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free stuff
rock music news welcome to the frontline: what’s goin’ on, down and around town with Nathan Jolly
he said she said WITH
LIAM FROM MYTH & TROPICS
to play something of a crossover between Latin rhythms and post punk melodies and changes. It’s always been my objective in songwriting to incite as much colour and implied violence as possible, while keeping a strong, equal balance of familiarity and uncertainty. I find film and literature to be the most helpful mediums to draw from when gathering ideas. Some of the most powerful inspirations for me have come from the works of David Lynch, PT Anderson, The Cohen Brothers, Shane Meadows and William S Burroughs.
M
usic was always playing in my house when I was younger. Prior to my own disposal income, I was surrounded by my mother and my two older sisters’ CD collections - Gypsy Kings, Toothfaeries, Ry Cooder, Hole, Concrete Blonde, Nick Cave and Nirvana. Once I had cash to burn I got a walkman, and gave myself tinnitus listening to punk music. When I got my first guitar at fifteen I tried
Myth & Tropics came together in a very organic way; we jammed it out in a bedroom over the Summer, and decided we had songs to share. Marc the singer has watched a lot of his friends do their thing in bands over the years, all the while learning from their triumphs and hiccups – and now it’s time for him to put his talents into action. Wade the drummer is a little more experienced, and has been itching to start something new since he left his old band The Waysiders. I’ve been in The Scare for over five years, and have always had
alternative ideas that I thought would work well in a three-peice. We don’t really know what genre to give ourselves yet. We want to play shows/make Top Friends on MySpace with bands like O Children, XX Teens, Crocodiles, Dark Bells, Die! Die! Die! and Circle Pit… all of whom we sound nothing like, but name-checking can sometimes be a healthy exercise in early interviews... The music ‘scene’ at the moment is more exciting than it was three years ago in Australia. People want to see live bands again. Sydney is a great starting point, because although there’s no specific ‘scene’ in which to climb ladders (probably a good thing), there are a lot of clubs popping up that pack out, so you can play to crowds whenever you want. One of the best bands we’ve seen lately is Oh Ye Denver Birds from Brisbane. Love those guys. Who: Myth & Tropics With: White Bats Where: GhettoBlaster at Q Bar & 34b When: Wednesday July 7
for the east coast leg of this tour is experimental electric group Seekae, and experimental electro group Ghoul - which means a night of awesome, atmospheric, anthemic songs without middle eights. It all takes place in Sydney on August 21 at the Manning Bar. PUBLISHERS: Adam Zammit & Rob Furst EDITOR IN CHIEF: Adam Zammit 9552 6333 adam@peergroupmedia.com
THE CHEMIST
The Chemist played the launch of the new Gaelic Club recently, and pretty much owned it. They sound exactly like a Perth band should - you know, that awesome pop sound that comes from living in one of the most isolated cities in the world (see ‘Jerks Of Attention’). They’re coming to play a few more Sydney shows for those who missed them, or for those who’ve heard that ‘End Of July’ song on the radios. July 8 sees them at Oxford Art Factory, July 14 at The Filth at the Beachroad Hotel, and July 16 at The Filth, at Manly’s Ivanhoe.
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: Irina Belova SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Ashley Mar, Sofii McKenzie, Rosette Rouhana, Daniel Munns, Patrick Stevenson, Jeremy Bowring, Julian De Lorenzo, Renee Rushbrook Jacquie Manning 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: Rach Seneviratne REGULAR CONTRIBUTORS: Joshua Blackman, Mikey Carr, Bridie Connell, Oliver Downes, Tony Edwards, Christie Eliezer, Murray Engleheart, Chris Familton, Lucy Fokkema, Mike Gee, Alice Hart, Kate Hennessy, Chris Honnery, Nathan Jolly, Amelia Schmidt, 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 extentions) 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
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ELANA STONE & FRIENDS
The Bedroom Philosopher
THE BEDROOM PHILOSOPHER
I love how perfectly aimed ‘Northcote (So Hungover)’ is, and seemingly a whole host of people agree. The song pretty much turned The Bedroom Philosopher from a Melbourne poet/ songwriter/comedian to a fully-fledged indie star, embraced by the very culture he spurned… Makes you think, almost. His third album Songs From The 86 Tram is being launched August 20 at The Factory and August 21 at the Northern Star in Newcastle.
The latest artist to announce a show under the Opera House “…and friends” banner is Elana Stone who will be playing at 7pm on July 9. Billed as everything from a chanteuse to a gadfly (?), the plucky songstress will be joined by Brian Campeau, members of bluejuice, Laura Jean and Ngaiire. Come along!
CALLING ALL CARS LAUNCH
It’s not Calling All Cars’ fault. They toured with The Butterfly Effect, Grinspoon, Cog and AC/ DC and learnt that the best way to find success is to slug your way through a million shows and never rest. Which is why to launch their debut
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INFUSION
Dubbed as “New Order for a post-Daft Punk world”, Infusion have for the past ten years been upheaving the staples of dance music royalty, leading the way for anarchical dance music that ain’t a slave to no genre – or subgenre for that matter. After some worldwide touring on the back of their recent album All Night Sun Light, Infusion will be returning to ye olde faithful The Annandale, for a night of dancey merriment with formidable friends The Dirty Secrets, The Owls, and supporting DJs. To win one of five double passes to the gig this Friday July 8, tell us the name of an Infusion member.
THE SOFT PACK
Even after changing their name from the controversial The Muslims to The Soft Pack, the band is still encountering misinterpretations of their name’s meaning – ‘soft pack’ can refer to the humble cigarette packet, but also a device installed into one’s pants to give the appearance that the wearer has a penis... Luckily, The Soft Pack’s Strokes-esque, spirited and gritty pop talent transcends any awkward bandname qualms they should encounter. We have a double pass to their Sydney show as well as a copy of Soft Pack’s self-titled album to give away... To win the album and see their dynamic no frills, ego-free show at Oxford Art Factory with Sydney’s Cabins on July 7, tell us the name of The Soft Pack’s frontman. What’s in a name?
album Hold, Hold, Fire they are playing 17 dates over five different states, including a bunch of dates nearby. Get ready for a list! September 9 at Wollongong University, Sept 10 at The Annandale, Sept 26 at The Great Northern in Byron Bay, Sept 29 at Charles Sturt University and Sept 30 at the Roi Bar, Albury. Numbers Radio and The Young Revelry are being dragged along to all shows too.
BRITISH INDIA ARE BACK
Every since a dear friend was brutally murdered in front of their eyes after a show, British India have had only one mission on their minds: To avenge his death by playing the most amazing Gaelic Club show imaginable [citation needed?] That show will be happening July 9, and may also be in order to launch their album Avalanche, which debuted in the ARIA Top 10 [more likely.]
SINGLES CLUB
Hey, remember when we use to live in that share house in Seattle opposite that gas station, and Sub-Pop released that series of vinyl through their singles club? It’s how we first heard Nirvana (and Tad, but Tad were shit!) Well, Children Collide are doing a similar thing on their website. If you hop onto childrencollide.com and preorder their second album Theory Of Everything, you receive three bonus tracks, and two album track previews. If you splash out further you can join their singles club and receive those tracks, plus tickets to their upcoming tour, a singles club 12” vinyl and, weirdly, a set of Children Collide tarot cards. The singles club opens July 12, with the gig not until September 17 at The Metro. Plus the album has that ‘Jellylegs’ song on it. Good song!
WIN SPLENDOUR TICKETS!
Splendour broke the Internet and sold out in minutes like every festival does these days, but if you buy a ticket to either Laura Marling, Surfer Blood or Alberta Cross between now and July 11 and head to secret-sounds.com.au/sitgcompetition to enter your proof of purchase, you can win a double camping pass to Splendour. And the best thing about this competition is that not only do you maybe get to go to Splendour, but you definitely get to go to the show you bought the ticket for in order to enter! WIN WIN!
