THE BRAG #373 Washington

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BRAG :: 373 :: 02:08:10 :: 9

rock music news

free stuff

welcome to the frontline: what’s goin’ on, down and around town. By Nathan Jolly

he said she said WITH

O

ur band grew up in the suburbs around Sydney’s northern hub, Hornsby. A love of rock brought each member to their instrument, and we began making noise together in a garage around the age of 15. This noise, like the band, has grown a lot over the past five years.

Good music is our inspiration. Major influences come from the bands that’ve paved the way for rock ‘n’ roll; the bands that took risks and played what they wanted to play how they wanted to play it, because no one else was doing it just right enough for them. Specifically to our music, major inspirations have come from the versatility, passion and balls of bands like Queens Of The Stone Age, Faith No More, Soundgarden, Pink Floyd and Led Zeppelin. Each of these, and many more, bring flavour to our developing sound. Shape has become more than just a band to us. It’s a big part of each of our lives. From our teenage years, we’ve continued to spend hour after hour together in sweaty rooms trying to blend our eclectic love of music into songs that push our buttons. Shape has not only brought four mates to the

SHAPE

point of marriage, but also brought a large group of diverse friends to each other, to share beers and music. And that’s what rock ‘n’ roll is all about… guilt-free good times!

As a band, our sound has changed and developed over the years. Music with balls and groove to jump around to, mixed with hooks to attach to. We’re always moving forward in an attempt to find a sound that satisfies us like a good night out, while at the same time maintaining the confusion of a sickening hangover… Creepiness and awkwardness is a current passion; we hope to produce tracks that

don’t make sense, but for some reason just work. Mixing and matching is the name of the game, with the idea to release tunes that don’t sound the same from track to track, but compliment each other with the distinctive features of the Shape personality... It’s a feat which we feel we’re one step closer to achieving in our second release EP 2010, which includes a Maxxwell house remix closing the record.

FREESTUFF@THEBRAG.COM

SFX RE-LAUNCH

It’s a Saturday night and you’re torn. Gig or DJ set? Thanks to SFX you can now do both! On Saturday August 7 SFX will be relocating to St James Hotel, and on the launch night you can choose between DJ Bzurk dropping your fav indie, pop and hip hop numbers all night long or local acts Heroes for Hire, Bermuda and Thrashed playing live. And once the bands are done, DJ Snowflake will let loose on your fav alt tunes. Oh, and did we forget to say that SFX has the cheapest drinks in Sydney on a Saturday night? Who said you can’t have your cake and eat it too... We have five double passes to give away – just tell us the name of the venue at which SFX used to hold its nights...

The transformation of how music is recorded and distributed has created opportunities for independent bands like us. We can now move the sounds from our heads into tunes for a global audience. This is excellent! Music is accessible to everyone (the way it should be), and even if a lot of it may not interest us, the beauty of the music world is that now songs we create can be heard by anyone around the world, at any time… Who: Shape What: EP 2010 is out now When: Friday August 6 Where: Sosueme @ Q Bar

Heroes For Hire

to yourself because they just split up. Their final show happens at Melt Bar on August 12, and because they hate each other that much (they don’t really), they are only charging $5.

DIG!

PUBLISHERS: Adam Zammit & Rob Furst EDITOR IN CHIEF: Adam Zammit 9552 6333 adam@peergroupmedia.com

At the last Twist and Shout dance party, the cute girl at the door handed me a mix CD, which I carried around in my jacket pocket for weeks ‘coz I kept meaning to take it out and listen. And then I lost it. Luckily the next Twist and Shout returns to The Brighten Bar on August 20 - and if it is anything like the last one, people will be shaking and shimmying like nobody’s business. It runs from 9pm to 3am, cost $5 and NO FLUORO. If you find my CD, contact steph@ thebrag.com.

EDITOR: Steph Harmon steph@thebrag.com 9552 6333 ARTS EDITOR & ASSOCIATE: Dee Jefferson dee@thebrag.com 9552 6333 STAFF WRITER: Jake Stone jake@thebrag.com NEWS CO-ORDINATORS: Chris Murray, Chris Honnery ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Jake Bruce SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Ashley Mar, Rosette Rouhana, Daniel Munns, Patrick Stevenson, Susan Bui, Robert Lee, Maja Baska COVER DESIGN: Sarah Bryant SALES/MARKETING MANAGER: Blake Rayner 0404 304 929 / (02) 9552 6672 blake@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 9552 6618 les@thebrag.com ADVERTISING: Sara Golchin - (02) 9552 6747 sara@thebrag.com GIG & CLUB GUIDE CO-ORDINATOR: Christian Moraga - gigguide@thebrag.com (rock) clubguide@thebrag.com (dance) INTERN: Liz Brown REGULAR CONTRIBUTORS: Joshua Blackman, Mikey Carr, Bridie Connell, Bridie Connellan, Oliver Downes, Tony Edwards, Christie Eliezer, Murray Engleheart, Chris Familton, Lucy Fokkema, Mike Gee, Alice Hart, Kate Hennessy, Chris Honnery, Nathan Jolly, Amelia Schmidt, Romi Scodellaro, Xanthe Seacret, Jonno Seidler, RK, Luke Telford, Caitlin Welsh, Beth Wilson, Alex Young Please send mail NOT ACCOUNTS direct to this address 153 Bridge Road, Glebe NSW 2037 ph - (02) 9552 6333 fax - (02) 9552 6866 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the Publisher, Editor or Staff of The Brag. ACCOUNTS RECEIVABLE: Stephen Forde : accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121 DEADLINES: Editorial Wednesday 12pm (no extensions) Art Work, Ad Bookings Thursday 12pm (no extensions) Ad Cancellations Tuesday 4pm Published by Cartrage P/L ACN 104026388 All content copyrighted to Cartrage 2003 DISTRIBUTION: Wanna get The Brag? email distribution@furstmedia.com.au or ph 03 9428 3600. PRINTED BY SPOTPRESS: www.spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204

10 :: BRAG :: 373 : 02:08:10

Regurgitator

THE ‘GURGE GET GRAPHIC

In the fine cultural tradition of the Sydney Opera House, Regurgitator will be producing a live score to the anime film Akira, as part of the graphic animation conference. For those unaware of anime, it is a cartoon movement that peaked with the release of Digimon trading cards, and in particular the rare foil inserts (1 in 200 packs.) But anime is just a small part of the GRAPHIC festival, which will take over Bennelong Point on August 7 and 8 and will feature an amazing array of productions, musical responses to graphic art, interviews and panel discussions with renowned local and international figures. Kevin Smith will be there too, as will FourPlay, graphic novelist Neil Gaiman, artist Shaun Tan and plenty of others. Full details at sydneyoperahouse.com

WRAPPED IN FANTASTIC

The Escalators are doing some weird stuff inspired by David Lynch and, in the tradition of Lynch, have sent through a press release that is confusing, leaves numerous questions unanswered and is more disorienting than bumping into David Bowie shopping for bits at a Mitre 10. What we know so far is that it is a live show inspired by the artistic concepts of Lynch, featuring music, set designs, video and a chap by the name of DJ Element. It happens August 6 at The Sound Lounge in Chippendale and costs $20. Sometimes my arms bend back.

RICHARD IN YOUR GUEST HOUSE

I’m well aware that most of you haven’t left the inner-West in a year or so, but Richard In Your Mind know that all the best psych bands live in the Blue Mountains – so they’re launching their album My Volcano on August 7 at the Clarendon Guest House. And if your favourite type of things fall under the category of ‘awesome things’, then you should really check out their new ‘Candelabra’ clip, produced by SPOD. It is a truly awesome thing.

HOTSTEPPER(S)

Big ups to Jah for giving Tone Defeat the free will to put together the rudest lineup seen at

the Annandale for a long time. Kingtide, Sticky Fingers (not the Stones’ album), Reverse Polarities, The Domestics and Massema will be playing August 6, and it all kicks off at six. If you pre-book tickets at the alarmingly reasonable price of $10, you also get a drink on the house. That means for free. FREE!

JURASSIC PARK ATTACK FORCE!

Putting “Jurassic Park Attack Force” in a press release is a failproof way to attract attention and it turns out that a group of individuals will be conquering 100km of bushland within 48hrs, as part of the Oxfam Trail Walker event in late August - under that very name. 100kms! Imagine walking across a football field. Painful, isn’t it? Times that by a thousand and throw it some rugged bushland, mud and extreme temperatures, To raise further funds, they’re putting on a show at Notes on August 5, and Brendan Maclean, Brian Campeau, Video Games and Jack Cowell & The Owls will be performing. Tickets are available now from the venue.

SMALL HOURS FAREWELL SHOW

If you’re free this coming December and want to see The Small Hours play live, then wake up

Faux Pas

FREE FAUX PAS

Faux Pas believes that music is like water and should be free (not a direct quote). In the spirit of giving stuff away, he has put his new six-track EP Vanderbilt online for a free download. We made his last album Noiseworks indie album of the week – and we’d probably do it again if we had our own way. Head to iamfauxpas.com and rightclick>save target as>, and then create a new folder on your desktop called ‘Block Rockin Beats’. Place the files in this computer, then whammo. You are on your way to hearing this sonically impressive release through your shitty, tinny PC speakers.

GIG OF THE WEEK

GHETTO DISCO COPIOUS AMOUNTS OF ALCOHOL, SWINGING FROM THE RAFTERS, DIRTY DANCING AND MACK ON SESSIONS WITH RANDOMS; ALL CHARACTERISTICS SYNONYMOUS WITH A STANDARD NIGHT IN AT GHETTO DISCO. TAKING PLACE SATURDAY THE 7TH AND WITH THE INSATIABLE STYLING’S OF CALLING IN SICK, HOODLMZ, NAD AND A SMOTHERING OF GHETTO CREW THIS IS DEFINITELY GOING TO BE ONE TO REMEMBER. VIVA LA GHETTO!

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BRAG :: 373 :: 02:08:10 :: 11

rock music news

free stuff

welcome to the frontline: what’s goin’ on, down and around town. By Nathan Jolly

five things WITH

FREESTUFF@THEBRAG.COM Tin Pan Orange

BEN FROM BEN WALSH & THE ORKESTRA OF THE UNDERGROUND Growing Up I started playing drums before I could 1. talk. There’s a great Polaroid of me when I

The Music You Make Over the last decade I’ve been involved 4. with Pablo Percusso, The Bird, Taikoz, Vicious

was only two, I had made a little kit out of my mum’s cake tins, and I wouldn’t give them back. From then on my folks encouraged me to drum and learn music; my dad is a musician and my mum is an artist so they were happy for me to pursue a creative path. My childhood was filled with band rehearsals and family sing-alongs. I was playing in pubs underage by 13, and have been involved in music full time since I got out of high school. I was very lucky to be encouraged, and don’t take it for granted for a second.

Hairy Mary, Dha, Circle of Rhythm, Tom Tom Crew, The Crusty Suitcase Band and many other musical endeavours. I set up my own online label to distribute my crazy musical acts (www.groovelands.com). People who have watched me since the early nineties have seen me progress; I am the kind of performer who doesn’t mind experimenting in front of a crowd - people might see me play hardcore DnB at a club, and then the next day play ambient world music.

2.

Inspirations Often artists and people not musicallyminded, like the artist Shaun Tan. I’m currently working on bringing his book The Arrival to life musically with an hour-long score; I saw his illustrations and I heard music. I often draw inspiration from other people or stories and movies. But the musicians who’ve influenced my world are too many to mention here... Your Band The group is called ‘the Orkestra of 3. the Underground’ and is made up of ten of my favourite musicians in Australia. I have always wanted to compose scores for film; a lot of people only know me as a drummer/ percussionist, but two Sydney Festivals-ago I did a live film score to a 1976 animation called Fantastic Planet - it was the beginning of my first small, obscure orchestral scores.

The Paper Scissors

Music, Right Here, Right Now To be honest I’ve been in Europe touring 5. for the last five months; but I can say that music today in Australia is a tough industry - it really pushes you to the limit of being a workaholic, to get by. Australia seems to have the backwards view that being a musician is still a hobby, and I think there is not enough infrastructure to support up-and-coming young musicians. The roots of Australia are world class – it’s sad that more of the quality doesn’t make it out into the mainstream, or overseas. What: The Arrival by Shaun Tan, with live score by Ben Walsh & The Orkestra Of The Underground Where: GRAPHIC Festival - Sydney Opera House / Playhouse Theatre When: August 7 at 7.30pm More: sydneyoperahouse.com/graphic

they play two and a half hours of ALL ZEPELLIN at the Enmore. Tickets are $80 and available right about now.

DISTANT PUN

Even though I disagree strongly with anything being released under the Crowded House name without the might of Paul Hester, I have, over time, learnt to silence this anger. I even listened to their new record Intriguer - and it’s pretty amazing! Of course Neil Finn is one of the best songwriters of all time so this shouldn’t have came as a surprise, but I’m slowly learning not to judge a book by its dubious Australianband-ARIA-status. They play the Hordern on November 6 and I’m pretty sure they are going to play ‘Not The Girl You Think You Are’ - assuming Neil has been getting my letters. In which case, why haven’t you replied to my letters, Neil? It takes a lot of blood to fill fourteen pages...

TIN PAN ORANGE

Melbourne band Tin Pan Orange have been gathering an increasingly large following since releasing their latest album The Bottom of the Lake. Produced by Cat Empire extraordinaire Harry Angus, it’s no wonder the trio count John Butler and Clare Bowditch as fans - and of course us here at The Brag! It’s a strange concoction of blissed-out folk and dreamy pop that’s perfect for the cold winter days ahead and just as warming as your grandma’s pumpkin soup... We have two tickets to give away for their show at the Vanguard on August 14 for one lucky reader– you just need to tell us the name of their 2007 release.

to radio or take notice of the charts and would NEVER shop at a store which stocks anything but obscure 7inch imports from bands you will never hear of and wouldn’t like anyway, but now they have announced a final run of shows which includes one at The Beach Road Hotel in Bondi on August 7. Tickets are only $25 and limited so I’d better get them now!” That’s you, that is.

The Bedroom Philosopher

ZAPATA DOWN UNDER

HAPPY BIRTHDAY SPECTRUM! th

If you believe that the occurrence of Friday 13 on the calendar is in any way scary, spooky, creepy or that “weird things happen on that day man, I can’t explain it, but it’s real, and so are ghosts”, then open that stapler on your desk, put your finger inside it and slam your palm on it. In other news: in one of the eeriest paranormal coincides ever, Spectrum are hosting their massive birthday celebrations on that date this month, with The Paper Scissors, Ernest Ellis, Jonti Danimals and many more. They won’t be standing idly in the corner checking out your hot friend with the Patti Boyd haircut though- they will be playing live, for your benefit. It starts at 8. Arrive casually late if you wanna be a dick about it.

My first thought upon looking at LA native Jonneine Zapata was “Christ, she is gorgeous” - and then I read she has gotten physical comparisons to Jim Morrison, which made me feel all weird and insecure. So I opened a Ralph magazine, drank a beer and reinstated my manhood. Her music is pretty amazing and intense, Cast The Demons Out is a brilliant record, and she will be playing songs from it on October 8 at the Annandale. Babe.

BRITISH INDIE

6S & 7S

Perth’s best slightly-psychedelic-pop band since The Sleepy Jackson, 6s & 7s are launching their debut album in Sydney August 26 at Melt Bar. The brilliantly titled Choose The Sentinel Blooze has been receiving rave reviews across the country, so if you enjoy liking things then this gig is for you. And you. And you!

HAYLEY GETS THE FLICK

Hayley from Paramore is a cutefaced cute face, and instead of acknowledging this fact (and it is a fact.) and getting on with life, Brisbane band Flicks instead wrote a slightly sweet/slightly stalkerish tune about her, and even hand-delivered it to her boyfriend - one of the guys from New Found Glory, who we assume kicked the shit out of them. That song is now available as a single, and because they are young and down with technology, they have also released an iPhone app. I downloaded it to my Nokia 3310 and it is pretty good. So is Snake 2.

GLIDE WITH ME

Sydney in the early ‘90s was a different place. Trust me, I’ve listened to Hourly Daily, and seen that Olympics episode of The Late Show where Tony and Mick vox-pop on the streets of Marrickville. We were also lucky enough to have one of the world’s best bands, Glide, knocking about, playing a mind-bending mix of jinglejangle pop and pedal-stomping shoegaze. The news that they’re playing the Annandale on August 14 is enough to make me take up opiates, but now they have announced that the excellent Model School will be supporting. Good grief!

“Oh my God I totally forgot to get tickets to British India because I am so indie I don’t listen

BEDROOM EYES

Every since The Bedroom Philosopher teased every single one of you, everyone has really embraced his brand of smart-arsey joke-pop. His upcoming national tour hits The Factory on August 20, and the supports are about to be announced in The Brag, so watch this space. The supports for The Bedroom Philsopher are The Boat People and Pinky Beecroft and the White Russians.

WHOLE LOTTA TRIBUTE

My friend has four Led Zeppelin tattoos. Four! That’s how much people love this band, and even though John Bohnam disappeared into a sea of vomit thirty years ago, the love for the Zep has not dwindled at all (statistics provided by ABS). On September John Swan from Swanee, Dave Gleeson from that poster on your wall, Simon Meli from The Widowbirds and a bunch of others will be backed by a twelve-piece band as

The Boat People

“We don’t have to be stars exploding in the night or electric eels under the covers” - STRANGE POWERS: STEPHIN MERRITT 12 :: BRAG :: 373 : 02:08:10

With

special guests

Sydney, Hordern Pavilion, Saturday November 6 Wollongong Entertainment Centre, Tuesday November 16

On Sale Tuesday August 10

New album out now

132 849 or ticketek.com.au Presented by Michael Coppel & MAX I crowdedhouse.com I coppel.com.au BRAG :: 373 :: 02:08:10 :: 13

dance music news

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welcome to the frontline: what’s goin’ on around town... With Chris Honnery onthefly.com.au

he said she said WITH

‘Paranoid Android’ by Radiohead completely changed the way I thought about music, and what could be done with it. I can clearly remember sitting at home with headphones on, listening to track two on repeat, over and over and over again, spellbound by Thom Yorke’s voice and that song’s sonic explosions. An Australian album that greatly inspired me (and due to its brilliance discouraged me) was Sunset Studies by Augie March. Glenn Richards is a genius.

I

My Fiction came together just over two years ago. We’re all from Brisbane and some of us played together previously in another band. When Danny, our drummer, finally joined, it was clear we had something pretty special going on. All the other band members - James Laubscher (lead guitar), Danny Murphy (drums & samples) and Mike Willmett (bass, synths, piano & glock) - are all classicallytrained musos, where as I’m self-taught, and happily ride on their coat-tails. We are

made up of uni students, office workers and professors… We recorded FIREROMANCEFIRE with ARIA winning producer Magoo, in his beautifully-restored “old country church”on the outskirts of Brisbane. Our first single ‘Every June’ has been spinning on rage for the past few weeks, and has been added to rotation on triple j. We’ve also recently been nominated for two Queensland Song Writing Awards (QSong Awards) for tracks off our debut – one of the categories is alternative, and we‘ve been highly recommended in the dance category too, leaving our style somewhere in the alternative/electro/rock listing… Live, you can expect to walk away with a sonic nosebleed. Often the gals like to dance to our tunes, and the gentlemen have been known to join in also – we love playing live, especially in exotic foreign cities like Sydney. We’ve played in Sydney before and found the audiences really respond to our music. We received a lot of support from ex-local lads Expatriate when we were starting out. Also, I have a personal love of Newtown – there’s a song on our album ‘King Street Cops’ that tells the tale of our early morning adventures following a police raid on a Newtown venue we were frequenting at the time… Who: My Fiction What: FIREROMANCEFIRE is out now Where: The Lansdowne Hotel When: Thursday August 5

sub-label Dark & Lovely, most recently ‘Singular’ - which features vocals from Aguayo, who garnered acclaim as a solo artist while also helming his own Cómeme imprint. ‘Singular’ will appear on the LP, along with productions featuring contributions from Cocker and Baxter Dury (son of Ian), with more details to be released soon. D*I*R*T*Y tell us to “expect pop music, analogue basslines, steel drums, weird disco and more”. Rumours also abound as to Aguayo’s possible return to Australia later this year, but that’s yet to be made official [oooh, ahhhh…]

K-OS

WYCLEF FOR PREZ

It seems Wyclef Jean may well be the next in an illustrious line of celebrity figures to run for the role of president, this time for his beloved native country Haiti. Since leaving the region as a child, the former Fugee has been very active in the country’s welfare. Wyclef has been rumoured to enter the election since 2007, when he was appointed ambassadorat-large for the Caribbean nation by President René Préval. Préval can’t seek re-election this year, and while it is still uncertain whether Wyclef will stand or not, his family have issued an official statement stating: “Wyclef’s commitment to his homeland and its youth is boundless, and he will remain its greatest supporter regardless of whether he is part of the government moving forward…”

19 people, including one Australian, were tragically crushed to death in a crowd stampede at the iconic German festival Love Parade last week, which was being held in the city of Duisburg. Authorities had reportedly been warned that the western city was too small to hold one of Europe’s biggest dance festivals, while security arrangements have been slammed as being woefully inadequate. The disaster occurred when thousands of people tried to gain entrance to the site where the event was taking place through a single tunnel. Police had been trying to stop people reaching the parade area because of overcrowding, but the revelers panicked at a tunnel entrance. Around a hundred people were injured, dozens seriously. The Love Parade began as a peace demonstration in 1989, before it developed into a massive open-air dance music festival; sadly

it will be remembered for all the wrong reasons with the event now officially dissolved. Spiegel magazine said on its website that the festival only had authorization for 250,000 people rather than the 1.4 million who organisers said had attended. Prosecutors have begun an investigation.

DISCODEINE

Pulp’s Jarvis Cocker and Kompakt’s Matias Aguayo, who starred at last year’s annual Pirates Of The Underground boat cruise, are among the guest artists contributing to the forthcoming LP from Discodeine. “Who’s Discodeine?”, slurs the soporific stoner up the back of the class. To get you up to speed pal, Discodeine is a Parisian outfit comprised of disco edit extraordinaire Pilooski, Morando (AKA Pentile) and Cédric Marszewski. Thus far they’ve released several EPs on D*I*R*T*Y

TONE DEFEAT

Local music champions Tone Defeat return to the Annandale this Friday August 6, slamming another killer line-up in your face, off the back of hosting Deep Sea Arcade, Fergus Brown, Bearhug, Made in Japan and Royal Chant. This week, reggae wunderkinds Kingtide will be performing alongside the Sticky Fingers imps, Reverse Polarities Massema, & The Domestics. Expect good music, cheap beers, and free shit, flowing throughout the night. Because we love you, we have five double passes to this Friday’s showdown up for grabs – just tell us the name of Kingtide’s last album.

BIG VILLAGE

Good news for fans of Aussie hip hop – a bunch of prominent Sydney artists have worked together to create a new record label which promotes local talent and uses strength in numbers to encourage independent hip hop. The label’s called Big Village, and it promises big things for emerging artists. And what better way to celebrate the event than a big launch party on August 7 featuring hip hop heavyweights Daily Meds, Loose Change, True Vibenation, Tuka and more. Keen to get in on the action? Tickets are $10 but if you’re quick you can win two double passes. Just tell us your favourite Aussie hip hop act and why.

BOUNDARY BONDS WITH...

GREEN ELEPHANT EVENTS, Tell us about Green Elephant Events? We’re a new event management company with a focus on sustainability. Our services include event management, experiential marketing, and carbon assessments. What was the eureka moment that gave birth to the idea? We were in the right headspace at the right time. Working in event management and corporate responsibility, we were pretty irked by some of the questionable activities across the events industry in the name of being green: giant cardboard cities, GM seed giveaways and hand sanitizers... Then it came to us - Eureka!

Wyclef Jean

LOVE PARADE TRAGEDY

Kingtide

NICK FROM MY FICTION (QLD) suburbs of Brisbane, the people and places that were significant. You can’t escape being affected by the music that surrounds you as a kid.

grew up in a big noisy family surrounded by music, but not by musicians. Dad loved opera and The Beatles; for Mum it was Springsteen, Dylan and The Police. One of my elder sisters was obsessed with Michael Hutchence & INXS, while both my older brothers between them were listening to anything from The Clash to RUN DMC to Rage Against The Machine. As the youngest, I soaked it all up. As the lyricist of My Fiction, I write a lot about growing up in the northern

FREESTUFF@THEBRAG.COM

Where did the name come from? A pun! It’s a cheeky take on ‘the white elephant in the room’ - and the name Green Elephant Events comes from Petersham.

K-OS

Trinidad-born and Toronto-raised musician, emcee and producer, k-os brings the party to Oxford Art Factory on Wednesday August 4. k-os has been basking in the success of his fourth LP Yes!, and particularly the singles ‘I Wish I Knew Natalie Portman’, which featured Nelly Furtado and a sample of Phantom Planet’s ‘Califonia’, and ‘4,3,2,1’ (hip hop’s response to Feist’s ‘1,2,3,4’). With a musical ethos based on the mantra that “art should belike a comet – it should come out of nowhere and just smack people in the face,” you can look forward to an intense live show – pack a mouthguard to be safe.

What area of event management is it most difficult to be sustainable? That would have to be guest transport. It’s the single largest source of an event’s carbon emissions and involves everyone in attendance. For your next event or gig try a greener mode of transport like the bus, train or bicycle – or walk if you can. Major plans for the future? We’ve built a steady client base of corporates, but our next step is to engage companies in the creative industry who are willing to push boundaries and explore new alternatives. Our long-term view is to make our approach the norm, and get people to ask each time – why isn’t this event green? www.greenelephantevents.com.au

“Duck from the gunshots that is sticking to ya. Standing all alone shotgun goes boo-ya”- CYPRESS HILL 14 :: BRAG :: 373 : 02:08:10

BRAG :: 373 :: 02:08:10 :: 15

dance music news

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welcome to the frontline: what’s goin’ on around town... With Chris Honnery onthefly.com.au

five things WITH

ROUNDHOUSE PRESENTS…

ELLESQUIRE FROM LOOSE CHANGE (BIG VILLAGE)

Ellesquire Growing Up Growing up, Paul Simon was the shit. 1. He was the first artist I really dug as a kid. I used to play my parents’ records and pretend I was him. I’d sit on this old bamboo stool, strum my tennis racket guitar ‘n sing all his tunes. My oldies mostly listened to folk so there was a lot of Dylan and Donavon played around the house too. My big sister is responsible for the majority of music I listened to through my pre-teen

years, a lot of alternative stuff. I didn’t start listening to hip hop until I was about 13.

P major was Rapaport’s mate. Soon as I heard his first beat tape I new we were onto something good. He was on some Pete Rock/Dilla shit, and both Rapaport and I just couldn’t help writing to it.

Inspirations I first fell in 2. love with hip hop

The Music You Make We make honest, soulful hip hop. 4. The lyrics are heartfelt, and our flows

when I heard the Common Sense song ‘I Used To Love H.E.R’ That song (and the album that it’s from) took me to a new level of appreciation for rap music and lyricism. Common, along with artists like A.T.C.Q, De La Soul, Pete Rock & C.L Smooth, Blu, Mos Def & Kweli, are responsible for me picking up a pen today. Your Crew Loose Change consists of myself and 3. Rapaport handling all the raps, P Major making all the beats and Sam Z on the cuts. We formed officially as a group about three years ago now. Me and Rapaport used to rap together around the way, and

are buttery. The beats are infectious and sample-heavy, with a unique laid-back vibe. Loose Change’s debut album is available for free download at loosechangehiphop.com - go cop it now! Our live show gets a bit looser than the LP. Expect caged dancers with pythons…

5.

Music, Right Here, Right Now Right now hip hop in Sydney is booming. Big ups to the rest of the Big Village crew - Daily Meds, True Vibenation, Tuka, Jeswon, DJ Morgs and DJ Max Gosford. All classic examples of local hip hop moving in the right direction. Who: Loose Change With: Daily Meds, True Vibenation, Tuka What: Big Village Label Launch

UNSW Roundhouse is here to save you from the drudgery of the dark winter months, with a little bit o’ this, and a little bit ‘o that... Coming up in August is stand-up from comedic champions Tom Gleeson and Mikey Robbins; Aussie roots trio The Beautiful Girls are bringing the vibe - and their new album Spooks on August 19, and blues and roots king Ash Grunwald returns home victorious, after a string of international dates, on September 1. We have a double pass for you and a mate to enjoy your choice of The Beautiful Girls, Tom Gleeson or Ash Grunwald. All you need to do is impress us with the names of the three band members of TBGs.

