a guest MC at the Tuesday February 28 heat, and it’s clear Raw is a concept he is passionate about, harbouring fond memories from his previous involvement.

“There are other working comedians who say to me I hosted their semi or grand final, and I don’t remember them but it was a poignant moment for them, and for that reason, it’s a good opportunity in the business.”

The South Australian comic firmly believes that taking part in the competition can be a great tool to break into a comedy career. “There are people in the industry that started out in Raw – it has been a useful tool for a lot of people,” he says.

Indeed, Raw has given rise to many of our nation’s current crop of comedy talent: the likes of Chris Lilley, Josh Thomas, Hannah Gadsby and Ronny Chieng are just a few of those who have taken the plunge. Raw gets comics noticed – and more than this, it gets them coaching and direction from industry heavyweights. The focus is on the comedian, not the competition; on harnessing their talents and making sure they’re given the best direction for their skills to soar.

“You wanna get noticed,” says Knight. “You get into the final, you’re playing [Melbourne] Town Hall. “You’re mentored by people who’ve been in the

industry a long time, and [the winners] have to learn how to fly their own show. You get taught how to do festival shows until you’re ready to do your own hour.”

With or without a foothold like Raw, the world of standup comedy is tough – it’s an environment that requires a lot of practice and a lot of heart to succeed in. “You need to pay the bills so you’ve gotta take jobs,” Knight says. “There’s a lot of people out there that are calling themselves comedians, but yeah, if you can get a gig on TV or radio and are still able to have your own voice, it feeds itself.”

Knight is better placed than most to know what the Raw judges – and indeed, the audience – will be looking for throughout the competition.

“Each year is different – it’s the individuality of the person, the act,” he says. “There’s people who wanna be offensive or who have watched Bill Burr too much. The person who wins is quirky, individual. Sometimes they’re a real wackjob!

“It can also be on the night, that particular crowd loves the person, loves the vibe – that could be any comedian.

It could just be the right night.”

What: Raw Comedy 2017 Where: The Comedy Store When: Until Tuesday March 21

“THERE’S PEOPLE WHO WANNA BE OFFENSIVE OR WHO HAVE WATCHED BILL BURR TOO MUCH. THE PERSON WHO WINS IS QUIRKY, INDIVIDUAL.” thebrag.com

FOOD + DRINK

REVIEW FEATURE

A No-Nonsense Guide To The Types Of

Lot.1

PRICE PER MAIN

$: $0-10 $$: $10-20 $$$: $20-35 $$$$: $35-50 $$$$$: $50+

BY JESSICA WESTCOTT $$$$

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here’s much to be said about the ‘experience’ of modern dining.

More and more, millennials are stepping out of their traditional pub meal smoker jackets and leaning towards the type of evening that looks great on Instagram, and creates genuine memories without too much to-do.

Xiao Long Bao photo courtesy Alpha/Flickr / Mandu photo courtesy Ruocaled/Flickr / Momo photo courtesy Ritesh Man Tamrakar/Flickr / Gyoza photo courtesy Harajuku Gyoza

Many diners are aware of the multitude of food fads that are sweeping the world presently. A certain food writer has visited cat cafes in Canberra and a cereal cafe in London. There are freakshakes, cronuts, and the KFC double Mc-heart-attack – OK, I can’t remember its actual name, but it felt like that to eat. We’ve reached a point in culinary composition where radical new ideas are very much the norm, and finding fresh inspiration outside of a simple novelty seems unlikely.

long dark wooden beams across the ceiling and a huge wooden feature wall piece that is reminiscent of the crema of the espresso sold next door. This wooden feature is magnificent, and continues into each room, creating a soft, homey feel.

Rees, the restaurant manager, explains that the mission at Lot.1 is to create a certain sense of comfort, like at Nonna’s house. The Safe Bar next to the basement – used primarily as a function space – is based out of an 1817 bank safe and is filled to the brim with vintage cognac and whisky.

“Sydneysiders have long been addicted to the new and interesting, and we certainly have a f ine example here.”

Enter Lot.1, Sydney.

Tucked away unassumingly beside the Bavarian Bier Cafe on York Street lies Sydney’s newest three-piecesuit of a restaurant.

A dining room, espresso bar and a basement cocktail bar with a DJ all rolled into one, Lot.1 dubs itself “Sydney’s newest addiction”. A bold claim, but not remotely unfounded.

Sydneysiders have long been addicted to the new and interesting, and we certainly have a fine example here.

But the food is really the shining star of Lot.1, and a good reason to tout for ‘addiction’ status. A fivecourse tasting menu awaits us, and each is paired with a wine from an impressive lineup that adorns the walls behind our table. Tuna with veal and capers starts off the night – a delicate, fresh combination with just enough saltiness to whet your palate for four more courses. The tuna is like butter; it melts in your mouth. A gorgeous spatchcock and a hearty duck taglierini al ragu finish off the menu, but this writer couldn’t resist the dark chocolate biscotti dessert – which, although very rich, seemed to spout so many combinations of flavour it cemented the whole night.

This establishment aims to provide a fully guided culinary experience – one where you can have an aperitif by the window, followed by a riesling with a perfectly matched ragu (or is it the other way around?) and then head on downstairs to enjoy a cocktail and a dance, without ever leaving the building. The waiters are just attentive enough to guide you to your next destination, but never close to overbearing. The whole place just feels… cool. Like the kind of place you’d take your European lover to, but also your gnarly Grandma who loves a Scotch.

Lot.1 is a hideaway you’ll want to make your own. Addiction, obsession, or merely a satiated curiosity, this place has a lot of promise, and promises a lot. Try the grigio, have a dance, find a group of people you love and spend the evening.

The Manhattan-loft-inspired interior is dark and warm, with exposed brickwork,

Where: 18/20 York St, Sydney More: lot1sydney.com.au

B

Dumplings In Sydney

BY JADE SMITH

oiled, steamed, pan fried, deep fried. With so many varieties of dumplings available from around the globe, there’s certainly a special place in Sydney’s heart for these delicious little buggers – so let’s expand our dumpling horizons and take a look at a few names currently doing the rounds on local menus.

Xiao Long Bao A fan favourite in Sydney, the xiao long bao is more of a ‘dumpling’ in inverted commas. While not technically considered as such by many in the know, they appear on menus of some of Sydney’s most prominent dumpling restaurants such as Din Tai Fung and Taste Of Shanghai. The reason they’re not technically dumplings is because they have a thinner skin to most Chinese versions, such as your stock-standard jiaozi, and have a very distinct shape, pleated to a point at their apex to create a pillowy pocket of gelatinous goodness. They are also region-specific to Shanghai and usually made with pork or crab meat within (steaming hot) broth. However, due to their internally soupy nature, there is a correct way to eat xiao long bao. To avoid wearing the scalding broth, you must scoop one onto a spoon, gently pierce it with your chopsticks to empty the soup, eat the dumpling, then sip the cooled broth.

Gyoza Also delightfully plentiful in Sydney are Japanese gyoza, historically borrowed from the Chinese jiaozi, but with small yet noticeable variations. While similarly pleated into a fan-like shape, gyoza are usually smaller, more delicate than their relatives and are served more as a side dish than as a meal on their own. Gyoza wrappers are also much thinner, which creates an altogether different texture, despite being typically pan fried on one side and steamed to create a beautifully golden bottom. If you’re a fan of gyoza then you’ll be stoked to know that there’s a whole bar devoted to them. Harajuku Gyoza in Potts Point sells pork, chicken, duck, prawn and vegetable options.

Mandu/Mandoo If you don’t find our familiar fanned friend the gyoza in your local Japanese restaurant or sushi train, the dumplings there may actually resemble the Korean mandu, or Romanised ‘mandoo’. Loosely related to gyoza, they are rough semi-circles in shape, usually without any pastry pleats, and can be deep fried or steamed. The fillings can also differ slightly, with many Sydney restaurants serving them with thick bean vermicelli inside, creating a light but substantial consistency. For more traditional purists, there are variations filled with kimchi. If you’re hunkering for mandu of the seafood variety, try Sydney Madang in the CBD.

Momo Lastly, we have the humble momo.

A native to Tibet with the love spread through Nepal, Bhutan and sections of India, this South Asian dumpling is yet another distant relative of the jiaozi, and widely available in Sydney. Momos are quite different from their cousins, however, as they are spiced with hot chilli and paprika.

They also contain fillings such as mushrooms, potato and cheese, as well as the familiar tropes of shrimp and chicken, and can often be found swimming in soup. For some traditional Nepalese momos of the steamed variety, you’ll have to try Himalayan Char Grill in Glebe.

While the list of Asian dumplings dominating Sydney’s cuisine scene certainly doesn’t end there, these can provide the stepping stones to a lifelong love affair with the little doughy gems.

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BRAG :: 699 :: 08:02:17 :: 19

BARS BRAG

ANNATA SYDNEY

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The ArtHouse 275 Pitt St, Sydney CBD (02) 9284 1200

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Mon noon-midnight; Tue – Wed 10am-midnight; Thu 10am-1.30am; Fri 10am-3am; Sat noon1.30am

Ash St Cellar 1 Ash St, Sydney CBD (02) 9240 3000 Mon – Fri 8.30am-11pm

What’s on the menu?

The à la carte menu offers diners a selection of fresh, seasonal dishes with flavours of global influence; dishes on the menu rotate with seasonal variation. Diners can choose to order dishes à la carte, or leave it to the professionals with The Annata Menu, a fivecourse shared set menu curated by our chefs, with the option of

matched wines. Highlights include burrata with hazelnut crumble and radicchio, Skull Island prawns with goat’s milk, olive oil and tobiko, John Dory with butter sauce, Sicilian olive and finger fennel, or wagyu tri-tip with whipped bone marrow, pickled onion and duxelles.

Care for a drink?

The cocktail list is a refl ection of Christian’s extensive experience

in cocktail bars, focusing on simple combinations with seasonal produce and bespoke ingredients. Highlights include the ever-changing seasonal cobbler (gin, fresh fruit, sherry, citrus), 2015 Bacardi Legacy fi nalist The Diplomat (rum, apricot, orgeat, cardamom and lime), or the Heather & Stone (jasmine-infused Jameson, pistachio syrup, citrus and suze). The two-glass-awarded wine list is a healthy mix of old world charm and new world cool, stretching from biodynamic classics from Austria, France and Italy, to an ever-evolving selection from Australia’s new guard of small producers embracing natural, organic and orange wines.

Sounds: The music evolves to fi t the night, from jazz, to lo-fi, sample-led hip hop during the week, to more up-tempo funk, soul and grooves on the weekend. Early week encourages a calm and intimate environment, while weekends carry an energetic buzz.

Highlights: Annata is a perfect date spot, whether it’s a first date or a wedding anniversary; our set menus and drink selection also make large groups a breeze and our friendly and engaging service means that any occasion, large or small, can be catered to in a perfect and appropriate fashion.

The food and drink selection are inventive and delicious, at a level unmatched on the Lower North Shore, yet the friendly neighbourhood bar atmosphere makes Annata a versatile choice, from after work or Saturday drinks to intimate dinners or large group functions.

The bill comes to: $50-70 per head for food. Wines start at $60/bottle or $12/glass, cocktails from $16.