ALBA VARDEN AND DRAWN FROM BEES
Alba Varden have released a concept EP called Down The Rabbit Hole. The central premise twisted my head in knots with alter egos and words like ‘desire’ and ‘romanticism’, but then I read ‘shoegaze guitars’ and that Burke from Gerling produced it - and the world was righted. They’re playing the Gaelic Club July 10 with Drawn From Bees.
PVT SPPRT
PVT, formerly known as O(+>, are launching their new album, the theologically correct Church With No Magic, with an August tour. Joining them
Mr. Maps
MR. MAPS
Brisbane instrumental quartet Mr. Maps have been compared to pretty much every instrumental band in the country, and probably even sound like a few that have vocalists too - except, minus the vocals. They’re launching a double A-side single Night Fights over two Sydney nights. July 8 at The Excelsior, and July 9 as part Mum at World Bar.
GIG OF THE WEEK
GHETTO DISCO 2nd B’day Mark it in your diaries my pretty's. Bag Raiders are taking over Q Bar for Ghetto Disco's 2nd Birthday and they've promised one of the craziest, naughtiest, wildest B’day celebrations to be ever witnessed by hoards of screaming revellers at Ghetto. The Baggies have already proved themselves as consummate mixtape pros handling the duties on FBI Radio’s “It’s the Beat” compilation and have garnered a rep for notoriously balling DJ sets alongside the likes of Boys Noize, Radioclit, Sinden, Surkin, Guns ‘n’ Bombs and Tittsworth, to name a few.
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BRAG :: 369 :: 05:07:10 :: 7
rock music news
free stuff
welcome to the frontline: what’s goin’ on, down and around town with Nathan Jolly
five things WITH
LITTLE RED
MARK FROM COLA WARS (VIC) months we decided we needed an extra guitar in the mix. We found the perfect guy in Mikey, who used to flat share with Cam. The Music You Make Cola Wars is a rock band - we do have 4. some punk-type background influences, but our songs are melodic. We all sing and harmonies are integral to our sound. All four of us write. Our differing influences make for a few shit fights in the jam room, but they definitely help make our sound more diverse and honest than any of our previous projects. Our debut album Invader is a bit of a melting pot of ideas, with one central thread holding it all together - optimism. Cam and I wrote the first handful of songs in Sydney, on a weekend when we flew up from Melbourne and locked ourselves in a hotel room with our guitars. We only let ourselves out for a brief six-hour drinking session. This lost weekend produced a few tunes that lasted four years, and made it onto our debut album, Invader.
1.
Growing Up I grew up in a 100% non-musical family. I wanted to play guitar from age three after seeing Queen on TV, but was not encouraged at all. My parents thought music was a waste of time, which made me more determined to do it. I worked a Christmas break at a chicken farm picking up dead chickens and mowing lawns on a tractor to save up for my first guitar at 14. I was very influenced by friends who played guitar, and music teachers at school. I thought playing guitar and the guitar itself was cool as fuck.
2.
Inspirations I have many favourite musicians from my early musical development, like Guns N
Roses, Beatles, The Stones and Queen - but these days I am more influenced by real life, news, war, politics and breakfast cereals. Most of Cola Wars’ lyrics are influenced by what’s going on at the moment. They seem negative at first listen, but I think they point out the negative with an aim to realise the positive outcomes of any given situation. Your Band Cam and I met many years ago while 3. working in a CD shop. We planned to do this band for about a year as a project between Bodyjar tours and my other band commitments. We originally jammed as a three piece with Bodyjar’s Shane, who I introduced to Cam when they needed a new drummer. After a few
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Little Red’s new single ‘Rock It’ has been put on ferociously high rotation on triple j, and public response to the track has been ‘overwhelming’ (not underwhelming or just plain whelming). This high level of whelm has warranted a series of single launches around Australia before climaxing in a musical eargasm at none other than Splendour in the Grass. ‘Rock It’ is a melodic party song, which signals a cleaner, unembellished and more infectious sound for the band’s new album, embodying all the hallmarks of classic pop music. To win one of two double passes to the July 17 show at Oxford Art Factory, tell us the name of their previous album. Little Red
Music, Right Here, Right Now The music scene right now is in a state 5. of change - most people are just looking for a place to slot in. Most of the bands we play with are great guys; we’re chuffed with the support we’ve gotten from bands like Behind Crimson Eyes and 28 Days. It feels a bit like older times at the moment, when bands were really supportive of each other. I feel there is a real ‘us against the DJs’ vibe out there - bands are genuinely helpful to other artists who are trying to have a crack at it. Who: Cola Wars What: Invader is out now Where: The Annnandale Hotel When: Thursday July 8
BELLINGEN CARNIVAL
TIM ROGERS IS DOING A CABARET!
It’s not You Am I stuff, but it’s still musical stuff. It is titled Saligia, and it’s a “group of sinfully seductive stories and songs”, written by Tim Rogers and cellist Melanie Robinson. Which could be either an elaborate side project, a rock opera cabaret, or some creepy cultish thing that he has somehow duped the Opera House into hosting... Tim will be joined by a six-piece backing band, and it’s on every evening at the Opera House between July 28-31.
Although I cannot reveal any of the acts playing yet, early bird tickets for the October Bellingen Global Carnival are now on sale. The festival celebrates world music, and in the past has drawn people from Tasmania, QLD and other far-flung and possibly mythical regions - and from all reports, everybody enjoyed every single minute. Visit globalcarnival.com to purchase tickets.
Bjork
Tim Rogers
Zeahorse
15 BANDS, 108 HANDS
World Bar is crazy enough on any given night. People wandering round drinking out of teapots (even when you’re not on acid!), different themed DJs and bands in every room, weird bookshelves, and tiny nooks where you can actually chat without yelling into someone’s ear or having a drink sprayed across you. This is all set to be made even crazier and teapottier on Friday July 16, when 15 bands play a variety of different rooms/levels/genres/guitar pedals. Shoegaze geniuses The Laurels headline the band room, and other bands to catch include Myth & Tropics (featuring members of recent victims The Scare), Zeahorse, experimentalists Domeyko/Gonzalez, the Nintendo-playing (on-stage I mean, we have no idea whether this carries over into their leisure time) idea idea, Dead China Doll, and exactly ten others. Oh, and there’s a secret band playing. We hope it’s Ratcat, but it almost never is.
BJORK/DIRTY PROJECTORS GARETH LIDDIARD IS DOING AN ALBUM!
The Drones are one of the most beloved Australian bands of the past, let’s say, 40 years. So I suppose a lot of you will be interested to learn that their fiery frontman Gareth Liddiard has announced he’ll release his debut solo album on October 1. He hasn’t yet revealed a title, although uber-fans will no doubt fawn over the fact that it will be recorded at Havilah, the Victorian retreat that spawned the last Drones record... Shock will be releasing the record, so hassle those guys for any details - they love emails!
Spawning, like most things in life, from a benefit concert in a New York bookstore, Mount Wittenberg Orca is an exciting new holy shit collaboration between Dirty Projectors and Bjork. Although you should rightfully expect to pay hundreds of dollars for this, you can get the entire album for between $7 and $100, with all donations going to create international marine protected areas. This is a great cause, obviously, so if you bittorrent this, you can bet one day you will be caught in a tuna-fishing net and nobody will be there, except maybe for Bjork, and she will be laughing at you and not helping at all. Go to mountwittenbergorca.com and save the world forever.