GYPSY AND THE CAT

Fresh from their recent jaunt to Woodfordia for Splendour in the Grass, Gypsy and the Cat (aka 21-year-olds Xavier Bacash & Lionel Towers) are bringing a breath of warm sunshine (just to mix our metaphors) on a cold winter day, at Oxford Arts Factory this Thursday August 5. It’s only a year since they started making music in their garage, and already they’ve got big ups from Mark Ronson, Neon Gold and triple j. We have five double passes for their show; if you’d like to check them out and free your inner cat, tell us the hometown of the duo...

Where: The Sandringham, Newtown When: Saturday August 7

DETTMANN @ PLANTATION Koolism

FREESTUFF@THEBRAG.COM

In big news for serious techno fans, Ostgut Ton’s Marcel Dettmann headlines ‘Disconnected’ at Plantation on Saturday September 18 with a fourhour set. Dettmann has been name-checked as one of the more cutting-edge techno producers in the underground Europe scene for the past few years, notching up a string of acclaimed productions. It all culminated in the release of his debut self-titled LP which hit shelves earlier this year. Dettmann has also remixed the likes of Fever Ray, Junior Boys, Modeselektor and Scuba, and has a sound that merges Detroit and European influences. Support from Dopamine, Defined By Rhythm and Ben Dunlop.

DELPHIC

Rewind/replay: After a whirlwind tour a few months back, Manchester’s Delphic return to our shores as part of the gargantuan Splendour in the Grass lineup, and will play a sideshow at The Gaelic on Tuesday August 3 (which is tomorrow, if you picked this up on Monday!) Delphic hit the ground running with their debut LP Acolyte [meaning ‘o ne who assists the celebrant in the performance

of liturgical rites’], a release that generated considerable hype and was produced by amicable tastemaker Ewan Pearson, who’s applied his Midas touch to The Rapture, Courtney Tidwell and Sydney’s own Lost Valentinos in the past.

ACCESS

Newly-launched psychedelic prog/tech night Access is an initiative from some of the older hands in the Sydney scene – guys who know how to put on a party, and not some teenybopper techno neophyte convention. After ramming-out newly refurbished venue Tao Lounge (opposite The Civic Hotel) last month, Access rolls on this Friday with a live performance from acclaimed duo Hedonix. The pair have been producing together since the early noughties and conflate different electronic genres in their productions, which have been released on Electric Power Pole Records (Australia), Cosmic Conspiracy Records (New Zealand) and even as far afield as Russia via Vertigo Records. Support comes from Zac Slade, Darkchild et al, with entry $15 before 11pm, and drink specials aplenty to get your weekend started.

KOOLISM

Canberra duo Koolism, the pair of emcee/triple j presenter Hau Latukefu and producer Danielsan, are ready to deliver their fifth studio album The Umu. It’s been an epic almost-four years in the making. Hau described, The Umu as “The equivalent of drinking raindrops off the leaf of an exotic tree found only deep in the humid heart of the Amazonas. It will change your life and is guaranteed to take hip hop to the next level.” Funny man. Hau says the album is “dedicated to the essence of original and classic hip hop, and the title is inspired by a Tongan word for an underground oven - a cooking technique that is practiced throughout the South Pacific. Dan and I, along with some close friends, have been cooking up this album since December 2006. And now, in 2010, we’re finally ready to serve it.” You’ll be able to give it your own appraisal when The Umu hits shelves in early September through Remote Control.

BOT’OX

French duo Bot’Ox, comprised of Benjamin ‘Cosmo Vitelli’ Boguet and Julien Briffaz, will release their debut album, Babylon By Car in October. Bot’Ox have seen their productions grace 12”s from labels like DFA and DC Recordings; Babylon By Car comes to you courtesy of Boguet’s own I’m a Cliché imprint. The album finds Boguet and Briffaz exploring – obliquely – the central role that the car has played in musical myth-making, from Vince Taylor’s ‘Brand New Cadillac’ to The Normal’s ‘Warm Leatherette’ and Kraftwerk’s ‘Autobahn’. In short, it’s a good ol’ fashioned concept album. ‘Tout Passe, Tout Lasse, Tout Casse’ features vocals from Judy Nylon of cult ‘70s no wave outfit Snatch, while Mark Kerr lends his pipes to ‘Slow Burning’ and ‘Tragedy Symphony’, and Domingo’s Anna Jean offers her dulcet tones on ‘Blue Steel’. For all you retro revivalists, this LP should be a treat…

FRANK BOOKER

To coincide with the Bledisloe Cup, Kiwi deep disco and house don Frank Booker returns to Sydney to play Adult Disco at The Civic Underground this Saturday, after having headlined Mad Racket’s Beck’s Bar night earlier this year. Booker co-hosts ‘Hit It & Quit It’ alongside Recloose on Auckland radio (the Kiwi equivalent of Bondi FM’s Soul Sedation), and first emerged at the beginning of ’09 when he released the ‘Brothers EP’ on the boutique London record label, Untracked Recordings. The record was supported by Ashley Beedle, Todd Terje et al, and bought Frank to the attention of Kenji Sakajiri, the A&R man for Japanese label, Wonderful Noise. Kenji instantly signed Frank for a special limited edition Mix CD, and… well you get it by now, don’t you? It’s your classic upward spiral journey to fame, sex, glamour etc. Entry is $15 on the door before midnight – get there early, as this should be ‘pecked’.

Robyn

ROBYN RELEASE & TOUR

Swedish pop vixen Robyn will release the second of three albums to drop within a year, Body Talk Pt. 2, through Modular in September. Body Talk Pt. 2 isn’t short on high profile collaborations, with Snoop Dogg, Diplo, Röyskopp and Klas Ahlund all guesting. That’s right, you heard me: Klas Ahlund. And what’s with the trilogy anyhow? “I got all these great songs so why not?” Robyn says. “It’s been five years since Robyn and I didn’t want to wait with a release until they are all recorded, so I decided to start putting them out right away. I also can’t wait to play live again!” And on that, Robyn plays the Stereosonic festival in Sydney on Saturday November 27 with support from Ricardo Villalobos. To end, I quote the lyrics from Imagination’s 1981 single ‘Body Talk’. “No words are spoken, the only sound we hear, is body talk, body talk, body talk, body talk, body talk. Baa dee daa dee baa ree ree daa, Ooh Now sugar, Aah aah aah, Oh ah, Baa dee dee daa, Ooh body to body.”

“Don’t make me wreck shit, hectic. Next get the chair got me goin’ like General Electric” - CYPRESS HILL 16 :: BRAG :: 373 : 02:08:10

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egan Washington is a tiny pale ball munching on an apple in the middle of a big brown beanbag. It’s 3:30pm and she hasn’t had time for lunch - but with a schedule like hers I’m not too surprised. The 24-year-old writer, namesake and frontwoman of Melbourne’s Washington is 33 shows deep in a 36-date national tour, supporting The Beautiful Girls. In Sydney for the Enmore show, her label is killing two birds with one stone, and taking her around to do some promo for her own upcoming release. The night after we talk, she’ll be performing her debut album I Believe You, Liar at a showcase in front of the Sydney music industry. I suggest she must be a little drained. “Well, I’m on a beanbag in the foetal position,” she says dryly. “So, yeah. You know. Tired.” Washington’s album is the culmination of three EPs, two and a half years of touring, a handful of luck and a whole heap of Very Hard Work. After studying jazz at the Queensland Conservatorium of Music, Megan moved from Brisbane to Melbourne in 2007 to develop her own sound in a more nurturing city. In her single ‘Rich Kids’, she paints a pretty stark picture of what it was like trying to be creative in a Brisbane where, “everybody’s coming down, or throwing up, or sleeping around. I remember why I left this town...” Nothing sugarcoated there – but then Washington isn’t one for sugarcoating. She’s exactly like her album, actually; fun, honest, insightful and undeniably down-to-earth. Although she’ll readily own how exhausted she is, she’s just as happy to be here. Washington got her first real break in 2007, after a chance meeting with Old Man River’s Ohad Rein at a Melbourne bar. A week and a half later she’d joined his band and was flying off on her first international tour. One tour lead to the next and all of a sudden it was 2009, and she was launching her debut release, the Clementine EP. It was her first official departure from that background in jazz. “The next door neighbour between jazz and pop is folk,” she

tells me, “and Clementine was really folky.” Following Clementine was How To Tame Lions, Washington’s breakthrough EP. “That EP was very classical harmonically, but with those electro sounds,” she says - apparently ‘Cement’ was based on a Bach sonata. “It’s about figuring out how classical music can work [commercially] - but without being Muse.” The title track from that EP won her the Vanda & Young songwriting competition, with a prize of $20 000 and return trips to the US and the UK. All of a sudden, the doors had flown open. With two songs added to triple j rotation, Washington was invited to appear on Spicks and Specks. And then on Rockwiz. “They don’t often let you do both,” she tells me excitedly. “It was super cool!” It was on Spicks and Specks that they uncovered the notorious midget-tickling story (google it.); on Rockwiz, she got to perform a duet with G-Love. “I was high-fiving my fourteenyear-old self!” she exclaims, before launching into a startlingly convincing rendition of ‘Baby’s Got Sauce’. After the show, Rockwiz asked her on their national tour – and she was on the road again. “I got to sing with Angry Anderson, John Paul Young, Ross Wilson… You know Ross Wilson? I did a dance to ‘Daddy Cool’ when I was about seven, for my dancing class.” When she shows me a seated rendition of the dance (which has 1993 written all over it), it strikes me that Megan has somehow gotten to work with most of the people she admires - from Ross Wilson, Ohad and G-Love to the album’s co-collaborator John Castle, and some of the artists behind her film clips: creative collectives like Greedy Hen (‘How To Tame Lions’) and We Buy Your Kids (‘Clementine’). She seems to have friends in all the right places these days. “Well, I try. I have this stupid idea: I believe that you can be friends with the people you work with. And if you’re not friends with them, then don’t work with them,” she says, matterof-factly. “That’s been my whole career mission statement: surround myself with really talented people, and then just stand at the back.”

Washington’s third EP, released earlier this year, was Rich Kids – and the title track from that one signified her breakthrough to commercial radio. But that’s three whole EPs before an album release. An unusual choice? “Well, I just really wanted to be ready,” she tells me. “I didn’t want to just bust out with a bunch of tunes and go, ‘FUCK YEAH I MADE AN ALBUM, PEOPLE!’ because it just wouldn’t have been very good.” Which finally brings us to How To Tame Lions, the debut album that’s got her on the cover of this very magazine. The LP has jazz-fused folk, heartbreaking ballads and moments of the funnest, danceable pop songs out this year. When she was a kid, Washington dreamt of starring in musicals – which is pretty obvious when you watch some of her film clips. Take ‘Rich Kids’, with the pre-pubescent coming-ofage sleepover dance-off; or ‘Sunday Best’, an homage to French new wave equipped with genre clichés, period costumes, and even a cameo by Megan’s boyfriend, Yves Klein Blue frontman Michael Tomlinson. The film clips are all about characters, costumes and choreography - Megan was a dancer until she was 20. “I do think that showtune element, that theatrical element, is really present in the music that we make. So whenever we make film clips, I just want to make musicals. Because I can!” she laughs. “Suck on that, Baz!’” The album is a disparate bundle to be sure, but it’s tied together with an undertone of conflict - and a stark, honest way of processing the past. Megan has said of her album that each song amounts to a “sonic Polaroid” of her life. ‘Spanish Temper’, for instance, is a Latin-fused anger-ballad directed at her former housemate; and when she sings “when will you kill me?”, she’s not being metaphorical. “He’s one of those really magnetic people that you end up just gravitating towards, even though they can be quite toxic,” Megan explains. “One day he just lost the plot, kicked down my door and trashed my house.” Following a chorus like “You smash my jaw, break my nose, knock me out, suck

me in” with a verse like “I love you just like my brother,” it’s fair to ask if Washington waters down raw honesty to make for more palatable songs? “Nah,” she answers. “I just can’t stay mad at people. It takes too much energy.” Curled up in a beanbag like that, it seems that energy is something Megan has to keep in careful reserves these days. When I ask what music she’s been listening to, she doesn’t even pause to think. “Nothing,” she replies. Nothing? No-one answers Nothing... “I just can’t,” she says, defeated. “I mean, I guess at the moment, it’s just – Ugh. It’s such a weird time for you to be interviewing me right now, because I think I just cracked yesterday! I mean, I’m obviously fine, it’s just…” she trails off a little, and shrugs with a smile. It’s understandable. To be on the road for so long, while intensely invested in her own two-and-a-half year project – and then to have that project come to a close... It has to be a little overwhelming. “Yeah. Having to talk about it, it’s just weird.” At the album preview the following night, when she sings the final song – the title track and album closer, which she wrote last of all - the hairs on the back of my neck stand up. There’s something so final about the way she performs it, as a farewell, or a tribute, or something. When she comes off stage she’s kind of shaking, and I ask her how she thought it went. “That was so intense,” she replies. “I was crying before I went on. You only get one chance to do something for the first time, you know? The last two and a half years, all of that, everything I’ve done – I have to say goodbye to it. It doesn’t belong to me anymore. It’s out there now.” Who: Washington What: I Believe You, Liar is out now through Universal Where: Friday September 10 When: Manning Bar

“The book of love is long and boring No one can lift the damn thing ” - STRANGE POWERS: STEPHIN MERRITT 18 :: BRAG :: 373:: 02:08:10

BRAG :: 373 :: 02:08:10 :: 19

Arcade Fire Suburban Mythology By Alex Young

A

lmost a year of silence, from one of the world’s most sought-after groups... After wrapping up a year-long worldwide voyage to promote their outstanding second album Neon Bible, Montreal’s Arcade Fire slipped away without a peep. Were people worried? It’s hard to say. But when it was suddenly announced that the group’s third album The Suburbs was imminent, there were cries of joy loud enough to make up for a year’s worth of waiting. The album had been in the making for almost six months, and was sparked by a chance e-mail to vocalist Win Butler.

“I got an email from an old friend that we grew up with in the suburbs of Houston,” Win says. “He sent us a picture of him with his daughter on his shoulders at the mall around the corner from where we lived. It was a combination of seeing this familiar place and seeing my friend with his child; it brought back a lot of feeling from that time.” Win decided to drive back to Houston with his wife and co-vocalist Regine Chassigne, to revisit the stories of his childhood. The Suburbs was born. “I found myself trying to remember the town that we grew up in, and trying to retrace as much

as I could remember,” Butler says. “Once that started to sound like music, it felt like we were making an album. I’ve been living in Montreal for almost ten years now, and it felt like I needed to reconnect with that feeling in Houston before it’s gone; getting it down before it’s too far away to be able to conjure.” The result is the band’s largest effort to date – with 16 tracks in total, it’s an evolution not just in length but also in the group’s sonic composition, as they drift towards a more “rock” sound. While the bombastic, Springsteen-inspired high points of Neon Bible are less frequent, the group add an industrial feel to their own anthems, which tackle ideas of mundane suburban living, complacency, and a loss of individuality. It’s Arcade Fire’s most personal album to date, wrapping ideas of uniformity and today’s lack of sentimentality around nostalgic memories of a suburban past. Butler’s partner in both life and songwriting, Chassigne, elaborates. “In terms of music, now if you want a song, you’ve got it in two seconds,” she says. “When you didn’t have that, you heard a song somewhere and you had to remember it until you heard it again. I definitely grew up like that, and I think it trained my brain. I can play songs forward and backwards because I was so passionate about hearing new songs [that] I would drink the sounds and try to remember every detail, playing them in my head, trying to reproduce what I’d just heard.”

“It’s fun to be excited about something. It’s not like everyone needs to be excited about our album, but for those who are, it’s a special little moment.” Such passionate ideals about music shed some light on the band’s desire to keep a relatively low profile outside of their output. With eight variations on the cover artwork available for The Suburbs, plus their restrictions on giving too many interviews, Butler explains that it’s all their own way of preserving any kind of excitement and sentimentalism for their music. “If a movie comes out that you’re really excited about, and the trailer tells you everything about the movie and the making of, and you know about the financing, and the fight the main actor had with the co-star — that’s the immediate context that makes it hard to enjoy a piece of art. It’s the stuff that you see with a really low expectation that usually blows your mind. “It’s fun to be excited about something,” Win continues. “It’s not like everyone needs to be excited about our album, but for those who are, it’s a special little moment.” Will Butler, Win’s brother and Arcade Fire’s bassist, agrees. “We’d want the initial aesthetic shock to come from the actual art we’ve produced; we’re trying to make it so that people experience what we do through what we care about,” he says. “We care about the music we make and the shows we put on. We would much rather people experience what we do through that than through anything on the periphery.” Evidently, it’s a motto that’s working. With the monumental success of debut Funeral almost matched by the reception of their follow-up Neon Bible, Arcade Fire is a well respected household name that tend to meet the hype head-on. They’ve played with everyone from U2 to David Bowie, won countless awards and are almost universally acclaimed by critics. And despite their desire to keep out of the spotlight, they remain humble and grounded.

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“There are a lot of things you have no control over,” Win says. “We’ve been very fortunate. We’ve been able to navigate it. We were lucky to be left to our own devices and have the opportunity to make Funeral in a real studio, and achieve what we wanted to. That afforded us a lot of control over our own destiny, which a lot of bands that are my heroes either never got, or only got late in their careers. “Even though the music industry is crumbling, we’ve always felt fortunate because, what else do you want? We’re making records the way we want to, and it’s a great position to be in.”

MY BEST FRIEND IS YOU out now on UMA www.katenash.com.au 20 :: BRAG :: 373 :: 02:08:10

Who: Arcade Fire What: The Suburbs is out now through EMI

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Crow A Resurrection By Mike Gee

Fenton’s much loved and lauded band Crow, touted by Juice as the best Aussie band since The Birthday Party, is back with its first album in 12 years. After breaking up in 1998, they didn’t reform until 2009 for the ‘That Was Then, This Is Now’ gig with Hoss, at The Factory Theatre. As far as the band was concerned, the condition of that reformation was that after the gig they’d stay together; so the original members - Fenton, his brother John, Peter Archer and Jim Wolf – did just that. The result is Arcane, one of the best Australian albums to be released this year. And one of the most Australian.

The record talks of the heartland, of the suburbs, of great distances, red dirt spaces, and a coastal fringe packed with a population that barely strays from the water. It’s dusty, parched, sublime, and poignant. And between Fenton and fellow songwriter Archer, there’s a new unity previously lacking in their work. “The Go-Betweens were part of my musical crucible, the fulcrum, the cradle,” Peter says. “I remember being quite young, living in Canberra, listening to ‘Cattle And Cane’ on a Sydney radio station. And The Triffids, I used to see them every Tuesday night at the Strawberry Hills Hotel. They’re a great group in the Australian music lexicon. “I think, for me,” he continues, “it’s about being interesting. It’s about being open to things and aware of things. For instance, I’m becoming increasingly interested in our family history. The more you find out about that, the more it confirms things in yourself you didn’t know. There’s an old saying, something like, ‘No one can tell you anything that isn’t halfformed in your mind already’. And that’s true.” To get to this point in his life, Fenton has travelled a somewhat circuitous path. After Crow split, he ended up becoming involved in film. He made his acting debut in Praise, in which he played a Brisbane alcoholic who had problems getting it up. The film took him to Spain, Germany and all around Australia. “It was such a liberating experience being jettisoned out into a totally different world of people, of film types,” he says. After he returned, he moved from the inner-West for the first time, to house-sit for a friend in Bondi. “Not being tied down to any particular regime; being able to stroll along the coastal cliff tops or walk outside the house, throw a towel over my shoulder, and a few minutes later jump in the sea - it was liberating. My neighbour was Jim Elliot from The Cruel Sea [drummer]. He and David Lane [You Am I] and I would meet up and play together at a local pub.” Around about the time that Fenton released his solo album, In The Lovers Arms, he and his wife moved out of Bondi and into the outer-Sydney suburb of Glenorie - where he found space, a veggie patch, a backyard, and a new perspective. That solo record echoes gently in the background of the seven songs that are Fenton’s on Arcane; but where Lovers Arms embraced a genteel pop maturity, Arcane presents Fenton’s vision complete. The Australian-ness of both the inner-suburbs and the outer country edges is brought together by the aching - it’s the only word for it - steel guitar that runs like a narrative thread through Arcane.

“They came, they drank. We knew we would fill the Annandale, and that was enough for us. I don’t have any regrets that we didn’t have that big radio hit.” Crow weren’t a band that seemed likely to reappear, let alone deliver such splendid and unexpected goods. But the whole way through, they had one thing that keeps many bands alive: the memories of a dedicated, loyal audience. “Knowing that people understood what we were trying to share with them [was] very special. That’s why the whole thing kept going. Our audience is very loyal; not only did they understand what we were doing, but they’d lift a few drinks during the night so we didn’t have the anxiety of getting people through the door,” he says. “They came, they drank. We knew we would fill the Annandale in Sydney, and the equivalent in Brisbane and Melbourne, and that was enough for us. I don’t have any regrets that we didn’t have that big radio hit.” The industry has changed dramatically since Crow’s last release – and Fenton describes the digital revolution as a double-edged sword. On one hand, the band only had to spend a couple of days in recording studios to let the new album find its direction. “Then we ran it all onto Pro-Tools, and would meet up every time Peter Archer was in town and add parts, or move parts around and mess with it [that way] - rather than sitting in a studio watching the dollars tick over.” But on the other hand, he says, digital music feels a lot less valuable. “It’s there to pass around the world in a nanosecond. It gets taken from you.. I don’t know whether people can be bothered buying a record now, so we’ll let it all play out and then make a decision on what happens next,” he tells me. “I can say that I can never see myself stopping writing. The resurrection of Crow has inspired me.” Who: Crow What: Arcane is out now Where: CAD Factory, Marrickville When: Friday August 6 22 :: BRAG :: 373 :: 02:08:10

Crow photo by Jo Corbett

P

eter Fenton is musing about the beauty of Dangar Island in the Hawkesbury River. The inner-Westie recently made his way down to Brooklyn, NSW - he hopped on a ferry to the island, and found paradise. “Dirt roads, a little bowling club. I just bought a car with a tow-bar on the back. I could buy a little runabout and explore. Take a guitar out there on the island or the water…” For Fenton, a train trip can be equally inspiring – drifting into dreamland with the soundscape of the journey, or even just the people sitting near you. “Everybody has a story,” Fenton ruminates. “It’s about getting the right bait on the hook, and getting them to bite. Getting them to tell you that story.”

The Demon Parade Psychedelic Sin By Jaymz Clements

T

he concept of heaven and hell is a central tenet of some of the world’s most influential religions: act well, be rewarded; act badly, suffer the eternal consequences. Each seems analogous for the way bands formulate an identity – heaven for boring shits like Coldplay, hell for badasses like The ‘Stones… And purgatory, where many bands toil away in vain, in a selfperpetuating loop, never rising or sinking – like, well, Thirsty Merc. When The Demon Parade ask ‘Do You Believe In Hell’ with the lead single from their God Said It’s Legal EP, it’s clear where their loyalties lie. Judging from their release, Hell is an ephemeral, hazy-with-weed-fumes state of mind. Their music conjures the integral elements of Stone Roses, My Bloody Valentine, REM, Oasis, Black Rebel Motorcycle Club and Brian Jonestown Massacre (and the latter asked The Demon Parade to open for them on their last Australian tour). The Melbourne band formed a little less than two years ago under the direction of front-man Michael Badger, and at its best, their prismatic sound is nothing short of jaw-dropping. Hiding heavy-lidded stoner-rock behind a shining psychedelic miasma, with washed-out pop grinding up against joyous garage-punk, the God Said It’s Legal EP displays a maturity beyond the band’s years. On a mid-week evening, seated in a booth at The John Curtin with a jug in front of us, Badger is adamant that The Demon Parade’s distinctive sound was intended from the beginning.

you’re really pretty, let’s go and have a dance.’ It’s better to leave things to others’ interpretations.” Considering the under-swell of support, and their critical currency on the scene right now, it’s clear that The Demon Parade’s arc is pointed firmly upward. But regardless of the success coming their way, the band are content with remaining independent. They’ve put everything together from scratch, through Badger’s own Jaya Jay label. “The whole reason we’re doing what we’re doing independently is because we get to choose to do what we want. I’ve been in bands previously where they’ll have a label breathing down [their] neck, saying ‘you can’t do this,’ ‘the art has to look like this’ - and now we’re in control of everything… it feels really good,” he says. “Every time you take a little step forward, it’s all the more rewarding.” Who: The Demon Parade What: God Said It’s Legal EP is out now Where: Melt Bar, Kings Cross When: Thursday August 19

“It was the first time in about ten years that I wasn’t in a band,” he explains, “so I just started off in my studio at home, fucking around with sounds. Because I was by myself, I was layering up all the guitars, synths, organ, vocals… Some songs had sixteen vocal tracks of just me, just to make it sound as big as possible.” After about ten months of writing that style of music, he started jamming with a drummer and a bassplayer. “So we had a really tight rhythm section. Then we played a couple of gigs. It all evolved out of that…” he shrugs From their first 7” Beyond Us/Surreal to the God Said It’s Legal EP, there’s already a remarkable maturity to the sound of The Demon Parade. It’s a melodious amalgam of shoegaze and psychedelic, entrancing and beguiling yet strangely bruising by turns. And it’s not a sound usually associated with Australian bands – it lacks that lo-fi aesthetic, with Badger’s pitched vocals playing against a sweeping wave of noise. It’s a world-beating sound; a netherworld, if you will. “I like listening to that sort of music, you know?” Badger explains simply. “That sort of music where you can dim the lights, turn it up loud and get lost in sound. I wanted to make music I like listening to; it’s fun to play live and it’s fun to record, and you can always try new things and new techniques when recording it.”

“I like that sort of music where you can dim the lights, turn it up loud and get lost in sound. I wanted to make music I like listening to; it’s fun to play live and it’s fun to record... The most striking aspect to The Demon Parade’s music is the intense, visceral reaction it provokes, whether live or recorded. “That intense part is probably a part of our - and my – personality. I guess I kind of enjoy tense feelings and situations, when I’m listening to music too.” This intensity arrives hand in hand with unusually ambiguous lyrics; obtuse phrases and feelings are inferred rather than spelt out, leaving the songs far more open to interpretation. “I like to keep a fair bit of mystery to the songs,” offers Badger with a grin. “I never like to write obvious lyrics, I’d rather suggest things… I like to keep it pretty open, and let people make up their own mind about what the song is about. “The style of music we play;” Badger clarifies, “it’s not in your face, like a straight-up particular style of song. When people listen to it, each person has their own description in their head as to what it sounds like, and what it’s about.” Chances are, it won’t be a cut-and-dried love/ heartbreak song on offer. “If I am writing about a girl, it’s generally their point of view or thoughts on something, rather than me saying, ‘I love you, BRAG :: 373 :: 02:08:10 :: 23

Giggs Let Him Have It By Liam Pieper

T

here’s something about gangsta rap that bothers me. I love staunch rap as much as the next man, and give all due respect to Biggie – but I just don’t buy a lot of it. An international superstar hounded by paparazzi has time for the drive-bys and hand-to-hands that they sell records off the back of? There’s something a little disingenuous about the whole thing‌ Not so in the case of Giggs. The South London artist, who also goes by Hollowman or Nathan Thompson, raps with an air of authenticity; a distinctive low, menacing drawl about growing up the hard way in South Peckham, a tough neighbourhood in one of the world’s stabbiest cities. His latest album Let Em Ave It is about the crush of poverty and its effect on a young man’s mind - and the lengths he will go to escape it. A prominent member of the Peckham Boys gang, Giggs has spent two years in prison on gun charges, but he stresses that he “didn’t do all that stuff I rap about.â€? Giggs doesn’t want to glorify crime, and talks about his past reluctantly. It was his stint in prison that made him reassess his life, and start taking music seriously; when a YouTube clip of him freestyling with his mates went viral, it got the attention of some of the world’s most interesting producers.