20 :: BRAG :: 699 :: 08:02:17

PS40 40 King St, Sydney CBD Mon – Sat 4pm-midnight

Grandma’s Basement 275 Clarence St, Sydney CBD (02) 9264 3004 Mon – Fri 3pm-midnight; Sat 5pm-1am

Ramblin’ Rascal Tavern 199 Elizabeth St, Sydney CBD Mon – Fri noon-midnight

The Fox Hole 68A Erskine St, Sydney CBD (02) 9279 4369 Mon 7am-3pm; Tue – Fri 7am-late

Rockpool Bar & Grill 66 Hunter St, Sydney CBD (02) 8078 1900 Mon – Fri noon-3pm, 6-11pm; Sun 5.30-10pm

The Australian Heritage Hotel 100 Cumberland St, The Rocks (02) 9247 2229 Mon – Sun 11am-midnight

The Grasshopper 1 Temperance Ln, Sydney CBD (02) 9947 9025 Mon – Thu 4pm-midnight; Fri noon-1am; Sat 4pm-midnight

The Rook Level 7, 56-58 York St, Sydney CBD (02) 9262 2505 Mon, Sat 4pm-midnight; Tue – Fri noon-midnight

Bar Eleven Lvl 11, 161 Sussex St, Sydney CBD (02) 9290 4000 Mon – Thu 4-9pm; Fri – Sat 4-11pm

Hacienda Sydney 61 Macquarie St, Sydney CBD (02) 9256 4000 Sun – Thu noon-10.30pm; Fri – Sat noon-midnight

The Barber Shop 89 York St, Sydney CBD (02) 9299 9699 Mon – Wed 4pm-midnight; Thu – Fri 3pm-midnight; Sat 4pm-midnight

Harpoon Harry 40-44 Wentworth Ave, Sydney CBD (02) 8262 8800 Mon – Sat 11.30am-3am; Sun 11am-midnight

Barrio Cellar Basement Level, 58 Elizabeth St, Sydney (02) 9232 7380 Mon – Sun noon-late

Hudson Ballroom 53-55 Liverpool St, Sydney CBD Wed – Thu 5pm-11pm; Fri 5pm-3am; Sat 6pm-3am

Basement Bar Basement, 27-33 Goulburn St, Sydney CBD (02) 8970 5813 Mon – Thu 5pm-10pm; Fri – Sat 5pm-midnight

Kittyhawk 16 Phillip Ln, Sydney CBD Mon – Thu 3pm-midnight; Fri – Sat 3pm-2am

Assembly 488 Kent St, Sydney CBD (02) 9283 8808 Mon noon-midnight; Tue 5pm-midnight; Wed – Sat noon-midnight

The Baxter Inn Basement 152-156 Clarence St, Sydney CBD (02) 9221 5580 Mon – Sat 4pm-1am

Tell us about your bar: Annata is a wine bar and restaurant on Willoughby Road in Crows Nest. The wine, spirits and cocktail list is curated by owner and manager Christian Blair, ex-Eau De Vie manager and bartender at Rockpool Bar and Grill. The restaurant is a casual fi ne dining affair, with food by Jimmy Richardson, ex-Bridge Room sous chef and chef at Cafe Paci. Beyond the product, professional, friendly and personalised service is paramount. Our aim is to provide a delicious and creative mix of familiar and new fl avours presented in a warm and inviting atmosphere.

199 George St, Sydney CBD (02) 9250 3118 Mon – Sun noon-midnight

Beta Bar First Floor, 238 Castlereagh St, CBD (02) 8599 8970 Wed – Thu 5pm-midnight; Fri midday-midnight; Sat 5pm-midnight

The Lobo Plantation Basement Lot 1, 209 Clarence St, Sydney CBD 0415 554 908 Mon – Thu, Sat 4pm-midnight; Fri 2pm-midnight The Local Bar 161 Castlereagh St, Sydney CBD (02) 9953 0027 Mon – Wed 7.30am-10pm; Thu – Fri 7.30am-11pm

Bulletin Place First Floor, 10-14 Bulletin Place, Circular Quay Mon – Wed 4pm-midnight; Thurs – Sat 4pm-1am; Sun 4-10pm

The Loft (UTS) 15 Broadway, Sydney (behind 2SER) (02) 9514 1149 Mon – Thu 2-10pm; Fri 2-11pm

Burrow Bar De Mestre Place, Sydney 0450 466 674 Tue – Sun 4pm-midnight

Mojo Record Bar Basement 73 York St, Sydney CBD (02) 9262 4999 Mon – Wed 4pm-midnight; Thu 4pm-1am; Fri – Sat 4pm-1am

The Captain’s Balcony 46 Erskine St, Sydney CBD (02) 9299 3526 Mon – Fri noon-midnight; Sat 5pm-midnight deVine 32 Market St, Sydney CBD (02) 9262 6906 Mon – Fri noon-11.30pm; Sat 5.30-11.30pm Easy Eight 152-156 Clarence St, Sydney (02) 9299 3769 Tue – Sat 4pm-midnight El Camino Cantina 18 Argyle St, The Rocks (02) 9259 5668 Mon – Sun noon-midnight Frankie’s Pizza 50 Hunter St, Sydney CBD Sun – Thu 4pm-3am; Fri noon-3am Gilt Lounge 2/49 Market St, Sydney CBD (02) 8262 0000 Wed – Friday 5pm-midnight; Sat 6pm-midnight The Glenmore 96 Cumberland St, The Rocks (02) 9247 4794 Mon – Thu, Sun 11am-midnight; Fri – Sat 11am-1am Grain Bar

The Morrison 225 George St, Sydney CBD (02) 9247 6744 Mon – Wed 7.30am-11pm; Thu 7.30am-midnight; Fri 7.30am-2am; Sat 11.30am-2am Mr Tipply’s 347 Kent St, Sydney CBD (02) 9299 4877 Mon – Thu 11.30am-10pm; Fri 11.30am-midnight; Sat 10pm-4am The Palisade 35 Bettington St, Millers Point 9018 0123 Mon – Fri noon-midnight; Sat – Sun 11am-midnight Palmer & Co. Abercrombie Ln, Sydney CBD (02) 9240 3000 Sun – Weds 5pm-3am; Thu – Fri 3pm-3am; Sat 4pm-3am Papa Gede’s Bar Laneway at the end of 348 Kent St, Sydney CBD (02) 9299 5671 Mon – Fri 4pm-midnight; Sat 5pm-midnight Peg Leg Pyrmont 11a Pyrmont Bridge Rd, Pyrmont Mon – Thu 3pm-midnight; Fri – Sun 11am-midnight

The SG 32 York St, Sydney CBD Tue – Fri 4pm-midnight; Sat 6pm-midnight Shirt Bar 7 Sussex Ln, Sydney CBD (02) 8068 8222 Mon – Fri 8am-10pm Since I Left You 338 Kent St, Sydney CBD (02) 9262 4986 Mon – Tue 4.30-10pm; Wed – Fri 4.30pm-midnight; Sat 6pm-midnight Small Bar 48 Erskine St, Sydney CBD (02) 9279 0782 Mon – Fri noon-midnight; Sat 5pm-midnight The Smoking Panda 5-7 Park St, Sydney CBD (02) 9264 4618 Mon – Sat 4pm-late Stitch Bar 61 York St, Sydney CBD (02) 9279 0380 Mon – Tue 4pm-midnight; Wed – Sat 4pm-2am The Swinging Cat 44 King St, Sydney CBD (02) 9262 3696 Mon – Sat 4pm-midnight Tapa Vino 6 Bulletin Place, Circular Quay (02) 9247 3221 Mon – Fri noon-11.30pm; Sat 5-11.30pm Tuxedo Bar 195 Gloucester St, The Rocks Tue – Wed 3-9pm; Thu – Sat 3-10pm Uncle Ming’s 55 York St, Sydney CBD Mon – Fri noon-midnight; Sat 4pm-midnight York Lane 56 Clarence St, Sydney CBD (02) 9299 1676 Mon – Wed 6.30am-10pm; Thu – Fri 6am-midnight; Sat 6pm-midnight

121BC 4/50 Holt St, Surry Hills (02) 9699 1582 Tue – Sat 5pm-midnight Absinthe Salon 87 Albion St, Surry Hills (02) 9211 6632 Wed – Sat 4-10pm Arcadia Liquors 7 Cope St, Redfern (02) 8068 4470 Mon – Fri 4pm-midnight; Sat 3pm-midnight; Sun 3-10pm Bar Cleveland Cnr Bourke & Cleveland St, Redfern (02) 9698 1908 Mon – Thu 10am-2am; Fri – Sat 10am-4am Bar H 80 Campbell St, Surry Hills (02) 9280 1980 Mon – Sat 6pm-11.30 Bellini Lounge 2 Kellett St, Potts Point (02) 9331 0058 thebrag.com

Thu – Sun 6pm-late

The Beresford 354 Bourke St, Surry Hills (02) 8313 5000 Mon – Sun noon-1am Big Poppa’s 96 Oxford St, Darlinghurst Mon – Sun 5pm-3am Black Penny 648 Bourke St, Surry Hills (02) 9319 5061 Mon – Fri 3pm-midnight; Sat noon-midnight; Sun noon-10pm Button Bar 65 Foveaux St, Surry Hills (02) 9211 1544 Mon – Sat 4pm-midnight Café Lounge 277 Goulburn St, Surry Hills (02) 9016 3951 Mon – Thu 5pm-midnight; Fri – Sat 4pm-midnight; Sunday 4-10pm Casoni Italian Bar & Eatery 371-373 Bourke St, Darlinghurst Tue – Thu 5pm-11pm; Fri – Sat 5pm-midnight; Sun 5pm-10pm Central Tavern 42-50 Chalmers St, Surry Hills (02) 9212 3814 Mon – Sat 10am-2am; Sun 10am-10pm Ching-a-Lings 1/133 Oxford St, Darlinghurst (02) 9360 3333 Wed 6-11pm; Thu – Sat 6pm-1am; Sun 5-10pm The Cliff Dive 16-18 Oxford Square, Darlinghurst Fri – Sat 8pm-3am The Commons 32 Burton St, Darlinghurst (02) 9358 1487 Tue – Wed 6pm-midnight; Fri noon-1am; Sat 8.30am-1am; Sun 8.30am-11pm Darlo Bar 306 Liverpool St, Darlinghurst (02) 9331 3672 Mon – Sun 10am-midnight Darlo Country Club Level 1, 235 Victoria St, Darlinghurst (02) 9380 4279 Wed – Thu 5pm-midnight; Fri – Sat 5pm-2am Dead Ringer 413 Bourke St, Surry Hills (02) 9331 3560 Mon – Fri 5pm-midnight; Sat noon-midnight; Sun noon-midnight Della Hyde 34 Oxford St, Darlinghurst Thu – Sat 5pm-late Eau-De-Vie 229 Darlinghurst Rd, Darlinghurst 0422 263 226 Sun – Fri 6pm-1am; Sat 6pm-midnight The Exchange 34 Oxford St, Darlinghurst (02) 9358 2311 Mon – Sun noon-late Fonzarelli’s 65-67 Foveaux St, Surry Hills 0402 874 511 Wed – Sun 5pm-midnight The Forresters 336 Riley St, Surry Hills (02) 9212 3035 Mon – Wed noonmidnight; Thu – Sat noon1am; Sun noon-10pm Gardel’s Bar 358 Cleveland St, Surry Hills (02) 8399 1440 Tue – Sat 6pm-midnight thebrag.com