PEATS RIDGE PRE-RELEASE
If you already have plans for New Years Eve, you are a ridiculous person. If you don’t, may we suggest Peats Ridge Festival? Limited pre-release tickets go on sale July 12, so set your alarm for 8:54 that morning to avoid bitter disappointment and a reassessment of what is important in your life. The lineup hasn’t been announced yet, but peatsridgefestival.oztix.com.au is where to get a ticket.
SYDNEY SOUNDS LIKE…
… a number of things, depending on where you are, and what happens to be occurring at that given point in time. If you would like to control these parameters slightly, come along to the Choose Your Own Adventure concert at The Factory Theatre from midday on Saturday July 10. Cloud Control, The Jezabels, The Holidays
and plenty more bands are playing, PVT are DJing (mostly from 100% Vol. 8 we hope, the one with ‘Informer’ on) and countless other things are there to entertain and baffle you. It only cost $15 or $25 dollars, depending on certain cards in your wallet, handbag, manbag, or jacket pocket. (We’re obliquely referring to FBi membership here...)
SETH FRIGHTENING
Seth Frightening is not an evil villain; in fact he isn’t even a ‘he’. He’s two guys, Sean Kelly and Thomas Lambert, and together they’ll be supporting Sigur Ros’ vocalist Jonsi at the Enmore Theatre on August 4. The New Zealand duo’s music is said to sit comfortably in a space between folk and ambient music, which would set off imagery of picturesque and rollicking New Zealand countryside if my only culture reference point wasn’t ‘Once Were Warriors’. Think Finn, think Finn…
“Well I’m walking... through the night, I need love...you don’t gimme that sugar, I don’t feel right” - ASH GRUNWALD 8 :: BRAG :: 369 : 05:07:10
SECRET SOUNDS PRESENTS
. - ) ++ +
SIDESHOWS
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TICKETS: WWW.METROTHEATRE.COM.AU OR WWW.TICKETEK.COM.AU
ASH the album A-Z Vol.1 OUT NOW WE ARE SCIENTISTS the album Barbara out June 18
WITH SPECIAL GUESTS
CLOUD CONTROL
FRIDAY JULY 30 METRO THEATRE Tickets: www.metrotheatre.com.au or Ticketek www.ticketek.com.au
TIX: METROTHEATRE.COM.AU OR TICKETEK.COM.AU
New album THE RUNAWAY Out July on Heavenly/Cooperative MY BEST FRIEND IS YOU out now on UMA www.getmusic.com.au/katenash
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BRAG :: 369 :: 05:07:10 :: 9
dance music news
free stuff
welcome to the frontline: what’s goin’ on around town... With Chris Honnery onthefly.com.au
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he said she said WITH
THE MAGIC NUMBERS
HAYDEN FROM CHEAP FAKES (QLD) awesome laugh; he teaches kids how to play sax. Scotty plays trumpet, loves Sheila E and teaches kids to play trumpet. Stephen plays baritone sax and can get good deals at Lenard’s chicken joint. I met Damo through the drum shop, I told him I had a sweet band but in reality it was just me and him. Then he introduced me to Fergus and Josh, then those guys knew some guys who knew some guys and now we have to split the money seven ways.
I
always remember my Dad sitting me down in front of the record player and making me listen to all of his old classic rock LPs. Deep Purple, Led Zep, Free, Lynyrd Skynyrd, Cream… At the time I wasn’t too keen on ‘em, I was more into MC Hammer & Vanilla Ice - but as I got older, I really started to appreciate what he was doing for me. Education! He played bass in a band called Danny Dalton’s Flashman Circus; they cut a single on reel-to-reel. My grandad was a singer for an 18-piece big band in the ‘40s and ‘50s. He used to tell me stories about how he used to smuggle bottles of beer in with his band gear, get drunk and chase the ladies! That’s how he met my Nanna. What a legend! I was always surrounded by music and I always wanted to be a musician.
I absolutely love the Beatles, every song, every album. I maybe skip a few McCartney love songs, but I just love their harmonies and the production; for me, their collection of songs will never be topped. Favourites? Abbey Road and The White Album. I love anything that Mike Patton does, I love all the old rock classics: Led Zep, Deep Purple, Zappa, Clapton, Hendrix. I love Bob Marley, Dylan, Stevie, Fleetwood Mac, Ernest Ranglin, Steve Miller Band… and so on. I sing and play guitar, I’m a photographer and a picture framer - a Jack of all trades, master of none. Damian plays drums and has a weak stomach, he works in a drum shop. Fergus plays bass and has a beard. Jude plays keys,and philosophises. Josh plays alto and soprano sax and has an
Infusion
Australia’s love affair with The Magic Numbers continues, with the indie pop brother-sister-brother-sister quartet returning to our shores for a Splendour In The Grass appearance, as well as a few coinciding sideshows. If you were too poor/late/drunk/high/all-of-the-above to get Splendour tickets, or just wanna see ‘em again, here’s your chance to score some tickets to The Magic Numbers’ gig at The Metro. They’re playing on July 30 and will be reppin’ their impending album Runaway – their first release in, like, four years – which drops just days before the gig. To win one of three double passes, tell us the name of their second studio album.
We play funk, dub, reggae, dance, country, jazz, pop, rock. We never limit ourselves to styles of music, although we do try to keep it upbeat and good for dancing. Big horns, catchy melodies, fat bass and sweet drums. We recorded our debut Stones & Sticks at Fresh Bread Studio in Brisbane, and at Tanuki Lounge with Paulie B (Beautiful Girls, george). I produced and mixed it and Don Bartley mastered it. And our beautiful art was done by Ellen Stapleton and myself. There are a few great local bands that I like, but it’s tough to shine for bands there are so many trying to get out there… Putting it nicely, you have to have some point of interest or you wont keep interest. In saying that, this is our first time in Sydney, and we plan on keeping you interested, and giving the people that come out a real treat. Who: Cheap Fakes What: Stones & Sticks is out now When: July 8 / July 9 Where: Old Manly Boatshed / The Mac
The Magic Numbers
CHEMISTRY
INFUSION
Long-time Australian live dance favourites Infusion play a ‘back-to-basics’ set at The Annandale Hotel this Friday. Roooaaar! The original dance three-piece, who prefigured the likes of The Presets and Cut Copy, are best known in mainstream circles for their Six Feet Above Yesterday LP which was ranked by Resident Advisor among the top albums of the noughties, and spawned the hit singles ‘Natural’ and ‘Girls Can Be Cruel’. Traversing pop, prog, rock and techno influences, Infusion will be covering material from their latest release All Night Sun Light, along with ‘the classics’. Support comes from The Dirty Secrets, who have a new album lined up for release later this year.
URBAN TRIBE RETURN
It’s been over a decade since the ‘full’ line-up of Urban Tribe released a new album, but it appears the wait is finally over. The Detroit collective – comprised of leader Sherard ‘DJ Stingray’ Ingram and luminaries Carl Craig, Kenny Dixon, Jr. (aka Moodymann) and Anthony ‘Shake’ Shakir – first appeared back in 1996 with the 12” Eastward, showcasing a sound that merged techno, house, funk, electro and downbeat hip-hop styles. The group’s kaleidoscopic and somewhat-legendary debut LP, The Collapse of Modern Culture, was subsequently released via James Lavelle’s Mo’Wax label, and is now virtually impossible to find at an affordable price. Since then, the Urban Tribe project has remained active, but principally as a solo outlet for Ingram - but this year Ingram is set to release two new LPs as Urban Tribe, each recorded with different collaborators. The first, entitled Program 1-12, is to be released in July through Kenny Dixon’s Mahogani Music imprint and combines the talents of Shake, KDJ and Carl Craig. The second, as yet untitled full-length is a collaboration with Heinrich Mueller aka Gerald Donald, former Drexciya member and the main man behind Dopplereffekt,
Arpanet and Glass Domain among others. Details of this record are scarce at this point, but it’s believed that emerging Russian talent Nina Kraviz is also involved in some capacity. Watch this space!