Some of these tracks, like a song he cut with Green Lantern, went nowhere. “That was ages ago, that was like two years ago. We’ve lost touch now,� he says dismissively. Others, like his collaboration with The Streets’ Mike Skinner, went massive. ‘Slow Songs’ was a huge hit, and propelled Giggs to stardom; but when I ask him about it, Giggs shrugs off the experience. “Mike Skinner wanted to work with me, you know?� he says nonchalantly. “A journalist told him about me, so he looked me up and then he got it touch.� Giggs used the buzz generated by the Skinner collaboration to consolidate his SN1 label and shop, where he sells his own records and clothing line, as well as the work of upcoming artists from around his neighbourhood. “Right now I’m selling millions of records on my own,� he tells me. “I’ve signed to XL to see if they can step that up a bit. My next move is to start releasing the talent around me; that’s where I wanna take it next. That’s been the plan from the beginning; to take other artists to the world.� He claims that his efforts have been curtailed by police harassment. Giggs’ shop is raided by the cops on a weekly basis, and the anti gun-crime Trident taskforce have made a habit of ringing promoters and record labels, warning them not

Mark Pritchard A Man Of Many Colours By Simon Hampson

move. I was just like ‘I’ll buy some more synths later’. “So yeah, it was a bit of a mission. I still use my old synths and mixing desk. It’s a pain in the ass because it means I’m not as mobile as I’d like to be. But the benefits of using that stuff really pay off,� he says. Pritchard’s most recent release is Hitecherous, the EP from his new project Africa Hitech made with another producer who moved from England to Sydney at the same time. “Steve [Spacek] and I have been working on stuff for a while really,� he tells me. “I supposed the first things we did were around 2003 or 2004 when we were both in the UK. And then we coincidentally both moved to Sydney about just over four years ago. We just carried on from there really.� There’s been a pretty good reaction to the release so far, but Pritchard maintains they’re just making whatever they feel like making. “The project has quite a broad scope, I suppose. We’re being very eclectic and not getting stuck in a certain tempo or sound.�

“I

don’t think I’m making harder music here because it’s sunny,â€? laughs Pritchard from his studio in Sydney. I’ve asked him how he thinks the move from the UK to Australia has effected his work. “I thought about it when I first moved here - because when you move to different places, it obviously changes things‌ The only comment I have had from one of my mates was, ‘Oh I thought you’d be making lots of chilled out music living in Australia with all the sunny beaches, but you seem to be making even nastier, harder music than you were before!’â€? His jovial nature is something I had expected; Pritchard is known for being approachable. A solid devotee to analogue gear and outboard processing, he tells me it was hard to work out what to take and what to leave behind for the move. “I got rid of a few things. I had to be a little bit sensible,â€? he admits. “It was kind of stressful to start off with, but kind of good once I’d actually made decisions about what I used. I kept my favourite synthesisers and basically shipped a lot of stuff. So far I haven’t really regretted getting rid of anything that I got rid of. I sold a few things, and that helped with the

Being eclectic has characterised Pritchard’s career. His Discogs entry lists six aliases and sixteen groups. Amongst them are some of the most influential electronic releases of the past 20 years; Global Communication (his collaboration with Tom Middleton), Reload, and Link. He has spanned genres and decades, but admits that there is very little planning in what comes out. “When I’m writing, I don’t really think of anything. At some point I have to try and organise myself to finish projects. Which is kind of why things take so long to come out. That’s the hard bit!� he laughs. Pritchard puts forward an important but obvious reason when I ask him what’s kept him going for all of this time. True passion. “After 20 years or more of making music in the industry, I suppose you just have to battle yourself,� he says. “Everyone who’s been making music for that long has seen changes in the way music is sold, and now it’s harder to make money. Every now and again you battle with yourself and wonder, ‘Why the fuck am I not making loads of cash?’ “But at the same time it balances, because I’m doing what I want to do and I’m happy. I don’t necessarily need [money] to make myself happy. When you do what you want, and see the reactions, that’s what keeps you going.� Who: Mark Pritchard What: Hitecherous by Africa Hitech is out now through Warp

to have anything to do with him. This is part of the reason that he’s started making forays into international markets – he sees other countries, particularly the US, as more receptive to his music and forgiving of his past. “Sometimes in the UK I feel like a lot of doors are closed to me ... because of my past, and because people don’t really want to hear it how it is. But when I go over to America, a lot of other people have gun charges and stuff, so it’s easier. “It’s weird,� he continues. “Gangster rap was so big in the States, it’s strange how it has never really taken off at home. I think that people in the UK are scared because I’m right on their

doorstep. They want to hide themselves away from it and pretend nothing bad is happening. But people are suffering, and people need to recognise it.â€? Giggs’ sophomore album Let Em Av It has just been released in Australia. “I’d like to thank anyone who supports the music,â€? he says. “Thanks for listening; and if you haven’t heard of me yet, I hope you do soon‌â€? Who: Giggs What: Let Em Ave It is out now through Remote Control Records

Savage Where The Chorus At? By Jared Mighell

E

arning his stripes with hip hop crew The Deceptikonz, the New Zealand rapper Savage has now far surpassed all his countrymen in terms of record sales. The first single off his debut album Moonshine, ‘Swing’ has sold over two million units in the United States, making him the first NZ artist there to achieve platinum status. Since Moonshine dropped in 2005 and ‘Swing’ blew up, Savage (AKA Demetrius Savielo) has performed in over 44 US cities. His popularity was given a nudge by Hollywood, too; ‘Swing’ featured in the club scene in Knocked Up, and boasts a double-whammy vocal hook, with dance move included.

“I was on tour in the US pretty much the whole of 2008 and 2009,â€? says Savage, now back in NZ. “I went from the West Coast right through to the East Coast. We have an apartment in Brooklyn, New York, and we pretty much just traveled out of there.â€? As ‘Swing’ had already gone platinum in NZ and Australia, Savage wanted to take it over to the States to breed a new group of fans. “I just enjoyed performing ‘Swing’ that much more because, you know, It brought me to the US. I found myself selling a lot more records than some artists I’ve looked up to over the years. ‘Swing’ sold 2.1 million singles, that’s something I never thought was possible. It was one hell of an experience over there.â€? His next record, Savage Island, is about to drop in Australia - with a cast of high profile US guests. “I’ve got Rocksteady on there, from Akon’s record label,â€? Savage tells me. “I’ve got Pit Bull as well, who featured on ‘Swing’, I’ve got Soulja Boy too. I’ve got Sean Paul from the Young Bloods in Atlanta, who blessed me with a track as well – and also Baby Bash.â€? The beats on Savage Island are taken care of by a swag of different producers, including Akon’s producer and tour DJ Benny-D. “I’ve got producers like Fresh Beat International, and some Konvict production on there as well. When I was touring the US for ‘Swing’ I grabbed a lot of phone numbers, so I reached out to everybody; Baby Bash’s producer, Akon’s producer‌â€? The Akon connection goes back to 2002, when a NZ born rep at SRC Universal - who were at the time about to sign Akon - connected the two rappers. “He passed me Akon’s mixtape before it was released and I reached out to do a track together. We made ‘Moonshine’â€?, Savage recalls. The track turned out to be Akon’s first number one single. Savage says he definitely has another hit like ‘Swing’ coming up. “The new album will have a lot of club traction, I never lack on that side of the music. I just like to make an album that’s well balanced.â€? And he’s going to enjoy coming back to Sydney. “I’ve been to Sydney so many times, it must be like 11 or 12 times. Sydney is one of those places I enjoy going to. I’ve got a lot of friends out there like DJ Tikelz, DJ Peter Gunz, pretty much the whole extended Dawn Raid family is over there in Sydney.â€? He says he enjoys Australian crowds more than US and NZ crowds - apparently we do less strutting and chin-stroking, and just get our party on... Damn straight. Who: Savage What: Savage Island is out now on Universal

Where: VOID @ Phoenix Bar

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Kate Nash Your New Best Friend By Christine Lan

K

ate Nash speaks so rapidly that it’s often difficult to keep up, with sentences spliced together from colloquialisms and vibrant exertions of emotion. In most cases, a 23-year-old with a platinum-selling, number one album would be battling a cascade of pressure, tension, and even self-importance; but this English songstress is more overwhelmed by the fact that her fans make her hand-made gifts. “This girl sewed a picture of me and my bunny rabbit,” Nash exclaims with delight, “and it was really amazing!” It’s this humble, candid effervescence which has endeared Miss Nash to so many. She became a MySpace phenomenon in the summer of 2006, which saw her debut single, ‘Caroline’s A Victim,’ sell thousands of copies. Fiction Records signed her by April that same year, and two months later ‘Foundations’ – the first single from her 2007 debut, Made Of Bricks – debuted at number two on the UK singles chart, propelling her album to number one by August. Dripping with wit, simplicity, honesty, and selfdeprecation, Nash’s style of songwriting prides itself on being, above all else, incredibly relatable. When she emerged with songs like ‘Mouthwash’, ‘Dickhead’,

and ‘Pumpkin Soup’, she wasn’t proposing anything but frank, exuberant and quirky indie-pop; refreshing, rather than groundbreaking. Nash was appealing to a crowd that would’ve otherwise have been susceptible to more commercial-pop pap. Which poses an interesting question: when did Nash start to realise that young girls would view her as a role model, even a new-age heroine? “Oh my gosh, it’s just such a cool thing to say if it’s true,” she replies, taken aback. “I do think that if you’re in the public eye then you will become somebody that some people look up to… When young girls come up to me after the shows, and they’re caring, and talking to me afterwards - they mean a lot to me as well; they really help me get through stuff. It’s an important, amazing and weird relationship.” Through her music, Nash insists that being an outsider is okay. “I always feel like I don’t fit in,” she tells me. “It’s okay to not fit in; and it’s kind of cool as well. Because, you know, a lot of the most interesting people are complete weirdos.” Growing up, Nash idolised Bikini Kill’s Kathleen Hanna as well as Sleater-Kinney’s Carrie Brownstein, Corin Tucker and Janet Weiss. She also admires good friend/Gossip frontwoman Beth Ditto for her resolute courage in voicing her at-times-controversial opinions. “Oh I love her – she’s a really nice person and an inspiring person,” Nash says. “She’s got a non-conformist attitude, which I believe in and agree with. So I really get along with her.” Nash’s strong convictions have led her to support social causes such as V-Day (the movement aiming to end violence against women) and The Wish Centre, a shelter for abused women where she used to work. “I worked with a group of kids that self-harm,” she tells me. “It’s very eye-opening and grounding… When kids are so unhappy when they’re so young, it’s terrifying.” Her friendship with Billy Bragg, with whom she co-founded the Featured Artists Coalition, also inspired Nash to take a greater part in social causes. Those who attended the 2008 Big Day Out would remember their memorable duet, and Nash recalls that trip very fondly. “In my memory, it’s one of the complete highlights of my career – it was such a fun tour.”

“I always feel like I don’t fit in. It’s okay to not fit in; and it’s kind of cool as well. Because, you know, a lot of the most interesting people are complete weirdos.” My Best Friend Is You was produced by former Suede guitarist Bernard Butler (The Libertines, The Cribs, Cut Off Your Hands) – who was introduced to Nash by her boyfriend, Ryan Jarman of The Cribs (whom she admires most for “his opinions and kindness”). ‘60s girl groups like The Supremes, The Shirelles, The Flirtations and The Chiffons also had a profound influence on the record. “My mum’s parents played me that music as a kid,” Nash relates, fondly. “I really loved it, and found it joyous and exciting and lovely. And then as I got older, I listened to the lyrics and I actually found them really sad and heart-breaking - so it was a real eye-opener. I really like the contrast between joyful music and sad lyrics that break your heart. And then when I was 17 I got really into punk music, and I’d listen to them when I was warming up for shows. “I think it’s really important to grow as a songwriter and experiment sonically, and do stuff that you haven’t done before,” Nash says of her new album. “There’s more spoken word and that kind of punk side to me, and the side that’s more expressive has come out a little bit. Hopefully I’ll see that more often, and develop that more on the third record,” she says. “When I feel like writing, it kind of takes over me. It’s just a feeling, really... it’s like a cleansing experience, like getting rid of loads of shit that’s on your mind.” In Australia this week, as part of an international album tour, she’ll have a bit of a break before she starts writing again. “I need time off to chill out and hang out with friends, and sit down,” Nash says with a jovial laugh. “I need to be inspired.” I suggest that it must feel surreal, looking back on how much she’s achieved in such a small period of time. “It can feel surreal,” she replies. “But I feel like now that I’ve got a second record, I’m a little more settled with what I’m doing. I feel like this is my job and this is my life. And I feel like I can do it now.” Who: Kate Nash What: My Best Friend Is You is out now through Universal Where: The Metro Theatre When: Thursday August 5 26 :: BRAG :: 373 :: 02:08:10

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Bliss N Eso Living The Dream By Dan Watt

“I think it’s really important that we both come at our rhymes from a different angle, because if you made people listen to a relentless barrage of the same style over and over, they’d get sick of it pretty bloody quickly.” By The River’, and the film clip essentially comes across as a smoothly-edited holiday video. But it’s one hell of a holiday. One of the settings that features a lot in the clip is the lush green surrounds of the Mount Macedon property owned by Mushroom’s head honcho Michael Gudinski, where the group was lucky enough to do the bulk of the writing and some of the recording for Running On Air. MC Bliss discusses the impact of the property on the clip, and the overall atmosphere they were hoping to evoke. “There’s definitely environmental influences,” he says, “but also we are trying to capture a lot of iconic Australian themes, and what kids like to get up to.”

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n the lead-up to the release of their fourth studio album, Sydney-based hip hop group Bliss N Eso released a documentary, to show what went into their latest album. “A lot of people have commented on the YouTube page like, ‘Man, I wish I could just live one day in their shoes,’” says MC Bliss. “We were just living the amazing life that our love of hip hop has given us,” adds MC Esoterik. “Traveling, meeting heaps of crews, and most of all getting to perform in front of so many beautiful, beautiful people - plus making music!”

Bliss (Jonathan Notley), Esoterik (Max MacKinnon) and DJ Izm (Tarik Ejjamai) are in the middle of a gruelling day of press, but they’re surprisingly energetic and enthused as

they gather around the table at Brag HQ. After they settle, Esoterik produces a six-pack and what follows is more like a chat at the pub. Coming in at LP number four, Running On Air can be described simply as That Album; The Big One. Bliss starts off by just casually listing the guest rappers… “We’ve got Xzibit, RZA from Wu Tang… Our favourite lyricist ever from the UK, Jest.” At the mention of Jest, Izm butts in: “He was like our favourite lyricist ever growing up – I didn’t even know England had hip hop [back then]… And, you know, to one day go and meet the guy, and get him on the album - it was such an honour.” The first single from Running On Air is ‘Down

One scene has Bliss, Eso and Izm riding wheelie bins down a driveway. “‘Flying down steep hills in wheely bins’ is a line from the second track on [Day Of The Dog LP, 2006], called ‘It’s Working’ - since then, I’ve always had a fetish for grabbing some else’s bin and riding it down a hill,” Eso confesses. Bliss cuts in - “we’d never done it before the clip,” to which Esoterik nervously discloses, “Here and there I’ve done it without the boys…” Izm is incredulous, and throws in an accusatory “really?” - to which Eso casually responds, “Yeah, a couple of times up in Coolangatta” - followed by laughter from all three. Some of the tour footage in the clip for ‘Down By The River’ was of pro-riders on a supremely constructed BMX track – a fantasy, compared to your average berms and humps from a suburban track. “That track is actually in TJ Lavin’s backyard in Las Vegas,” Eso tells me. TJ Lavin is considered one of the world’s best BMX riders; with multiple X-Games titles he’s

also a three-time World Champion. Lavin’s backyard track actually features in a bunch of BMX videos, but if you watch this clip, you’ll notice that it’s not just pros that get to use it… “Did you see that guy come off his bike at the end?” Bliss asks. “That was Izm.” With this Izm groans, and Eso quickly placates, assuring me that he actually made it in the end. “Yeah. After the fifth go I actually landed it,” Izm says. “The whole time I had pro-riders whispering in my ear shit like, ‘lean forward as you hit the lip’.” Between messing around on the BMX track, riding down hill on a wheeling bin and drinking beer straight from kegs, the film clip plays out like a homage to an Aussie summer holiday. “Watching just a bit of commercial TV,” Bliss says, “and seeing other film clips that are 100% studio-based, it just seems like our clip is more like showing a close friend our wild vacation.” Finally, Bliss and Esoterik discuss the interplay between their two different rhyming techniques. Somewhat ironically, Esoterik has a straight-up storytelling style, while Bliss tends to be a bit more abstract and metaphoric. “You know, I think it’s really important that we both come at our rhymes from a different angle, because” Bliss starts, and Esoterik finishes - “I think that if you made people listen to a relentless barrage of the same style over and over again, they’d get sick of it pretty bloody quickly.” Who: Bliss N Eso What: Running On Air is out now Where: Enmore Theatre When: Thursday August 19

Memory Tapes Go It Alone By Amelia Schmidt For Hawk, who used to work in a grocery store, working from home gives him the opportunity to spend more time with his daughter, which he sees as a big benefit. “She has a pretty distorted idea of what a father is like, because I’m home all the time and playing guitar,” he laughs. “I try to explain to her, ‘You know this is not really what most daddies do. They’re supposed to be off at the office,’ and she says, ‘Why? Why would anybody do that?’ It kind of makes up for when I’m gone on tour.” Which, apparently, Chelsea hates: “Every time she hears me say the word ‘tour’ she kind of freaks out and lays into me about how I can’t leave, and how she’s going to chain me up and all these kind of things,” he sighs. With his music propelling him out of his quiet family existence and into the public eye, Hawk has had to cope with a whole series of new social and personal confrontations. As a quiet, mildly-spoken guy, it’s clear that he isn’t exactly a party boy – which is interesting, because what he makes is a certain branch of dance music. “People always ask me why I don’t make solemn singer-songwriter music, but I think it’s because I never would be able to [go out dancing] – it’s like [that saying], those who can’t do, teach.

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ayve Hawk, the man behind nostalgic chillwave-meets-dance sensation Memory Tapes (previously also Memory Cassette and Weird Tapes) has just moved house when I miraculously get hold of him. Notorious for not having a mobile phone or a car, Hawk’s quiet existence in rural New Jersey tends to make him a bit hard to get a hold of (on his wife’s phone…). Plus, he’s not really that fond of interviews. So I’m nervous, and so is he. He tells me he’s moved out of the garage he was living in with his five-year-old daughter in his parents’ house and into a new, better place where he can set up his home recording studio. He spends most of his time there now, making music and looking after Chelsea. “I don’t really actively play [my music] for her, but since I record at home, she obviously hears what I’m doing all day long. 28 :: BRAG :: 373 :: 02:08:10

She’ll always tell me, ‘I like this, I like that’ - and her favourite is Black Sabbath, so she always compares it to that,” he explains. “If something was particularly creepy she’ll tell me, ‘I like that, play that again, something like that.’

“It’s almost like an ideal to me, the attraction of that kind of music,” he continues. “Not that I make proper dance music – I’m not going to have any club smashes or anything like that… I like the idea of a kind of euphoric release. That’s what it is for me, psychologically - even though I don’t really tap into it physically.”

Making music by himself in his home studio is how he’s always done it. “That’s how I got into music growing up, more than playing in bands or anything like that,” he says. “The first thing that I ever worked on was one of those karaoke machines that my sister had, which I kind of co-opted – I figured out that I could kind of use the two different tape decks to bounce tracks. So I used that, and over the years I’ve kind of obviously moved up the ladder. I had a 4-track and an 8-track, now I have a computer or whatever. So [the process] has just changed according to what I can get my hands on.”

Performing his music with a band on stage is both scary and a bit surprising for Hawk, who’ll be taking his show to Parklife around Australia this year. “It’s pretty hard,” he admits. “I do enjoy it once we’re up there and playing as long as everything’s working and the sound is coming together - then it can be pretty fun, because I’m always surprised that the audience is actually even there. It’s certainly a nerve-wracking experience for me; I wouldn’t say I’m totally in my element. I’d like to get to a point where it feels more natural for me to do it.”

The first thing that I ever worked on was one of those karaoke machines that my sister had - I figured out that I could use the two tape decks to bounce tracks. The few festivals he’s played at over the last year were the first that Hawk has ever really attended in his whole life. He liked them though. “I actually didn’t think I was going to like it because I tend to like smaller shows –I tend to have more fun when we play the really small sold-out little shows. But some of the festivals have been really cool, they’re really well organised and there’s just a lot of really cool stuff going on. It’s surprising how many kids know who you are and follow your schedule,” he says, humbly. After Parklife, which he’s looking forward to despite being absolutely terrified of the flight (Xanax script and all), Hawk hopes to release his sophomore album in December or January. Compared to Seek Magic, he says it’s maybe a little less dreamy. “The songs are maybe a little bit more classic pop songs – they’re not as long and drawn out, they’re a little bit more like 60s pop music, more of the Motown mould, and the sound is maybe a little more organic, not quite as electro-sounding. Maybe [they’re] a little more ‘rock’ music or ‘soul’ music or something like that,” he says, before assuring me: “I think it still definitely sounds like Memory Tapes .” Who: Memory Tapes What: Seek Magic is out now Where: Parklife 2010 When: Sunday October 3

SAE INSTITUTE

OPEN DAY

SAE SYDNEY – AUGUST 7TH, 11AM - 3PM 55-57 WENTWORTH AVE SYDNEY 2000

N O I T A M R O INF E R O M R FO u d e . e a s . ww w : T I S I V 8 3 3 3 2 7 800 1 : L L A C

CRICOS: 00312F (NSW) 02047B (VIC) 02431E (WA) Please contact relevant campuses for further information regarding open days, tours, course programs and FEE HELP options.

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arts frontline

free stuff email: freestuff@thebrag.com

arts, theatre and film news... what's goin' on around town and more...

brushstrokes WITH ANIMATOR

DAVE CARTER

What is your training? I studied Design and did Animation Honours at UWS but it wasn’t until I started churning out stopmotion films four years ago that I began to cut my teeth. When/why did you start drawing/modeling? Drawing came naturally to me as a substitute for speech as I’m profoundly deaf, I used to carry a pad and pencil to communicate that I wanted something like a banana. I wasn’t as advanced as Koko with sign language.

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s part of the GRAPHIC Festival (August 7-8), the Sydney Opera House and Screen NSW ran a competition, to capture talent. In each round, entrants had to create 20 seconds of a narrative, incorporating compulsory elements – a yawn (Round 1), ‘point’ (Round 2), and a flag (Round 3). The overarching theme had to be ‘Recovery’ - and something/someone had to be seven years old - so each animator was developing their story along the way, as they progressed through the competition, and were given new ‘mandatories’. Dave and his co-pilot Nikos Andronicos made it to the final round, with their 60-second claymation The Catts (Dave doing claymation, Nikos doing sound/voice). We won’t know who won until GRAPHIC opening night, on August 7, but we thought we’d jump the gun and find out more about Dave (and Nikos, who kept popping his head in to give his two cents...).

And how did drawing evolve into animation? Since I was 7, I’ve wanted to be an animator. The Warner Bros cartoons got me hooked, but it was unspeakable horrible ‘80s cartoons that inspired me to kick their arse. What other filmmakers do you love? Dave: Fassbinder, Bob Fosse, Buster Keaton. Nikos: Lars von Trier, Takeshi Kitano, The Marx Brothers. What are your strategies for exposure? I’ve been entering and submitting to every competition under the sun, and one thing can lead to another. Once I won 1000 packets of condoms for a safe-sex film contest. What have been the main challenges of the GRAPHIC Animation competition? Dave: um… Animation is really hard. Nikos: Doing an entire sound mix, music composition and voice record in six hours.

Also, having to make a daily video diary was like a whole other competition cos we decided to make them as funny as possible. Which meant hour upon hour of Google Imagesearching. What software/materials did you use? It was all done with modeling clay, cardboard, still photography, and Final Cut Pro, fuelled by guarana, taurine and caffeine. Obviously you’re hoping to win – any strategic choices you’ve made? There were compulsory elements that had to be incorporated as you progress through the rounds, so without having an ending in mind, we let these elements determine the continuation of the story. We hope it’s a dealbreaker. What’s your interest in cats? Cats can be psychotic, bi-polar, manic, testy, highly wired and great fun. What else are you up to for 2010? Nikos and I will carry on with the Catts whether we win or lose. What GRAPHIC events/speakers are you most looking forward to? I want to see Akira on the big screen again, accompanied with a live-performance from Regurgitator. That should take me back to Big Day Out ’97. What/when: watch the GRAPHIC finalists online at play.sydneyoperahouse.com More: www.thedavecartershow.com

ARTIST RESIDENCIES

Anyplace Projects is an artist-run collective that connects unused properties with artists who need space. Kinda like brokers, bringing councils, property developers and artists together for good, rather than evil! Brilliant. in conjunction with Serial Space, they’re currently taking applications for three-month residencies, based in Rozelle. Ten successful applicants will receive a studio for three months at just $20/wk. At the end of the residency, the doors will be “thrown open” (or pushed, depending on size and weight) to the public, for an exhibition. Each studio is a secure, glass fronted, 4m x 4m room, and residency includes access to a kitchen, and a ‘lawn’. Application deadline is August 15, for residencies beginning September 1. For all the deets go to anyplaceprojects.com or email anyplaceprojects@gmail.com

© 2010 Universal Studios. All rights reserved.

SCOTT PILGRIM VS. THE WORLD

Scott Pilgrim (Michael Cera) is the charming but jobless bass guitarist for garage band Sex Bob-omb. To win the girl of his dreams, Ramona Flowers (Mary Elizabeth Winstead), he must first defeat her seven evil exes, who are on a mission to kill him. Genre-smashing filmmaker Edgar Wright (Hot Fuzz, Shaun of the Dead) helms this story of one romantic slacker’s quest to power-up with love. Scott Pilgrim vs. the World is only at the movies from August 12. We have ten in-season double passes up for grabs. To get your hands on one, tell us the name of the actor who plays Scott’s best friend. www.scottpilgrim.com.au

SYDNEY DESIGN 2010 THE MCA NEEDS YOU!

Well, your rubbish. The MCA needs 1500 plastic bags for an artwork in the upcoming In the Balance: Art for a Changing World exhibition. They're specifically looking for white, logo-free, recycled plastic bags, which you can leave at the info desk on level 1 of the Museum of Contemporary Art. In the Balance opens on August 21. www.mca.com.au

Now in its 14th year, Sydney Design is an international festival of design – and its taking over the Powerhouse Museum for the next two weeks, with a series of exhibitions, talks, discussions, design competitions, events, markets and workshops. Highlights include the Young Blood Designers Markets (August 14 & 15); a retrospective of British-born fashion photographer David Mist; a talk focussing on Achille Castiglioni, one of the leading lights of 20th century industrial design; a talk by leading fashion photographer Juli Balla... On Monday August 2, Berta restaurant is hosting a forum on book design (McSweeneys lovers take note!) that includes Joseph Allen Shea (Izrock / Monster Children Gallery), Kernow Craig (Blood & Thunder Publishing Concern / The Rizzeria), and Robert Milne and Sinisa Mackovic (Rainoff Books). Sydney Design runs until August 15 – all deets at sydneydesign.com.au/2010

Bags 1994 plastic dimensions variable © Lauren Berkowitz / photograph by Steve Farelly

CAPTURE THE FADE Songs About Black Black,, by Heath Killen

VISUAL RESPONSE

Australian INfront are running their third instalment of the Visual Response competition, which sets designers a challenge: a one-word brief, and the chance to win prizes. The theme for #2 was 'black' (the winning submission is pictured above). For this instalment, it's ‘portrait’ – and AIF (just FYI) say: it’s just a theme, you don’t have to have the word ‘Portrait’ included in your work - nor does it have to be a traditional portrait. Have fun! Entries close August 23, after which INfront open the entries to a public vote. More info about guidelines and prizes online at australianinfront.com.au/involved

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Our favourite cultural journal, Ampersand, are launching their first photography competition, Capture the Fade. With Bill Henson as a guest judge, we’re guessing that every amateur with a camera is gonna want to be in this one. The theme is “the fade”, and photos can be any genre, style, format – as long as they can be blown up really huge for the exhibition (oh yes, did we mention there is an exhibition?) Winning submissions will also be published in Ampersand #3: The Fade. The deadline is August 30, so get snappin’ and head to the Capture the Fade Blog for more info ampersandmagazine.tumblr.com

ACO IN NYC

The Washington Post says the Australian Chamber Orchestra has “the energy and vibe of a rock band with the ability of a crack classical chamber group” (and when do we NOT agree with the Post, right?) To celebrate their imminent overseas tour (including aforementioned New York City), the ACO are playing two short, sweet (and cheapish) concerts on Monday August 9. Turn up

at 6.30pm to see Beethoven’s Symphony No.5 and Principal Cello Timo-Veikko Valve performing Schumann’s Cello Concerto on his $1 million Guarneri cello; or at 8.15pm to see Mozart’s Jupiter Symphony and ACO Director Richard Tognetti performing Vasks’ Vox Amoris on his $10 million Guarneri violin. Each concert lasts just an hour, with tickets $40 for one concert or $65 for two. aco.com.au

VIVA LANFRANCHI’S!