Golden Age Cinema & Bar 80 Commonwealth St, Surry Hills (02) 9211 1556 Wed – Fri 4pm-midnight; Sat – Sun 2:30pm-midnight Goros 84-86 Mary St, Surry Hills (02) 9212 0214 Mon – Wed 11:30am-midnight; Thu 11:30am-1am: Fri 11:30am-3am; Sat 4pm-3am Hinky Dinks 185 Darlinghurst Rd, Darlinghurst (02) 8084 6379 Mon – Sat 4pm-midnight; Sun 2-11pm Hollywood Hotel 2 Foster St, Surry Hills (02) 9281 2765 Mon – Wed 10am-midnight; Thu – Sat 10am-3am The Horse 381 Crown St, Surry Hills 1300 976 683 Mon – Sat noon-midnight; Sun noon-10pm Jangling Jack’s Bar & Grill 175 Victoria St, Potts Point Tue – Wed 4-11pm, Thu – Sat 4-1am, Sun noon11pm Hustle & Flow Bar 3/105 Regent St, Redfern (02) 8964 93932 Tue – Thu 6pm-midnight; Fri – Sat 5pm-midnight; Sun 2pm-midnight Li’l Darlin Darlinghurst 235 Victoria St, Darlinghurst (02) 8084 6100 Mon – Sun 4pm-midnight Li’l Darlin Surry Hills 420 Elizabeth St, Surry Hills (02) 9698 5488 Mon – Fri noon-11pm; Sat 4pm-midnight LL Wine and Dine 42 Llankelly Place Potts Point (02) 9356 8393 Mon – Thu 5pm-11pm; Fri – Sat 5pm-midnight; Sun 11am-10pm The Local Taphouse 122 Flinders St, Darlinghurst (02) 9360 0088 Mon – Wed noonmidnight; Thu – Sat noon1am; Sun noon-11pm The Long Goodbye 1/83 Stanley Street, Darlinghurst (02) 8957 7674 Tue 5-11pm; Wed – Sat 5pm-midnight; Sun 5-10pm Love, Tilly Devine 91 Crown Ln, Darlinghurst (02) 9326 9297 Mon – Sat 5pm-midnight; Sun 5-10pm Low 302 302 Crown St, Surry Hills (02) 9368 1548 Mon – Sun 6pm-2am Mr Fox 557 Crown St, Surry Hills 0410 470 250 Tue – Wed 4pm-midnight; Thu – Fri 4pm-midnight; Sat 3pm-midnight; Sun 10am-10pm Moya’s Juniper Lounge 101 Regent St, Redfern 0431 113 394 Tue – Sat 4pm-11pm; Sun 2-10pm

The Noble Hops 125 Redfern St, Redfern 0431 113 394 Mon – Fri 4pm -midnight; Sat 3pm-midnight; Sun 3pm-10pm The Norfolk 305 Cleveland St, Surry Hills (02) 9699 3177 Mon – Sat noon-midnight; Sun noon-10pm Old Growler 218 William St, Woolloomooloo 0458 627 266 Tue – Sat 5pm-midnight; Sun 4-10pm The Oxford Circus 231 Oxford St, Darlinghurst 0457 353 384 Wed – Sat 6pm-3am The Owl House 97 Crown St, Darlinghurst 0401 273 080 Mon – Fri 4pm-midnight; Sat 6pm-midnight; Sun 6-10pm Peekaboo 120 Bourke St, Woolloomooloo 0403 747 788 Tue – Thu 4pm-10pm; Fri – Sat 4pm-midnight Play Bar 72 Campbell St, Surry Hills (02) 9280 0885 Tue – Thu 5pm-midnight; Fri 4pm-midnight; Sat 5pm-midnight

(02) 9331 8063 Mon – Sun 3pm-midnight

The Tilbury Hotel 12-18 Nicholson St, Woolloomooloo (02) 9368 1955 Mon 9am-10pm; Tue – Fri 9am-midnight; Sat 10am-midnight; Sun 10am-10pm

Vasco 421 Cleveland St, Redfern 0406 775 436 Mon – Sat 5pm-midnight The Village Inn 9-11 Glenmore Rd, Paddington (02) 9331 0911 Mon – Sun noon-late The Wild Rover 75 Campbell St, Surry Hills (02) 9280 2235 Mon – Sat 4pm-midnight The Winery 285A Crown St, Surry Hills (02) 9331 0833 Mon – Sun noon-midnight

The Powder Keg 7 Kellett St, Potts Point (02) 8354 0980 Wed – Thu 5pm-midnight; Fri – Sat 4:30pm-midnight; Sun 5pm-midnight

Bat Country 32 St Pauls St, Randwick (@ The Spot) (02) 9398 6694 Mon – Sat 7am-midnight; Sun 7am-10pm

The Print Room 11 Glenmore Rd, Paddington (02) 9331 0911 Thu – Fri noon-midnight; Sun – Wed noon-10pm

Beach Road Hotel 71 Beach Rd, Bondi Beach (02) 9130 7247 Mon – Fri 11am-1am; Sat 10am-1am; Sun 10am-10pm

Queenie’s Upstairs 336 Riley St, Surry Hills (02) 9212 3035 Tue – Thu 6pm-late, Fri noon-3pm & 6pm-late; Sat 6pm-late

Bondi Hardware 39 Hall St, Bondi (02) 9365 7176 Mon – Thu 4pm-midnight; Fri noon-midnight; Sat 9am-midnight; Sun 9am-10pm

Riley St Garage 55 Riley St, Woolloomooloo (02) 9326 9055 Mon – Sat noon-midnight

The Bucket List Shop 1, Bondi Pavilion, Queen Elizabeth Drive (02) 9365 4122 Mon – Sun 11am-midnight

Roosevelt 32 Orwell St, Potts Point (02) 8696 1787 Tue – Fri 5pm-midnight; Sat noon-midnight; Sun 3-10pm

The Corner House 281 Bondi Rd, Bondi (02) 8020 6698 Mon – Fri 5pm-midnight; Sat 9am-midnight; Sun 9am-10pm

The Soda Factory 16 Wentworth Ave, Surry Hills (02) 8096 9120 Mon – Wed 5pm-midnight; Thu – Fri 5pm-3am; Sat – Sun 6pm-3am

Fat Ruperts 249 Bondi Rd, Bondi (02) 9130 1033 Tue – Fri 4-11pm; Sat – Sun 2-11pm Jam Gallery 195 Oxford St, Bondi Junction (02) 9389 2485 Wed – Sat 7pm-3am The Phoenix Hotel 1 Moncur St, Woollahra (02) 9363 2608 Mon – Wed 4-11pm; Thu – Fri noon-11pm; Sat – Sun 8am-11pm

Surly’s 182 Campbell St, Surry Hills (02) 9331 3705 Mon – Sat noon-midnight; Sun noon-10pm

The Robin Hood Hotel 203 Bronte Rd, Waverley (02) 9389 3477 Mon-Sat 10am-3am; Sun 10am-10pm

Sweethearts Rooftop 33/37 Darlinghurst Rd, Potts Point (02) 9368 7333 Mon – Thu 4pm-midnight; Fri – Sun noon-midnight

Selina’s at Coogee Bay Hotel 253 Coogee Bay Rd, Coogee (02) 9665 0000 Selina’s Thu 8pm-midnight; Coogee Bay Hotel Mon – Thu 7am-3am, Fri – Sat 7am-6am; Sun 7am-midnight

This Must Be The Place 239 Oxford St, Darlinghurst

FEB

News

2017

Game On! Retro Gaming Night Good Game

Tipple Bar 28 Chalmers St, Surry Hills (02) 9212 0006 Mon midday-10pm; Tue – Sat midday-midnight

Anchor Bar 8 Campbell Pde, Bondi (02) 8084 3145 Mon – Fri 5pm-late; Sat – Sun 12.30pm-late

Shady Pines Saloon Shop 4, 256 Crown St, Darlinghurst Mon – Sun 4pm-midnight

Gaming news and reviews with Adam Guetti

Tio’s Cerveceria 4-14 Foster St, Surry Hills (02) 9368 1955 Mon – Sat 4pm-midnight

Pocket Bar 13 Burton St, Darlinghurst (02) 9380 7002 Mon – Sun 4pm-midnight

Rosie Campbell’s 320 Crown St, Surry Hills (02) 9356 4653 Mon – Thu 5pm-midnight; Fri – Sun 11am-midnight

game on

Good Game Says Goodbye

In rather unexpected and sad news, Good Game – Australia’s longest-running television show about video games – has been cancelled. “After the program’s summer break, two of the key presenters of Good Game announced they were leaving to pursue other opportunities,” announced an official statement released by the program. “In light of this major setback, and changes in the way audiences are choosing to get their information about gaming, the ABC has decided to end the long and successful run of the show.” The show’s online counterparts Pocket and Well Played were also axed, while the child-friendly iteration Spawn Point is the sole survivor.

“I’m so proud of the work we did, and the team who made it all possible,” wrote the series’ remaining host, Steven ‘Bajo’ O’Donnell, in a personal message to fans. “We tried to make a show for you, by us, and did our very best to bring you what you wanted.” The show will be sorely missed, and we wish all involved the best of luck.

Deus Ex Gets Shelved

Deus Ex fans are bound to be a little disappointed this month, as news has surfaced that the sci-fi series has been placed on hiatus, at least for the foreseeable future.

Publisher Square Enix has apparently made the decision in part due to underwhelming sales of the most recent Deus Ex game, Mankind Divided. However, its justification may also stem from working on other projects. Eidos Montreal, the team behind the game, will reportedly be kept busy on both the latest entry in the rebooted Tomb Raider series (Shadow Of The Tomb Raider) and games for the new Square Enix/Marvel partnership, beginning with a previously revealed Avengers project.

Deus Ex

WHAT’S ON

The Bells Hotel 1 Bourke St, Woolloomooloo (02) 9357 3765 Mon – Sun 10am-1am

Gazebo 2 Elizabeth Bay Rd, Elizabeth Bay (02) 8070 2424 Tue – Sun noon-midnight

Newtown’s 1989 Kitchen & Arcade is one of Sydney’s newest and finest video gamethemed establishments, serving old-school games alongside your latte. Its latest event, Game On!, embraces nostalgic charm by running an evening of retro gaming. Taking place on Wednesday February 22 between 6pm and 10pm, you’ll be free to mingle with likeminded gamers while you get your hands on arcade greats including Teenage Mutant Ninja Turtles, The Simpsons, NBA Jam, Point Blank 2, Street Fighter 2 and Ghosts ’N Goblins. That’s because 1989 possesses an absolute bevvy of consoles including the Nintendo Entertainment System, Atari 2600, Sega Master System, Sega Mega Drive and Sega Saturn. Tickets are only $11.44 but are limited to 40 people, so if you’re interested, head to eventbrite. com.au pronto.