After ramming-out The Civic Underground last time around for a memorable bash featuring Peace Division’s Clive Henry, Chemistry returns to the same venue this Friday with one of the finest local lineups in quite some time. Melbourne’s Ant J Steep and Glitch’s Matt Aubusson top the bill along with DJ Trinity and residents Jordan Deck and Nick Belshaw (there is also rumour of an international backing up from their set at The Likes of You last Saturday – check online for the latest on this front!). Steep is a hugely respected producer who has chalked up a series of releases on Future Classic as part of his band project Little Beasties, while also completing a series of eclectic remixes for people like Jamie Lloyd. A five-year resident at the infamous – and now sadly defunct – Melbourne club Honkytonks, Steep has played alongside Derrick Carter, Mark Farina, Steve Bug and Maurice Fulton over the years, and has spun at Mad Racket, Spice Afloat and Lost Baggage on his occasional visits to Sydney in the past. With entry a mere $10 before midnight (with emailed guestlist to promoters), it would be ill-conceived not to jump on this opportunity to see some of the best local DJs going hard at it!
TRANSATLANTICS AND KON
Niche Productions returns to The Basement on Saturday August 21 with a double bill comprised of Adelaide’s The Transatlantics and vinyl maestro Kon of Kon & Amir fame. Along with Andrew Macleod, The Transatlantics are one of Adelaide’s finest exports, having supported the likes of Fred Wesley, Marva Whitney and Melbourne’s The Bamboos, and played at festivals such as Playground Weekender over the course of their nascent career. While The Transatlantics will be using the gig to launch their debut album, Kon has been in ‘tha biz’ for aeons. He’s been releasing with his production partner Amir since the mid 90s, and recently accepted a five record deal with BBE/Rapster to begin the ‘Off Track’ series, which follows on from the successful ‘On Track’ series... But in this night of old and young, it is surely music that will run out the true winner [sigh].
BOUNDARY BONDS WITH...
ANAN STU BUCH MEDIA FERAL
What does Feral Media do? We’re a boutique, artist-run record label that has been releasing interesting and eclectic Australian music for the last ten years. We’ve had around 60 releases to date from artists like Because Of Ghosts, Underlapper, Vorad Fils and more. And what does your role entail? There are only two of us working at the label, myself and label founder Danny Jumpertz - so it’s literally a bit of everything. From developing new projects with artists, managing the back catalogue and distribution, promo, design and sticking discs in envelopes… I like the fact that I’m completely hands-on with every step in the process, and I think that the personal approach is appreciated by our artists. Tell us about the Feral showcase at Carriageworks’ Winterland? We’re presenting live sets from Afxjim, Gentleforce and Vorad Fils - as well as previewing our latest signing, Textile Audio. We’re also lucky enough to pepper all of that with DJ sets from Underlapper. Carriageworks are throwing in Finders Keepers markets and indoor ice-skating. When’s the last time you ice-skated to experimental opera? Most exciting moment working at Feral? Everyone knows that it’s a tough time for album sales. That’s forced us to rethink our whole approach to the business, which in turn brings about some wild and interesting ideas and opportunities. We’ll undergo an evolutionary change in the next twelve months, but like all of our projects, the outcome will be something quite special.
Ant J Steep
http://www.feralmedia.com.au
“When you trade your heart for everything, lady luck don’t give a damn” - ASH GRUNWALD 10 :: BRAG :: 369 : 05:07:10
BRAG :: 369 :: 05:07:10 :: 11
free stuff
dance music news welcome to the frontline: what’s goin’ on around town... With Chris Honnery onthefly.com.au
FREESTUFF@THEBRAG.COM
five things WITH TIM FROM Growing Up I grew up in a household of music lovers, 1. rather than musicians. There were plenty of great bands filtering through the speakers at home; Dad loved The Doors, Pink Floyd, Led Zeppelin; he was also into a lot of prog stuff like The Mahavishnu Orchestra. I think this gave me an open mind to music, and definitely showed me that there was no such thing as a musical boundary! My first album was Faith No More’s The Real Thing, which I bought with my birthday money when I was five. Cool, huh?
APLONEA
rather than the new version. They had such a vast array of colours and styles within their music, and had no defined sound. We’ve always been about the song rather than the sound, and have always written music that we love rather than worrying about where it fits. Other influences would be Death Cab For Cutie, Jimmy Eat World and at the moment Biffy Clyro! Within the band we have four very differing musical tastes, and I think this shows in the music! All four of us are coming from different places artistically.
Your Band A big inspiration for Aplonea would be The Aplonea has been 2.Inspirations 3. Smashing Pumpkins, the first kicking about for a few incarnation,
LOWRIDER
years now; this is the second incarnation of the band. We had a lineup change late 2008, after a bit of a break to
recharge the batteries. Since then we’ve released an EP, toured Queensland and Victoria for the first time and recorded an album! All the while maintaining day jobs, and trying to keep from being bankrupt, in order to play the music we love. The Music You Make We’ve just finished the beast that is our 4. debut album Far From Here, which is due for release on July 6. We recorded it at Origami Studio with Steve Manovski, and it’s pretty where it needs to be and rocks when it has to. Live, you can expect an honest, fun, tight alternative rock show. Group hugs after our set and an open-minded audience are expected!
5.
Music, Right Here, Right Now There is some great music around at the moment - people just need to get out there and find it. I think in Sydney we don’t embrace our local bands as much as other places, but if you get out there and check it out there are some great bands kicking around. Who: Aplonea With: Burning Brooklyn, Underlights, The New Pagans What: Far From Here is out July 6 Where: Sosueme @ Q Bar When: Friday July 9
FBI CUDDLE PUDDLE
FBi Radio’s fundraising fun, Sounds Like Sydney, kicks off this Friday July 9 at Oxford Art Factory with ‘Cuddle Puddle,’ a late night smorgasbord featuring a plethora of local DJs including Simon Caldwell, Kid Kenobi, Mark Pritchard, Kato and Anna Lunoe, Ro Sham Bo, Hoops and James McInnes among others. This is a late start, with first bounce at 11:30pm, and entry $8/$13 for FBi supporters/ non-supporters.
PENDULUM
Perth upstarts Pendulum are back with a new album Immersion, following 2008’s In Silico. Fusing elements of Pendulum’s previous albums, Immersion also features several high-profile guests, including The Prodigy’s Liam Howlett, Swedish metal group In Flames and Porcupine Tree’s Steven Wilson. Pendulum will be showcasing their DnB-cum-post-rave mash-up sound on a series of national dates later in the year, and play The Hordern Pavilion on Friday November 5. Presale tickets are on sale as of Tuesday July 6.
Pendulum
Bust out the vocoder and hit the dancefloor! Infectiously sleazy plasticfunk duo Chromeo will release their third album, Business Casual in September - their first since 2007’s Fancy Footwork. As with its predecessor, the album was mixed by Cassius’ Philipe Zdar, who has also produced Phoenix, while Solange Knowles (the younger sister of Beyonce) is a guest vocalist on the track ‘When the Night Falls’. Lead-off single ‘Don’t Turn The Lights On’ hit shelves last week, and sees the Montreal pair returning to the subject matter they are most familiar/ comfortable with… what goes on in the bedroom! Business Casual is out September 10 in Australia via Modular.