Before Serial Space (and back in the days of Knot Gallery), there was Lanfranchi’s Memorial Discotheque, a Chippendale mecca for artists, musicians and improvisers, who both lived and hosted performance nights (and parties) in the run-down warehouse – most notably the Cab Sav evenings, and the Dorkbot collective. Then, in June 2007, property development forced Lanfranchi’s residents out. A new doco about the infamous venue will have its debut at Popcorn Taxi on August 16, followed by a Q&A with director Richard Baron, Lanfranchi’s co-founder David Harris, and long-term resident Phoebe Torzillo. Tickets and details at popcorntaxi.com.au

Step on a crack by Stormie Mills

STORMIE MILLS

Renowned Western Australian artist Stormie Mills began painting in 1984, when on a dark, wet night he ventured into the streetscape to make his first mark on the world. More than 25 years later, he’s carved a distinctive niche with his unique style of work, which segues from the somewhat traditional forms of graffiti writing and street art. Stormie’s latest exhibition, In Celebration of Second Best examines the championing of the under-dog in Australian culture, and was born out of the artists fascination with the psyche of boxers. In Celebration of Second Best is on display at Richard Martin Art in Woollahra from August 28. Check him out at stormiemills.com

Strong action violence

IN CINEMAS AUGUST 12

AUSTRALIAN PREMIERE

14 August – 4 September | Wharf 1, Sydney Theatre Company Bookings (02) 9250 1777 sydneytheatre.com.au/next-stage

Tix

$26!* *Transaction fees may apply

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COMIC BOOKS, ILLUSTRATION, ANIMATION, MUSIC, MULTIMEDIA BAM! KAPOW! From August 7 - 8, Sydney Opera House is turning itself over to everything GRAPHIC, from comic genius Kevin Smith, to master storytellers Neil Gaiman and Shaun Tan, plus screenings, workshops and panel discussions... Keep reading, for our hot picks for the fest! The genre-spanning g p g author talks about getting graphic in Sydney. By Jody McGregor

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t’s hard to know where to begin with Neil Gaiman. Since writing his wildly popular comic series The Sandman, he’s written novels, including Stardust and Coraline, TV shows (he casually mentions recently finishing an episode of Doctor Who) and movies. Something he’s never done before, however, is what he’ll be doing for the upcoming GRAPHIC Festival: combining a live reading of one of his stories with art created by comic artist and a string quartet. “The Opera House said, ‘In keeping with the graphic theme, how would you feel about doing something with art and music at the same time?’ I’m terrified, which I think is probably good,” Gaiman says. He’s enjoying the challenge of something entirely new. “It’s gonna be brilliant I think. If it’s not, it’s gonna be catastrophically interesting; but I think it’s gonna be good. I really don’t know and I love the not knowing.” The art, projected around him as he reads, will be painted by comic artist Eddie Campbell. Campbell is responsible for the autobiographical series Alec and was also the artist for Alan Moore’s bleak, black and inky Jack-the-Ripper saga, From Hell. Gaiman is a fan of Campbell’s as well as a friend (he even has a cameo in one of the Alec books), once backhandedly complimenting him by calling him the best Scottish artist living in Brisbane. “I’ve always loved the fact that there’s these two Eddie Campbells: there’s the light, humorous Eddie Campbell of the Alec stories and then there’s the very, very dark, very, very moody Eddie Campbell of From Hell. What we’re getting here feels to me a lot more like dark, brooding, From Hell Eddie Campbell, even though the paintings are all in full colour. Incredibly moody, beautiful paintings, very, very haunting, of the people. It’s going to be as if nobody had actually invented television and we’re back in the days of the magic lantern show, with an added ultra-cool rock band string quartet.” The strings will be provided by FourPlay, who have come a long way since they first entered a battle-of-the-bands with a set of rock song covers. They’ll be playing a piece composed for the event, with plenty of space for improvising, to make sure it fits around the reading. “So far they’re my favourite bit of the whole thing,” Gaiman says. “I’d never heard of them and right in the beginning the Opera House said, ‘Well, how would you feel about working with these people?’ They sent me a bunch of tracks and I played them and was like, ‘Absolutely! This is marvellous.’” The centrepiece of the event, of course, will be the reading. Gaiman’s readings are beloved by fans in a way few others' are. Having attended one for his novel Anansi Boys, I can confirm that he’s as compelling a storyteller live as on the page. “Part of my secret is that I trained with the best - which is to say, my kids,” he explains. “It’s the one thing that I really miss about having them all too old is I no longer get to read for an hour every night.”

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For GRAPHIC, Gaiman will be reading a brand-new story: The Truth Is A Cave In The Black Mountains. It’s a folktale from a mythic Scotland that may never have existed, full of wry detail

Portrait of Neil Gaiman by Skye Ogden, Gestalt Comics © 2010 and regret. Mentioned in passing are a group of Campbells, who don’t come off very well. I ask whether Eddie Campbell has had anything to say about the way his relatives were portrayed? “Do you know, he hasn’t. I’ve been faintly worried that at some point, probably when I come out there, Eddie is going to take me aside – which is what he does, Eddie has a tendency to take you aside – and say [in a Scottish accent], ‘So Neil, I understand you do an impersonation of me.’ No, Eddie, I don’t. ‘People have said that you do me.’ No, Eddie, I just have a Scottish voice. [Or] ‘So, Neil. Campbells.’ Oh, sorry, but you know they are all bastards. They deserve what they got.” Gaiman pauses at this point and reflects on what he’s just said. “That was humour. I need to put that in because otherwise somebody on the Internet will read it at some point in the interview and go, ‘Oh my God, he actually thinks all Campbells are bastards. He’s Campbell-ist.’” Gaiman is careful to mention his fiancée – “the beautiful and wonderful fiancée” he faithfully repeats when mentioning her – Amanda Palmer (of the 'Brechtian Punk Cabaret' rockers Dresden Dolls), who has become somewhat of a fixture in

Australia in recent years. “One of the reasons I’m doing this is because Amanda keeps saying she’s pretty much adopted Australia as her second home and I think plans to winter here for the rest of her life. She wants me to do things in Australia so that when we wind up moving there every winter they won’t stare and say, ‘Who’s that strange guy with Amanda Palmer?’”

What: Neil Gaiman reads The Truth Is A Cave In The Black Mountains When: Saturday August 7, 8pm Where: Concert Hall, Sydney Opera House More: graphic.sydneyoperahouse.com And: Gaiman will also be speaking with Eddie Campbell and Shaun Tan on the panel Evolution of An Idea on Sunday August 8 @ 2pm

SPLICE

e’re a little bit excited about Splice, the new flick from Vincenzo Natali (Cube, Cypher). Besides being a cult fave, his film Cube is what we like to call b-gradey horror goodness; original sci-fi with ‘brains’. Splice lives up to expectations, delivering the same kind of concoction. Adrien Brody and Sarah Polley star as a couple who share not only the same bed, but the same research lab – where they work in the controversial cutting-edge field of genetic experimentation. When the scope of their research is unexpectedly curtailed, the frustrated scientists irresponsibly create a human/insect hybrid, opening the gates of their own private hell.

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Splice opens on August 12. Thanks to Madman, we have 20 in-season double passes up for grabs; to get your hands on one, tell us the name of one other film Natali has directed (plus your postal address!) Email freestuff@thebrag.com 32 :: BRAG :: 373 :: 02:08:10

DIPLOMA & DEGREE COURSES IN:

Games Design 3D Animation Graphic Design Games Programming Web Design & Development OPEN DAY – AUGUST 7TH, 10AM TO 2PM 74–78 Wentworth Ave, Surry Hills, 2010

infosydney@qantm.com.au Qantm CRICOS codes - 02689A (QLD) 00312F (NSW) 02047B (VIC)

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COMIC BOOKS, ILLUSTRATION, ANIMATION, MUSIC, MULTIMEDIA LIVE Keeping it real. By Alex Parker

A

ussie comic book fiends have no doubt spent the past fortnight pining for San Diego’s Comic Con, the world’s biggest love-in for all things graphic and nerdy. However it might surprise many to learn that we have an Internationally recognised illustrator nestled down under, in the sunny suburbs of Brisbane. Scottish-born Eddie Campbell has been writing, illustrating and commenting on comics and graphic novels for over 30 years now. In the 1980s when the Teenage Mutant Ninja Turtles were holding court, Campbell garnered sizeable recognition for his autobiographical series Alec: The King Canute Crowd, which was surprisingly romantic in tone, inspired more by the beat poets and Kerouac than secret identities and super powers. Campbell has collaborated with a number of writers, most famously with Alan Moore to create the acclaimed From Hell graphic novelisation. This month sees him teaming up with Neil Gaiman for an exclusive live staging of his previously unreleased short story The Truth Is A Cave In The Black Mountains. Gaiman’s words weaved with Campbell’s art will be accompanied by an original, live score by FourPlay, in a neverto-be-repeated audio-visual indulgence. We caught up with Eddie for a little wisdom, and some GRAPHIC insight.

What ingredients result in satisfying expression for you these days? A large glass of wine. Maybe another. Real stories interest me. I find myself becoming impatient with fiction these days, especially in the ways it makes its way into movies, which are formula-bound. Real stories are growing wild in the garden. We just have to gather them and add liberally. They’re usually more interesting in their fresh state. How does the collaboration process with a writer work? And what has it been like with Neil Gaiman? I pick key points in the narrative and draw them. By key points I mean those moments where an aide-memoire would be useful, a clear depiction some person or object that the viewer is going to need to recall later in the reading. As for Neil, this will be the third time we’ve worked together but the first where it’s not on somebody else’s property, so even without the involvement of the Sydney Opera House that would make it uniquely interesting. Can you tell us a little about Gaiman’s story, The Truth Is A Cave In The Black Mountains? On my first reading of the story it was all new to me and I didn’t know what was coming, so I’ll let the audience experience it the same way. But I will say that I enjoyed how very tightly constructed the piece is. Everything in it connects to everything else, though that isn’t obvious at first.

Have you ever been part of this kind of live collaborative piece before? How will your work be translated from the page and layered to music/narration? This gig is completely new to me in its procedure. The images will be projected on a big commercial-size movie screen and should be very sharp. As to how it will all come together, you’re going to just have to be there, because it’ll be alright on the night, as they say. With fingers crossed. Between the projecting, the reading of the text and the live music, there is ample space for the unexpected to occur. Whoever conceived the idea may be nuts. How do you feel about the state of comic and graphic novel culture today? I think it’s tragic that rather than comics rising to the level of literature, what we have seen is the culture at large descending to the level of American comic books. We’ve even got Pulitzer prize-winning novelists and McArthur Fellowship geniuses like [Michael] Chabon and [Jonathan] Lethem writing superhero comic books. Our world is topsy-turvy. Which of your works would you recommend the unitiated explore by means of the best introduction? My book The Fate of the Artist is the last word in postmodernism. It’s my autobiography in which the author is missing and his disappearance is investigated by a detective. I turn up dead... but no, I shouldn’t give it away.

What: The Truth Is A Cave In The Black Mountains, featuring art by Eddie Campbell. Where: Concert Hall, Sydney Opera House When: August 7, 8pm More: graphic.sydneyoperahouse.com

Not just for kids. kids By Amelia Schmidt

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Blow your mind. By Alex Parker

A

s Hollywood legend goes, back in 1988 George Lucas and Stephen Spielberg deemed Katsuhiro Otomo’s Jap-anime hit Akira unmarketable in the U.S. Little did they know that all it would take was a few thousand pirated copies and a bunch of excited GenXers to propel this film’s popularity into cult history. Akira is based on Otomo’s epic manga series of the same name, set in a violent, post-WW3 Neo Tokyo. Released in Japan in 1988, its plot, which was premised on the obliteration of Tokyo by a nuclear blast, compressed decades of post-WW2 anxiety that had been simmering below the surface of a repressed Japanese society. It also incorporated spiritual references, to Christianity, Buddhism, and telepathy – perhaps accounting for its convoluted and often obtuse plot. In a city whose streets are filled with social unease, two members of a local biker gang, Tetsuo and Kaneda capture the wandering camera’s attention – just as Tetsuo almost runs over mysterious child. Suddenly Tetsuo becomes a power-crazed telekinetic heavyweight, and Kaneda has a fight on his hands to keep his mutating friend under control - as the city crumbles around them. When it released, Akira was the most ambitious film of its kind to have ever been made, breaking cheap anime traditions (like only animating a character’s mouth, rather than their whole face as they spoke), and filling each of its painstakingly hand-drawn cells with layers of intricate detail. Akira also broke cultural taboos, with its confronting portrayal of bloodshed, and disgusting visions of metamorphosis. In Japan, Akira was a clarion call for generational change, with its agenda of youth culture, cyber-punk chic, and political dissent. In the West, it redefined action, with its stylistic references continuing to streak through blockbusters to this day. It also gave many audiences their first taste of anime culture, opening the floodgates for the wave of anime aficionados populating sci-fi conventions around the world... For almost as long What: Akira screened with live as the Jedi. re-scoring of the film by Regurgitator Where: Opera Theatre / SOH When: Sunday August 8, 3pm

34 :: BRAG :: 373 :: 02:08:10

erth-based illustrator Shaun Tan makes picture books – but they’re not just for kids. His work deals with darker themes of loneliness, politics, sadness and fear, albeit through whimsical characters and delightfully abstract stories, such as The Lost Thing and The Arrival. Starting out as an illustrator for sci-fi and horror stories for teens, Shaun moved on to publishing his own ‘wordless novels’ - including awardwinners The Red Tree, and The Rabbits. This year, his short film adaptation of The Lost Thing won the Yoram Gross Award for Animation at Sydney Film Festival; next up, you can see his exquisite images from The Arrival at GRAPHIC, projected on-screen with a live score by Ben Walsh and the Orkestra of the Underground. What kind of art do you enjoy? All kinds. I have very broad interests, from the representational to abstract, ancient to contemporary, and pop culture to ‘high art’. Can you describe your creative process? Usually I begin with a vague mental image, elaborated by sketching. Words may enter at this point as a structural device. After that it’s a tennis match, with words and images reacting to each other over a long period of re-drawing and re-writing. What’s the art scene like in Perth? Perth creators seem quite aware of their isolation, and compensate by forming active communities. As a result you often see above-average artistic achievement from that city. What did working as an illustrator for scifi and horror teach you? [Those genres] make you think hard about visual solutions, because they are all about conveying a mystery without dispelling it. How did you find working on big films like WALL-E and Horton Hears a Who? Those were interesting projects, although that sort of work is quite different from personal artwork: I’m really there to solve problems presented by other people. In both cases I was drawing images at the conceptual stage - landscapes in WALL-E and machinery in Horton - some of those ideas were used, most not. In your opinion, how much of a story's meaning should be left up to the reader? I don’t want it to be boringly transparent and obvious, or boringly opaque and obscure. I don’t feel that my role is to convey a message, but simply to point at things and say ‘this is pretty interesting, don’t you think?’

What are your favourite picture books? Well, Where the Wild Things Are has always been prominent in my memory - it’s something about the atmosphere in the cross-hatched nocturnal forests. Another book that has always been a ‘benchmark’ for me - though not a picture book - is Animal Farm by George Orwell, which was first read to me by my mum, who thought it was an actual children’s book! How hard was it to adapt The Lost Thing? It was very convoluted – even though the final film looks like a direct adaptation, it went through umpteen fully storyboarded versions. In some ways the sheer amount of work is a disincentive, but in other ways I

now feel more capable of taking on a similar challenge.

What: The Arrival with live score by Ben Walsh’s Orkestra of The Underground Where: Playhouse / SOH When: Saturday August 7, 7.30pm More: graphic.sydneyoperahouse.com

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A WEEKEND OF GRAPHIC STORYTELLING, ANIMATION & MUSIC

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Arts Snap

Film & Theatre Reviews

At the heart of the arts Where you went last week.

What's hot on the silver screen and the bareboards around town.

■ Theatre

LIKE A FISHBONE Until August 7 @ Wharf 1 / STC

PICS :: TL

stealing the setlist

Discussions about reason and religion generally revolve around issues of proof and plausibility. One topic that is rarely given a full hearing is 'usefulness'. Anthony Weigh’s Like A Fishbone is, among other things, a discussion of which is more useful in a crisis: reason or faith? In the wake of a tragedy in a small town, an architect (Marta Dusseldorp) is given the job of designing a memorial. When a bereaved mother (Anita Hegh) comes to discuss her plans, the argument begins. However, the play covers far more ground than matters of religion, posing questions about how 21st century communities respond to catastrophe, the function of architecture in a modern world, and even touches on how we interact with our idols.

22:07:10 :: Will Reichelt@MART Gallery :: 156 Commonwealth St Surry Hills

PICS :: AM

the wall

The performances here are exceptional. Dusseldorp, who always impressed in the STC’s Actors Company, is truly fantastic, bringing out the architect’s tenacity and drive as she marches about the stage justifying herself to her strange new acquaintance. Hegh seems to be making a name for herself for bringing unusual but poignant language to life. After a remarkable performance in Benedict Andrews’ The City last year, she returns to the Wharf with a vision-impaired woman of faith who takes the assured architect by surprise at every turn. These two pillars are well supported by Aimee Horne’s intern, whose youthful enthusiasm provides a welcome contrast to the heaviness of the main argument.

21:07:10 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

Tim Maddock’s direction is crisp, employing a sharp design from Jacob Nash which offers simply a large frame and the architectural model at the centre of the play’s discussions, to place the actors at the fore of the production. This is a good strategy, because despite the play’s notable interchanges, the plot is sometimes predictable and struggles too hard for interesting climaxes. Perhaps its greatest achievement, however, is simply demanding an all-female cast, something that I think we can all agree there should be more of on Australian stages. Henry Florence ■ Film

KILLERS

kingpins:birthday suit

PICS :: TL

Released July 29.

22:07:10 :: Australian Centre for Photography :: 257 Oxford St, Paddington

Arts Exposed What's on our calendar...

POSSIBLE WORLDS: CANADIAN FILM FESTIVAL August 2-8 / Dendy Opera Quays & Newtown, Seymour Centre + more

Amanda Seyfried & Julianne Moore in Chloe.

In its fifth year, Sydney’s Possible Worlds Film Festival, has outdone itself, with what we reckon is its best line-up yet: It opens August 2 with Chloe (starring Julianne Moore) by Atom Egoyan (Exotica, The Sweet Hereafter); on August 8, it closes with Sydney Film Festival favourite I Killed My Mother, by 21-year-old French-Canadian director Xavier Dolan. This is Dolan’s debut feature, and his second, Heartbeats, won the Official Competition of Sydney Film Festival 2010.

We’re also excited about the Margaret Atwood doco In the Wake of the Flood (by legendary Canadian documentarian Ron Mann), sci-fi thriller Arctic Blast, and Denis Villeneuve’s drama Polytechnique, based on the 1989 shooting at Montreal’s Ecole Polytechnique. It recently took home 9 Genies, Canada’s equivalent to the Oscars. To be honest, the whole program rocks, not to mention the post-screening Q&As and post-film parties... www.possibleworlds.net.au 36 :: BRAG :: 373 :: 02:08:10

Katherine Heigl is a talented comedienne when she’s not slumming it in projects beneath her talent, but it’s business as usual here in this third-rate action-comedy, which plays like Mr. and Mrs Smith but with less star-power. After a chance meeting in a hotel lift in Nice, between newly-single Jen (Heigl) and shirtless hunk Spencer (Ashton Kutcher), it’s all lustful-eyes and butterflies as the two fall in love, marry and settle down back home in Georgia. Three years later and Jen comes home to find her hubby bloodied and in a life and death tussle with a family friend. Turns out he used to be a C.I.A. agent, there’s now a bounty on his head and anyone (maybe even their closest friends) might be sleeper agent with a licence to kill. It’s more or less the same premise from a half-dozen other recent pseudo action-romantic-comedies, but there are too many chaotic gunfights, no genuine chemistry, and only occasional misguided stabs at humour; however, we’re grateful director Robert Luketic (who made Legally Blonde, but also The Ugly Truth) is competent enough to keep things moving briskly, even when the strained gags (Catherine O’Hara’s one-note alcoholic mother, for one) gels uneasily with the surprising violence. There could have been an amusing movie here, but Heigl does her supposedfeminism no favours in a generic fumblingsidekick role, and Kutcher is just laughable as a supposedly ruthless killer. Since when were C.I.A. assassins this charmless,

Killers

witless and adorned with the physique of a Calvin Klein underwear model? As with many of the Saw films, Killers wasn’t screened for critics in the U.S.; it didn’t matter, because most still reviewed it and hated it. But Killers, even despite a lack of redeemable qualities, at least isn’t boring, and even when the jokes don’t work – which is often – they still induce a chuckle. If only it had things like a plot, believable characters or a consistent tone. Joshua Blackman ■ Comedy

BILL BAILEY Reviewed July 27 @ The State Theatre I love stand-up comedy when it appears to be completely random, a series of ideas that come to the comedian perfectly organically – but a clever and tricky revelation at the end is a knowing wink to the audience; “I am actually wayyyyyy smarter than you thought!” And so Bill Bailey toyed with his audience, casual banter that never appeared 'prepared', in his hilarious, gibberish style. Unlike his Black Books co-star Dylan Moran, who gets laffs with his foul mouth, general hatred of everything and crude sense of humour, Bailey weaves stories from nothing, using odd over-the-top phrasings and weird analogies to paint a picture (in a style that seems to have been almost entirely cribbed by The Mighty Boosh). Bailey literally spoke for around 15-minutes about barnacles. You know, the things that stick to boats. He even called upon the audience to share their wealth of barnacle knowledge (surprisingly, they’ve got the biggest penis-to-body ratio of any living creature) and engaged in a healthy spot of heckling/banter with the audience while they hurled random barnacle-related facts at him. And believe it or not, it was side-splittingly funny. On stage, Bailey also had an elaborate set up of musical instruments, including a Lute – which was a whole gag within itself. He played a rendition of ‘California Dreaming’ that needed crowd participation while he sped it up and slowed it down, Gary Numan’s ‘Cars’ on a symphony of clown car horns and his famous Kraftwerk interpretation of Leonard Cohen’s ‘Hallelujah’. But laced throughout all this meaningless hilarity, Bailey passed comment on everything from Dan Brown (“a scrotumfaced murderer of prose”), to joggers (“they always find the body”, and offered up an entire powerpoint presentation of Renaissance art depicting the genesis of the term “doubting Thomas”. He hacked on the English World Cup soccer team mercilessly (a bunch of borderline-rapists) and even had a good dig at Australians caring more about Masterchef than the election. After all this madness and with my stomach and face hurting from laughing so much, Bailey wrapped up the night with a short film that referenced all those paranoid jokes and weird one-off thoughts. He stared at joggers with fear in his eyes as he held onto a pot plant and yelled at cars like a lunatic – all thoughts and ideas that Bailey sublimely planted into your brain during the course of his routine. And of course, Bill Bailey is one of the best stand-up comedians alive, because he totally makes you forget that there actually is a routine. Kirsty Brown

See www.thebrag.com for more arts reviews

DVD Reviews What's been on our TV screens this week Get prepped for Season 4 of Mad Men, premiering September 2 on MOVIE EXTRA...

MAD MEN: SEASON 3

Sony Pictures Home Entertainment In the third season of the increasingly popular Mad Men, creator Matthew Weiner shakes things up, gets rid of dead wood and pushes ever further in his investigation of the world of Don Draper, and the cultural and historical events that defined our parents' generation. The thing is – it all takes time; sometimes a lot of time, in which the plot moves forward in tiny increments and all that bubbling below-surface tension is the driving force. Detailed minutiae and broad symbolism are the core traits of Mad Men - but for those who have the patience to wait, the payoff is always hugely rewarding; like Peggy finally telling Pete about their child at the very end of Season 2, after a whole season went by without any comment on the subject (echoing Don’s advice to Peggy, “It will shock you how much it never happened.”) But when it happened, it happened with such profundity, that it quickly became a classic All-Time Television Moment. Season 3 repeats a similar pattern but Weiner strips everything back, to avoid falling into dramatic cliché. Much of the support cast is absent for a good deal of the series - including Joan, Salvatore, Kenny and Roger. Even Peggy takes a backseat. Instead, it’s the Draper family that comes to the fore, giving us a much deeper understanding of Betty and Don’s doomed marriage. Part of this is the unfolding of the Don Draper/ Dick Whitman conundrum (which is made even more riveting by the brilliant acting of John Hamm). When Betty finally comes to understand the depths of Don’s treachery (in ‘The Gypsy and the Hobo’), it is a near-perfect episode that rivals the best of anything from Deadwood, The Sopranos or The Wire. Meanwhile in the world of Sterling Cooper, where Don Draper is King, the agency is under threat from the British company that takes over when Bert Cooper decides to sell. New characters like the great Layne Price enter, creating chaos; a man even loses a leg (‘Guy Walks Into An Advertising

Agency’)- in an hilarious episode that mimics a great caper-comedy, yet ends with a truly touching exchange between Joan and Don in the emergency waiting room. Joan is covered in blood, wearing a green pillbox hat – foreshadowing Jackie O’s tragic ensemble that would come to define a generation. Their mutual sorrow and connection to each other is unspoken, but 100% real. What people love about Mad Men is how it tackles the historical events of the day with such perfect synchronicity with the characters’ lives - the chaos of the early ‘60s mirroring the internal chaos of the characters. Monks are burning themselves in protest, JFK is shot and Lee Harvey Oswald is assassinated live on television, as Betty screams at Don exasperatedly, “WHAT is going on?” In their next interaction together, she leaves him and ends their fraudulent marriage, as the US mourns the loss of a hero. When everything finally comes together in the season finale, it’s about six episodes-worth of action rolled into one hit - and it’s totally exhilarating. The malaise and despondency of the characters throughout the season only further heightens the need for change, and emphasises how sweet it can be when something truly great happens. The final episode of Season 3 is a heist-like romp that creates a whole new world – just in time for Season 4… Kirsty Brown

Street Level With Michael Doret (michaeldoret.com)

M

ichael Doret is old school in the world of graphic design, having earned his design stripes with cover-design for the 1976 KISS album Rock-n-Roll Over, the iconic emblem for the New York Knicks, and several TIME Magazine covers. He specialises in logos and letterforms, and in recent years he also moved into font design, opening the 'digital type foundry' Alphabet Soup. This month Doret’s work (pictured right) will be on display in Sydney as part of the fifth Go Font Ur Self exhibition. GFUS curator Marty Routledge picked him because of his dominance in the now-popular field of ‘retro signage type’ – everyone’s doing it now, but Doret was part of the revival way back when. “I had to bend his arm a little,” Marty admits – “it helped having another famous script typographer on board (Alejandro Paul). Once Ale was down, Michael submitted.” Describe yourself in a word: Obsessive. Do you adhere to the rules and regulations of typography, or make up your own? The most important part of my education was “unlearning” the so-called rules. However I do think it’s important to know what the rules are in order to effectively break away from them. Ignorance of the history of letterforms and typography can lead to bad typographic art. Who are some of your artistic influences? Morris Fuller Benton, A.M. Cassandre, El Lissitsky, Stenberg Bros., E. McKnight Kauffer, also the countless nameless artists who slaved away anonymously in “bullpens” during the first half of the 20th Century doing everything from matchbook covers to enameled signage, packaging and theatre marquees. What is it about typography that you love? I think the origins of typography and lettering

go back to ancient symbols and pictographs like the circle, the cross and the star—symbols that held magical properties for their creators. Letterforms for me still somehow retain these properties, and if used properly can still have the power to mesmerize. What is your favourite letter and why? O – because it represents perfection, and so much more. What: Go Font Ur Self *5 When: Opens Thursday August 19, 6pm Where: Lo-Fi Collective/ Floor 3, 383 Bourke St (above Kinselas) More: www.gofonturself.com.au BRAG :: 373 :: 02:08:10 :: 37

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

ALBUM OF THE WEEK DANGER MOUSE AND SPARKLEHORSE Dark Night Of The Soul EMI

Ever since Danger Mouse collaborated on a few Sparklehorse tracks in 2006, fans have been waiting for an inevitable release. But the album, which was set for 2009, ended up shelved for legal reasons too tiresome to report. Long since leaked online, the official website cheekily made available the book with artwork by David Lynch, coupled with a blank CD and a suggestive disclaimer… It's a relief that this album is finally seeing the official light of day; but that a record this dense, varied and straight-up ambitious will be a commercial success is the real thrill.