Cosplay Night

Love to spend your time whipping up whacky and/or wonderful cosplay costumes in order to celebrate your favourite video game or pop culture properties, but have nowhere to wear them? Well, the good news is that you needn’t wait for convention season to begin, because Spawn Point Small Bar’s Cosplay Night is back for 2017.

Taking place on Saturday February 11 from 5-11pm, the underground Clarence Street bar will act as a loving hub for any cosplayers who wish to road-test potential outfits and compete against some of the best. There will be a judging panel in place to help officiate proceedings, meaning if you attend, you’ll have the chance to walk away with some great prizes. Entry is free, so mosey on over, try one of their custom cocktails, snack on some pizza and enjoy what is bound to be a great night. For more details check out Spawn Point Small Bar’s Facebook page.

Review: PlayStation VR

W

ith virtual reality now widely accessible to mainstream audiences, attempting to capture the hearts and minds of gamers the world over, it’s high time we take the leap into another world and go heads-on with what is arguably the most affordable unit of the bunch, PlayStation VR (PS VR).

Having been in development for a few years now, it’s instantly clear that PS VR is a sleekly refined product. Setting the actual unit up is surprisingly time-consuming and filled with cables, but once you’ve got yourself sorted, it’s rather smooth sailing. The actual software, however, is unfortunately a little hit or miss.

PlayStation VR Worlds, for example, is certainly one of the best implementations of the technology, ranging from underwater adventures to intense shoot-outs, but lacks substantial depth. Meanwhile, Until Dawn: Rush Of Blood is an incredibly unsettling and creepy experience that becomes slightly undone by operating as an on-rails shooter. Thankfully, Eve: Valkyrie, the strongest title of the bunch, fares much better by placing you into the cockpit of a space fighter capable of zooming around space at intergalactic speeds. It’s fast, it’s frantic and is one of the best examples of the technology so far – provided it doesn’t make you queasy.

At the end of the day, despite what Sony may claim, there is no killer reason to shell out hundreds of dollars for a PS VR right now unless you’re a diehard tech fan, especially when the unit is more expensive than the console it’s compatible with. It’s certainly more affordable than key competitors, and is a great jumping off point for the technology, but desperately needs somebody to make the most of the potential within. Here’s hoping with more focused software and a few updates, PS VR becomes a permanent fixture in our living rooms.

Adam Guetti

BRAG :: 699 :: 08:02:17 :: 21

out & about Queer(ish) matters with Arca Bayburt

Meet The Unsung Heroes Of The LGBT Community

“G

irls’ School Principal Bans Trousers, Opposes Gay/Straight Alliance”.

It’s not exactly a 21st century headline, but let me explain. I was chatting to a high school teacher friend of mine who had expressed interest in facilitating a more welcoming environment for the queer kids at a femaleonly school. The principal wasn’t exactly on board with the idea.

Now, the principal has banned trousers, blocked the formation of a gay/ straight alliance and opposed a ‘Wear It Purple’ day in a bizarre act of regression.

My teacher pal went on to explain that her recent trip to the Safe Schools Coalition symposium in Melbourne was a source of inspiration for her.

“These guys are affiliated with Sexual Health and Family Planning and they are essentially trying to get schools to be more inclusive for students who identify as lesbian, gay, bisexual or transgender,” she said.

In the meantime, any of this teacher’s efforts to create an inclusive space in the school have been repeatedly shot down by the current principal, the most recent of them being the proposal to hold a Wear It Purple day. The plan was for students to wear a purple ribbon to show support for their peers,

for the diary…

On Friday February 10, head over to The Shift Club on Oxford Street for the opening of its new Friday show, Censored Grandeur: Let Them Eat C@$!.

Dom De Sousa will be resident DJ for the evening and performers include Ripley Waters, Thomas Peisley, Ms. Charisma Belle and Marilyn Mootrub. Free entry.

Val York

regardless of their sexual orientation or gender expression. Eventually, she got permission to run Wear It Purple as a trial, “albeit with absurd limitations that were highly suspect”.

Another of the school’s staff members attempted to find a speaker for the Wear It Purple day – somebody who would be able to demythologise the issues surrounding LGBT experiences at school – but was met with staunch opposition by the principal, who instead wanted a religious speaker to provide “a balanced and fair approach to these delicate and controversial issues”.

Ultimately, the proposal for an LGBT representative to speak to an assembly of students was knocked back. “We just kept having to jump through hoops and wade through endless bureaucratic process to even get a foot in the door in terms of discussion.

The principal is a rightwing c**t, which in itself is not an issue – our previous principal was of the Christian Right ilk, but being positively cadaverous he hardly posed a threat.

The current principal is active and aggressive

On Saturday February 11, Snatch And Grab is hosting its annual Mardi Pardi warm-up with Girlthing: Femme Nation Army at the Imperial Hotel in Erskineville.

Featuring are Val York, Matka, NatNoiz, Bella Louche, Yemisul and Tammy Thomas, with more to be announced.

It’s the party to kick off the Mardi Gras season, and tickets are available now.

in her opposition to any LGBT conversation in school unless it’s through a religious lens, and we all know what that looks like.”

Despite these teachers’ failed efforts to run a Wear It Purple day longterm, they will not be discouraged. A senior staff member told us: “Despite being DEC-endorsed and indeed championing federal law, we were still barely able to get the Wear It Purple proposal on the table, but I believe that persistence is key and we will eventually be able to make the Wear It Purple day and gay/straight alliance happen, and eventually create a safe space at school for LGBT students and their allies. I want to remain optimistic despite the oppressive political climate at school.

“My long-term view is to eventually start a gay/ straight alliance at school.

And if they don’t let me, I will contact the Department of Education and Communities and claim they are not fulfilling their duty of care. I’m not afraid to fight dirty.”

Now this is the kind of hero our community needs.

And for the diary, Sunday February 19 is Mardi Gras Fair Day. After some uncertainty over the venue, it has now been confirmed Fair Day will return to Camperdown Memorial Rest Park. This is one of the most loved Mardi Gras events and it attracts over 80,000 people. Think of it as a big gay picnic, with entertainment including the cast of Kinky Boots and Swing Out Sydney.

Speakeasy 83 Curlewis St, Bondi (02) 9130 2020 Mon – Sat 5-11pm; Sun 4-10pm Spring Street Social 110 Spring St, Bondi Junction (02) 9389 2485 Tue – Sat 5pm-3am Stuffed Beaver 271 Bondi Rd, Bondi (02) 9130 3002 Mon – Sat noon-midnight; Sun noon-10pm

Bar-racuda 105 Enmore Rd, Newtown (02) 9519 1121 Mon – Sat 6pm-midnight Batch Brewing Company 44 Sydenham Rd, Marrickville (02) 9550 5432 Mon – Sun 10am-8pm Bauhaus West 163 Enmore Rd, Enmore (02) 8068 9917 Fri – Sat 4pm-midnight The Bearded Tit 183 Regent St, Redfern (02) 8283 4082 Mon – Fri 4-11pm; Sat 2-11pm; Sun 2-10pm B.E.D. 36 Glebe Point Rd, Glebe (02) 9660 0678 Tue – Sat 2pm-midnight; Sun 2-10pm Blacksheep 256 King St, Newtown (02) 8033 3455 Mon – Fri 4pm-11pm; Sat 2pm-11pm; Sun 2pm-10pm Bloodwood 416 King St, Newtown (02) 9557 7699 Mon – Fri 5pm-midnight; Sat noon-midnight; Sun noon-10pm Calaveras 324 King St, Newtown 0451 541 712 Tue – Wed 6-10pm; Thu 5-11pm; Fri – Sat 5pm-midnight; Sun 5.3010pm Cornerstone Bar & Food 245 Wilson St, Eveleigh (02) 8571 9004 Sun – Wed 10am-5pm; Thu – Sat 10am-midnight Corridor 153A King St, Newtown 0405 671 002 Mon 5pm-midnight; Tue – Thu 4pm-midnight; Fri – Sun 3pm-midnight Cottage Bar & Kitchen 342 Darling St, Balmain (02) 8084 8185 Mon – Wed 5pm-midnight; Thu – Sat noon-midnight Deus Sydney Bar + Kitchen 98-104 Parramatta Rd, Camperdown (02) 9519 0849 Mon-Tue 8am-3pm; WedSun 8am-11pm Different Drummer 185 Glebe Point Rd, Glebe (02) 9552 3406 Mon 4.30-11pm; Tue – Wed 4.30pm-1am; Thu – Sat 4.30pm-2am; Sun 4.30am-midnight Doris & Beryl’s Bridge Club and Tea House 530 King St, Newtown Mon – Fri 5pm-midnight; Sat – Sun 3.30pm-midnight

22 :: BRAG :: 699 :: 08:02:17

Mon – Sat 11am-midnight; Sun noon-10pm

noon-midnight; Sun noon10pm

Freda’s 109 Regent St, Chippendale (02) 8971 7336 Tue – Sat 4pm-midnight; Sun 4pm-10pm

The Record Crate 34 Glebe Point Rd, Glebe (02) 9660 1075 Mon – Thu 5pm-midnight; Sat noon-midnight; Sun 3-10pm

The Gasoline Pony 115 Marrickville Rd, Marrickville 0401 002 333 Tue – Thu 5-11.30pm; Fri – Sat 3-11.30pm; Sun 3-9.30pm

The Royal 156 Norton St, Leichhardt (02) 9569 2638 Mon – Thu 10am-1am; Fri – Sat 10am-3am; Sun 10am-midnight

The Grifter Brewing Co. 1/391-397 Enmore Rd, Marrickville (02) 9550 5742 Thu 4-9pm; Fri – Sat noon-9pm; Sun noon-7pm The Hideaway Bar 156 Enmore Rd, Enmore (02) 8021 8451 Tue– Thu 4pm-midnight; Fri – Sat 4pm-1am Hive Bar 93 Erskineville Rd, Erskineville (02) 9519 1376 Mon – Sat noon-midnight; Sun noon-10pm Kelly’s On King 285 King St, Newtown (02) 9565 2288 Mon – Sat 10am-11pm; Sun 11pm-midnight Kingston Public Bar & Kitchen 62-64 King St, Newtown (02) 8084 4140 Mon – Thu 4pm-midnight; Fri – Sun 2pm-midnight

Secret Garden Bar 134a Enmore Rd, Enmore 0403 621 585 Mon – Tue 7am-5pm; Wed – Fri 7am-11pm; Sat 7am-10pm; Sun 7am-11pm Staves Brewery 4-8 Grose Street, Glebe (02) 9280 4555 Thu 4-10pm; Fri – Sat 4pm-midnight; Sun 4-10pm Temperance Society 122 Smith St, Summer Hill (02) 8068 5680 Mon – Thu 4pm-11pm; Fri – Sat 3pm-midnight; Sun 3-10pm Thievery 91 Glebe Point Rd, Glebe (02) 8283 1329 Mon – Thu 6pm-11pm; Fri 6pm-midnight; Sat noon3pm & 6pm-midnight The Thirsty Wolf 127 King St, Newtown (02) 9517 2081 Tue – Sat 6pm-midnight; Sun 6-10pm

Knox Street Bar Cnr Knox & Shepherd St, Chippendale (02) 8970 6443 Tue – Thu 4-10pm; Fri – Sat 4pm-midnight