Drumroll please, Murphdog! The winners of the prestigious Spank Records remix competition have been announced. This year, entrants were faced with the challenge of reworking DCUP and Yolanda Be Cool’s smash hit single ‘We No Speak Americano’. The winning prize went to Josh McMahon for his ‘Josh Mc Remix’, a Dirty Bird-influenced rework that received a glowing endorsement from the big man himself, Kato, on FBi Sunsets. Second and third places went to Olsen vs LC and Zug Zug (Heath Jansson & Mark Ordona) respectively, and you can listen to the top three online at spankrecords.com.au/ sweat-it-out-comp. There is also the people’s award to consider, with Spank Records selecting its top 10 for you to vote on. Don’t let those fascist bigwigs tell you what remix is the best – you tell them. Or simply select one at random – anyone who votes goes in to the draw to win a pair of Sennheiser CX-300II ear buds ($$$).
DIAFRIX African-born emcees Azmarino and Momo make up the Melbourne hip hop outfit Diafrix, and bring two polar worlds together through music and lyrics. Tales of Footscray and Melbourne’s dense music community are the platforms for Diafrix’s unique brand of storytelling through African and hip hop filters, as they spit rhymes about migration, growing up in Melbourne, as well as the racism they encounter. Their dynamic live shows have earned Diafrix a rep around town, and the many thousands that have seen them at Good Vibes, Sydney Festival, Make Poverty History concert and the like, can attest to this. To be a part of the next Diafrix experience at Oxford Art Factory on July 9, tell us the name of their debut album.
to create a whole new track. Though originally performed live using turntables and DJ mixers, recent advances in sequencing software have taken this art form to a whole new level.” End.
CHROMEO
SPANK COMP WINNERS
Lowrider have been revelling in that posteuphoric feeling you get after supporting the likes of Lupe Fiasco, Alicia Keys and Christina Aguilera on national and international tours. No biggie, y’know. For the past six months the Adelaide quartet has harnessed the limitless possibilities the studio can bring. Their time in recording isolation has resulted in Round The World, the lovechild that has been born from a sonic orgy of Latin, Motown, funk, ballad and much more. From the party-startin’ horns in ‘Here We Go’ to the gentle, jazzy soul of ‘Keep The Pace’, Lowrider’s sophomore release takes your ears for the ride of their lives. We hope your ears have seatbelts. To win one of two copies of Round The World, tell us the name of one of the Lowrider members.
ADULT DISCO
Chromeo
Responsible for one of the most requested tracks on triple j at the moment, Flight Facilities launch their debut single ‘Crave You’ at Adult Disco this Saturday at The Civic Underground. The single features Giselle Rosselli crooning the timeless vocal, “Why can’t you want me like the other boys do?” Having not met Giselle, I am in no position to answer this – indeed attraction is a strange phenomenon, and some people have an ineffable chemistry - while others simply don’t. My advice to people with similar laments to Giselle would be to cut out the gloomy introspection and saunter down to The Civic on Saturday night, where the tunes supplied by Flight Facilities, Graz and the Future Classic DJs should help you forget the shortcomings of your personal/ sex life, for a few hours at least.
Autechre
LIGHT SOUNDS MASH-UP COMP
From one competition to another: one of Sydney’s leading DJ destinations, Light Sounds, have announced their ‘Mash Up’ competition. Entrants are required to mash up their choice of a selection of tracks from the Circuit Breaker 2 CD in a 3-5-minute final product, with the prize including Ableton Live Suite 8. Full details can be found online at lightsounds.com.au, so all that’s left for us to do is to explain what a ‘mash-up’ is. A perfunctory trawl of the interweb confirmed that the term ‘mash-up’ or ‘bootleg’ (or, more commonly, just ‘boot’) describes “the result of mixing together two or more records
AUTECHRE’S SECOND LP OF 2010!
There’s an old saying that’s rehashed in the Nic Cage action flick Gone In Sixty Seconds: “it never rains, it pours”. Such an aphorism is appropriate in this instance, as seminal UK electronic duo Autechre will release their second album of the year, Move of Ten, in but a matter of weeks. Fresh from touring Australia recently, Autechre’s second collection of songs follows Oversteps, which hit shelves way back in early 2010 following a quiet 2009. For any neophyte’s looking to jump on the bandwagon late, Autechre are very much on the ‘intelligent’ dance music tip alongside contemporaries such as Aphex Twin and Squarepusher, and have influenced a broad range of industry peers including Radiohead’s Thom Yorke. Autechre’s Move of Ten hits shelves July 16 on Warp, through Inertia.
“We’re gonna tear the roof off this joint, don’t wanna see you home til the morning light” - ASH GRUNWALD 12 :: BRAG :: 369 : 05:07:10
BRAG :: 369 :: 05:07:10 :: 13
Industrial Strength themusicnetwork.com
Industry Music News with Christie Eliezer
GOLDEN STAVE LUNCHEON The Australian music industry’s annual Golden Stave Foundation luncheon raised $460,000 for children’s charities. At the auction, Clive Thomas of CT Freight paid $4400 for a super AC/DC pack and $1430 for a 12th Man 25th anniversary framed bat and box set. Travis Smith of the Australian Radio Network forked over $3100 for a Rammstein pack, including a bass guitar.
GEORGE ASH PROMOTED TO PRESIDENT Universal Music Australia’s managing director, George Ash, has been promoted to President (Australasia). In this role, he will also be responsible for the New Zealand market as well as Australia’s, working with the company’s NZ chairman Adam Holt. Last year, under Ash, Universal delivered the best selling Australian album (Hilltop Hoods) and the first Australian band, Short Stack, to debut their album at No. 1 since Silverchair. He’s also been expanding Universal A&R reach by partnering (or buying) labels as Modular, Dew Process, Eleven A Music Company, Liberation, Ministry of Sound and ABC.
AFTER THE FALL SIGNS SYNC DEAL In what could be the largest TV sync deal of the year for an Australian-based act, After The Fall have had their track ‘Desire’ adopted as the official song by the Ten Sport and One HD networks for their coverage of the 2010 Delhi Commonwealth Games. The song will be used in 33 promo ads, and get an airing five times a day on the networks until October 5, and also during the AFL Grand Final. As a result, commercial radio is picking up its ears to the track, which is off their current Roadrunner album [In] Exile. The band’s manager Tim Manton, who pulled
Life lines Marrying: INXS’s Kirk Pengilly and surf champ Layne Beachley are tying the knot in October. Split: Media head and DJ Ruby Rose confirmed her engagement to model Catherine McNeil is off. In Court: Former Kiss guitarist Vinnie Vincent lost his bid for bankruptcy protection so he wouldn’t have to pay $81,000 court costs to Kiss, reported Courthousenews.com. This came from when he tried to sue Kiss leaders Gene Simmons and Paul Stanley, claiming they owed him royalties for his work on Kiss’ 1983 album Lick It Up. He lost the case, and Kiss have asked the court permission to sell his copyrights to satisfy the judgement. Sued: Rapper Drake, Cash Money Records and Universal Music Group by Playboy Enterprises for sampling Hamilton, Joe Frank and Dennison/Reynolds’ ‘Fallin’ In Love’ for the beginning of his track ‘Best I Ever Had’. Sued: Glenn Danzig, by the driver of the car he crashed into in January. Fined: Wu Tang’s Method Man, $100,000 for evading state tax for four years. Died: former Lynyrd Skynyrd backup singer JoJo Billingsley, 58, cancer. Died: Ken Brown, of pre-Beatles band The Quarrymen, 70. Died: Bill Aucoin, one-time manager of Kiss, Billy Squier and Billy Idol, 66, during surgery for prostate cancer.
THINGS WE HEAR
put another $120 million into Facebook, upping their total investment to $210 million.