The album has finally surfaced in a less dubious form, but many things have changed. Sparklehorse mastermind Mark Linkous tragically committed suicide a few months ago, and Danger Mouse turned his focus to a new project, teaming up with The Shins’ James Mercer for Broken Bells. So all things considered, it’s a relief that the album has been given an official release at all, let alone a major label push.

CEO

AUTOLUX

White Magic Modular

Transit Transit ATP Records

Modular Records have ticked a lot of the right boxes this quarter. Tame Impala are sick, Jonathan Boulet similarly unwell in the ‘awesome’ sense and Robyn has blazed through the hype to deliver hit after Fembot hit. It’s a shame, then, that they waste so much time on misfires like this one. It’s all about minimalism here; blank disc, spare artwork, cascading voices amongst a sea of ice. Ceo could be four people or one or six, it wouldn’t really matter - because there’s never been a riddle that goes ‘How many derivative musicians does it take to make an album?’ It’s cumbersome, it’s caught up in itself and sonically, it’s so concerned about putting on a front that you never get any real sense of what this band is. One second they’re writing frosty ballads, the next they’re trying to head for the dance floor or somewhere more outrageous. Putting a backbeat behind a tune does not make you exciting anymore. Given that this crew seem to come from Sweden, where not only Robyn but also crossover-beat masters Miike Snow call home, they should know that if they want to be good, they have to be really good. Instead, there’s a whole lot of loose references to taking drugs and having sex, couched in the kind of thing that might have had wings if we were all still dazed children of 2006 - but some of us have real jobs and futures now (NB: not me.) This seems like a band designed to have no future - milking a fad for all it's worth is fine for certain moments, but it won't hold my interest. Next. MNMLST. There’s no personality, so we’ll take out the ‘I’s. Jonno Seidler

Autolux is what indie pop music should sound like. The LA-based trio have opened for Thom Yorke and collaborated with U.N.K.L.E – which is a pretty good guide to what you’ll be getting here. Moving through upbeat krautrock tinged numbers, to minimal pop, to moments that are almost a capella, Transit Transit is easily one of the most sophisticated and enjoyable records I’ve heard this year. The record opens with the title track; a calm, and airy tone, minimal piano and percussive samples underlying the luscious harmonies of all three bandmembers, with horns added towards the end as the band channel Takk…era Sigur Rós. Second track ‘Census’ reels things in a bit, sounding more like their previous album, Future Perfect. But they don’t let this sit too long, as the next track 'Highchair' infuses their music with subtle elements of dance and hip hop. The album continues like this, each track offering a new perspective on what the band can do. At track five, ‘Spots’ is definitely a stand out. In the same vein as the title track, the band use touches of piano and strings under delicate vocals, and the whole song echoes with shades of The Beatles. ‘Audience No. 2’ is also well worth mentioning; Carla Azar’s stunning drum hooks matched with Greg Edward’s emotive guitar and Eugene Goreshter’s melodic bass lines deliver an infectiously catchy song, that still sounds restrained and never cheap. Making guitar noise accessible and inventive drumming easily digestible, Transit Transit is a sweet-tasting medicine the greater listening public would do well to swallow. Mikey Carr

The Flaming Lips open the album, followed by tracks featuring the ‘Lips-esque Gruff Rhys and Jason Lytle - it seems that past comparisons to Wayne Coyne’s bunch didn’t bother Linkous too much. But with ‘Little Girl’, featuring Julian’s very un-Casablancas vocal, the album begins to find a shape all of its own. ‘Angel Harp’ begins with glitchy sampling, until sludgy instrumentation kicks in – and all of a sudden, one of the most anticipated releases of 2010 sounds a lot like Seattle circa-'91. It’s Frank Black doing his best Cobain-doing-hisbest-Frank Black; a curious track to sit behind four layered pop songs. But it works. Of course Lynch’s two tracks best match the record’s visuals; ‘Star Eyes (I Can’t Catch It)’ sounds like the Twin Peaks soundtrack if Dave Freidmann was involved. Iggy Pop’s ‘Pain’ is a blast of weak old-man punk, but that two-minute speedbump aside, this album never loses steam. Some of the strongest songs - including Susanna Vega, Nina Persson and James Mercer - are left 'til last. Nathan Jolly

BASEMENT BIRDS

MATTHEW DEAR

Basement Birds Independent

Black City Ghostly International

This album is bittersweet revelation; by the time most people hear it, the four men who crafted it will have gone back to their original bands. If you haven’t heard, Basement Birds have vocalists aplenty; Kav from Eskimo Joe, Steve Parkin, Josh Pyke and Jebediah's Kevin Mitchell (AKA Bob Evans). But it’s not your typical supergroup, because it's not a battle of the egos - just four extremely talented guys who got bored one summer and decided to write some songs. The songs happen to be lovely and totally Australian in a classic singersongwriter vein - but it could just as easily have gone the other way. That’s what I love about this record; at no point does it attempt to smack you in the face with anything other than Really Pretty Songs. It also finally gives due recognition to Steve Parkin, the Western Australian secret weapon who has co-written many of Eskimo Joe’s recent tracks, and is a fantastic performer in his own right. Everybody shares duties on this debut. If Kav isn’t singing lead, he’s doing back-up – and it’s the same story for the other three. Standouts include ‘Ghosts’, which really does sound like the world’s best Pyke-Eskies mashup, and the banjo-glazed ‘Hardest Part’. As the music industry hurtles towards bigger, faster and more insane ways of marketing, it’s refreshing to see some of the biggest names go independent, to get back to what matters most. There’s a quiet longevity in these well thoughtout tracks that will be revealed as our generation grows older and learns to appreciate it - but for now, it’s pretty damn great as it is. Patriotism without the bogans? Sign me up. Jonno Seidler

While Matthew Dear is known to many clubbers for the austere techno cuts he’s released under guises like Audion, False and Jabberjaw, Black City showcases Dear in offbeat pop-mode. Nestled somewhere between lo-fi pop and electronica - but far edgier than someone like, say, Hot Chip – Black City is essentially a follow-up to Dear’s 2007 Asa Breed album, picking up where its accomplished antecedent left off. As with Asa Breed, it seems that Dear has resisted the urge to strive for technical perfection, and he’s again rewarded for adopting this approach. Whether Dear can actually sing in the ‘traditional sense’ remains up for debate, but his multi-tracked crooning has an unfettered warmth to it that seems perfectly suited to floating atop the layers of percussion and analogue synths. Opening track ‘Honey’ is Dear at his most introspective, a brooding way to begin what feels like a series of aural sketches left deliberately unpolished. On the other end of the spectrum, ‘Little People (Black City)’ is a sprawling nineminute distorted disco epic that ranks among the most interesting tracks I’ve heard this year. Dear’s lyrics also demonstrate a proclivity for ambiguity and abstraction that gives the songs a depth beyond their catchy melodies – titles like ‘Monkey’ and ‘More Surgery’ say it all, don’t they? In an age of overproduced releases, Black City offers a welcome counterpoint, and comes across as an album with feeling, an album designed to say something – sadly, a rarity in the digital epoch. Black City revisits early pioneering approaches to crafting electronic music, reinvigorating the genre with much needed personality and panache.

MYSTERY JETS Serotonin Rough Trade “You can do anything you want as long as it makes sense” was the refrain from Mystery Jets’ breakout single ‘Dennis’. I suppose it makes sense that a secondtier New British Invasion buzz band (as in, not quite in the hectic stratosphere of the Arctic Monkeys in terms of hype and expectations) would release a cracking first album and then lose momentum. Their arch, psyched-up Brit-rock and pleading harmonies took cues from the musical trends of the moment rather than being entirely shaped by them, and as often happens they’ve lost some of that independence of thought along the way. A lot of what’s on this album apes Gary Numan’s robust electro, and the same wafty electro with which Cut Copy continue to bore me. It’s still more interesting than a lot of what’s out there musically, and I can forgive somewhat overegged lyrics a little too easily when performed by such handsome and precocious English boys. Elsewhere there are curly guitar lines passed down from seventies rock mysticism, which serve to temper the earnest Wembley-anthem stylings of ‘Waiting On A Miracle’, beating it into something more original and affecting than it could have been. Far from the homespun, jangly quirk of debut Making Dens, the sound is bigger and slicker than before. Blaine Harrison’s voice isn’t quite up to the task here and there, but coupled with the grinding slow-motion guitars of closer “Lorna Doone,” the weakness becomes vulnerability, which is a very different thing. I’d still buy Making Dens over this, but if you’re already a fan there’s lots to like here. Caitlin Welsh

INDIE ALBUM OF THE WEEK

OFFICE MIXTAPE

DARREN HANLON

Wondering what the 'experts' listen to? Here's the music that drives The Brag... for this week, anyway.

I Will Love You At All Flippin’ Yeah The point of a new Darren Hanlon album isn’t really to find out what new and exciting musical experiments he’s undertaken – it’s more about the stories and the subliminal wisdom, imparted through honest, charming narrative and an oblique confessional style. Album after album, Hanlon gives us cynical whimsy cloaked in

38 :: BRAG :: 373 :: 02:08:10

catchy-as-fuck twee-pop subterfuge. It’s a peculiarly Australian style, more bookish than Paul Kelly and more neurotic than The Go-Betweens, but undoubtedly in that canon. He has an uncanny knack for adhering to strict folkpop structures, while simultaneously making you double-take, giggle and catch your breath with his turns of phrase. Everything is delivered in the same broad, charming and sweet tones, which serves as ever to force you to listen to Exactly What He’s Telling You. But his sense of humour – sometimes earnest, often mordant – often undermines the more serious moments.

“I wouldn’t trade one heartbroken minute for a year’s worth of dull happiness,” Hanlon insists without enthusiasm in ‘Scenes From A Separation’, but I’m not convinced - I worry that he’s treading water. Songs like the quietly devastating ‘House’ display his talent for subtle narrative, where every line means three things and it’s your job to work them out. Gutsy guitar interludes give it a shifting dynamic, and add to the impression that the man who takes oaths “on a first edition copy of Peter Pan” might, against all odds, be growing up. Whether deliberately or not, Hanlon continues to demonstrate that coming of age is a work in progress. Caitlin Welsh

BEST COAST - Crazy For You BUSDRIVER - Cosmic Cleavage THE HOLD STEADY - Heaven Is Whenever

CAMILLE - Le Fil FAUX PAS - Vanderbilt

Single Reviews

Vinyl

Record Review

By Mikey Carr

SPIRITUALIZED

GHOUL

SINGLE OF THE WEEK

The second track Ghoul have let slip from their forthcoming debut LP is a cheeky little number. While lacking the sublime and blissful vibe of previous teaser ‘Swimming Pool’, Milkily has an almost hip hop strut to it, with singer Ivan Vizintin’s taut vocals adding a jazzy, speakeasy flavour to proceedings. Steadily building steam throughout the first two minutes, the song then busts out in some wacky sampling and sound manipulation, filling out the otherwise sparse sound. There's a lot of restraint on display here: you really feel the band are champing at the bit to bust out most of the time,

MAMA KIN To My Table

Ladies and Gentlemen, We Are Floating In Space [10th Anniversary Reissue, 180g 2LP] Plain Recordings

Milkily

ASH GRUNWALD Walking

GORILLAZ

On Melancholy Hill

and the few instances where they allow themselves to really let loose only leave you wanting more. Obviously unmastered and maybe needing a bit of a tweak here and there in the mixing, Milkily is nevertheless an exciting little tidbit from the greater meal to come... I’m excited!

THE DETROIT GRAND PUBAHS

THE TIGER & ME The Circus & The Zoo

NUmb, Deaf & DUmb Mama Kin has a whole heap of sass. The chorus says it all when she asks, "What are you bringing to my table?" With the instrumentation being kept quite minimal, her voice is the star of the track as it belts out golden lines like, “I don’t want to be your mother, what I really need right now is not a child but a lover.” The piano does a good job of trying to steal the show, offering up tasty little trills and fills all over the place, and adding a real Cuban jazz vibe. It’s very Cat Empire, and not the sort of song people will be talking about for years, but damn it’s sexy. And without being slutty, too: it’s good to hear something that doesn’t sacrifice its dignity to attract attention.

There’s plenty of 60s and 70s garage here, heaps of blues and perhaps a hint of The Philly Jays... Whatever it is, I like it. While lacking the sophistication of a band like The Black Keys, Ash has nevertheless come quite a ways from his humble beginnings as a surfy singer/ songwriter. While there may be a lack of originality here, the song more than makes up for it with sheer exuberance and energy. The producer's done a great job on the grit and the rawness, and the guitars sound like they’ve been stolen off Hendrix. The problem is, it's clearly still a pop song - and as a result, the whole roughand-ready vibe ends up a little undermined.

The production here is faultless and there’s nothing overly offensive about the melodies, but combine Albarn’s sappy vocals and the overall pukey sweetness of the song with the undeniable quality of the band's back-catalogue, and you get a track which sounds like mincey pop rubbish. Albarn has the Midas touch and the song is impeccably well made, but it’s monotonous as all hell. They've lost their minds if they thinks this is the best choice for the next single next to other tracks off Plastic Beach, like ‘Empire Ants’ for instance. Certain parts sounds like Albarn aimlessly fiddling with knobs – and while his skill as a producer isn’t in doubt, this track just sounds lazy.

“You can be the butter baby I will be the bread…” If you’ve never heard of The Detroit Grand Pubahs, go onto YouTube right now and look up ‘Sandwiches.’ It will change the way you look at cottage cheese forever. This latest single from the funk-fuelled electro duo still has that same tongue-in-cheek charm; the song is bloody catchy and the lyrics are great: “I used to love you… but that feeling came and passed like gas.” This all plays out over the top of a Justice-influenced backing, fleshed out with interesting little scraps of synth and drum samples. This track is best suited to a dancefloor with a sense of humour.

Brilliantly balancing melancholic gypsy-swagger with uplifting Beatles-esque pop, Melbourne's The Tiger & Me are, simply put, a bloody solid band. There’s no attempts to grab attention here; no posturing or pandering. The players play seamlessly, blending a wide palette of sounds into something strangely heart-warming. I can’t really describe the feeling this song gives me, but it’s one I’d like to have everyday. Something about the phrasing of certain melodies and rhythms just make me smile: it’s not cutting edge, just good tunes played well and with heart. A refreshing contrast to the ever building wave of vacuous adolescent glee...

Thirteen years after this epic, life affirming, brilliant, way-better-than-OKComputer album was released, Plain Recordings are releasing this ‘tenth anniversary’ vinyl edition, which is quite hilarious and strangely fitting considering the slow laconic nod of the album itself. Vinyl fans who are in it for the sonic-qualities will be disappointed though, as rumours are scuttling around the internet that suggest that this is pulled from digital sources. I personality couldn’t tell the difference, and I imagine that most people will fall into the same boat. The packaging includes a wonderful prescription information sheet, an expiry date stamped on the back sleeve (don’t worry, you have until March 3003) and silver foil-esque record sleeves, really hammering home the fact that this is a pill designed to alter your consciousness. Now, vinyl is a pretty undeniable format; it’s warm and crackly and allows for involved artwork, decadent packaging and mad-drunken 2am Perry Como scratch-offs. But the fact remains that some albums don’t belong on wax. As counter-intuitive as it seems, despite its wall of sound production, dense layering and epic scope, this is one of those albums. Ladies… was designed as a 70 minute “dosage”, and the four gaps as you scrabble to change side/record really breaks the flow. Buy this for the packaging, but stick to the CD version for aural administration. Nathan Jolly

BRAG :: 373 :: 02:08:10 :: 39

live reviews What we've been to see...

ANDY BULL, AIDAN ROBERTS

Super Wild Horses

Raval Theatre Wednesday July 21

+ PAPA VS PRETTY (USA) – SPLENDOUR SIDE SHOW –

I have to make mention of The Maple Trail’s Aidan Roberts, a one-man dynamo of songs seemingly all about drugs, but stunningly gorgeous nonetheless. The guy is a master of effects, textures and soundscapes, and his opening set (which includes a drop-in from the headliner) is simply astounding. The usual opening-act chatter all but dies as everybody turns around to see who is producing such beautiful music. He may be unassuming, but Roberts’ stage show is anything but. And if only he wasn’t selling his wares on vinyl only, I totally would have netted myself a copy‌ Andy Bull takes to the stage with shorter hair, a brighter jumper and a whole swag of new material that happens to sound very different to the album that launched him into popular consciousness last year. Always the gentleman, even when he’s introducing ‘revenge fantasy’ tracks, Bull’s change in direction sees more band and less piano, some seriously high notes (that’s no change - it’s kind of what he’s known for) and some spite amongst the sunshine. Over the course of the evening, Andy is self-deprecating and charming at the same time, as he attempts the incredibly tricky task of unleashing a whole swag of unheard tunes on an unsuspecting audience. Thankfully, the songs are good, if not better than his debut - certainly winning points for interesting content. Flanked by two dudes from Deep Sea Arcade who play with the kind of tasteful ferocity that you only get from really hungry musicians, Bull seriously comes off like a band leader, rather than just a singer with a band for the first time. It’s not without its awkward moments; the trio are clearly in their teething stages and require more time to fully get themselves in sync with one another. But they give Bull the grittier edge he desires, and he in turn gives his audience a great night of new music that they want to buy before they’ve even left the room. Jonno Seidler

(USA)

ALBERTA CROSS, THE VASCO ERA The Annandale Hotel Saturday July 24

I arrive at the Annandale in the midst of The Vasco Era having a fit on stage. Their bombastic presence and playful nature turn the crowd to putty, and they continue their tradition of working classics into their set: ‘When It First Showed Up’ winds up as ‘Happiness is a Warm Gun’; ‘Honey Bee’, just at its point of combustion, splinters into a mellow ‘Sitting on the Dock on the Bay’. These guys can entertain. Alberta Cross turn the stage into a forest of lank, hairy blokes, signalling the night’s direction from the start with ‘Song Three Blues’. They burrow into the tune, striking that dark vein of sound that gets churned around and released in relentless tides at the audience. It’s tapped into with the driving paranoia of ‘ATX’, and again with ‘Broken Side of Time’ and ‘Ghost of City Life’. But ‘The Thief and the Heartbreaker’ gets the biggest reception, with many fans matching Petter Ericson Stakee’s earnest yelping. Performed live, the song evokes the freewheeling spirit of its mini-album version as opposed to the LP counterpart which flattens out some of the life.

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At times it felt like there was a distance between Alberta Cross and the audience. Perhaps it’s their work ethic; they burrow into their groove, leaving us to decide whether or not we want to come along for the ride. Maybe their reputation didn’t precede them as strongly as expected and the many punters who came as comps were left with little to invest in. Vasco Era, on the other hand, did care about taking us with them, and the difference is still felt in the wake of the gig. The two bands have different approaches to their gigs, and what they do works well for each - but the day after, it was the Vasco Era’s performance that had burnt the biggest impression on me. Several days later, it still smarts. Kilian David

SUPER WILD HORSES, DEAD FARMERS, STRAIGHT ARROWS, GOLDEN STAPH Saturday July 24 Excelsior Hotel, Surry HIlls

The best thing about the Excelsior is how god damn 1970s Manchester it feels. Brews a-flowin’, walls jamming-in the masses, shitty bowling-club ceiling-chic, and floor-tiles in picture frames. Right like, innit fookin’ ace ye dig? Tonight, the opening acts come quick and dirty, with Perth punks Golden Staph opening with a punchy no-nonsense beat. Theirs is a DIY brusqueness – they released four-track cassettes this year - and frontlady Amber Gempton leads the way for a ‘fuck you’ and a ‘thanks for stoppin’ by’ with a style that’s nothing short of raz (raz – adj. Manchester idiom, something good/great). Sydney lo-fi outfit Straight Arrows similarly charged earlybirds with what was described in the crowd as ‘the lovechild of the Clash and the Mighty Boosh’, before fellow locals Dead Farmers stepped up the culminating punkful atmosphere. They brought out the fans amidst the absently interested, and - Oh look, we may as well do this properly. AMP ON A MILK CRATE, YELLING, LOTS OF YELLING, THREE GUYS, GUNNING GRAND SOUND, BASS BASS BASS, BEAT, ‘TUDE, PSYCH! ‌ End scene. By the tenth hour, the venue was packed, and things promised to get Wild. As Melbournian duo Amy Franz and Hayley McKee wandered onstage in matching Stranglers and oversized blouses, Super Wild Horses finally had the chance to embody the hype their local media frenzy has garnered in the last month. Despite their yells! and heys!, these headlining ladies are darlings masquerading as punksters - adorably requesting an increased volume in the “thingyâ€?. With a show-and-tell of the treats from their highly-plugged debut LP Fifteen, expectations were high. With a request to crank vocals, this instrument-swapping pair tote a straightforward Brit-punk power-chord philosophy - their sole innovation comes with the decision to play a maraca on a guitar. Mess (both on and off-stage) nicely supplemented the garage thrust of single ‘Golden Town’ and ‘Standing On The Corner’ – it’s organised disarray, and these girls do punk prettily. Their bluntfringed demure smacks of X-Ray Spex, The Slits and Bratmobile, if they were wardrobed by American Apparel. ‘Mess Around’, was received well; a stripped-down expression of sexual lib that quickens, peaks and slows with wailing vocals. With punters nodding furiously, the duo took a turn for the beachside underground with a brand new song, ‘Waikiki Romance’. This curve for upbeat pastures followed with a much more palatably sinister latePaisley Underground Bangles-esque sound. Jangly pop at its best. As an unanticipated encore conjured another unheard number, the forecast for Super Wild Horses seems irrelevant - their ‘of-the-moment’ sound defies the need to look further than the gig at hand. "Feck it lads, time to chip, we’re cabbaged." Bridie Connellan

BRAG :: 373 :: 02:08:10 :: 41

Remedy

More than The Cure since 1989 with Murray Engleheart

CORROSION OF CONFORMITY

After being out of action for several years, Corrosion of Conformity are back – with the lineup from Animosity: Woody Weatherman (guitar), Mike Dean (bass and vocals) and Reed Mullin (drums). They’ll take top billing on an August tour of the US with a number of acts on the Southern Lord label, including Eagle Twin, Black Breath and Goatsnake. The COC trio will be tackling the Animosity and Technocracy slabs as well as fresh material, including the new single ‘Your Tomorrow (Parts 1 and 2)’, which will be available at the shows. And in even more COC bang-for-punter-buck, the tour features opening act Righteous Fool also featuring Dean and Mullin.

G-TARANAKI FESTIVAL

New Zealand is so close but seems so far sometimes - they get some amazing festivals over there that never seem to make it that few hours more to our shores. Like the G-TARanaki guitar festival from 13 to 15 August, with Uli Jon Roth of Scorpions’ fame, Vinnie Moore, Slash and biggest-and-best-of-all (for our coloured beards and shells) former Mountain man Leslie West, in what we believe is his first ever trip to this part of the world.

TORCHE & BORIS SPLIT

There’s a hot new split 10-inch single out by two of our faves - Torche and Boris. The Torchsters’ tune is ‘King Beef’ while Boris’ is called ‘Luna’. Super limited of course, so don’t be mucking about now.

BACK IN BLACK: 30 YRS

Yep, it was 30 years ago last week that AC/DC’s Back In Black hit the ground, and turned AC/DC from a killer rock band into a fully-branded phenomenon. It was (and is) the ultimate statement of recorded rock precision – so much so that studio technicians in Nashville (you know, the one-time country music capitol of the world) still use it to test their in-house gear. Although it went on to sell by the shippingcontainer-load, we don’t recall there being

too much in the way of pants-wetting anticipation in the lead-up to its release, given the fact that the band had been off local radar for several years by then. Back in Black was a whole new rock animal, period. Certainly as far as AC/DC were concerned. It was like they were suddenly made of granite, everything had changed it seemed - and as such, it took some time to adjust. But when the controls were reset, Boom! What a record.

KEITH RICHARDS' LIFE

Keith Richards' autobiography Life will be out in November - and apparently (and thankfully) it’s very Keef, in as much as it’s his voice and his vibe, as opposed to some reads, which have the tone of whoever the ghostwriter is. And no punches pulled apparently, - which has those who’ve been in the head Stones’ orbit over the past few decades a little nervous.

TWEENAGE SHUTDOWN

They say never work with animals or kids, but no one ever advised against rocking out with kids in garage mode… And that’s what they do on Tweenage Shutdown. It’s a comp of kiddie bands aged between 7 and 13 doing stuff from The Sonics, Green Fuzz, The Yardbirds, The Troggs and The Who. The project was produced by Stephanie Bourke from Melbourne’s Rock and Roll High School.

THE BLACK ANGELS’ NEW ALBUM

Austin/Texas psych masters The Black Angels - who brought us the excellent drone pop and space truckin’ness of The Passover and Directions To See A Ghost release their third effort, Phosphene Dream, through the legendary and recently re-launched UK label Blue Horizon Records, on September 17. The recording is the kickstarted label’s first release. Blue Horizon cut its legend as a blues label in the sixties with names like a then-smoking blues outfit called Fleetwood Mac, and was re-launched this year by industry veterans Richard Gottehrer and Seymour Stein - who were also the founders of SIRE Records.

ON THE TURNTABLE On the Remedy turntable is Led Zeppelin’s Physical Graffitti which, powerful as so much of it is (particularly the second album), still sounds as muddy as hell particularly against the pristine sound quality of Zeppelin IV. Also spinning is Electric Wizard’s mighty Dopethrone, which is pretty tough to go past for hypnotic riffing and woofer-bursting bottom-end metalness. We’ve also been trying to absorb Frank Zappa & The Mothers’ gob-smacking Uncle Meat, the movie soundtrack that for many years never was. Musically, it sounds almost exactly the same as the cut-up cover art. No small thing, that.

TOUR AND INDUSTRY NEWS

Testament On August 7, thrash kings Testament are at the Manning Bar, along with Dreadnaught. On August 14, there’s that huge harbour cruise featuring Spain’s Los Chicos, Johnny Casino and The Secrets, The Crusaders and The Dunhill Blues. The boat leaves at 1pm from Pyrmont Bay Wharf and returns at 5pm. Tickets are $25 and available from Mojo Music in Sydney, or from the bands themselves. This is pretty cool. Dark Order are performing for Top Gear, which will hardly hurt their profile. The Australian producers

of the hugely popular UK TV show are filming the band at their gig on August 6 at Shush (ex @Newtown RSL), 52 Enmore Road, Enmore. 9pm. $5. Summonus bring their brand of sludgeencrusted doom metal to the Carnage Club at the Plantation Bar, Kings Cross on August 6. They’ll be supporting crushing Melbourne bass-and-drums two-piece Agonhymn and Adrift For Days, who’ll be launching their debut album, with Bad Voodoo opening. As a tribute to the mighty Black Sabbaff, each band will be offering their own take on a couple of Sabb’s songs on the night. Alright now!

Send stuff for this column to remedy@ozemail.com.au by 6pm Wednesdays. All pics to art@thebrag please. www.myspace.com/remedy4rock 42 :: BRAG :: 373 :: 02:08:10

BRAG :: 373 :: 02:08:10 :: 43

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philadelphia grand jury

PICS :: RR

black cherry

24:07:10 :: Beach Road Hotel :: 71 Beach Road Bondi 91307247

:: The Factory :: 105 Victoria Road Enmore 95503666

It’s called: Bloc Party DJs (Russell Lissack) at Purple Sneakers It sounds like: Heaven in a biscu it. Oven-baked and full of flavou r. DJs/live acts playing: Russell Lissa ck of Bloc Part y + M.I.T + Nick Findlay + Monkey Genius + Nik V + Seab as & Mush Sell it to us: Splendour is over and it’s a long wait until the next boat of massive international acts attem load pt pulling the big names like Bloc Part to breach our shores. Sneakers is still y all through winter. Stick with us, have you shirtless and on shoulders we’ll in no time. The bit we’ll remember in the AM: convincing you that cutting your fringA certain someone from Bloc Party e is sacrilege and that sweat band are always necessary even if you never break a sweat. That said, .eve s WILL crack a sweat! ryone Crowd specs: Anyone who does n’t read this and think I made an error when spelling ‘Bloc.’ Wallet damage: $12 or free befo re 8pm Where: The Gladstone Hotel When: Friday August 6, 7pm til waa ay late…

radar radio

:: The Gaelic Theatre :: 64 Devonshire St Surry Hills 92111687

fabulous diamonds

PICS :: TL

22:07:10

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party profile

Purple Sneakers

sally seltman

PICS :: TL

23:07:10 :: Spectrum :: 34 Oxford St Darlinghurst 93316245

23:07:10 :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711 44 :: BRAG :: 373 :: 02:08:10

) :: ASHLEY MAR :: S : TIM LEVY (HEAD HONCHO OUR LOVELY PHOTOGRAPHER NS :: PATRICK STEVENSON :: MUN IEL DAN :: ODY MEL ELLA ROSETTE ROUHANNA :: ISAB :: ANNA ZHU CONNOLLY :: TOM HANCOCK RENEE RUSHBROOK :: NATALIE

PICS :: AM

up all night out all week . . .