Timbah 375 Glebe Point Rd, Glebe (02) 9571 7005 Tue – Thu 4-10pm; Fri 4-11pm; Sat 3pm-11pm; Sun 4pm-8pm

Kuleto’s 157 King St, Newtown (02) 9519 6369 Tue – Sat 4pm-3am; Sun 4pm-midnight

Vernon’s Bar L2. One Penny Red, 2 Moonbie St. Summer Hill (02) 9797 8118 Mon 4-10pm; Tue – Thu 4-11pm; Fri – Sat 4-midnight; Sun 4-10pm

Leadbelly 42 King St, Newtown (02) 9557 9409 Sun – Thur 4pm-midnight; Fri-Sat 4pm-1am The Little Guy 87 Glebe Point Rd, Glebe (02) 8084 0758 Mon – Fri 4pm-midnight; Sat 1pm-midnight; Sun 3pm-10pm Mary’s 6 Mary St, Newtown (02) 4995 9550 Mon – Thu 4pm-midnight; Fri – Sat noon-midnight The Midnight Special 44 Enmore Road, Newtown (02) 9516 2345 Tue – Fri 5pm-noon; Sat 1pm-midnight Miss Peaches 201 Missenden Rd, Newtown (02) 9557 7280 Wed – Sun 5pm-midnight Mr Falcon’s 92 Glebe Point Rd, Glebe (02) 9029 6626 Mon – Thu 4pm-midnight; Fri 3pm-midnight; Sat noon-midnight; Sun 4pm-10pm Newtown Social Club 387 King St, Newtown (02) 9550 3974 Mon – Thu 4pm-midnight; Fri – Sat noon-2am; Sun noon-10pm

Earl’s Juke Joint King St, Newtown Mon – Sat 4pm-midnight

The Oxford Tavern 1 New Canterbury Rd, Petersham (02) 8019 9351 Mon – Thu noon-midnight; Fri – Sat noon-3am; Sun noon-10pm

Forest Lodge Hotel 117 Arundel St, Forest Lodge (02) 9660 1872

Lord Raglan 12 Henderson Rd, Alexandria (02) 9699 4767 Mon – Sat

Wayward Brewing Co. 1 Gehrig Ln, Annandale (02) 7903 2445 Thu – Fri 2-10pm; Sat noon-10pm; Sun noon-8pm Websters Bar 323 King St, Newtown (02) 9519 1511 Mon – Sat 10am-4am; Sun 10am-midnight Wilhelmina’s 332 Darling St, Balmain (02) 8068 8762 Wed – Fri 5-11pm; Sat 8-11pm; Sun 8am-10pm The Workers Lvl 1, 292 Darling St, Balmain (02) 9555 8410 Fri – Sat 5pm-3am; Sun 2pm-midnight Young Henrys D & E, 76 Wilford St, Newtown (02) 9519 0048 Mon – Fri noon-7pm; Sat 10am-7pm; Sun 11am-7pm Zigi’s Wine And Cheese Bar 86 Abercrombie St, Chippendale (02) 9699 4222 Tue 4pm-10pm; Wed 4pm-midnight; Thu – Sat 3pm-midnight

Annata Sydney 9 Willoughby Rd, Crows Nest (02) 9437 3700 Tue – Thu 3pm-late; Fri noon-late; Sat 3pm-late Crooked Tailor 250 Old Northern Road, Castle Hill (02) 9899 3167 Mon – Sun 4pm-midnight

Want your bar listed? Email chris@ seventhstreet.media

Daniel San 55 North Steyne, Manly (02) 9977 6963 Mon – Thu 4pm-midnight; Fri – Sun 11am-2am Firefly 24 Young St, Neutral Bay (02) 9909 0193 Mon – Wed 5-11pm; Thu 5-11.30pm; Fri noon11.30pm; Sat noon-11pm; Sun noon-10pm The Foxtrot 28 Falcon St, Crows Nest Tue – Wed 5pm-midnight; Thu 5pm-1am; Fri 4pm-2am; Sat 5pm-2am; Sun 4-10pm The Hayberry Bar & Diner 97 Willoughby Road, Crows Nest (02) 8084 0816 Tue – Thu 4pm-midnight; Fri & Sat noon-midnight Sun noon-10pm Hemingway’s 48 North Steyne, Manly (02) 9976 3030 Mon – Sat 8am-midnight; Sun 8am-10pm The Hold Shop 4, Sydney Rd Plaza, Manly (02) 9977 2009 Tue – Fri 5pm-midnight; Sat 3pm-midnight; Sun 3-10pm Honey Rider 230 Military Rd, Neutral Bay (02) 9953 8880 Tue – Sat 4pm-midnight; Sun 4pm-10pm InSitu 1/18 Sydney Rd, Manly (02) 9977 0669 Tue – Fri 4pm-midnight; Sat 9am-midnight; Sun 9am-10pm The Hunter 5 Myahgah Rd, Mosman 0409 100 339 Mon – Tue 5pm-midnight; Wed – Sat noon-midnight; Sun noon- 10pm Jah Bar Shop 9, 9-15 Central Ave, Manly (02) 9977 4449 Tue 5pm-midnight; Wed-Fri noon-midnight; Sat 8am-midnight; Sun 9am-10pm Manly Wine 8-13 South Steyne, Manly (02) 8966 9000 Mon – Sun 7am-11pm Miami Cuba 47 North Steyne, Manly 0487 713 350 Mon – Sun 8am-4pm Moonshine Lvl 2, Hotel Steyne, 75 The Corso, Manly (02) 9977 4977 Mon – Thu 9am-3pm; Fri – Sat 9am-2am; Sun 9am-midnight The Pickled Possum 254 Military Rd, Neutral Bay (02) 9909 2091 Thu – Sat 9pm-1am SoCal 1 Young St, Neutral Bay (02) 9904 5691 Mon – Wed 5pm-midnight; Thu 5pm-1am; Sat noon-2am; Sun noon-midnight The Stoned Crow 39 Willoughby Rd, Crows Nest (02) 9439 5477 Mon – Sat noon-late; Sun 11.30am-10pm The Treehouse Hotel 60 Miller St, North Sydney (02) 8458 8980 Mon – Fri 7am-midnight; Sat 2pm-midnight thebrag.com

Album Reviews What's been crossing our ears this week...

ALBUM OF THE WEEK ELBOW Little Fictions Polydor/Universal

On the whole, Little Fictions is a wonderful collection of serenades.

‘Magnificent (She Says)’ contains lyrics that just make you melt: Garvey croons lines like “This is where the echoes swell to nothing on the tide” in a poignant track that sees a thick Mancunian accent

carry over a captivating melody, moving with a certain grace from the major to minor key. It’s certainly the album’s standout track, but even with the heavier and more upbeat ‘All Disco’ and ‘Gentle Storm’, Elbow harbour a particular manipulation of instrumentation and rhythm alongside Garvey’s wonderfully simple poetry.

xxx

There’s a captivating whimsy present across the new release from Elbow. The British alt-rockers have been hard at work producing their seventh album Little Fictions –their first without long-time drummer Richard Jupp – and the results embrace a more minimal aesthetic, yet still retain Guy Garvey’s songwriting mastery. It’s an addition to their discography that celebrates the doldrums of life in a way that fans will more than delight in.

Little Fictions has the ability to embrace you with a warmth that will make you feel small and content, yet it can still overwhelm you with its emotionally rich tone and the economy of its composition.

Anna Wilson

“An addition to their discography that celebrates the doldrums of life in a way that fans will more than delight in.”

FIRST DRAFTS

Unearthed demos and unfinished hits, as heard by Nathan Jolly QUEEN & DAVID BOWIE - ‘UNDER PRESSURE’ ‘Under Pressure’ was born of dissatisfaction.

Originally titled ‘Feel Like’, the song was written by drummer Roger Taylor, and although the musical bones are in place on the demo, the song itself is a mess.

Considering the quite sophisticated lyrics of ‘Under Pressure’, the demo seems like someone has taken some teenage poetry, removed every second word, auto-translated it to another language, and then back again.

“Oh, you’re so good-looking and baby you’re so smooth / I know you have, come on baby, wish me luck / I wanna be there, in that truck.”

When those are your placeholder lyrics, scatting begins to seem like a viable option.

Enter David Bowie, who was in the studio to record backing vocals on another Queen song, ‘Cool Cat’. Bowie was dissatisfied with his performance and requested it be erased – and while there, he decided to chime in on this ‘Feel

Like’ song the band was jamming on. Why not?

Bowie discussed his involvement on the track during a Q&A on his website, claiming that he and Freddie Mercury basically improvised the entire vocal melody.

“Freddie and I came up with our individual top line melodies,” he explained. “So when you hear Freddie sing, that’s what he wrote and when you hear me sing, that was mine.

Then we worked on the lyrics together.”

This story appears to check out. Almost every element of what Mercury sings on the ‘Feel Like’ demo is absent from the fi nished piece, and where Mercury’s vocal lines wander aimlessly in original form, the pair’s recorded interplay now works to propel the song forward. They even make scatting sound half-decent, an achievement which has yet to be replicated.

For a song with such an iconic bassline, it appears to have been added as an afterthought, not appearing at all during the demo. (The two-note piano riff is also missing, although a plunky placeholder suggests they had some plans.) In fact,

the bassline’s inclusion came so late in the game that there is confusion as to who actually came up with it: Queen bassist John Deacon claimed Bowie wrote it, Brian May said Deacon wrote it, and Bowie himself remembered the bassline existing before he was involved.

It’s almost as if they all know the bass riff is behind the success of ‘Ice Ice Baby’ and therefore wish to distance themselves from it.

Listen to the original ‘Feel Like’ demo at thebrag.com.

“It’s almost as if they all know the bass riff is behind the success of ‘Ice Ice Baby’ and therefore wish to distance themselves from it.”

INDIE ALBUM OF THE WEEK SINKANE Life & Livin’ It City Slang/Inertia

It’s ironic that on his official Facebook page, Ahmed Gallab (AKA Sinkane) pegs his unique amalgamation of sounds as “fake jazz”. ‘Fake’ definitely doesn’t describe the soul-infused scope of this London-born, Brooklyn-based musician, nor his sixth album Life & Livin’ It. With a distinctive funk undertone that runs through its nine tracks, this album boasts the hallmarks of psychedelic rock with soulful touches, all the while twinkling with a vague nod to jazz, reggae and Gallab’s African roots.

But the positivity that exudes from the lyrics and their delivery is the real draw of this release, also showing exactly where the pop sensibilities come into play.

The upbeat, repetitive hook in ‘Favorite Song’ is the most blatant candidate for a radio hit, but still provides an incredibly enjoyable five minutes. ‘Telephone’ is another standout, bearing a jittery synth-lined intro that plays out into a funky bassline. Likewise, ‘Won’t Follow’

showcases a more reggae-influenced side to Sinkane with a simpering vocal part placed atop an easygoing beat, before horn flourishes in the chorus.

Sinkane has created a worldly album that boasts a host of personal and musical influences. As with most of his work, the overwhelming realness of this record is what gives it strength.

Chelsea Deeley

“With a distinctive funk undertone that runs through its nine tracks, this album boasts the hallmarks of psychedelic rock with soulful touches.” thebrag.com

BRAG :: 698 :: 01:02:17 :: 23

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up all night out all week . . .