* At the Madison magazine bash at Sydney University, MTV’s Ruby Rose was smarting about how Sunday Telegraph columnist Ros Reines had earlier that week sniggered in print about the Willow leotard she wore to the ASTRA awards, saying she was just copying Victoria Beckham, Sienna Miller and Lady Gaga. So when Rose got up to make a thank-you speech after winning Most Stylish Female Celebrity at the Madison awards, she held up her trophy before the 140 guests and said, “Ros Reines – you can stick this somewhere!” Reines, alas, had just left the function. * How embarrassing for Motley Crue singer Vince Neil. He was promoting his memoirs in which he claimed to have stopped taking drugs and alcohol when he, umm, got arrested on drunken driving charges. * When Philadelphia Grand Jury relocated to London, they were eager to start recording. Alas they had to borrow their gear, as UK customs impounded their
* Two Aussies made it into this year’s Forbes Top 100 earners. AC/DC were at #38 with earnings of US $114 million, and Keith Urban at #76 with $31.5 million.
equipment until they forked over a £2000 import tax — paid last week. * When Lady Gaga asked Cut Copy to tour with her they didn’t know much about her, as they don’t listen to commercial radio. * U2’s Bono and bosses at his privateequity business Elevation Partners
the deal together with the networks’ Creative Director Rob Rosenberg, is discussing the possibility of them playing live shows around Games promos. Last year, ATF’s “Big Exit” track also got picked up by the Motor GP.
CLAYTON GOES “HEY HEY”
NO AUSSIE QUOTA FOR DIGITAL RADIO
WHO’S TOPPED EMINEM?
Broadcasting authority ACMA has agreed to exempt digital radio from Aussie music quotas for three years. Commercial radio’s peak association Commercial Radio Australia argued digital broadcasters needed time to experiment with their formats without the pressure of quotas. There are 18 digital stations so far, and they won’t have to play the 25% minumum of Aussie music that commercial radio has to. Last week Austereo launched Top 40 station U20, part of the Federal Government’s The Line initiative to allow high school, media, music and art students to start their own programs and discuss social issues. U20 will operate until November 30.
WANNA HELP THE OXFORD ART FACTORY? The Oxford Art Factory needs help from live music supporters. It recently made two applications to the City of Sydney Council, one to do away with a “trial period” for late night trading, and the other to allow them to provide entertainment through the day. Alas, they’ve come under attack from residents, who’ve been complaining about the noise and behavior of patrons, and say it’s a way for the venue to stop being a live music venue and become a nightclub. The venue says this is not true. You can sign their online petition, or get your Facebook mates involved. See http://www.oxfordartfactory. com. For more info, contact the venue’s Mark Gerber at markg@oxfordartfactory.com.
ZEPPELIN SUED OVER ‘DAZED AND CONFUSED’ US folk singer Jake Holmes is suing Led Zeppelin’s Jimmy Page for $1 million, saying it was he, and not Page, who wrote ‘Dazed and Confused’ from their first album in 1969. The song is on Holmes’ first album from 1967, and journalists have been pointing this out for years. Why 70-year old Holmes waited this long to make a claim is interesting. Due to a statute of limitations, he can only claim royalties and damages for the past three years.
WILSON DEPARTS POPFRENZY After four years as label manager, Julia Wilson is leaving Popfrenzy Records but will work on some releases and tours. She is concentrating on her own label Rice Is Nice, and has taken a marketing role at Radio National. She is contacted at julia@ riceisinice.net. For Popfrenzy inquiries, email chris@popfrenzy.com.au.
Channel [V]’s Danny Clayton has got a second job, as entertainment interviewer for Nine’s Hey Hey It’s Saturday, Molly Meldrum’s old role. Eminem’s ‘Recovery’ is his sixth Australian #1. It took him ten years and one month to achieve this. But seven other acts did it quicker, points out chart historian Ed Nimmervoll. Quickest were The Beatles, who achieved it in three years four months. Right behind them was Jimmy Barnes, in five years eleven months. Following were The Police (seven years six months), Rod
Stewart (eight years one month), Madonna (eight years six months), U2 (eight years eight months) and the Rolling Stones (nine years three months).
PRINCE BY PRINTS Prince might not have given too many interviews in his time. But he’s turning to the print media to release his latest album 20Ten. In Germany and Belgium it is out as a cover mount on the German edition of Rolling Stone only. In the UK, 2.2 million units will be given away in England and Scotland through The Daily Mirror and The Daily Record respectively and not available in the stores or for download.
›› TMN TOP 40 The top 40 most ‘heard’ songs on Australian radio. TW LW TI HP P1 P2 P3 ARTIST
TRACK
LABEL
1
1
8
1 15 29 54 KATY PERRY FT. SNOOP DOGG
CALIFORNIA GURLS
CAP/EMI
2
3
9
2 12 24 49 B.O.B FT. HAYLEY WILLIAMS
AIRPLANES
ATL/WMA
3
5
9
3 18 41 72 SCOUTING FOR GIRLS
THIS AIN’T A LOVE SONG
SME
4
4 10 3 14 27 47 TAIO CRUZ
BREAK YOUR HEART
ISL/UMA
5
6 11 5 12 27 46 DAVID GUETTA & CHRIS WILLIS FT. FERGIE & LMFAO
GETTIN’ OVER YOU
VIR/EMI
6
2 13 1 14 25 45 USHER FT. WILL.I.AM
OMG
SME
7
7 11 6 13 27 54 KE$HA
YOUR LOVE IS MY DRUG
SME
8
9 17 6 17 46 60 JET
SEVENTEEN
VIR/EMI
SMILE
ATL/WMA
9 23 5
9 16 38 70 UNCLE KRACKER
10 20 7 10 11 27 41 TRAVIE MCCOY FT. BRUNO MARS
BILLIONAIRE
ATL/WMA
11 13 5 11 12 42 64 TRAIN
IF IT’S LOVE
SME SME
12 11 11 11 13 27 56 AMY MEREDITH
LYING
13 12 8 12 15 40 75 THIRSTY MERC
MOUSETRAP HEART
MUSH/WMA
14 10 14 1 16 31 51 LADY GAGA
ALEJANDRO
INT/UMA
15 16 11 15 14 29 48 PARAMORE
THE ONLY EXCEPTION
ATL/WMA
16 14 4 14 13 28 52 ADAM LAMBERT
IF I HAD YOU
SME
17 19 18 6 19 44 75 JOHN BUTLER TRIO
CLOSE TO YOU
JAR/MGM
18 27 6 18 9 26 48 ENRIQUE IGLESIAS FT. PITBULL
I LIKE IT
INT/UMA
19 17 11 17 13 32 63 STAN WALKER
UNBROKEN
SME
20 15 17 2 14 42 59 ADAM LAMBERT
WHATAYA WANT FROM ME
SME
21 25 15 4
15 44 71
VANESSA AMOROSI FT. SEANY B
MR. MYSTERIOUS
UMA
22 22 21 7
19 42 55
LIFEHOUSE
HALFWAY GONE
GEF/UMA
23 8
14 26 52
WB/WMA
JASON DERULO
RIDIN’ SOLO
24 24 11 11 15 44 61
12 3
POWDERFINGER
SAIL THE WILDEST STRETCH UMA
25 21 20 1
19 49 62
TRAIN
HEY, SOUL SISTER
SME
26 26 16 2
14 26 47
B.O.B FT. BRUNO MARS
NOTHIN’ ON YOU
ATL/WMA
27 18 10 16 14 24 46
YOLANDA BE COOL & DCUP
WE NO SPEAK AMERICANO
CSR/UMA
28 NEW 1
28 11 28 47
MAROON 5
MISERY
A&M/UMA
29 40 6
29 8
BRIAN MCFADDEN
CHEMICAL RUSH
ISL/UMA
30 32 4
30 11 37 58
JOHN MAYER
HALF OF MY HEART
COL/SME
25 52
31 31 6
31 13 25 40
GYROSCOPE
BABY, I’M GETTING BETTER
UMA
32 39 7
31 11 25 43
3OH!3 FT. KE$HA
MY FIRST KISS
ATL/WMA
33 30 14 30 12 24 34
CHIDDY BANG
OPPOSITE OF ADULTS
CAP/EMI
34 33 22 1
14 35 61
JASON DERULO
IN MY HEAD
WB/WMA
35 28 16 4
11 32 67
BRIAN MCFADDEN FT. KEVIN RUDOLF
JUST SAY SO
ISL/UMA
SOLAR-MARCH QUITS SPUNK
36 36 5
Spunk Records’ label coordinator Michaella Solar-March has left after 15 months to move to New York for a marketing manager position at Beggars. She is contacted at m.solarmarch@gmail.com.