He Wasn’t a Rebel Until He Found His Cause.

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OUT NOW

ROADSHOW ENTERTAINMENT

BRAG :: 373 :: 02:08:10 :: 45

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new weird australia

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up all night out all week . . .

23:07:10 :: The Red Rattler :: 6 Faversham St Marrickville 95651101

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club blink

party profile

SFX

super wild horses

DJs/live acts playing: DJ Bzurk and special guests in the party room Snowfake after bands in the alter , DJ native room, plus special live club showcase sets by Heroes For Hire, Bermuda and Thrashed. Sell it to us: we’re pretty stoked to be upgrading to an immaculate new venue, just 300 metres up the road from Space. This means no sound spill, better atmosphere, smoking balconies - and all overlooking Hyde Park! Opening night will be a real red carpet event, so come check out the future of the Sydney clubbing and band scene! The bit we’ll remember in the AM: with $4 drinks between 9 and 11pm then $6 spirits and $4.50 beers, and you wont remember anything… Crowd specs: Musos, band kids, people into letting go and having a good time. Wallet damage: $12 / $10 Where: St James Hotel, 114 Cast lereagh St, Sydney When: Saturday August 7

PICS :: RR

23:07:10 :: Agincourt Hotel :: 871 George St City 92814566

It’s called: SFX Relaunch Party It sounds like: The greatest thing to happen to SFX and the biggest the world! party in

violent soho

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24:07:10 :: Excelsior Hotel :: Surry Hills 64 Foveaux St Surry Hills 92114945

trash

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23:07:10 :: Annandale Hotel :: 17 Paramatta Rd Annandale 95501078

24:07:10 :: Agincourt Hotel :: 871 George St City 92814566 46 :: BRAG :: 373 :: 02:08:10

) :: ASHLEY MAR :: S : TIM LEVY (HEAD HONCHO OUR LOVELY PHOTOGRAPHER NS :: PATRICK STEVENSON :: MUN IEL DAN :: ODY MEL ELLA ROSETTE ROUHANNA :: ISAB :: ANNA ZHU CONNOLLY :: TOM HANCOCK RENEE RUSHBROOK :: NATALIE

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the holy soul

PICS :: TL

up all night out all week . . .

22:07:10 :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711

party profile

F.R.I.E.N.D/s It’s called: F.R.I.E.N.D/s presents Miike Snow DJ set It sounds like: Donnie Darko-es que visuals coupled with infectious preschool tunes. DJs/Live acts playing: Miike Snow DJ set, Joyride, Alison Wonderla Hobogestapo DJs, F.R.I.E.N.D/s nd, DJs, The Baldives. Sell it to us: Are you a fan of anim als? Using the same letter twice to emphasize your point? Jackalope avatars? If you answered yes to any of these questions you should vent ure down to F.R.I.E.N.D/s to witne ss the amazingly talented Miike Snow drop missed them at Splendour or their their favourite tracks. For those who side show, this is your chance. The bit we’ll remember in the AM: What AM? Crowd specs: ANTM drop-outs & flunk-fur fashionistas. Wallet damage: $10 entry all nigh t Where: Fringe Bar, 106 Oxford St, Paddington

the dirty secrets

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When: Wednesday August 4, 8pm

22:07:10 :: Candy’s Apartment :: 22 Bayswater Rd Kings Cross 93805600 BRAG :: 373 :: 02:08:10 :: 47

Presented by

Gig Guide

send your listings to: gigguide@thebrag.com

pick of the week Broken Social Scene

WEDNESDAY AUGUST 4

Broken Social Scene (Canada), Bearhug Metro Theatre, Sydney

$45 (+ bf) 8pm MONDAY AUGUST 2 ROCK & POP

Andy Mammers Coogee Bay Hotel free 9pm David Agius Opera Bar, Sydney free 8.30pm Fanfarlo (UK), Wim, Guineafowl Gaelic Theatre, Surry Hills $39.50 (presale) 8pm Jonsi (Iceland), Seth Frightening (NZ) Enmore Theatre $76.70 8pm Laura Marling (UK), Boy & Bear, Johnny Flynn (England) Metro Theatre, Sydney $55 (+ bf) 8pm Original Band Night Murphy’s Hotel, Sydney free 8pm Passion Pit (USA), The Joy Formidable (United Kingdom), Parades The Forum Theatre, Moore Park $66 (+ bf) 8pm Sarah Paton The Observer Hotel, The Rocks free 8.30pm Singer Songwriter Night Vic on the Park Hotel, Marrickville The Jam Thing Albion Hotel, Parramatta free 8pm Two Door Cinema Club (Ireland), Tim & Jean Manning Bar, Sydney University, Camperdown $44 (+ bf) 8pm

JAZZ

Alison Penney Dee Why RSL Club free 6.30pm House Cabaret: Songs From the Middle: Eddie Perfect, Brodsky

Quartet, Australian National Academy of Music Student Band Playhouse, Sydney Opera House $39 (conc)–$59 8pm James Ryan, 4 Trombones 505 Club, Surry Hills $10 8.30pm Olivia Pipitone Town Hall Hotel, Newtown free 7pm

ACOUSTIC/FOLK

Dinki Di Acoustic, Bernie Hayes, Teapot, Ernie Garland, Julie Nelson The Hive Bar, Erskineville free 8pm Songsalive!: Lee Cass, Bones, Samantha Szetu, Aaron Welsh, henderson road society club, April Sky, Helmut Uhlmann Kellys On King, Newtown free 7pm Songsalive!: Under the Purple Tree, Lisalive, Russell Neal and guests Springwood Sports Club free 7pm Songwriter Sessions Excelsior Hotel, Surry Hills free

COUNTRY

Camden Valley Country Music Club Hope Christian School, Narellan free 7pm

TUESDAY AUGUST 3 ROCK & POP

Band of Skulls (UK), Fire! Santa Rosa Fire! Oxford Art Factory, Darlinghurst $44 (+ bf) 8pm

Belles Will Ring Video Clip Wrap Party: Belles Will Ring, Juan Cortez, Mucky Fingers Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Delphic (UK), Pluto Jonze Gaelic Theatre, Surry Hills $35 (+ bf) 8pm Frightened Rabbit (Scotland) The Factory Theatre, Enmore $39.60 (+ bf) 7.30pm Money For Rope Bar on the Hill, University of Newcastle, Callaghan 12pm Mr Percival Raval, Surry Hills $20 (+ bf) 8pm Mumford & Sons (UK), Fanfarlo (England), Matt Corby Enmore Theatre $61.60 8pm Open Mic Night Great Northern Hotel, Newcastle free 7pm Rob Henry The Observer Hotel, The Rocks free 8.30pm Songsalive: July Morning, James Donnelly, Xyre, April Sky, She The Wolf, Christopher Burns The Basement, Circular Quay $12 (+ bf)–$15 (at door) 8.30pm Soup Jam Session Excelsior Hotel, Surry Hills free 5.30pm Starr Witness, Super Florence Jam, Geminine Albion Hotel, Parramatta free 8pm Steve Tonge O’Malley’s Hotel, Darlinghurst free 9.30pm Surfer Blood (USA), Papa Vs Pretty Manning Bar, Sydney University, Camperdown $32.75 (member)–$38.50 (+ bf) 8pm They Call Me Bruce Maloney’s Hotel, Sydney free 9.30pm We Are Scientists (USA), Ash (Northern Ireland), Last Dinosaurs Metro Theatre, Sydney $63.80 (+ bf) 8pm Wollongong Uni Band Comp Uni Bar, Wollongong University, Gwynneville free 7pm

JAZZ

Delilah, The Bob Gebert Trio Goldfish, Kings Cross free 9pm House Cabaret: Steve Ross Sings Noel Coward: Steve Ross (USA) The Studio, Sydney Opera House $39 (conc)–$69 8pm James Valentine’s Supper Club Golden Sheaf Hotel, Double Bay free 7pm Peter Head Harbour View Hotel, The Rocks free 5pm Rob Eastwood Dee Why RSL Club free 6.30pm The Drip Hards, The Keijzer Mcguiness Quintet 505 Club, Surry Hills $8–$10 8.30pm

ACOUSTIC/FOLK

Songsalive!: July Morning, James Donnelly, Christopher Burns, April Sky, XYRE, She the Wolf, Russell Neal The Basement, Circular Quay $15 8.30pm Tuesday Night Live: Artificial International, Sarah Emily, Maddie Bell Beach Road Hotel, Bondi Beach free 8pm

WEDNESDAY AUGUST 4 ROCK & POP

Andy Mammers The Ranch Hotel, Eastwood free 10.30pm Brian Cadd, Russell Morris Stockton Bowling Club 8pm Broken Social Scene (Canada), Bearhug Metro Theatre, Sydney $45 (+ bf)

8pm Danny Ross Artichoke Gallery Cafe, Manly free 8pm Delphic (UK) The Grand Hotel, Wollongong $35 (+ bf) 8pm Ian Cuthbertson, Tim Ireland Notes Live, Enmore $14.80 (presale) 7pm Jager Uprising: Ramshackle Annandale Hotel $5 7.30pm Jam Nights Fitzroy Hotel, Windsor free 7pm Jed The Orient Hotel, The Rocks free 9pm JP O’Malley’s Hotel, Darlinghurst free 9.30pm Live n Local: Tenielle Neda, Gilbert Whyte, The My Tys Lizotte’s Restaurant, Lambton $13.50 7pm Miike Snow (Sweden) The Forum Theatre, Moore Park $56.50 (presale) 8pm Mike Bennett The Observer Hotel, The Rocks free 8.30pm Mission Jones Marlborough Hotel, Newtown free 7.30pm Money For Rope, The Shakin Howls Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Mumford & Sons (UK), Fanfarlo (England), Matt Corby Enmore Theatre $61.60 7.30pm Open Mic Fubah on Copa, Copacabana free 7pm Sideshow: The Vasco Era, I Am Giant Beach Road Hotel, Bondi Beach free 8pm The Study: Preachers Gaelic Theatre, Surry Hills free 8pm YourSpace Muso Showcase Town Hall Hotel, Newtown free 7pm

JAZZ

Jazz Factory The View Factory, Newcastle free 7pm Jo Elms Dee Why RSL Club free 6.30pm John Redmond Trio The Manhattan Lounge, Sydney free 6.45pm Mark Lockett 505 Club, Surry Hills $10 8.30pm Salsa Lounge: Afrocuban Latin Jazz Collective Goldfish, Kings Cross free 9pm Sarah J Hyland & the Reckless Gentlemen Raval, Surry Hills $15 (+ bf) 7.30pm The Liberators Macquarie Hotel, Sydney free 8pm

ACOUSTIC/FOLK

Charlie “Slide Didge” McMahon and friends Sandringham Hotel, Newtown free 8pm Graeme Connors Western Suburbs Leagues Club, New Lambton $33 (member)–$38 7.45pm Acoustic & Lonesome: Laura Imbruglia, Camilla Hill Excelsior Hotel, Surry Hills $10 8pm Songsalive!: Eve Goonan, Burning Violet Bridges, Andrew Denniston and guests Harbourview Hotel, the Rocks free 7pm Songsalive!: Ross Bruzzese, Rubicon Rising, Shining Whits, Russell Neal and guests Coach & Horses Hotel, Randwick free 7pm

HIP-HOP

k-os (Canada) Oxford Art Factory, Darlinghurst $33 (+ bf) 8pm

THURSDAY AUGUST 5 ROCK & POP

Back to the 70s Motor Neurone Research Fundraiser: The Robertson Brothers North Sydney Leagues Club, Cammeray $27.50 8pm Ben Aylward, Jo Meares & the Honey Riders, Nicola Schultz, Bleedingintoradio Excelsior Hotel, Surry Hills $10 8pm Blu FM Band Competition Hotel Gearin, Katoomba free 8pm Brian Cadd, Russell Morris The Basement, Circular Quay $35 (+ bf) 8pm Chain The Vanguard, Newtown $28 (+ bf)–$33 (at door) 9.30pm Dave White The Orient Hotel, The Rocks free 7pm David Agius Miranda Hotel free 6.30pm David Goyen Club Five Dock, Five Dock RSL free 9pm Florence & the Machine (England), Ernest Ellis Enmore Theatre $85.90 9pm G3 Marble Bar, Sydney free 7pm Gemma O’Malley’s Hotel, Darlinghurst free 8pm Gypsy & the Cat, Step Panther, Jinja Safari Oxford Art Factory, Darlinghurst $12 (presale)–$15 (at door) 8.30pm Hot Damn!: Samsara, Dropsaw, Cannon’s Mouth, The Vultures, Hot Damn DJs Spectrum, Darlinghurst $10–$12 9.30pm Kate Nash (UK), The Thin Kids Metro Theatre, Sydney $55 (+ bf) 8pm Michael McGlynn Greengate Hotel, Killara free 8pm Musk, Errol Jim & the Trade Secrets, Bulldoze All Bowlos Sandringham Hotel, Newtown 8pm My Fiction, Moments, The Written Crusade, The Company Lansdowne Hotel, Chippendale free 8pm Now Now: Rik Rue, Amanda Stewart, Jim Denley, Chris Abrahams Stone Gallery, Paddington $12–$15 8pm Oxfam Fundraiser - Ninja Carnival: Brendan MacLean, Brian Campeau, Video Games, Jack Colwell & the Owls Notes Live, Enmore $16.40 (presale) 9pm Pat Drummond Pioneer Tavern, Penrith South free 7pm Residents: Jack Ladder Beach Road Hotel, Bondi Beach free 7pm Romantic Rapture: Baiba Skride, Simone Young Concert Hall, Sydney Opera House 12pm Roots ‘n’ Blues Open Mic: Merewether Fats Shenanigans, Maitland free 1.30pm Sam & Jamie Show Maloney’s Hotel, Sydney free 7pm Scott Donaldson PJ Gallagher’s Parramatta free 9.30pm Simon Carter, Money For Rope, Bell Weather Department Annandale Hotel 9pm Steve Tonge The Observer Hotel, The Rocks free 8pm The Black Paintings Brass Monkey, Cronulla $12.80 (+ bf) 9.30pm The Capitols White Cockatoo Hotel, Petersham free 8pm White Bros New Brighton Hotel, Manly free 10pm - late

“You stuttered like a kaleidoscope ‘cause you knew too many words” - STRANGE POWERS: STEPHIN MERRITT 48 :: BRAG :: 373 : 02:08:10

Presented by Pres

Gig Guide

send your listings to: gigguide@thebrag.com

JAZZ

Anna Salleh’s Bossa Boots Berkelouw Wine Bar, Leichhardt free 7pm Cafe Carnivale: Larissa Burak, Lulu Liu The Sound Lounge, Seymour Centre, Chippendale $22–$28 8.30pm Colbourne Ave: John Harkins Trio Cafe Church, Glebe $10–$20 7pm Funkquarter Goldfish, Kings Cross free 9pm James Morrison The Apple Store, Bondi Junction free 7pm Lionel Robinson Dee Why RSL Club free 7pm Peter Head Harbour View Hotel, The Rocks free 5pm Reaston Kay Effect & Debonair Gentlemen, The Noise String Trio, Nexus Saxophone Quartet Raval, Surry Hills $12 (+ bf) 7.30pm Samba Mundi 505 Club, Surry Hills $10–$15 8.30pm Sketch the Rhyme, Reyes De La Onda Macquarie Hotel, Sydney free 9pm

ACOUSTIC & FOLK

Dennis Aubrey’s Songwriters Night @Newtown RSL free 7pm Lachlan & Amy Artichoke Gallery Cafe, Manly free 8pm Ross Ward GJ’s Coffee Lounge, Cronulla Mall free 7pm Songsalive!: Anna Henson, Andrew Denniston and guests Pittwater RSL, Mona Vale free 7.30pm Songsalive!: April Sky, Helmut Uhlmann and guests Red Lion Hotel, Rozelle free 7.30pm

MON 02 AUG

TUE 03 AUG

Songsalive!: Carolyn Crysdale and guests Henry Lawson Club, Werrington County free 7.30pm Songsalive!: Gavin Fitzgerald , Nick Punal, TAOS and guests Newtown RSL free 7pm

FRIDAY AUGUST 6 ROCK & POP

Armana, The Solid Ones, The Cherry Tree Excelsior Hotel, Surry Hills $10 8pm Ben Finn Jewells Tavern, Newcastle free 8pm Big Whoop: Bird Automatic, Captains, Jack Ladder, Found At Sea, Hollo Panda, Ranger Spacey Melt Bar, Kings Cross 9pm Black Diamond Heart Club The Three Wise Monkeys, Sydney free 10.30pm Brian Cadd, Russell Morris St Marys Leagues Club $25 7.30pm Brown Sugar Marble Bar, Sydney free 9.30pm Chain Lizotte’s Restaurant, Lambton $35 (show only)–$77 (dinner & show) 7pm Chontia Docks Hotel, Darling Harbour free 7.30pm Creedence & Beyond Gwandalan Bowling Club free 8pm Crow, Grace Before Meals, Simon Craw CAD Factory, Marrickville 6pm Dan Lawrence Parramatta RSL free 5pm Dark Order Shush, Enmore (Ex @ Newtown venue) $5 9pm Dave White Duo Ettamogah Pub, Rouse Hill free

David Agius Duo Hillside Hotel, Castle Hill free 7pm End Of August Mattara Hotel, Newcastle free 8pm Endless Summer Beach Party Marlborough Hotel, Newtown free 10.30pm Florence & the Machine (England), Ernest Ellis Enmore Theatre $85.90 8pm Gary Johns Trio Kirribilli Hotel free 8pm Goodnight Dynamite Brewhouse At St Mary’s, St Marys free 9.30pm Got It Covered Celebrity Room, Blacktown RSL Club free 8pm Heath Burdell Novotel Homebush, Homebush Bay free 5pm Hello Cleveland PJ Gallagher’s Parramatta free 8.30pm Ian Moss Heritage Hotel, Bulli $26.50 (show only)–$60 (dinner & show) 8.30pm Joey & the Boy Windang Bowling Club free 7.30pm Juicy Fruit Warners Bay Hotel free 9pm Krankenstein Kincumber Hotel free 7pm Lawrence Baker PJ Gallagher’s Drummoyne free 10pm Luke Dixon Harbord Beach Hotel free 8pm Mandi Jarry Macquarie Hotel, Liverpool free 4.30pm Microwave Jenny, The Lions, The Kings Notes Live, Enmore $19.40 7pm MUM: The Boo Hoo Hoos, Leroy Macqueen & The Gussets, The Ravenous, Vacations, Mother and Father, The Honey Pies, Indigo Child, DJs:, Sweet Mix Kids (NZ), Walkie Talkie, Animal Chin, Nude DJs, Jack Shit, Swim

FANFARLO (UK) + WIM + GUINEAFOWL

DELPHIC (UK) + PLUTO JONZE RADAR RADIO + theLBLM.com presents FRESHLY CUT

THU 05 G AUG

FRI 06 AUG

04 Aug

(9:15PM - 12:15AM)

thu

05 Aug

(9:15PM - 12:15AM)

fri

06

AFTER THE FALL

Aug

+ THE TAKE + SUNSET ROAD

(9:15PM - 1:00AM)

(5:00PM - 8:00PM)

SUNDAY AFTERNOON

SATURDAY AFTERNOON

THE PARIS CRASH + THE ART + THE JEFFERSON

SAVAGE (NZ) + DJ TIKELZ + MONSTA GANJAH + BROTHER LOVE COMING SOON

TUE 10 AUG

Sound Stream Padstow RSL Club free 8pm Super Jam MJ Finnegan’s Irish Pub, Newcastle free 10.30pm The Australian Red Hot Chili Peppers Show Engadine Tavern free 9.30pm The Bad & The Ugly Iron Horse Inn, Cardiff free 6.30pm The Bodacious Cowboys The Basement, Circular Quay $25 (+ bf) 9.30pm The Casino Rumblers, The Corps, Lust, Cleaned Out Sandringham Hotel, Newtown 8pm The Doors Experience Bull & Bush Hotel, Baulkham Hills free 10pm The Firebyrds Toukley RSL Club free 8.30pm The Monks of Mellonwah, Corpus Lansdowne Hotel, Chippendale free 9pm The My Tys, Chris Duke & the Royals Coogee Diggers $12 (+ bf)–$15 (at door) 8.30pm The Oceans The Sky Caringbah Bizzo’s 8pm The Paris Crash Gaelic Theatre, Surry Hills $15 (+ bf) 8pm The Pink Fangs, The Dead Love, Saloons Manly Fisho’s $10 8pm The Skirts Thirroul Beaches Hotel free 9.30pm The V Dubs Wallsend Diggers free 8.30pm Thee Wylde Oscars, The Unheard The Cabbage Tree Hotel, Fairy Meadow $8 9pm Tone Defeat: King Tide, Stickyfingers, Reverse Polarities Annandale Hotel $10 (+ bf) 7pm V Tribe The Lucky Australian, North St Marys free 7pm Velvet Hotel Mosman RSL Club free 7pm

wed

sat

SAT 07 AUG

Team DJs, Wet Lungs, 16 Tacos, FiFiDoesDiDi, Nic Yorke, 10th Avenue The World Bar, Kings Cross $10– $15 8pm Nicky Kurta Greengate Hotel, Killara free 8pm One World Matraville RSL Club free 8pm Philuke Trio Picnic Point Bowling Club, Panania free 7.30pm Professor Groove & the Booty Affair Brass Monkey, Cronulla 8pm Purple Sneakers: Bloc Party DJs, M.I.T, Kid n Bird, Monkey Genius, Nik V, Seabass, Mush Gladstone Hotel, Chippendale free–$12 7pm Rapids, Myth & Tropics Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Ray Mann Three, Superheavyweights Macquarie Hotel, Sydney free 8pm RoadHouse Rockers Mingara Recreation Club, Tumbi Umbi free 7.30pm Romantic Rapture: Baiba Skride, Simone Young Concert Hall, Sydney Opera House 8pm Rough Stock Hawkesbury Hotel, Windsor free 7.45pm Sam & Jamie Show Woolloomooloo Bay Hotel free 7pm Samsara, Dropsaw The Cambridge Hotel, Surry Hills 8pm Secret Society Fire Station Hotel, Wallsend free 8.30pm Sosueme: Shape, Lovers Jump Creek, Pixelated Privates, Joyride, Alison Wonderland, Charlie White, Kitty Monroe, DJ Godfather (USA), Girls Gone Wrong Q Bar, Darlinghurst $10 (at door) 8pm

ROCK-STEIN TRIVIA

THU 12 AUG

THE DIRTY SECRETS

FRI 13 AUG

07

SATURDAY NIGHT

Aug

sun

08 Aug

(9:00PM - 12:00AM)

SUNDAY NIGHT

(8:30PM - 12:00AM)

CHRISTIAN DEATH (US)

WWW.THEGAELIC.COM EVENT EVENT &&FUNCTION FUNCTIONBOOKINGS: BOOKINGS: clayton@selectmusic.com.au danielle@thegaelic.com BAND BANDBOOKINGS: BOOKINGS:clayton@selectmusic.com.au clayton@selectmusic.com.au

BRAG :: 373 :: 02:08:10 :: 49

Presented by

Gig Guide

send your listings to: gigguide@thebrag.com

Victoriana Gaye Artichoke Gallery Cafe, Manly free 8pm Voltaire, Brillig The Vanguard, Newtown $35 (+ bf)–$45 (at door) 6.30pm Wildcatz Crows Nest Hotel free 10.45pm Winter Fun & Games Miranda Hotel free 6pm Zoltan Revesby Workers Club free 8pm

JAZZ

Bridge City Jazz Band Club Ashfield free 7.30pm Galleri The View Factory, Newcastle free 7pm Jade Lumbewe 505 Club, Surry Hills $10–$15 8.30pm Peter Head Harbour View Hotel, The Rocks free 5.30pm Shawnuff Swing Band Newtown Jets Rugby League Social

Club, Tempe free 8pm The Escalators The Sound Lounge, Seymour Centre, Chippendale $12–$20 8.30pm Yuki Kumagai, John Mackie, Andrew Russell Well Connected Cafe, Glebe free 8.30pm

HIP-HOP

Dust Tones: 206 Colab, The Coalition Crew, Shantanwantanichiban, DJ Amy Beach Road Hotel, Bondi free 8pm Phatchance & Coptic Soldier, Johnny Utah, The Dyno-Mics, Blase, Akouo, DNL The Factory Theatre, Enmore $15 (presale)–$20 (at door) 8pm

ACOUSTIC & FOLK

Adam Roycroft, DJ Black Jade Tavern, Haymarket free 7pm Ross Ward Pyrmont Bridge Hotel, Glebe free 9pm Songsalive!: Russell Neal, Andrew Denniston and guests Casa di Musica, Enmore free 7.30pm

COUNTRY

The McClymonts, Harmony James Western Suburbs Leagues Club, New Lambton $33 (member)–$38 8.30pm

Phatchance

SATURDAY AUGUST 7 ROCK & POP

1927 Shoalhaven Entertainment Centre, Nowra $33.50 (show only)–$69 (dinner & show) 8pm 2 Of Hearts Harbord Beach Hotel free 8pm 3 Frets Down Lake Macquarie Tavern, Mount Hutton free 7.30pm Aaron Lyon Artichoke Gallery Cafe, Manly free 8pm Andy Mammers Maloney’s Hotel, Sydney free 10pm Barnestorming St Marys RSL free 7.30pm Black Diamond Heart Club Marlborough Hotel, Newtown free 10.30pm Brian Cadd, Russell Morris Workers Blacktown $20 (member)–$25 8pm Brian McFadden (Ireland) Oxford Art Factory, Darlinghurst $31.70 (+ bf) 8pm British India, Underlights, Dark Bells Beach Road Hotel, Bondi Beach free 8pm Buried Beneath the Lies, Fallen Memory, Without Reason, To the

Sky, Gutterstomp Lucky Australian Tavern St Marys $10 5.30pm Cafe of the Gate of Salvation Gordon Uniting Church $10 (child)– $20 (adult) 7pm Casey Donovan Rooty Hill RSL Club $20 8.30pm Casho MJ Finnegan’s Irish Pub, Newcastle free 8pm Chain Lizotte’s Restaurant, Kincumber Chartbusters Paddy Maguires, Haymarket free 9.30pm Chontia Duke of Wellington Hotel, New Lambton free 8.30pm Cover 2 Cover Newcastle Panthers, Newcastle West 8.30pm Creedence & Beyond Blacktown RSL Club free 10pm Big Village: Daily Meds, Tuka, True Vibenation, Loose Change, Morgs, Max Gosford Sandringham Hotel, Newtown $10 8pm David Agius Duo Penrith Panthers free 7.30pm Double Whammy Miranda RSL Club free 9pm Drew McAlister Sir Joseph Banks Hotel, Botany free 7pm Florence & the Machine (UK), Ernest Ellis Enmore Theatre $85.90 7pm Gary Johns Northies, Cronulla free 8.45pm Gemma The Observer Hotel, The Rocks free 5.40pm Graphic: Neil Gaiman: The Truth Is A Cave In The Black Mountains: FourPlay Concert Hall, Sydney Opera House $39 (B Res)–$65 7pm Graphic: The Arrival: Ben Walsh’s

Orkestra of The Underground Playhouse, Sydney Opera House $20 (conc)–$25 7.30pm Heath Burdell Woolloomooloo Bay Hotel free 2pm Hogan’s Heroes Burwood RSL Club free 8.30pm Hue Williams Pennant Hills Inn free 10pm Ian Moss Coogee Diggers $35 (+ bf)–$40 (at door) 8.30pm Ignition Crows Nest Hotel free 10.45pm In Pieces Castle Hill RSL Club free 10.30pm Jimmy Swouse & The Angry Darts, Mad Charlie, Viagro, Ugly Little Secrets Excelsior Hotel, Surry Hills $10 8pm Joel Sarakula Kirribilli Hotel free 7.30pm Kim Salmon & the Surrealists Annandale Hotel $15 (+ bf) 8pm Late Night Lounge: Jeff Duff, Tina Harrod, Claire Hooper, Steve Clisby, Adam Mada, Libbi Gorr, Matt McMahon The Studio, Sydney Opera House $39–$49 10pm Latin Power The Grand Hotel, Rockdale free 9pm Mark Travers PJ Gallagher’s Parramatta free 8.30pm Matt Jones Novotel Homebush, Homebush Bay free 3.30pm Matt Price Woolwich Pier Hotel free 6pm Max Power Band St Marys Leagues Club free 9pm Michael McGlynn PJ Gallagher’s Drummoyne free 10pm Millennium Bug Campbelltown Catholic Club free 9pm Patio de Tango Milonga: Tango Bar

SUNDAY 8TH AUGUST @ THE VANGUARD 42 KING STREET, NEWTOWN SUPPORTED BY:

SHADY LANE AND THE WINTER PEOPLE

www.princessonepointfive.com | the new album ‘What Doesn’t Kill You’, is out now through Pharmacy Records / MGM Distribution

FOR LEASE SURRY HILLS WORKSPACE Renovated Terrace Whole Floor - Street Level on Albion Street near corner of Riley. • Approx 70sqm. • High Ceilings, Wool Carpet, Deck, Security Grills etc. Next door to a cool café and Frog Hollow Reserve. • 2 min walk to Central Station and on main Sydney Bus Route. 50 :: BRAG :: 373 : 02:08:10

Suit small office space, creative, PR shop, web designer, admin, showroom, professional, agency, fashion business, audio services, music industry $1600 per month, inclusive of GST, rates, water and building insurance. Electricity, bathroom and kitchen on share arrangement with one other commercial tenant on first level upstairs.