LANEWAY FESTIVAL 2017

bass that left many asking how he got away with being so loud at an outdoor festival in Sydney.

The sweltering heat could not keep revellers from descending on the Sydney College of the Arts for one of the last bastions for festivalgoers in the city, and by noon, the threatening clouds had parted and left behind a perfect day.

The programmers only committed one unforgivable sin, and that was in programming Dune Rats before 4:20pm.

The hyperactive stoners brought a shitload of C-bombs and shoey competitions.

After a moving welcome to country, King Gizzard and The Lizard Wizard kicked off the circle pit of the day, smashing into Nonagon Infinity like it came out yesterday.

No one can touch these guys live.

Sydney College of the Arts Saturday February 4

First to the stages was triple j Unearthed rapper Genesis Owusu, flanked by an entourage only a third the size of the crowd. Owusu’s N.W.A-influenced flow, prolific as it is, was a touch hardcore for early arrivals, and his exuberance never fully translated to the kids chilling on the hill. Maybe it was just that they were saving their buzz for Camp Cope, Melbourne’s beloved garage trio and the band feminism needs. Frontwoman Georgia Maq is a perfect contradiction – shy and soft-spoken, with a singing voice that can tear down walls in full flight from their opener to Hottest 100 hit ‘Lost: Season One’. There was a whole lotta love in the mosh pit, and Maq reiterated the band’s call for that love to be respectful.

Roland Tings helped to start a fistpump-worthy dancefloor with banger after banger, and of course he dropped ‘Pala’ to the loud roar of the now almost shirtless crowd, swinging its sweaty T-shirts in the air while Tings bashed on the MIDI pads through a ferocious dance set. Chicago’s Mick Jenkins came on to a crowd extremely appreciative and hyped up for one of the world’s most exciting hip hop artists, and he launched into a cover of N.W.A’s ‘Fuck The Police’ near the end of his set, enabling the crowd to get even wilder.

Indeed, the hip hop lineup for the day was sensational, with Owusu and Jenkins paving the way for Koi Child, Sampa The Great and A.B. Original. Koi Child’s chunky big band sounds got the first real grooves mooin’. Later, Sampa brought her signature style to her devoted and everexpanding fan base, getting hips doing what they do, while Trials and Briggs of A.B. Original, the highlight of the day, slaughtered all in their path with a slew of guests and a stomping rendition of ‘January 26’, not to mention a traditional Koori dance immediately followed by their DJ dropping ‘Turn Down For What’.

st jerome’s laneway festival

“Laneway shone with the light, life and love of Sydney’s youth.”

Glass Animals played a fun set on the main stage with their frontman Dave Bayley donning his signature brightly coloured long sleeves, all while wistfully running around with mad energy. The singalong moment of the festival had to be ‘Gooey’, and if you’ve ever seen a crowd dancing slow while belting its lungs out to a classic jam, you’ll know this is really one of those things that festivals are made for.

The only truly forgettable act of Laneway 2017 was the rebranded Chet Faker, AKA Nick Murphy, who vanished from memory as he left the stage. Fortunately, he was followed by Tame Impala. It may not feel like it to him, but Kevin Parker is only ever moving forwards. Confetti cannons and pulsing psychedelic projections heralded the Impala fuzz we know and love, converting non-believers in an exultant wave of colour. Unlike Carmack, Parker and co. were adversely affected by the noise restrictions, but it didn’t stop them from sending out confetti into the crowd, landing on pretty much everyone who didn’t already have glitter on their face.

This year as always, Laneway shone with the light, life and love of Sydney’s youth.

It’s a vital part of our city, and we can only hope that the powers that be keep letting it happen.

David Molloy and Benjamin Potter

PICS :: AM

On the nearby Future Sounds stage, Clams Casino took a darker turn and hit us with scintillating witch house; everything got very sexual, very fast.

He was only to be matched (and maybe even beaten) later on in the night by Mr. Carmack, who delivered an ear-thumping set riddled with a ridiculous amount of

Local lads Gang Of Youths, however, go close – they’re the ongoing voice of our generation. “I grew up a few blocks from here,” yelled David Le’aupepe, genuine bafflement in his voice. He barely had to sing a word – we had it covered. We also had a naked crowd-surfer and a man atop a door find his way above us.

04:02:17 :: Sydney College of the Arts :: Rozelle 24 :: BRAG :: 699 :: 08:02:17

thebrag.com

live reviews What we’ve been out to see...

THE RUBENS

Taronga Zoo Thursday February 2 It’s been just over a year since The Rubens took out the coveted triple j Hottest 100 title with ‘Hoops’. It would have been easy for them to fade out in that time, especially given how meteoric their rise in Australian music seemed (they formed in 2011, just three brothers and a childhood friend). Lead singer Sam Margin explained it best when he said he’d been working in hospitality in 2012 as they won triple j Unearthed, and it changed their lives.

But the question mark over The Rubens has long remained: can they sustain their popularity and avoid the trap of producing a one-dimensional ‘indie’ sound? So far, they’ve been cornered in the triple j market; the station has been known for supporting a homogenous roster of bands.

If you haven’t seen them live, know that Margin’s voice takes on its own dimensions in person, particularly on newer releases like ‘The Night Is On My

Side’ and ‘Bitter End’. The Rubens also treated the crowd to a cover of Chance The Rapper’s ‘Same Drugs’, which could have gone very poorly for a blues-heavy indie rock band, but it just brought a new, funereal dimension to the track.

It also helped explain why they’d entered the stage to heavy hip hop – clearly this has been an influence for them lately. It’s about time for a new release, and from the taster we heard tonight, it seems like hip hop is going to have a presence in the latest revision of their sound.

One thing that is hard to avoid with The Rubens is their bashful charm. Sections of the listening public might find it easy to hate a band that has enjoyed such quickfire success, but these guys seem so genuinely grateful it’s hard to dislike them. At one point, Margin even offered a shout-out to their grandmother.

The combination of charm and hard work is going to continue to pay off for The Rubens. I’ll even forgive them for closing with ‘Hallelujah’, a grating blemish on their otherwise solid discography.

Emily Meller

PHOTOGRAPHER :: ASHLEY MAR

thebrag.com

BRAG :: 699 :: 08:02:17 :: 25

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live reviews What we’ve been out to see...

KILLING HEIDI, ABBE MAY Taronga Zoo Saturday February 4

The glorious backdrop of the city at sunset framed the surprisingly intimate venue that was Taronga Zoo’s concert lawn as Killing Heidi returned to Sydney. You couldn’t have asked for a better setting for an evening of music and reminiscing with friends – the wine and cheese crowd ambled on down, clutching picnic blankets and camping chairs; from the 20-something couples to families with children in tow, all were here with a mutual purpose.

The noughties pop-rock sensations were accompanied by Perth’s Abbe May, who popped the cork on the evening with a sense of hesitation. Her conversation with the audience was frequently awkward and her control of her backing tracks was fumbled, but May nevertheless has a hypnotic voice – most zoned out for her between-song commentary, but there were audible remarks on the power of her singing.

A little refinement and rehearsal in live performance will go a long way for May, but there are always her records to enjoy in the interim.

PHOTOGRAPHER :: ASHLEY MAR

Newtown Social Club Thursday February 2

Canada’s punk rock/riot grrrl power band White Lung graced St. Jerome’s Laneway Festival over the weekend after a sideshow at Newtown Social Club. A separate focus for the evening, though, was that many punters knew this would be their last at NSC, following the venue’s announcement that it will close in April.

Opening the show were the Sydney indie boppers Phantastic Ferniture.

Led on vocals by 2016’s hot new thing Julia Jacklin, the Ferns played some of their best tracks with an understated yet infectious energy. Their love of performing live was clear, and they have clearly worked on honing their sound to become tighter every time they play.

The modest crowd was noticeably larger when White Lung came out.

Instrumentally, the band shone, with Kenneth William on guitar, Anne-Marie Vassiliou on drums, and – as of last year

– Lindsey Troy on bass. However, when you make your fame on a powerful husky female voice, this voice needs to stay strong in live performances – and Mish Barber-Way’s vocals didn’t quite translate from studio to stage.

That said, the band’s passion stood tall. Barber-Way’s performance was not without energy, and the love from the crowd was sent back in sweaty and beerstained waves. And then it was over – at only 40 minutes long, the set may have left a disappointing taste in the mouths of ticketholders who’d paid $40 for the privilege.

Ultimately, White Lung were overshadowed by their openers Phantastic Ferniture – perhaps due to the fact they were playing their hometown, or because their sound works better live. White Lung have a fantastic studio catalogue – a punky, cheeky and pissedoff mess of life and words – but they fall just short of delivering a memorable live show.

The Melbourne comeback kids were magnificent throughout. More and more of the audience sidled up to the stage as the band bounced through song after song, and frontwoman Ella Hooper was a firecracker of fun, her voice unwavering as she belted into the setting sun. Backto-back ballads in the middle of the set had the fans seeming a little drowsy, but they were soon woken up by Hooper’s entertaining antics and a few more bluesy numbers.

‘Mascara’ stood out as a poignant moment; it was written when the Hoopers were in their early teens, and though Ella joked about their lyrics being the most typical teenage lyrics ever, many remembered and many related.

And that’s the beauty of Killing Heidi.

They’re a stalwart in Aussie pop, who aren’t ashamed to enjoy what they do with

Anna Wilson

HANDS LIKE HOUSES Factory Theatre Friday February 3

The gigs at which you truly lose yourself are few and far between, but Friday night at the Factory was one of those nights.

Opening their Colourblind Tour, Hands Like Houses performed with nothing but passion and pride, enriching souls and uplifting hearts with a set full of relatable lyrics and mind-melting melodies.

There was a consistent and genuine feeling of gratitude from the band, and it was reflected in their music, energy and antics.

From bassist Joel Tyrrell crowd-surfing on a surfboard as he played through ‘Motion Sickness’, to tech guy ‘Shoey’ been egged on to do a shoey (courtesy of the shower of shoes that were making their way onstage), this was a truly exciting night out.

Beneath a thick mass of strobe lights and smoke, the Canberra rockers practically shook the stage as they bounded on, playing current album Dissonants in its entirety. After opening with lead single ‘New Romantics’, frontman Trenton Woodley was profound in his appreciation for the audience. “We’ve been lucky enough to travel all over the world,” he said, “but there is nothing, nothing better than playing at home.” The raucous applause that followed set a precedent for the rest of the show.

The execution of Dissonants was clean, loud and fantastic: each member of the band giving everything they had, each song met with unprompted singing from the crowd, the whole room all smiles and empowerment. But it wasn’t until classic single ‘No Parallels’ that the gut-wrenching feeling of inspiration struck through the ribs and pulled at heart strings. You know the feeling – not a soul wasn’t screaming along, and the words “This is happiness!” were elated, raised up to another place.

Hands Like Houses are one of a kind.

Though they’re on the fast track for A-list success, their live performances still retain that wonderful sensation of seeing a local show – that feeling of community remains profound and powerful.