MILEY CYRUS
CAN’T BE TAMED
HOL/UMA
37 29 10 13 13 24 50
40 50 3
35 13 23 47
RIHANNA
TE AMO
DEF/UMA
38 35 21 12 13 38 53
ROB THOMAS
MOCKINGBIRD
ATL/WMA
39 38 18 22 16 34 45
THE TEMPER TRAP
LOVE LOST
LIB/UMA
JOHN BUTLER TRIO
REVOLUTION
JAR/MGM
40 12 27 52
“By order of the prophet we ban that boogie sound. Degenerate the faithful with that crazy Casbah sound.” – THE CLASH 14 :: BRAG :: 369 :: 05:07:10
BRAG :: 369 :: 05:07:10 :: 15
O
“Those are songs, you know? I really miss that. Basic Disintegration, that record. That, from front to back, is a film. It’s beautiful, you’re just… mesmerised.”
ne of these days musicians are going to run out of reasons to thank Brian Eno. On the cusp of releasing a second album with her electronic trio School of Seven Bells, Alejandra Deheza is moderately hungover, chilling at home in Brooklyn and keen on paying her dues. Thus, for the title of the experimentally-laden latest offering Disconnect From Desire, she sends Eno a heartfelt thanks. “Those words actually came from an Oblique Strategy, this pack of cards that Eno came up with,” she says. “They’re little phrases of creative solutions to put a different perspective on your problem. To ‘disconnect from desire’ was just everything I wanted to say. ” Although she admits that girlish squeals would dominate any meeting with Eno himself, Deheza tells me that an encounter with his legendary mind would soon turn to interrogation. “I’d just try to pick his brain. Like, ‘Why? Why, Brian? Why ‘disconnect with desire’? I want to know your ideas.’ I would probably just try and talk to him for hours and be really annoying.” Well Eno old boy, the ball is in your park... Deheza’s proud enthusiasm for punters to hear the trio’s newest sound indicates a more confident and expressive SVIIB since 2008’s debut LP Alpinisms - a record characterised by a more reclusive surrealism. “It’s funny, a lot of people have been telling me that this record is a little more spacious than Alpinisms, which was a bunch of what I would like to call ‘sound clouds’,” she says. “I’m so proud of that record, but I think this time we’re approaching things more directly. We didn’t fill it up so much.” Named after a possibly fictitious South American pickpocket academy, School of Seven Bells stemmed from the vivid imagination of Benjamin Curtis and sisters Alejandra and Claudia Deheza, formerly of Secret Machines and On!Air!Library! respectively.
The ten-tracks of the new album were recorded at the trio’s home studio before being produced by band-member Curtis and mixed in LA by Grammy Award-winning producer Jack Joseph Puig (Weezer, Beck, Green Day, The Rolling Stones, Klaxons...). The second record from the School not only shows a diverse cache of genre-spanning within their electronic sphere, but Deheza claims that this time,everything comes down to narrative. “We were really going for a record that you could listen to from the beginning to the end,” she says. “I really miss the idea of an ‘album’. There are stories, there’s a plot; it’s like a movie.” If the record were to spawn a film, it would be largely autobiographical – Dehaza tells me that the start-to-finish track order was a logical result of life experience. “I mean, we wrote a few things here and there but I think because the songs documented so much of what’s been going on in our lives, it just went in sequence,” she says. “[The new album] really is a film of the past year for us.” The past year has certainly proved something worth documenting, as the building buzz and international tours have seen the trio supporting the likes of the White Lies, Blonde Redhead, Bat For Lashes and Kite. This month their battered suitcases will be piled on the sidewalk once more, in the most Kerouacian sense. The three have come to accept the reality of being artists; the road is life. “Being on tour for months on end affects your life in every way. It’s an upheaval,” she says with an exhausted laugh. “It’s not a negative thing, but that constant movement forces you to look at your life on a really close level. You’re extremely invested and involved in what you’re doing at that particular moment.”
And with a four-month touring stretch still in store for 2010, Deheza says it’s actually their lack of foresight that’s helped the band avoid an existential meltdown. “It’s such a trap,” she says. “It’s so hard to stay in the present, to fully experience where you’re at at that moment. It’s like there’s this constant development going on in your head and it’s nothing to do with what’s going on right now. We just miss so much.” Like much of their mystical sounds and iconography, the latest spell from Deheza and her counterparts totes a cryptically placed ‘sigil’ as the focus of the album art - a magical figure supposedly used to harness momentary energy and spiritual power. But with such deeply thoughtful textures entwined with fantastical lyrical ideas, the temptation to slap a label of ‘dream-pop’ on the sound of the three musicians is often too easy for music mags and record company schpiels. And Deheza says she never really thought about it that way. “The people who say that are usually the ones who like ‘dreampop’,” she says. “Our sounds are just ‘pop’ songs to me. My definition of pop is a singable melody - something that anyone can sing, something that can be remembered.” And yep, the opening single ‘Windstorm’ is lightyears ahead in catchy radio playability than the trio’s previous releases - embodying the kind of memorable mainstream the vocalist seems rather fond of now. And despite a sound that finds itself labeled in the realms of avant-garde experimentalism, Deheza cites unlikely yet highly appropriate influences, from post-punkers Echo and the Bunnymen to the Cure. “I think that’s the ultimate pop music,” she says.
Deheza shares vocal duties with identical sister Claudia – and every annoying twin joke has found itself thrown their way since the band’s beginnings in 2008. But with dual harmonies, and a penchant for uniquely paired choral vocals, she admits that their thoughts can indeed be as similar as their faces. “Well, all jokes aside, it’s a weird kind of mental language that twins have,” Deheza says. “I don’t think you ever really have to fully express something; [your twin] automatically knows what you’re trying to say without you saying it. I feel like a lot of that translates really well into music, because it’s really hard to describe a sound to somebody. So working with Claudia I don’t really have to try that hard. She just gets it, and she knows where I’m coming from.” But what of the other third, guitarist Benjamin Curtis? How does he mesh with the wavelength? “Really well. Benjamin was in a band with his brother, so he’s very familiar with the whole sibling thing,” she says, referring to The Secret Machines. “I think we have a connection for that reason, but [in the beginning] it was just an immediate fit. We’re very close and respect each other enough to know that if there is a criticism, it’s just for the benefit of the song. That’s hard to get over when you’ve got brothers and sisters, because they’re always extra sensitive. But we’re not five anymore, fighting with each other over who gets to watch what on TV. Now it’s time to get our heads down.” With the trio slated to hit up the sunny stages of Sydney and Splendour In The Grass in late July, Deheza hopes that with this little field trip, they’ll get to put the ‘tourist’ in ‘tour’ and actually have something to write home about. “The last time we went to Australia was probably during one of the most intense touring periods that we had had, so it was kind of like a bizarre dream the whole time,” she says. “This time we’re going to have fun, we’ll have more time to hang out. Last time we only had time to visit the art gallery.” And if that fails? Simply take another Eno card.