Phone Rob: 0409 535 673

Presented by Pres

Gig Guide

send your listings to: gigguide@thebrag.com

Bexley RSL & Community Club $22 8pm Radio City Cats Marble Bar, Sydney free 10.30pm Richard Clapton State Theatre, Sydney $85 8pm Richard in Your Mind Clarendon Guest House, Katoomba $15 (show only)–$53 (dinner & show) 7pm Rob Henry The Observer Hotel, The Rocks free 4pm Rock’n’Roll Social Dance: At The Hop City Diggers, Wollongong $10 (at door) 7pm Romantic Rapture: Baiba Skride, Simone Young Concert Hall, Sydney Opera House 2pm Samsara, Dropsaw Masonic Hall, Blacktown 8pm SFX: Heroes For Hire, Bermuda, Thrashed, B-Zurk, Snowflake St James Hotel, Sydney $10–$12 8pm

Solid Gold Iron Horse Inn, Cardiff free 9pm Sound Stream Brighton RSL Club, Brighton-LeSands free 8pm Southland Jannali Inn free 8pm Spectacular Feets Catherine Hill Bay Hotel free 1.30pm Steve Tonge Greengate Hotel, Killara free 8pm Sunday Waits, Kate Gogarty, Jess Chalker Notes Live, Enmore 7pm Super Florence Jam, White Bats, The Last Cavalry Spectrum, Darlinghurst $15 (incl CD) 8pm Talk It Up Bull & Bush Hotel, Baulkham Hills free 9.30pm Tamsin Carroll & Deni Hines North Sydney Leagues Club, Cammeray $45 7.30pm Testament (USA) Manning Bar, Sydney University, Camperdown 8pm

The Carribean Lion, Altafari, DJ Coco, DJ Fasmwa The Basement, Circular Quay $20 (+ bf)–$25 (at door) 9.30pm The Flaming Stars, Grizzly Adams Ashfield RSL Club free 8.30pm The Ivys, Robot House Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm The Original Generics Beaches Hotel, Thirroul free 8.30pm The Paris Crash Mona Vale Hotel $15 (+ bf) 8pm The Rokk Chicks Kareela Golf & Social Club free 8.30pm The V Dubs MJ Finnegan’s Irish Pub, Newcastle free 10.30pm Thee Wylde Oscars Town & Country Hotel, St Peters $10 8pm True Love Chaos with supports, Gents El Rocco’s in Kings Cross 8pm Zoltan Canterbury-Hurlstone Park RSL free 10pm

JAZZ

Aaron McCoullough’s Elements Quintet Wollongong Conservatorium of Music, Keiraville $12 6.30pm Don Hopkins Vault 146, Windsor free 7pm Donné Raval, Surry Hills $12 (+ bf) 7.30pm Eclipse Alley Five Strawberry Hills Hotel, Surry Hills free 4pm Memphis Soul Revue: Johnny G & the E-Types Brass Monkey, Cronulla $25.50 (presale) 7pm Pugsley Buzzard

British India

Macquarie Hotel, Sydney free 8.30pm SIMA: Brubeck-Braid, Simpatico The Sound Lounge, Seymour Centre, Chippendale $15 (member)–$20 8.30pm Sugar & Soul: Johnny Gleeson, Tom Kelly, Ross Middleton Goldfish, Kings Cross free 9pm The Alchemial Cabaret Lizotte’s Restaurant, Lambton $40 (show only)–$80 (dinner & show) 7pm Tim Stocker Quartet 505 Club, Surry Hills $10–$15 8.30pm Yuki Kumagai, John Mackie, Tony Burkys, Paul Furniss, Martin Highland Fraternity Bowling & Recreation Club, Fairy Meadow free 8pm Yuki Kumagai, John Mackie, Tony Burkys, Richard Booth Haldon Street, Lakemba free 10am

ACOUSTIC & FOLK

Matthew Koutnik The View Factory, Newcastle free 7pm Songsalive!: April Sky, Helmut Uhlmann and guests Grumpy’s Inn, Hurlstone Park free 8pm Songsalive!: Ben Osmo, Jeannine Raehse, Andrew Denniston and guests Narrabeen RSL free 8pm The Shack: New York Public Library, The Dingle Brothers, Paul Hemphill Tramshed Community Arts Centre, Narrabeen $15 7.30pm

HIP-HOP

Savage (New Zealand), Tickelz, Monsta Ganjah Gaelic Theatre, Surry Hills $15 (+ bf) 8pm

SUNDAY AUGUST 8 ROCK & POP

2days Hits Harbord Beach Hotel free 6pm Andy Mammers Woolloomooloo Bay Hotel free 3pm Anna Salleh’s Bossa Boots Berkelouw Wine Bar, Leichhardt free 4pm Big Phallica, Mr Wilson Golden Sheaf Hotel, Double Bay free 10am Bob Dylan Tribute Show Beaches Hotel, Thirroul free 5pm Brian Cadd, Russell Morris Edgeworth Bowling Club 7pm Cambo The Observer Hotel, The Rocks free 3pm Chain Brass Monkey, Cronulla $30.60 7pm Dave White Duo Northies, Cronulla free 2.30pm David Agius Duo Ettamogah Pub, Rouse Hill free 1pm Dwayne Elix & the Engineers Marrickville Bowling and Recreation Club free 4.30pm Florence & the Machine (England), Ernest Ellis Hordern Pavilion, Moore Park $85.90 8pm Grant Robinson, Dale Hutchinson Kincumber Hotel free 1pm Graphic: Akira: Regurgitator Opera Theatre, Sydney Opera House $39 (conc)–$45 3pm Happy Hate Me Nots Excelsior Hotel, Surry Hills $10 5pm Helpful Kitchen Gods, Hell Crab City, The Maxtones, Untidy Executions Gladstone Hotel, Chippendale free 4pm

AUGUST

06 FRIDAY

BLOC PARTY DJ RUSSELL LISSACK M.I.T . NICK FINDLAY

MONKEY GENIUS . NIC V SEABAS & MUSH

SLEIGH BELLS ‘TREATS’

GIVEAWAYS COURTESY OF LIBERATION

BRAG :: 373 :: 02:08:10 :: 51

Presented by

Gig Guide

send your listings to: gigguide@thebrag.com

Hoodoo Gurus Campbelltown RSL $35 7.30pm Irish Sundaze: The Bad Penguins P.J. O’Brien’s, Sydney free 5pm Jason Hicks Docks Hotel, Darling Harbour free 5pm Left Me Cold, Worst Case Scenario, In This Defence, The Darkest Illusion, Vanstorm, Life Beyond Lucky Australian Tavern St Marys $10 12pm Lunacy: The Ivys, Joysticks theclub, Kings Cross $10 7pm Mike Bennett The Observer Hotel, The Rocks free 9pm Nothing Sacred Fubah on Copa, Copacabana free 2pm Peter Northcote Bridge Hotel, Rozelle $10 3.30pm Princess One Point Five, Shady Lane, Winter People The Vanguard, Newtown 8pm Priscilla Gauci & the Groove Kings Woollahra Hotel free 6.30pm Rob Henry The Observer Hotel, The Rocks free 5pm Sarah Paton O’Malley’s Hotel, Darlinghurst free 4pm Skyscraper Northies, Cronulla free 6pm Stormcellar Time and Tide Hotel, Dee Why free 8pm Sydney Rock ‘n Roll &

Alternative Market: The Satellites, Limpin’ Jimmy & the Swingin’ Kitten Newtown Jets Rugby League Social Club, Tempe free 11am The Mighty Kingsnakes Premier Hotel, Broadmeadow free 4.30pm Viagra Falls Catherine Hill Bay Hotel free 1.30pm Wards Xpress Tudor Hall Hotel, Redfern free 4pm Williams Brothers PJ Gallagher’s Parramatta free 8pm Zoltan Penrith Panthers free 4pm

JAZZ

Anna Salleh’s Bossa Boots Berkelouw Wine Bar, Leichhardt free 7pm Bill Dudley’s New Orleanians Strawberry Hills Hotel, Surry Hills free 5pm Blues Sunday: Mark Hopper Artichoke Gallery Cafe, Manly free 4pm Cafe Carnivale: Mucho Mambo Riverside Theatres, Parramatta $22–$28 3.30pm Feral Swing Katz Rocksalt, Menai free 12pm Genevieve Chadwick, Chris Turner Vault 146, Windsor free 1pm Martini Club, Johnny Gleeson Goldfish, Kings Cross free 9pm Psycho Zydeco

Lizotte’s Restaurant, Lambton $25 (show only)–$65 (dinner & show) 7pm The House of Blues: Matt Black & The Phat Cats Town Hall Hotel, Newtown

ACOUSTIC & FOLK

COUNTRY

Bryen Willems, Nicki Gillis Royal Cricketers Arms, Prospect free 12.30pm Greater Southern Country Music Association Bomaderry RSL free (member) 1pm Mark Lucas and The Dead Setters Sandringham Hotel, Newtown free 4pm Northern Beaches Country Music Club Balgowlah RSL Club, Seaforth free (member) 1pm Pixie Jenkins, Lisa White, McCauley’s Raiders Smithfield RSL free 2.30pm The McClymonts, Harmony James Rooty Hill RSL Club $16 (child)–$33 (adult) 7.30pm

TRACK

LABEL

1

2 10 1 13 28 52 ENRIQUE IGLESIAS FT. PITBULL

I LIKE IT

INT/UMA

2

3

SMILE

ATL/WMA

3

1 12 1 15 29 54 KATY PERRY FT. SNOOP DOGG

CALIFORNIA GURLS

CAP/EMI

4

4

4 14 30 55 ADAM LAMBERT

IF I HAD YOU

SME

5 11 24 52 EMINEM FT. RIHANNA

LOVE THE WAY YOU LIE

INT/UMA

2 18 42 75 UNCLE KRACKER

8

5 11 4 6

6 11 6 11 28 43 TRAVIE MCCOY FT. BRUNO MARS

BILLIONAIRE

ATL/WMA

7

5 13 2 18 43 72 SCOUTING FOR GIRLS

THIS AIN’T A LOVE SONG

SME

8

9

9

8 16 44 65 TRAIN

IF IT’S LOVE

SME

9 16 6

9 13 24 42 FLO RIDA FT. DAVID GUETTA

CLUB CAN’T HANDLE ME

ATL/WMA

10 7

7 13 28 59 MICHAEL PAYNTER

LOVE THE FALL

5

11 10 15 4 12 27 46 DAVID GUETTA & CHRIS WILLIS FT. FERGIE & LMFAO GETTIN’ OVER YOU BABY, I’M GETTING BETTER

UMA

DJ GOT US FALLIN’ IN LOVE

SME

14 8 13 2 12 24 50 B.O.B FT. HAYLEY WILLIAMS

AIRPLANES

ATL/WMA

15 12 5 12 14 37 57 MAROON 5

MISERY

A&M/UMA

16 14 21 6 18 46 59 JET

SEVENTEEN

VIR/EMI ISL/UMA

17 15 14 3 14 28 46 TAIO CRUZ

BREAK YOUR HEART

18 13 12 11 19 47 75 THIRSTY MERC

MOUSETRAP HEART

MUSH/WMA

19 NEW 1 19 12 20 38 LADY GAGA

DANCE IN THE DARK

INT/UMA

REVOLUTION

JAR/MGM

AMY MEREDITH

LYING

SME

THIRTY SECONDS TO MARS

CLOSER TO THE EDGE

VIR/EMI

23 24 15 14 14 33 49

PARAMORE

THE ONLY EXCEPTION

ATL/WMA

24 19 22 6

17 44 74

JOHN BUTLER TRIO

CLOSE TO YOU

JAR/MGM

25 21 25 7

18 42 54

LIFEHOUSE

HALFWAY GONE

GEF/UMA

26 28 24 1

18 50 61

SME

22

52

3

22 11 20 30

TRAIN

HEY, SOUL SISTER

27 20 11 20 11 24 43

3OH!3 FT. KE$HA

MY FIRST KISS

ATL/WMA

28 29 6

BRANDON FLOWERS

CROSSFIRE

ISL/UMA

USHER FT. WILL.I.AM

OMG

SME

NICKELBACK

THIS AFTERNOON

RR/WMA

31 31 10 31 12 22 40

OU EST LE SWIMMING POOL

DANCE THE WAY I FEEL

HUS/UMA

32 34 21 2

ADAM LAMBERT

WHATAYA WANT FROM ME

SME

JOHN MAYER

HALF OF MY HEART

COL/SME SME

28 13 27 51

29 25 17 1 30 39 4

33 26 8

14 25 46

30 9

30 48

15 42 58

26 12 38 57

34 30 15 6

13 27 52

KE$HA

YOUR LOVE IS MY DRUG

35 33 19 4

13 30 48

VANESSA AMOROSI FT. SEANY B

MR. MYSTERIOUS

UMA

CHRISTINA AGUILERA

I HATE BOYS

SME

36 35 5

23 8

26 54

37 NEW 1

37 12 20 39

KATY PERRY

TEENAGE DREAM

CAP/EMI

38 23 9

23 13 23 48

MILEY CYRUS

CAN’T BE TAMED

HOL/UMA

39 36 15 11 10 44 61

POWDERFINGER

SAIL THE WILDEST STRETCH UMA

40 38 16 3

JASON DERULO

RIDIN’ SOLO

14 25 50

WB/WMA

themusicnetwork.com 52 :: BRAG :: 373 : 02:08:10

Fanfarlo (UK), Wim, Guineafowl Gaelic Theatre, Surry Hills $39.50 (presale) 8pm Jonsi (Iceland), Seth Frightening (NZ) Enmore Theatre $76.70 8pm

Big Whoop: Bird Automatic, Captains, Jack Ladder, Found At Sea, Hollo Panda, Ranger Spacey Melt Bar, Kings Cross 9pm Facepaint Party: Phatchance & Coptic Soldier, Johnny Utah, The Dyno-Mics, Blase, Akouo, DNL The Factory Theatre, Enmore $15 (presale)–$20 (at door) 8pm

Belles Will Ring, Juan Cortez, Mucky Fingers Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Frightened Rabbit (Scotland) The Factory Theatre, Enmore $39.60 (+ bf) 7.30pm Mumford & Sons (UK), Fanfarlo (England), Matt Corby Enmore Theatre $61.60 8pm

SATURDAY AUGUST 7 Big Village label launch: Daily Meds, Tuka, Truevibe Nation, Loose Change, Morgs, Max Gosford Sandringham Hotel, Newtown $10 8pm

SUNDAY AUGUST 8 Florence & The Machine (England), Ernest Ellis Hordern Pavilion, Moore Park $85.90 8pm Graphic: Akira: Regurgitator Opera Theatre, Sydney Opera House $39 (conc)–$45 3pm Princess One Point Five, Shady Lane, Winter People The Vanguard, Newtown 8pm

SME

12 17 10 12 14 28 47 GYROSCOPE

20 27 7 20 12 36 55 JOHN BUTLER TRIO

FRIDAY AUGUST 6

VIR/EMI

13 22 2 13 12 23 50 USHER FT. PITBULL

21 18 15 11 14 28 55

MONDAY AUGUST 2

TUESDAY AUGUST 3

The top 40 most ‘heard’ songs on Australian radio.

9

Mumford & Sons

Amy Newton Banks, Sam Jones The Roxbury Hotel, Glebe $10 6pm Don Hopkins Dee Why RSL Club free 6pm Songwriters @ The Factory The View Factory, Newcastle free 6pm Tropical Jam Beach Road Hotel, Bondi Beach free 6pm

›› TMN TOP 40 TW LW TI HP P1 P2 P3 ARTIST

gig picks

Frightened Rabbit

WEDNESDAY AUGUST 4 Sideshow: The Vasco Era, I Am Giant Beach Road Hotel, Bondi Beach free 8pm The Study: Preachers Gaelic Theatre, Surry Hills free 8pm

THURSDAY AUGUST 5 Gypsy & The Cat, Step-Panther, Jinja Safari Oxford Art Factory, Darlinghurst $12 (presale)–$15 (at door) 8.30pm Kate Nash (UK), The Thin Kids Metro Theatre, Sydney $55 (+ bf) 8pm Oxfam Fundraiser - Ninja Carnival: Brendan MacLean, Brian Campeau, Video Games, Jack Colwell & The Owls Notes Live, Enmore $16.40 (presale) 9pm

Gypsy & The Cat

presents presents...

TUE CULT SINEMA 3rd August 7:30pm

$5 suggested donation

WED JAGER UPRISING 4th August 7:30pm

w. Ramshackle + Bowen & the Lucky Dutchmen + Tolhurst + Eye to Eye $8 @ door

THU 5th August 7.30pm

SIMON CARTER

(ex The Cops)

+ MONEY FOR

ROPE

w. Bell Weather Department + Creepers $10 @ door

FRI TONE DEFEAT 6th August 6pm

w. KING TIDE + STICKY FINGERS + Reverse Polarities + Massema + The Domestics $10 door Pre-purchase your ticket to receive a free house wine/beer on entry!!!

SAT KIM SALMON & THE SURREALISTS 7th August 6pm

w. Circle Pit + The Nice Folk $15 + bf

SUN

8th August 6pm

The Annandale Hotel presents

DOC HOLLIDAY TAKES THE SHOTGUN + DRIFTWOOD DRONES with very special guests BOOK A TABLE IN OUR THAI RESTAURANT ĘťWOKĘźnĘźROLLĘź $10 + bf

3!4 35. AM PM "OOKINGS ARE ESSENTIAL ON

COMING UP: LOWRIDER | ZENNITH | GLIDE *One Show Only* | THE MODEL SCHOOL | MILKMAIDS | SHIHAD *Killjoy*| ROCK FOR A CURE with Meza | M-PHAZES | JOE STRUMMER TRIBUTE |SUNDAY DRIVE

0ARRAMATTA 2D !NNANDALE &ULL LIST OF UPCOMING SHOWS INFORMATION AND SHOW BOOKINGS VISIT

WWW ANNANDALEHOTEL COM

YOUR LIVE MUSIC CHANNEL

BRAG :: 373 :: 02:08:10 :: 53

club guide send your listings to : clubguide@thebrag.com

club pick of the week Miike Snow

FRIDAY JULY 30

WEDNESDAY AUGUST 4

Fringe Bar, Oxford St Paddington

F.R.I.E.N.D/s

Miike Snow DJ set, Alison Wonderland, Joyride, Hobogestapo DJs, F.R.I.E.N.D/s DJs, The Baldives / $10 on the door MONDAY JULY 26 202 Broadway, Chippendale Hospitality Crew free Empire Hotel, Potts Point Bazaar HBK, I Low free One World Sport, Parramatta Ricky Ro free Soho, Kings Cross Comedown free The Sugarmill, Kings Cross Mondays James Rawson (live), Kavi-R free V Bar, Sydney Monday Mambo Mambo G $5–$10 World Bar, Kings Cross Mondays at World Bar Ooh Face, Hot Carl and friends free

TUESDAY JULY 27 Xxx Cruise Bar, Circular Quay DCE Salsa Lessons $20 Establishment, Sydney Rumba Motel DJs Willie Sabor and Guests free Gaelic Theatre, Surry Hills Delphic (UK) + Pluto Jonze 8pm $35+bf Martin Place Bar, Sydney Louis M, Sammy free Oatley Hotel Suburban Alternative DJ Mini Mullet Free Opera Bar, Circular Quay DJ Jack Shit free The Gaff, Darlinghurst Coyote Tuesday Kid Finley, Pee Wee Pete free–$5 World Bar, Kings Cross Pop Panic Karaoke, DJs M.I.T, Daigo and The Cosmic Explorer free

rotation free Martin Place Bar, Martin Place Thursday’s at MPB Louis M free Q Bar, Darlinghurst Hot Damn! DJ Sarah Spandex, Mark C, Heart Attack $10–$12 Sapphire Suite, Kings Cross Flaunt Nacho Pop, Diaz, Eko, Tom Piper, R-Son, Zero Cool free Shelbourne Hotel, Sydney The Social Club Beth Yen free The Argyle Hotel, Rocks Random Soul free The Eastern Hotel, Bondi Junction Sneaker Husky, Ant Best Shy, Travis Hale, Dave Rizzle, Yogi free The Rouge, Darlinghurst Surprise Surprise Astrix, Sms, Ember, Lights Out, Tom Piper Tokio Hotel, Darling Harbour Caramel free World Bar, Kings Cross Teenage Kicks S.Kobar, Nik V, Johnny Segment, El Mariachi, Urby free

WEDNESDAY JULY 28 Bank Hotel, Newtown Girls' Night DJ Beth Yen free Cruise Bar, Circular Quay Rockstar free Establishment, Sydney Mid Week Hurdle Nic Phillips, Craig Patterson free Fringe Bar, Paddington F.R.I.E.N.D/s DJ Miike Snow, Alison Wonderland, Joyride $5 VIP/$10 door Gasworks Nightclub, Albion Hotel, Parramatta DJ Fresh free Goldfish, Kings Cross The Salsa Lounge Latin Mafia Sound System free Oxford Art Factory, Darlinghurst K-OS (Canada) DJ Flagrant, Polo Club 8pm $33+bf Q Bar, Darlinghurst Paradise City Ronnie Rocker, El Mariachi $5 Sly Fox, Enmore Queer Central Sveta, DJ Beth, DJ Bel free The Argyle Hotel, Rocks SWAT free The Eastern, Bondi Junction John Glover, Tenzin, Here’s Trouble, Cassian, U-Go-B, Steve Frank, Mistah Cee, Kavi-R free The Gaff, Darlinghurst New Generation Franny, Alex, Triky, Electroholics, Con-x-ion, Psygnosis, Calico, Kermy, Deceptikon free The Lincoln, Kings Cross Kareem the DJ free (guestlist) The Sugarmill, Kings Cross Battery Operated DJ Matt Hoare free The Valve, Tempe Underground Tables Dirtbox Kings, PK Crew, Loko, Disco Rossco free World Bar, Kings Cross The Wall/SUGD free

THURSDAY JULY 29 202 Broadway, Chippendale Basic Foreign Dub, Headroom, Space is the Place, Void free Cargo Bar, King St Wharf Big Air Snow Slam Party Total Eclipse, The Backhanderz, Roger’s Room, Mr Speaker, Kristiano, Stu Turner free Ching-a-lings, Darlinghurst A Vinyl Only Affair free Collingwood Hotel, Liverpool After School Detention DJ Rangi, Mac, K-Note MC Buddy Love free Cruise Bar, Circular Quay DJ Dwight ‘Chocolate’ Escobar free Downstairs, Sandringham Hotel, Newtown Brett Hunt free Dug Out Bar, Burdekin Hotel Speakeasy Magda, Dave Fernandes Empire Hotel, Potts Point Episodes DJ Schoder, Wanted, Zahra, Jason K, Johar free Gasworks Nightclub, Albion Hotel, Parramatta Da Bomb with DJ Fresh free Goldfish, Kings Cross The Funk Quarter Phil Hudson, Phil Toke, Dave 54, Michael Wheatley free Home Terrace, Darling Harbour Unipackers Rnb, Top 40, Electro $5 Hotel Chambers, Sydney Timewarp Retro DJs free Judgement Bar, Taylor Square Judgement Night Sex Worker & Ymerej, weekly guests free Kinselas Hotel, Darlinghurst Simon Alexander free Lady Lux, Kings Cross Notorious Thursdays Die Pritti, Jimmy 2 Sox, Stick Man free Mansions, Kings Cross Van Sereno and Cavan Te LIVE on

Bank Hotel, Newtown Groove Academy, Scott Pullen, DJ Delacroix free Beach Road Hotel, Bondi Beach Dustones 206 Colab, The Coalition Crew, Shantanwantanichiban, DJ Amy free Chinese Laundry, Sydney TECHnique Ryza, Kate Doherty, Mark Craven, Mick Antonievic, Q45, Ryza, Will Styles, Boycott $15 all night Collector Hotel, Parramatta Corner Shop Tikelz, DJ Browski, J Lyrikz, Naughty, Gunz free Collingwood Hotel, Liverpool Fuego DJ Mac, Don Juan, K-Note, Asado, Dennis Tha Menace, The Empress MC, MC Seba Cruise Bar, Circular Quay Johnny Vinyl, Strike free Establishment Hotel Carnival La Fiesta Sound System and Special Guest DJs all night free Fanny’s of Newcastle Gangster Party $15 (presale)–$20 (at door) Gladstone Hotel, Chippendale Purple Sneakers Bloc Party DJs, M.I.T, Kid n Bird, Monkey Genius, Nik V, Seabass, Mush $12 Goldfish, Kings Cross Sugar & Soul Phil Hudson, Paul Hatz, Agey, Danny De Sousa, Matt Cahill, Tom Kelly free Home The Venue, Darling Harbour Sublime - Hard Kandy Scott Alert, Hellraiser, Nasty, Big Dan, Peewee, Losty, Dover, Makio, Fazed, Monk3y, Prototype, Rhe3, TezzR and John Young $10-$20 Kinselas, Taylor Square Toby Wilson free Kit & Kaboodle, Darlinghurst Falcona Fridays Falcona DJs, The

Gameboys $10 Live House, Lewisham Abduction $5–$10 Mansions, Kings Cross Nick Polly, Little Rich, Nick T, Stevie S, Adrian Allen free Middle Bar, Kinselas, Darlinghurst Flavours on Friday MC Q-Bizzi, C-Bu, Trey, Mike Champion, Naiki, Tekkaman $20 Oatley Hotel, Oatley We Love Oatley Hotel Fridays DJ Tone free Omega Lounge, Sydney Unwind Greg Summerfield, Matt Brunton free Opera Bar, Circular Quay Gian Arpino free Oxford Art Factory, Darlinghurst Generic Collective Q Bar, Darlinghurst Sosueme Shape, Lovers Jump Creek, Pixelated Privates, Joyride, Alison Wonderland, Charlie White, Kitty Monroe, DJ Godfather (USA), Girls Gone Wrong $10 on the door Raval, Surry Hills Listen Hear Huwston, Micah, James De La Cruz, Chris Coucouvinis free Sapphire Lounge, Kings Cross Sapphire Fridays Miss Match, Rob Morrish, Dave 54, Kate Monroe, Chiller $10 guestlist Soda Bar, Golden Sheaf, Double Bay Mike Who, Mr Glass, Brynstar free SoHo, Potts Point UniJam Hook N Sling, Kristiano, Ember, DJ Pia, Black Tie DJs free Sound Lounge, Seymour Theatre Centre, Chippendale The Escalators $15-$20 Spectrum, Darlinghurst Silent Alarm Silent DJs $5 St James Hotel, Sydney One Night in Cuba Mani, Yemaya, Nandez, Av El Cubano $15 Tank Nightclub, Sydney RnB Superclub Def Rok, Eko, G Wizard, Lilo, Troy T, MC Jayson Tao Lounge, Sydney Access Hedonix, Adam T, Chris Honnery, Darkchild $15-$20 The Argyle Hotel, Rocks John Devechis, DJ Heidi, Cadell free The Factory Theatre, Enmore Phatchance & Coptic Soldier, Johnny Utah, The Dyno-Mics, Blase, AKOUO, DNL $15 (presale)–$20 (at door) The Lincoln, Kings Cross The Scene Charlie Brown, Samari The Rouge, Kings Cross Twilight Tom Dan, stress less, Coops, Chardy, Kyro, Chris Nakkan $10 The Roxy Hotel, Parramatta Roxy Fridays $10, free for members Wentworth Hotel, Homebush Wentworth Weekend Warm Up Wentworth DJs free World Bar, Kings Cross MUM Sweet Mix Kids (NZ), Walkie Talkie, Animal Chin, Nude DJs, Jack Shit, Swim Team DJs, Wet Lungs, 16 Tacos, FiFiDoesDiDi, Nic Yorke, 10th Avenue $10