Anna Wilson

Harriet Flitcroft

periphery

PICS :: AM

WHITE LUNG, PHANTASTIC FERNITURE

In uniform black, Killing Heidi were… well, they were Killing Heidi. All adrenaline, enthusiasm and cheekiness, the Hooper siblings tore onto stage, grins as wide as you can imagine, directing their performance initially to a trickle of fans gathered at the front, while the premium cheese-eaters lingered back, comfortable on their camping chairs.

the retained excitement of their younger days – and nor are their fans. Killing Heidi may have grown up, but their youthful music is immortal.

03:02:17 :: Metro Theatre :: 624 George St Sydney 9550 3666 26 :: BRAG :: 699 :: 08:02:17

thebrag.com

g g guide gig g

the BRAG presents

send your listings to : gigguide@seventhstreet.media

TURIN BRAKES Newtown Social Club Monday April 10

TREVOR HALL

THURSDAY FEBRUARY 9

Newtown Social Club Wednesday April 12

Bruce Springsteen Qudos Bank Arena, Sydney Olympic Park.

7:30pm. $101.

MILES ELECTRIC BAND

Moving Pictures Rooty Hill RSL, Rooty Hill. 7pm. $40.

Enmore Theatre Thursday April 13

Tom Stephens Golden Age Cinema, Surry Hills. 9pm.

Free.

CORINNE BAILEY RAE

FRIDAY FEBRUARY 10

NIKKI HILL

Metro Theatre Sunday April 16

Newtown Social Club Monday April 17

Alphamama Mr Falcon’s, Glebe. 8:30pm. Free.

THE STRUMBELLAS

Anatomy Class Captain Cook Hotel, Paddington. 9pm. $5.

Blake Tailor Duo Penrith Panthers, Penrith. 8:30pm. Free.

Oxford Art Factory Monday April 17

I Know Leopard

ST PAUL AND THE BROKEN BONES

Chase The Sun Factory Floor, Marrickville. 8pm. $20.

Kasey Chambers

Metro Theatre Wednesday April 19

Frank Sultana Seymour Centre, Chippendale. 6pm. Free.

Hey Geronimo Hotel Steyne, Manly. 7pm. Free.

I Know Leopard Hudson Ballroom, Sydney. 8pm. $17.

In support of their new single ‘Rather Be Lonely’, this Sydney-based four-piece hit the road and kick-start what will no doubt be a huge 2017, following an already pivotal 12 months in which they signed to Ivy League Records.

Kasey Chambers + Thelma Plum Taronga Zoo, Mosman. 6pm. $75.

Australia’s queen of country music makes her Taronga debut this week, performing songs from her new EP Ain’t No Little Girl and forthcoming album Dragonfly.

pick of the week

Surveillance Party Monthly Oxford Art Factory, Darlinghurst. 8pm. $5.

SATURDAY FEBRUARY 11 B*Witched + Atomic Kitten + S Club 3 + East 17 + Liberty X Big Top Sydney, Milsons Point. 7pm. $90.

Guns N’ Roses

St Paul and The Broken Bones photo by David McClister

The Strumbellas photo by Josh Goldman

Clique Sydney Cruise Bar, Circular Quay. 8:30pm. $15.

Dallas Crane Captain Cook Hotel, Paddington. 9pm. $30.

Human Nature ICC Sydney Theatre, Darling Harbour.

8pm. $92.

Mother’s Cake Factory Floor, Marrickville. 7pm. $22.

FRIDAY FEBRUARY 10

SATURDAY FEBRUARY 11

My Disco Newtown Social Club, Newtown. 8pm. $25.

For our full gig and club listings, head to thebrag.com/gig-guide.

SUNDAY FEBRUARY 12 The Cat Empire + Xavier Rudd Stuart Park, Wollongong. 3pm. $100.

These two Aussie acts have been at the forefront of the scene for years, but it’s their fi rst co-headline tour, and it’s all being held at nontraditional concert venues.

Hot Since 82 Royal Randwick Racecourse, Randwick. 12pm. $73.

The Menzingers Oxford Art Factory, Darlinghurst. 8pm. $45.

Fresh from the release of their new LP After The Party, the Philadelphia rockers bring their harmonies and riffs to Sydney – because the party hasn’t fi nished just yet.

TUESDAY FEBRUARY 14 James Taylor ICC Sydney Theatre, Darling Harbour. 8pm. $132.

The iconic singer-songwriter has been a staple in record collections for nearly 50 years now, so the chance to see him in person isn’t one to be sneezed at.

Lady Leshurr Oxford Art Factory, Darlinghurst. 7pm. $36.

James Taylor

Qudos Bank Arena

Guns N’ Roses + Wolfmother + Rose Tattoo 7pm. $92.

thebrag.com

BRAG :: 699 :: 08:02:17 :: 27

brag beats

Norman Jay MBE

Hot Sinc

Party Of The People By George Nott

The House Awakens By Shaun Cowe

“DESPITE THE NEGATIVE POLITICS, PEOPLE STILL WANT TO COME TOGETHER AND CELEBRATE. THE PARTY CONTINUES.”

FEATURE

people had Kiss on. You could tell.”

When something becomes too mainstream, it’s time for Jay to move on. As soon as the warehouse scene morphed into licensed raves and promoters begun to “monetise it”, he’d started on the next thing. He made his unofficial retirement from the increasingly gentrified Notting Hill Carnival three years ago. When Kiss FM went legal in 1990, within a year Jay had left.

“I did what I set out to do,” he says. “Everything good that starts off illegal becomes legal if it’s any good in some shape or form.

Everything’s about evolution and mutation. Early adopters are on it very early. By the time it circles into the mainstream the creator has already moved on and is trying to create something else. Something different. Something new.”

Today, Jay is an internationally renowned act (dubbed both “the DJs’ DJ” and “the people’s DJ”), the doyen of ‘rare groove’, and his Good Times parties pull in crowds the world over. After an illustrious career running always counter to the mainstream culture, he nevertheless had “no hesitation” in accepting his MBE. “I’m not establishment. That’s the thing,” he says. “I’ve tried to use it for good effect. To show you can be born in the ghetto but you don’t have to stay there. Hard work, dedication, application, a little bit of luck, and you too can be successful. It’s not just click and download.”

“WE BECAME BIGGER THAN THE CLUBS. OUR PARTIES, THEY WERE NEW, THEY WERE ROUGH, THEY WERE RAW, EXCITING, EDGY.”

I

n 2002, Norman Jay was welcomed into Buckingham Palace by the Queen, who awarded him an MBE for his services to music. It was quite something for an artist who, decades earlier, was refused entry to even the grottiest of London nightclubs. The irony is, if it wasn’t for those meat-headed bouncers, Jay might never have gained his royal approval.

brought people together.

moving. A rolling stone.”

“We became bigger than the clubs,” he says. “Our parties, they were new, they were rough, they were raw, exciting, edgy. We didn’t do it for money, we did it for the love of doing it and the love of music and friends. It was counterculture. All kids would come. They unified the style trends and the races.”

Like the warehouse parties, Kiss FM was born out of necessity. “It needed to be done,” says Jay. “At that time there were no black radio presenters on anything, so we started our own station essentially.”

“I got tired of being knocked back by the racist door policies in London nightclubs,” the softly spoken 59-year-old DJ recalls.

“You’d hear them playing black music, yet they don’t let you in. Necessity is the mother of invention. So you do your own.”

Even the police would come, if only to pull the plug and shut things down. It wouldn’t be the last time Jay performed on the wrong side of the law. He was a founding member of London’s Kiss FM, which at that time was a pirate station, underground and unlicensed. Its production happened on the run.

Born to music-loving West Indian immigrant parents in Notting Hill, Jay was the architect of the UK capital’s warehouse party scene of the 1980s. While the nightclubs segregated punters, Jay’s events

“We kept moving,” he says. “As pirates do in those days, you just kept moving studio every few weeks. The Home Office would get a fix on the signal. If you stayed you got shut down, so you just kept

And like the warehouse parties, Kiss FM brought people together.

Its popularity couldn’t be proven, but was palpable. “Obviously not being a legal station you’ve got no way of measuring the amount of people who are listening, and who is listening one can only guess. But we knew we were affecting things because all the emerging style press – The Face, i-D magazine, they were all new at the time and they’d often give us support by giving us pages and ads and citing us. All the fanzines going round London at that time, Kiss FM was all over them. All the trendy spots – Camden Market, Brixton Market, everywhere you went, the cooler

Jay has been coming to Australia to play shows for almost 20 years, first at Vibes On A Summer’s Day at Bondi Pavilion before taking his own brand of party all over the country. With many people feeling let down and left out by those in charge, there’s never been a more prescient time for his visit.

“Despite the negative politics, people still want to come together and celebrate. The party continues,” he says.

It’s Jay’s role, as it always has been, to bring people together in the face of the establishment’s efforts to divide.

“The essential rules remain. You’ve still got to put on an event that draws people to celebrate the things they have in common, rather than rowing about the things that they perceive to be different. And you just provide the soundtrack for that situation – that’s what I do.

“I’m an international minstrel, going from funky castle to funky castle.”

What: The Island Live: Official Afterparty With: Simon Caldwell, Stephen Ferris Where: Oxford Art Factory When: Friday February 10

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D

aley Padley, the British house DJ and producer who performs under the moniker Hot Since 82 (no prizes for guessing his birth year) has been earning kudos for his work in the studio, but his true origins are in club DJing. With his Knee Deep Australian tour launching this month, Padley talks over breakfast about his plans for the year.

“It’s the story of my life, I never fi nish anything. I just enjoy the draft side of things,” he says. “I enjoy jamming. When it comes to actually getting serious, to laying down the tracks and fi nishing them, that’s when I buckle. I’ve got 1001 projects that need fi nishing.

I’m committed for the next two months to just get them all done.”

Most recently Padley signed a track to Matthias Tanzmann’s label, Moon Harbour. “The track’s called ‘Evolve Or Die’.

I’ve been playing it for about the past two weeks. I literally just fi nished it over Christmas.

I’ve also just fi nished a remix for Tanzmann from his album, Mirage.”

For the past 17 years, Padley has worked as a club DJ, making a name for himself with afterparty gigs. It has only been in the past fi ve years that Padley’s studio work has taken a prominent role.

“I mix live,” he says. “I always have done and I always will do. It’s something I like to do; it keeps me on my toes when I’m playing in the club and stuff.

I don’t have anything against people who play with a laptop and sync and do whatever they do in the club. But, for me, before I started making records I was just a club DJ. I’ve got no aspiration of doing mega live stuff, I just like to play records one after each other.

“IT’S SO EASY TO JUST GO INTO THE STUDIO AND MAKE A DUB, BUT THAT DOESN’T REALLY INSPIRE ME ANY MORE.” “It’s that spur-of-the-moment thing where anything can happen,” he adds. “You know, I’ll have four decks running at the same time, loops on one thing, two tracks for mixing, and maybe an a capella on the other. I’m actually insanely into studio work at the moment though, I’m really enjoying it. Sometimes you can fall out of love with it, but I seem to be fi nding the groove again, which is nice.”

One of the big goals Padley has for this year is to work with more vocal artists. Primarily known for his dub mixes, Padley says he’s getting tired of the instrumental tracks he’s been making. In particular, he says he wants to fi nd undiscovered talent for his new tracks, rather than established names.

“I mean, it’s so easy to just go into the studio and make a dub, but that doesn’t really inspire me any more. Don’t get me wrong, some tracks are destined to be a dub, but I want to spend some more time on the records and make something that’s going to

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e 82

FEATURE

Off The Record Dance and Electronica with Alex Chetverikov

be around for some time, rather than just a month.”

Padley has already asked his management team, the London-based Anglo Management, to start looking for prospective vocalists.

He’s not sure who he will wind up working with, or how he will manage if it’s a new artist not used to making electronic music, but he seems excited to experiment with off-kilter sounds.

“I’d like to work with a Nordic kind of voice, something like Björk,” he says. “That certain tone that Nordic people have, I really like that. That’s something I’m looking for at the moment. I listen to a lot of music in my spare time, a lot of really slow stuff. I’m trying to incorporate that into what I do. I’m looking to create something with a bit more melody and a bit more soul, I guess.”

The conversation turns away from music towards another of his great

hobbies. Padley’s a huge Star Wars fan – he’s been an avid follower since the original trilogy, and says he has a collection of mint condition Star Wars collectibles on display in his studio.

“All my family are Star Wars fans. I guess when you’re on the road all the time you’ve got a lot of time to kill, so unfortunately I’m on eBay a lot. I have a lot of fi gures now. When I buy them, you know, they have to be untouched and immaculate. It’s all really geeky stuff. Really expensive stuff as well. It’s nice to have a few hobbies outside the studio though, because the studio can really suck you in.”

Padley has some big demands for his Australian performances, including an exacting list of equipment.

He recently worked alongside the sound tec hnology brand Pioneer to create the NXS2 CDJs, and

they form a crucial part of his show.

Sly and The Family Stone

“If you really get to know the CDJs and the mixer well, you can turn them into an instrument,” he says. “You can really make them sing and dance, and I helped develop them so I reckon I’m pretty good on them.

“I mean, there’s a QWERTY keyboard on there now as well. So suppose you can’t fi nd a song, you can just type it in. I suppose that’s the way Pioneer have gone – they’re trying to eliminate people needing to use a laptop.”

What: Hot Since 82 Presents Knee Deep in Sydney With: Butch, Cristoph, Emanuel Satie, Jackmaster Where: Randwick Racecourse When: Sunday February 12

How Dance Brought The World Together (Now Let’s Do It Again)

R

emember when Gough Whitlam petitioned us to embrace change? To accept, to act, and to acknowledge?

Me neither, though his legacy is starting to look pretty bloody golden when it comes to progressing both as a society and as a species. These are testing, trying times characterised by oppression, aggression and fearmongering. Where once change was promised to take us forward, it now appears to be dragging us right back into a regressive, discriminatory primordial swamp.

Excuse me while I climb down off my soapbox…

synthesizes and soundtracks history. It is a cultural marker. If there’s one thing we can take from these experiences, and from this rich tapestry of music, it’s that resistance is essential. History has a habit of repeating itself – to paraphrase Edmund Burke, the triumphs of evil are possible when good people do nothing.

Resistance is diverse and of many faces.

It can be passive, in the form of solidarity, support, and simply attending music events to share ideas “MUSIC and a common feeling. And it SYNTHESIZES AND can be active – taking to the SOUNDTRACKS streets, expressing oneself to one’s peers, writing to your HISTORY. IT IS local member of parliament.

A CULTURAL

Much like blues, gospel and jazz, electronic music MARKER …

Take Sly and The Family was born of an ideology not RESISTANCE IS Stone’s Stand! and There’s entirely dissimilar to what A Riot Goin’ On, Eugene we are quickly heading back ESSENTIAL.” McDaniels’ Headless Heroes toward. People gathered to Of The Apocalypse, Curtis celebrate their differences – Mayfield’s Curtis, Gil-Scott Heron’s Pieces Of and to forget their differences – through the A Man, Lou Bond’s ‘To The Establishment’, fluid, unassuming politics of the dancefloor.

The Watts Prophets… throw them on your Dancing was, and is, an outlet for individual tape deck, your turntable, your smartphone. identity and expression. Most importantly, Hell, while you’re at it, throw in a bit of Pete it brings people together, and continues to Seeger, Billy Bragg and Half Man Half do so even following the horrors of repeated Biscuit. mass shootings at nightclubs and music events in recent times.

As disco ensemble MFSB best put it, love is the message. Whatever or however we There is an intrinsic, undeniable relationship engage with the issues of today, let’s do it between social dynamics and music: it’s a with an open heart and an open mind. wonderful, powerful creative weapon. Music

THIS WEEK’S PLAYLIST

Tornado Wallace’s Lonely Planet LP. He’s put the effort into producing a cohesive album rather than a collection of sorts; it’s packed with subtleties and signature percussion, and it’s got a distinctly ’80s/ Balearic flair to it. Also check out The Numero Group’s Good God! Born Again Funk to get you up on the good foot with its funky, life-affirming gospel.

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SUNDAY FEBRUARY 12 Dave Seaman Café del Mar

SATURDAY FEBRUARY 18

Hashman Deejay & PLO Man TBA Keep Sydney Open Rally #3 TBA

SUNDAY FEBRUARY 26

Classic Album Sundays: John Coltrane – A Love Supreme The World Bar

SUNDAY MARCH 12 Fallout 3.0 Ivy

TUESDAY APRIL 11 Roy Ayers The Basement

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“EVERYONE HAD SOME PRETTY BIG BARRIERS COME UP, DEATHS OR SEVERE PROBLEMS, WHICH ALL CAME OUT IN THE RECORD.”

Thundamentals Dark Days Are Over By Adam Norris

B

y the time you’ve hit record number nine, you’ve probably picked up some fairly decent insight into the creative process.

Sure, everyone is going to approach music differently, but across three solo albums and six releases with Thundamentals, Tuka’s grasp of songwriting sounds pretty slick. As the Aussie hip hop crew unveils its latest effort, Everyone We Know, the straightshooting rapper gives some real insight into what makes a song tick – and why, despite the tribulations of 2016, the music is stronger than ever.

“I was pretty candid on socials about how fucked my year was,” Tuka (AKA Brendan Tuckerman) admits. “I wasn’t going into extreme depths, but I think like a lot of people in 2016, it was a weird year.

“That being said, I think when bad things happen, art always rises to the top. It’s unfortunate, but a godsend at the same time. I have a lot of artillery now not only for the album that we’ve just written, but for the next, like, ten records. But that wasn’t just me. Most of the guys … It was great working together every day, and to tell you the truth, the band is going better than ever, but our personal lives …

Everyone had some pretty big barriers come up, deaths or severe problems, which all came out in the record.”

This is not some idle aside. The lyrics of Everyone We Know include countless references seemingly drawn from life. It has always been one of Thundamentals’ strengths; inserting those kind of universal, everyday details to make a song seem somehow closer. One of the most entertaining songs on the album, ‘Sally (feat.

Mataya)’, is a prime example.

“That’s part of being authentic,” says Tuka. “That song is based on a real experience. I basically had this huge crush on this girl, and she just totally wasn’t having it. And then one night she rings me up really randomly and

“I BASICALLY HAD THIS HUGE CRUSH ON THIS GIRL, AND SHE JUST TOTALLY WASN’T HAVING IT.” says, ‘Look, I’m at this club with some friends, you should come meet me.’

And I was like, ‘Sweet!’

“Once we got dancing, she seriously danced like Elaine from Seinfeld. It was hilarious. But that said, she’s a very suave, beautiful person; she had heaps of style. It was almost a good attribute, it was showing her having fun and not caring whether she can dance or not. It was actually really attractive.

I’m not trying to poke fun in the song, I’m more saying to be comfortable in your own skin. In all the songs, we like to try and make things feel inclusive.

We think that everyone is feeling isolated in general now, because of technology and all the stresses to live.

We’re trying to bring people together, hence the title, Everyone We Know.”

From outside the band, it seems like an appropriate album title for a variety of reasons. Tuka’s own insight into inclusiveness is one thing, but there is also the album’s somewhat retrospective tone, looking back across not only the life of the band, but the personal histories of its members (“riding a skateboard down memory lane”, as ‘Reebok Pumps’ puts it).

There is also, of course, the hip hop staple of inviting the other artists you meet along the way to jump on board and make a song soar.

“We pretty much wrote all the top lines ourselves, where you have this voice in your head of what kind of character is going to say ‘this’ narrative,” says Tuka. “Mostly what’s in your head you can’t perform, and so then you have to go out and find who it is. But in that is the magic of creating something brand new that you still have half control of.

“There’s ‘Think About It’ – when we wrote that, the chorus, I kind of imagined a kind of Joy Division male vocalist there. But as we went along and couldn’t find the right voice, Peta and The Wolves kind of came up with her own awesome spin, and we thought, you know, when a song wants to go a different direction, you have to trust that sometimes.”

Tuka isn’t the first artist to talk of songs having their own autonomy, nor will he be the last. But he comes across as truly sincere about needing to serve the song before serving how the band intended it to sound. The task was all the more difficult when Thundamentals were emerging from a difficult year, with no clear vision of what Everyone We Know would eventually resemble.

“You can’t think about it while you’re putting it together. These days, when I go into a project I just accept that I don’t know what it is yet, and all of a sudden, after a couple of songs, a collage of themes start to appear. It’s really misty and you can’t see what it is, but the more you’re aware of that collage, the more attention you pay it, the more you start to see.

“You start moving things around, like mixing up the track order or working out how many times have I said, ‘Everyone we know’? How many characters are here that we could bring back later? Once you’re aware the collage is there, you can start getting deeper. You just move everything around until the pieces of the puzzle start making sense in your head. Communicating that to other people, though, that’s another art in itself.”

What: Everyone We Know out Friday February 10 through High Depth/ Universal And: Everyone We Know: Exhibition Tour, The Lord Gladstone, Thursday February 9

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five things WITH Growing Up I grew up in 1.

Campbelltown with

a single mother and three siblings.

Mum was working two jobs and still making sure my brother and I would make it to footy training and games every week so she kept life feeling as normal as possible.

I hated high school and abused drugs so music was my escape.

Inspirations In high 2. school, I heard

Eminem’s Marshall Mathers LP and D12’s Devils Night at the age of about 15. I was hooked and a massive fan straight away! Not long after, I started recording on an old computer with my mate. What inspires

JAY UF

me the most is that growing up it was like therapy for me writing music, and now it’s my job to tell my story.

Your Crew I am still 3. lucky to work with

my two closest mates from school, Kerser and Rates.

If it wasn’t for them backing me, I wouldn’t have considered doing the music for this long and would be stuck working in a factory I hate being at.

The Music You Make 4.

And Play

One word to describe my style of rap would be ‘different’. I love to experiment with all different types of music and bring

something no one else in Oz would think of doing.

Some people like it, some hate but I enjoy what I’m doing. If you buy the album you will know what I mean.

Music, Right Here, Right 5.

Now In my opinion, these days anyone can follow the ‘Kerser Blueprint’.

With access to social media, it gives any up-andcoming artist the opportunity to get their music out without the need of a major label or radio play.

What: Final Notice out Friday February 10 through Ada/ Warner

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AUSTRALIA & NEW ZEALAND TOUR 2017

TUESDAY 4TH APRIL ENMORE THEATRE, SYDNEY Tickets and information available at alterbridge.com | mjrpresents.com

New album The Last Hero out now!