Delphic

“At the crossroads, sick of holdin’ the badlands where street wars, kick off quicker than Van Dam” - CYPRESS HILL 54 :: BRAG :: 373 :: 02:08:10

club guide

THE SIDESHOW WEDNESDAYS

send your listings to : clubguide@thebrag.com Richard Vission

SATURDAY JULY 31 202 Broadway, Chippendale Headroom Monk Fly, Jonny Faith, Know-U, Suburban Dark, Elliot $15 Agincourt Hotel, Ultimo Trash DJ M!Veg, DJ Absynth $12 Bar Century, Sydney Who The F*#k! 3 Bit DJs, Anarchy Crew DJs $5 BB’s, Bondi Beach Wildlife DJs Mesan, James Roberts, Adriano Giorgi, Dinseh Sundar, Matt Singmin, Chris Kyle free Chinese Laundry, Sydney RE-UP Mighty Fools (Holland), Douster (Argentina), Sharkslayer (Finland), Nick Jones (Melb), Jeff Drake, Alison Wonderland, Spenda C, Mike Hyper, Titty Tassles, Club Junque, Matttt, Foundation $20 Civic Underground, Sydney People Must Jam presents Frank Booker (NZ), Pete Dot, Matt Trousdale $15–$20 Clarence Hotel, Petersham Caesars Sandy Bottom, Justin Scott, DJ Chip free Collingwood Hotel, Liverpool Pop Fiction, Zoltan free Cricketer’s Arms, Surry Hills Pod War free Cruise Bar, Circular Quay DJ Simon Neal, Ben Vickers free Docks Hotel, Darling Harbour Fabulous Nino Brown, Don Juan, Samrai, Tikelz, Solz, Lil B, Robbie Knotts, Broski, Shruggz, MC Q-Bizzi, MC Mike Celekt, Aga, Akay, Dimi K, Yanni-B $20 Downstairs, Sandringham Hotel, Newtown Kaki $20 Eastern Hotel, Bondi Junction I Love Saturdays Zannon, Tony Shock, Matt Ferreira, Tass, Akay, Don Juan, Dante Rivera, Dennis Agee, Willie Sabor, Oscar Cadena free Empire Hotel/Plantations, Potts Point Dubrave Haters (Tom Piper & Klaus Hill), Act Yo Age, Will Styles,, Gilsun, Rubio, Creeptown, Jack Prest, Hayley Boa $15 Gaelic Theatre, Surry Hills Savage (New Zealand), Tickelz, Monsta Ganjah $15 (+ bf) Gasworks Nightclub, Albion Hotel, Parramatta DJs Matt Hoare and Andy Marc $10 Goldfish, Kings Cross

Abel, Tom Kelly, Phil Hudson, Ross Middleton on Sax free Home the Venue, Sydney Homemade Saturdays The 808s, Aladdin Royaal, James “Saxman” Spy, Matt ferreria, Hannah Gibbs, Tony Venuto, Dave Austin, Flite, LKO, Seiz, Uncle Abe $20 VIP/$25 door Hotel Chambers, Sydney Red Room $20 Kinselas, Taylor Square Brynstar, Shaun Keble, Yin Yang, Beth Yen and Matt Hoare free Mansions, Kings Cross Reckless, Little Rich, Shaun Keeble, Nick Polly free Martin Place Bar, Sydney Bamboo Eko, Nude-E, Mirage, Shorty, Ace, Moto, Qrius, IllDJ $5 Mean Fiddler, Rouse Hill Fiddler Bar DJ Bobby Dazzler free Melt Bar, Kings Cross Confession Murat Kilic, Robbie Lowe, Altay Altin, Joey Kaz, Joey Tupaea, Jaded, James Petrou $15–$20 Opera Bar, Circular Quay Krishna Jones free Q Bar, Darlinghurst Ghetto Disco Calling in Sick, Hoodlmz, NAD, Zooshu, Stress less, J-Mac, Wacks, Chris Le Sec $15 Sackville Hotel, Rozelle Maike free Shelbourne Hotel, Sydney Shipwreck, Daniel Nall, Leon Pirello $10 after 10pm Soho, Potts Point Ministry of Sound - In The Club Sam La More, Goodwill John Glover, Raye Antonelli, Mehow & Pacman, Murray Lake, Even, Rogers Room, Bangers & Mash free entry before 11pm Space Nightclub, Sydney

Liberate John 00 Fleming (UK), M.I.K.E., Tritonal, Nathan Cryptic, Steve Strangis, Ahmet Atasever $10 Spectrum, Darlinghurst P*A*S*H Goldfoot, DJ Knife $7 Stonewall Hotel, Darlinghurst Greg Boladian, Nick J free The Argyle Hotel, Rocks Charley Bo Funk, Dante, Phil Hudson free The Bank Nightclub, Kings Cross Sin City Don Juan, DJ Willie, Mista Kay, MC Q-Bizzi The Dolphin Hotel, Surry Hills DJ Chris Skinner, DJ Carl O’Brien free The Gaff, Darlinghurst Perfect Day Resident house DJs Mark Alsop, DJ Chip, DJ Murray Hood, DJ Miss Match, DJ Brett Austin, DJ Scotty Tanner, DJ James Tobin, DJ Man and DJ Dirty Dan free The Loft, King Street Wharf Late at the Loft free The Manhattan Lounge, Martin Place Hushhh... DJs Stunna, Sonny, Special K $10 after 9pm The Rouge, Kings Cross Le Rouge coops, Tim McGee, Tommy Trash, implex $10 before 11pm The Venue, Double Bay Pure House Ben Morris, Illya, Robbie Lowe, Matt Mandell, Ollie Brooke, Matt Roberts, Simon Caldwell, Kato, James Taylor, Lummy, Mitch Crosher, Phil Smart Tonic Lounge, Kings Cross Tonic Saturdays Gian Arpino + regulars $15 Verandah Bar, Sydney The Booty Bar George B, Nasser T, Lenno, K Sera Watershed Hotel, Darling Harbour Paul Moussa free World Bar, Kings Cross Wham! Raye Antonelli, Trent Rackus, Ben Morris, Rob Kay, Pablo Calamari, Illya, Reno, Elaine Benes, Mehow, Yogi, D*Funk, Temnein, Kingpin $15 before 10pm, $20 after

4TH AUGUST - 8PM

+ RAPIDS

FREE

JACK LADDER THU 5/8 + 12/8

SUNDAY AUGUST 1 Bank Hotel, Newtown David DC Collingwood Hotel, Liverpool Michael Peter Colombian Hotel (Downstairs), Darlinghurst Hotrod Sunday Sandi Hotrod & G.I Jode free Colombian Hotel (Upstairs), Darlinghurst

COMING SOON

BRITISH INDIA THE SURECUT KIDS PARADES

SAT 7/8 FRI 13/8

WED 13/8

John 00 Fleming

BRAG :: 373 :: 02:08:10 :: 55

club guide

Deep Impressions

clubguide@thebrag.com

Russ Dewbury The Deep Disko Phil Hudson, Dave 54, Ollie Brroke free Cruise Bar, Circular Quay Sassy Sundays free Docks Hotel, Darling Harbour Salsa Caliente Sabroson, DJ Vico free Downstairs, Sandringham Hotel, Newtown DJ Metal Matt, Louis Tillett free Gasworks Nightclub, Albion Hotel, Parramatta

Underground Dance and Electronica with Chris Honnery Sundayze Goldfish, Kings Cross Martini Club Live DJs Illya, Johnny Gleeson, Miss Match, Jack McCord and Tom Kelly free Home Terrace, Sydney Spice After Hour $20/$10 Ice Bar, Sydney The Kitsch Sound System, Phil Hudson, Chloe West, Mark Matthews free Kings Cross Hotel Jammin Sundays free Kinselas Hotel, Darlinghurst The Fifth Dimension free Oatley Hotel Sunday Sessions DJ Tone & Friends Free Sapphire Suite, Kings Cross Random Sundays Mike Rukus, Tom Piper, James Taylor, Matt Nukewood, Goodfella, Adam Lance, RobKAY free (guestlist)–$15 The Argyle Hotel, Rocks Cadell free The Bank Nightclub, Kings Cross Soul On Sunday Nino Brown, Don Juan free The Beresford Hotel, Surry Hills B Side free The Bunker Bar, Kings Cross

Marco Resmann free The Forbes Hotel, Sydney Church Of Techno Mitch Crosher, Kerry Wallace, Joey Kaz, Jey Tuppaea, Jaded, Shepz $5 The Rouge, Kings Cross Cheap Thrill$ Matt Nukewood, J Smoove, Josh Flanagan free The Roxy, Parramatta Winterfest Ember, John Glover, Charlie Brown, Rollback City, Steve Play, Cadell, Robbie Santiago, Matt Nukewood, I Am Sam, The Royal Crew, Banzel, Ilija, Joey Amoroso, Peter Gunz, G Wizard, Troy T, Mista Kay, DJ Regz, Wilz, Alex K, Pulsar, Matrix, Tommygun, Lady Lauryn, Daze, Losty, Dee Kay, MCD, Mr Bongolicious, Sax On Legz $25 (+ bf) The Sugarmill, Kings Cross Neighbourhood Kate Munroe free The Village, Sydney Sunday Surgery DJ Russ Dewbury and friends free Trademark Hotel, Darlinghurst Soul on Sunday Nino Brown, Don Juan Watershed Hotel, Darling Harbour Miss Gabby free

club picks up all night out all week...

Mightyfools

TUESDAY AUGUST 3 Gaelic Theatre, Surry Hills Delphic (UK), Pluto Jonze 8pm $35+bf

SATURDAY AUGUST 7 Chinese Laundry, CBD RE-UP Mighty Fools (Holland), Douster (Argentina), Sharkslayer (Finland), Nick Jones (Melb), Jeff Drake, Alison Wonderland, Spenda C, Mike Hyper, Titty Tassles, Club Junque, Matttt, Foundation $15-25 ivy, George Street CBD pure ivy feat. Richard Vission (USA), Jack McCord $20 Melt Bar, Kings Cross Confession Murat Kilic, Robbie Lowe, Altay Altin, Joey Kaz, Joey Tupaea, Jaded, James Petrou $15–$20 Space Nightclub, Sydney Liberate John 00 Fleming (UK), M.I.K.E. (BELG), Tritonal (USA), Nathan Cryptic, Steve Strangis, Ahmet Atasever $38.50+bf

SUNDAY AUGUST 8 The Roxy, Parramatta Winterfest Ember, John Glover, Charlie Brown, Rollback City, Steve Play, Cadell, Robbie Santiago, Matt Nukewood, I Am Sam, The Royal Crew, Banzel, Ilija, Joey Amoroso, Peter Gunz, G Wizard, Troy T, Mista Kay, DJ Regz, Wilz, Alex K, Pulsar, Matrix, Tommygun, Lady Lauryn, Daze, Losty, Dee Kay, MCD, Mr Bongolicious, Sax On Legz $25 (+ bf)

James Holden

This Week’s Episode: The Foreground of the Dancefloor (Pointillism etc).

I

t was a privilege to be among the many punters crammed into Chinese Laundry last Saturday to see English luminary James Holden play four hours of thoroughly engrossing music. Holden offers a distinct take on nightclub mores, merging psychedelic techno with shoegaze indie and ambient soundscapes – the description of “shoe-gaze techtronica” wasn’t far from the mark at certain points of his set – and displays the elusive qualities that the best DJs should possess. As one person remarked, he makes you work harder to find and hold your groove (read: your dancing shoes) than most other DJs, but the payoff is worth it; it far exceeds a DJ playing monotonous 4/4 tech-house. Throughout his set, Holden mixed in cuts from his Border Community labelmate Luke Abbott, Death In Vegas, Etienne Jaumet and his own remix of Britney Spears, which was barely distinguishable (unless you listened very carefully for the vocal fragments) – along with a pair of songs from Caribou’s latest LP, most memorably the hallucinogenic ‘Sun’, which has also received support from Kompakt supremo Michael Mayer of late. Holden mixed aggressively and with plenty of flair and enterprise, and ultimately kept a dancefloor of discerning patrons immersed until 4am. If you haven’t already picked up his latest DJ Kicks mix, doing so is mandatory - and for those of you who missed him I urge you not to make the same mistake when he next returns to Australia. (I have it on good authority that this will be much sooner than you think…) I love a good pompous ‘high art’ reference, and German duo Âme – comprised of Kristian Beyer and Frank Wiedemann – have outdone themselves with their first release of 2010, The Rrose Sélavy. The

EP references the work of famous Parisian dadaist Marcel Duchamp in both its title (which was one of the artist’s pseudonyms) and in its playful construction - though this claim is dependent on having an extremely creative imagination. B-side ‘Junggesellenmaschine’, which translates as ‘bachelor machine’ (one of Duchamp’s concepts - a machine that was at once mechanical and sexual, male and female), is defined by separate male and female elements, while ‘Rrose Sélavy’ showcases distorted voices whispering God-knowswhat. For all this academic hot air, it should be noted that above all else this EP works for any philistine wanting to bliss out on the dancefloor (as opposed to in the Louvre). Both tracks present deeper grooves that don’t conform with that increasingly hackneyed and irksome deep house template – and given the surfeit of generic tripe going around in that vein at the moment, this is no mean feat. For fans of Dixon, Andre Lodemann and Henrik Schwarz, this EP is well worth checking out – and available now on Innervisions. While he may have one of the most generic names possible, John Roberts – sounds like an English medium pacer doesn’t he?! – is one of the more promising producers to emerge in recent times. Originally hailing from Cleveland, Ohio, Roberts was signed to the hallowed Dial imprint on the basis of one single-sided 12-inch – so, like, one song – making him the German imprint’s only American artist. Since these auspicious beginnings, Roberts has been featured on Dial’s annual anthology alongside the likes of Efdemin and Lawrence, but will make the transition from single to album producer with his full length debut Glass Eights, slotted to hit shelves in October. If you like ‘intelligent’ house music with your brandy and your Wire, then this is certainly worth looking forward to. And those of you keen to see the poms go round this summer should be advised that tickets to the Ashes are now on sale to the public online.

LOOKING DEEPER FRIDAY AUGUST 6

Ricardo Villalobos

Access feat. Hedonix Tao Lounge

SATURDAY SEPTEMBER 4 Agoria Plantation

SATURDAY OCTOBER 23 Circo Loco Greenwood

SATURDAY NOVEMBER 27 Ricardo Villalobos Stereosonic at Sydney Showgrounds

Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com. 56 :: BRAG :: 373 :: 02:08:10

snap

Soul Sedation Soul, Dub, Hip Hop & Bottom Heavy Beats with Tony Edwards

up all night out all week . . .

A Tribe Called Quest

Keeping it hip hop, Sydney emcee The Tongue has a new record on the way. Alternative Energy features production from Hermitude’s El Gusto, M-Phazes and Dizz1, amongst others. Keep your ears peeled for lead single ‘The Show,’ out through Elefant Traks and Inertia. Inner-West-heads can look forward to the upcoming Changing Lanes Festival, set to kick off the Spring with some community vibes. Eliza St Newtown will be packed with stages, and The Courthouse Hotel and Zanzibar will be involved in the affray as well. You can expect indie, rock, acoustic, dubstep, hip hop and electro as well as street artists, food, fashion, vinyl and bike stalls. It kicks off on Thursday September 19, and is presented by FBi Radio and MAPS Entertainment. To European music news: Compost Records announces the creation of the new sub-label for disco, called… wait for it… Compost Disco. The label’s manifesto will span the full disco spectrum including, Compost says, “new, old, Balearic, spacey, soulful, crunchy, edited or without any references.” The vinyl 12” will be released with custom art from Benjamin Roeder, also known as Spectacle, whose output you might know from Permanent Vacation. Many of the Compost stable have embraced the sounds of the nu disco movement, so now they’ll gather their efforts under the one umbrella.

Soul Jazz records have a new project in the pipeline. They’ve rounded up a bunch of pioneering artists who’re pushing things forward, and have commissioned them to produce for a new project entitled Future Bass, which will take in “post-dubstep, post-house, post-everything”. Four Tet and Mala are first out of the gate to release the leading double-header single, with Untold, Black Chow (Kevin Martin AKA The Bug’s latest project) and Coki also in on the project. Italo/nu disco label Italians Do It Better have earned the boasting rights for releasing some of the finest nu disco and cosmic disco in the surge of the last few years. An unmixed collection of their 12” singles has emerged, which includes tunes from Rubies, Invisible Conga People, and Twisted Wires, as well as other select artists from the much admired IDIB stable. If you don’t collect the black wax for whatever reason, these compilations are a godsend. Soul Sedation favourite and Argentinian digital-cumbia producer El Remolon has dropped a new EP, The Pangeatico. It continues his work fusing tradition cumbia rhythms with new styles like dubstep, electronica and an IDM. The Argentinean is aligned with ZZK records, a really fantastic American label to spend a bit of time getting to know.

mum

PICS :: SB

T

he announcements are out: supporting A Tribe Called Quest at their fast-approaching Sydney show will be Horrorshow and Thundamentals! Big up yourselves, and get ready to put in one of your best performances to date. Hopefully Tribe gets to the venue in time to have a listen to the skills of our finest live hip hop outfits. Kool Keith & DJ Flagrant will be doing the honours in Melbourne. Congratulations to everyone who made it onto the bill!

The UK’s Ben Westbeech has recorded a new tune as Breach, called ‘Fatherless’. I was going to describe it myself, but I quite like the existing prescription that Soundcloud provides: “Immediate, urgent dubstep, jump up riddims that sound like they were concocted in a Brazilian Favela after a dish of spicy beans.” People are going mental over this one. Look it up, it’s awesome.

23:07:10 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

Teen Spirit It’s called: Teen Spirit

party profile

Soul Sedation goes live every Wednesday night on Bondi FM (88.0 or bondifm.com.au). Tune in 10pm 'til midnight to hear a deep and soulful selection of the tunes covered here, and plenty more that I don't have room for.

It sounds like: Dancing around in your bedroom singing 90s hits into your hairbrush. DJs/live acts playing: Ace Of Bass (Tim Poulton), 9021Bros (Mark & Jai), DJ Tanner (Hayley Foster), Winona Forever (Sophie Wiffen) + Doogie Howser MDJ (Bombings) Sell it to us: Teen Spirit is the 90s club that your older sisters and brothers went to when this shit was new and exciting. Now it is even more new and exciting. Cheap drinks as well, so you really can’t go wrong. The bit we’ll remember in the AM: About 100 songs you used to tape off the radio that you haven’t heard in 10+ years. Crowd specs: Those who saw the sign, and it opened up their eyes - they saw the sign. Wallet damage: $5 before 11pm if you RSVP on facebook.com/teenspiritsyd and $10 after 11pm. Where: Phoenix 90s Party Basement, 34 Oxford St Darlinghurst When: Friday August 6 / 10pm (and first Friday of every month)

In upcoming tour news, LA’s futurebeat sceneshaper SAMIYAM will join us in Sydney for the first time next month. The Flying Lotus sidekick, Low End Theory DJ, and acclaimed innovator of the new beat scene, will appear for Space Is The Place at a venue yet to be confirmed. It goes down Thursday September 16. If you’re kicking yourself because you’ve missed the Fly Lo and Gaslamp Killer gigs – and you should be - here’s your chance to start catching up.

ON THE ROAD WEDNESDAY AUGUST 11 FRIDAY SEPTEMBER 3 A Tribe Called Quest The Hordern

Horrorshow Gaelic Theatre

SATURDAY AUGUST 15

THURSDAY SEPTEMBER 16

Maseo Chinese Laundry

SATURDAY AUGUST 21

SAMIYAM TBC

Send stuff for this column to tonyedwards001@gmail.com by 6pm Wednesdays. All pics to art@thebrag.com

pureivy

PICS :: RL

Transatlantics & Kon The Basement

24:07:10 :: 320-330 George St Sydney 92403000 BRAG :: 373 :: 02:08:10 :: 57

snap sn ap

teenage kicks

PICS :: TL

up all night out all week . . .

22:07:10 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

PICS :: AM

scuba

party profile

pure ivy 23:07:10 :: The Civic Hotel :: 388 Pitt St City 80807000

It’s called: pure ivy feat. Richard Vission (USA) It sounds like: ‘I Like That!’ (see Aria Charts #1 feat. Luciana!) DJs: Richard Vission (USA), Jack McCord Three records you’ll hear on the nigh Vission remixes including Black Eyed t: ‘I Like that’ - plus lots of smashing Richard Peas ‘Meet Me Half Way’ and Gna ‘Crazy’ rls Barkley And one you definitely won’t: Ther e’s a strict ban on any banging elec tro! Sell it to us: In the words of Rich ard Vission & Luciana: my body rocks a rhythm/ you beat my drum hard/ I might just kick it kick it/ you wanna lick it lick it/ stick it/ from London to LA/ yeah I that’s the ticket ticket/ come on and love to stick it like that... kiss it kiss it/ I The bit we’ll remember in the AM: a sea of people with their hands in the air! Crowd specs: pure ivy is a club for the people… Wallet damage: $20 on the door , or email guestlist@pureivy.com.a u for discount before 11pm. Where: ivy, 320 George Street

fringe wednesdays

PICS :: AM

When: Saturday August 7

purple sneakers

PICS :: MB

21:07:10 :: Fringe Bar :: 106 Oxford Street Paddington 93605443

hot damn

PICS :: TL

23:07:10 :: The Gladstone Hotel :: 115 Regent St Chippendale 96993522

22:07:10 :: Spectrum :: 34 Oxford St Darlinghurst 93316245 58 :: BRAG :: 373:: 02:08:10

) :: ASHLEY MAR :: S : TIM LEVY (HEAD HONCHO OUR LOVELY PHOTOGRAPHER VENSON :: ANDREW VIDLER :: STE ICK PATR :: NS MUN IEL ROSETTE ROUHANNA :: DAN ERT LEE MAJA BASKA :: SUSAN BUI :: ROB

snap

24:07:10 :: Club 77 :: 77 William St Kings Cross 93613387 ) :: ASHLEY MAR :: S : TIM LEVY (HEAD HONCHO :: ANDREW VIDLER :: OUR LOVELY PHOTOGRAPHER SON VEN STE ICK PATR :: MUNNS ROSETTE ROUHANNA :: DANIEL ERT LEE MAJA BASKA :: SUSAN BUI :: ROB

strike bowling

PICS :: RR

starfuckers

PICS :: AM

up all night out all week . . .

23:07:10 :: Strike Bowling :: 122 Lang Rd, Moore Park 1300 787 453

BRAG :: 373 :: 02:08:10 :: 59

snap sn ap

falcona fridays

PICS :: PS

up all night out all week . . .

23:07:10 :: Kit & Kaboodle :: 33-35 Darlinghurst Rd Kings Cross 9368 0300

e Paint Event Coptic Soldier: All-Ages Fac It’s called: Phatchance & dripping paint. tive hip hop extravaganza It sounds like: An alterna dier, Johnny Utah, The tic ts Phatchance & Cop Sol great DJs. Who’s spinning? Solo artis and sts some cool surprise gue Dyno-Mics and Blasé, plus ching their debut releases & and Coptic Soldier are launty girls, obnoxiously drunk Sell it to us: Phatchance pret e hav we plus gs’; Of Win ‘Inkstains’ and ‘The Sound punters' faces on entry, and f-friends on hand to paint British tourists and friends-o for their performances too. up all the acts will be painted nd Of Wings and The the floor: Inkstains, The Sou k roc t’ll Three records tha Welcoming Par ty. possible. the AM: Ideally as little as The bit we’ll remember in inhibitions at the door. aren’t afraid to leave their Crowd specs: People who the first time it’s open to ‘I Forget, Sorry!’ gig – so for More: It’s the first all-ages everyone. – 20 clams on the door. from www.iforgetsorry.com Wallet damage: $15 presales , Marrickville Where: The Factory Theatre t. nigh When: August 6, 8pm - mid

candy’s apartment

PICS :: AM

23:07:10 :: Q-Bar :: 34-44 Oxford st, Darlinghurst 93601375

party profile

sosueme

PICS :: PS

Face Paint Party

wham

PICS :: DM

23:07:10 :: Candy’s Apartment :: 22 Bayswater Rd Kings Cross 93805600

24:07:10 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700 60 :: BRAG :: 373:: 02:08:10

) :: ASHLEY MAR :: S : TIM LEVY (HEAD HONCHO OUR LOVELY PHOTOGRAPHER VENSON :: ANDREW VIDLER :: STE ICK PATR :: NS MUN IEL ROSETTE ROUHANNA :: DAN ERT LEE MAJA BASKA :: SUSAN BUI :: ROB

BRAG :: 373 :: 02:08:10 :: 61

snap sn ap

chinese laundry

PICS :: AM

up all night out all week . . .

23:07:10 :: Chinese Laundry :: 111 Sussex Street Sydney 82959958

It’s called: Hot Damn! It sounds like: Party, punk and a heap of other junk. DJs/live acts playing: Bands play ing breakdowns all night in the band room with Hot Damn DJs playing party tracks upstairs all night way into the AM. Sell it to us: $4.50 drinks all nigh t and Sydney’s best (worst) kids out. Now Sydney’s #1 Thursday night party spot, still Sydney’s 3rd most prete ntious. The bit we’ll remember in the AM: Unisex bathrooms – what?! Crowd specs: Hardcore sell-outs , party dudes and babes. Wallet damage: $12 or $10 if you know the right people. Where: Spectrum / Q Bar / 34B / Phoenix / Vegas When: Every Thursday night from 8pm

halfway crooks

PICS :: AM

23:07:10 :: Home The Venue:: Tenancy 101 Cockle Bay Whf Darling Harbour 92660600

party profile

sublime 14th birthday

PICS :: AM

Hot Damn!

ghetto blaster

PICS :: TL

24:07:10 :: Phoenix Bar :: Downstairs 34 Oxford St, Darlinghurst 93311936

24:07:10 :: Q-Bar :: 34-44 Oxford st, Darlinghurst 93601375 62 :: BRAG :: 373:: 02:08:10

) :: ASHLEY MAR :: S : TIM LEVY (HEAD HONCHO OUR LOVELY PHOTOGRAPHER VENSON :: ANDREW VIDLER :: STE ICK PATR :: NS MUN IEL ROSETTE ROUHANNA :: DAN ERT LEE MAJA BASKA :: SUSAN BUI :: ROB

V-DRUM FESTIVAL

SALE

MONDAY AUGUST 2 - SUNDAY AUGUST 8 ROLAND SUPPLIED MORE THAN 50 V-DRUM KITS, HANDSONICS, OCTAPADS AND RHYTHM COACHES FOR THE V-DRUM FESTIVAL. AFTER THE EVENT, ALL KITS WILL BE SENT TO

ALLANS MUSIC + BILLY HYDE ALEXANDRIA FOR A MASSIVE V-DRUM FESTIVAL SALE. Some models may have slight scratches and marks, but they are all guaranteed to be working and come with full manufacturers warranty, plus all kits are already assembled!

ALL EX-DEMONSTRATION ROLAND V-DRUM FESTIVAL DRUM KITS AND ELECTRONIC PERCUSSION WILL BE PRICED TO CLEAR! SALE STARTS 10AM MONDAY AUGUST 2 AND ENDS SUNDAY AUGUST 8. ALLANS MUSIC + BILLY HYDE ALEXANDRIA 108 Botany Road, Alexandria NSW 2015 Ph: (02) 9318 2255 BE QUI

CK FOR THE BEST DE ALS!

1 0 8 B O TA N Y R O A D - A L E X A N D R I A i n f o . a l e x a n d r i a @ a l l a n s . c o m . a u T. ( 0 2 ) 9 3 1 8 2 2 5 5

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rukus.com.au

Valid 7689-1 RU08169/TB/P

Vehicle shown with optional decal accessory.

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