Who: School of Seven Bells What: Disconnect From Desire is out now When: Saturday July 31 Where: The Gaelic More: Splendour In The Grass 2010
“There’s demon at the end of my bed, i gotta learn to get my feet on the ground”- ASH GRUNWALD 16 :: BRAG :: 369:: 05:07:10
BRAG :: 369 :: 05:07:10 :: 17
Fabulous Diamonds Two Is Plenty By Mikey Carr
H
aving recorded their first LP with Ben Andrews from My Disco, and their latest with Mikey Young from Eddy Current, it’s easy to understand why Fabulous Diamonds get lumped into that ‘Melbourne Lo-Fi’ scene. But musically, these guys are different. Rather than your run-ofthe-mill guitar rifferry. their sound is all minimal tribal drumming, muddy repetitions and organ and sax-wailing – and they’re bringing it to Sydney to launch their second album, Fabulous Diamonds II. “We find it really hard to put together line-ups,” drummer Nisa Venerosa explains to me over the phone. “When we have our album launches, we want a certain vibe on the night. 90% of the bands in Australia are like guitar and bass orientated, so it’s really hard to find a middle ground for us. When we play a launch we don’t really want a five-piece rock band playing before us, even if we like the band. It just creates the wrong vibe.”
Often playing shows with those types of bands regardless, Fabulous Diamonds have suffered more than their fair share of abuse at the hands of music fans expecting a rock show, and getting instead their brooding and hypnotic minimalism. “We do get a lot of haters,” Nisa laughs, “but I don’t mind, it happens to everyone. Any publicity is good publicity I guess.” Bad publicity isn’t something the band have ever worried too much about – they actually display the negative reviews they’ve received quite proudly on their MySpace page. “The duo’s robotic drumming and obscure organ/ synthesizer provided more background noise than anything engaging,” for instance. Or, more cutting, “Music for the elevator ride to the top floor of the University of Pretension.” “Well, that’s actually Jarrod’s doing,” Nisa tells me, referring to bandmate Jarrod Zlatic. “We’ve actually had debates over this you know, but yeah it’s Jarrod’s idea. Jarrod thinks it’s funny to put up negative reviews of us, for his own reasons.” This self-deprecating self-promotion does serve a purpose though. A bad review from someone with no taste almost amounts as a good review if it falls into the right hands. What seems to offend so many people about the band is the seemingly improvised style they’ve adopted. “People think we improvise a lot, but our songs are very structured,” she argues. “There is room to move though, and it’s always going to be different - but we never improvise when we’re recording.” While they may not exactly improvise then, there is still an undeniable degree of freedom in their playing. Much like The Necks or Steve Reich, Fabulous Diamonds make use of incidental differences that come with playing naturally in repetition, allowing parts of the songs to shift and move against each other. “We do play naturally,” Nisa agrees, going on to explain the relationship of chaos and control that exists between her and Jarrod. “Jarrod tends to carry on a little more than I do, though. With our kind of longer songs he could go for hours, whereas I’ll be bringing in the next structural part of the song to move things along.”
“We do get a lot of haters but I don’t mind, it happens to everyone. Any publicity is good publicity I guess.” While some may see working as a two-piece as a limitation, for Fabulous Diamonds it is precisely because they are a two-piece that they’ve been able to flourish. In an industry where the eye is most often on the bottom line, Nisa explains that keeping it simple offers them opportunities that larger bands wouldn’t be able to pursue. “It’s economical,” she tells me. “We get to tour the world [without] this huge stress. Also, people overseas are more willing to bring you out, cos there’s only the two of you and they have to pay for less flights. There are just so many other things that makes it more viable in terms of expenses... If we were a five piece, I don’t even think we would’ve gotten to go overseas yet.” Having toured to America and Europe already, and having played a part in the Nick Cavecurated All Tomorrows Parties in Australia, Fabulous Diamonds aren’t exactly struggling. Currently planning to return to the States and Europe over the next few months, the duo are excited to get to play to foreign audiences once more. And they’re not planning on changing a thing about their line-up. “It just works for us, you know? We just jam and understand each other. We’d never get in another member like a lot of bands do after a while; that’s not something I can ever see us doing.” Whereas a lot of Aussie bands are making the move overseas nowadays with mixed results (see The Scare vs. The Temper Trap), Fabulous Diamonds are happy where they are, the lure of the glittering cities of Europe and America holding no permanent sway with the Melbourne pair. “We don’t really have any desire to ever move overseas. We really love Melbourne and we’re happy to live here and go overseas once a year or twice a year or whatever. It works pretty well like that for us.” Works for us, too. Who: Fabulous Diamonds What: Fabulous Diamonds II is out now through Chapter Music When: Friday July 23 Where: Spectrum 18 :: BRAG :: 369 :: 05:07:10
Goldfrapp Head To Head By Chris Honnery
A
lison Goldfrapp’s reputation precedes her: the ‘English diva’ doesn’t give much away in interviews. But I was sure this time would be different, an exception to the norm, as Alison is in a blissful headspace at the moment. A listen to Goldfrapp’s latest album, Head First, is testament to this – an ebullient and arguably even saccharine release that sits in almost diametric opposition to its sombre and introspective predecessor, Seventh Tree. “I loved Seventh Tree and I loved touring it, but after that album I really wanted to do something that was putting us back out there making some noise again,” Alison tells me. “That just felt like the right thing to do, and we went with that. We always go with our gut feeling; for better or worse we just do what we feel at that moment.” And why is Alison so happy right now? At the risk of stooping to a base cliché, the answer is simply ‘love’. Alison was ‘outed’ last year as a ‘mid-life lesbian’ in a relationship with film editor Lisa Gunning. “I don’t know why people would find it surprising,” she said later. “Everything we’ve ever done — the music, the looks, the shows — has all been quite ambiguous and indefinable, and that’s how I am. I don’t like to be defined by my sexuality, which swings wherever I like to swing. I’ve had lovely, long relationships with men as well - I just happen to be in a relationship with a lady at the moment. I don’t like to be pigeonholed in my life, or my music either. The best policy seems to be to go with what feels right, so I do.”
Alison is also happy to agree that the Goldfrapp albums serve as signposts of different stages of her life. “I collect ideas and thoughts about things I want to hear, or a feeling or an atmosphere,” she says. “Sometimes you can start with a specific idea, and as soon as you start working that can change. You have to be flexible and allow for that to happen, to let things evolve naturally. Each album’s kind of like a diary in a way. It’s so much about a feeling at that moment at that time... it’s very much a personal expression.” From Black Cherry and Supernature to the current Head First, it remains to be seen where the outfit will turn next. But based on the Goldfrapp oeuvre, it’d be surprising if Alison’s plunge ‘head first’ into love doesn’t lead to far more surreal ruminations on the topic than the maudlin meditations we’d expect from someone like, say, Christina Aguilera… Who: Goldfrapp What: Head First is out now When: Thursday July 29 Where: Big Top at Luna Park More: Splendour In The Grass 2010
Alison met Gunning when working on the score for Sam Taylor-Wood’s John Lennon biopic Nowhere Boy, which was recorded with a 35-piece string section at Abbey Road. “Sam knew our music and she was keen for us to have a go at doing it,” Alison recounts. “Everybody involved in the film had a sense of what we’re about, and so they really knew what they wanted to hear. It was a leap of faith from their point of view because they could have gotten any other composer or people who were more experienced in film scores.”
“I don’t like to be defined by my sexuality. I’ve had lovely, long relationships with men I just happen to be in a relationship with a lady at the moment. I don’t like to be pigeonholed in my life, or my music. The best policy seems to be to go with what feels right.” Given the cinematic texture of many of their albums, particularly the debut LP Felt Mountain, it comes as no surprise when Alison confirms that working on soundtracks has been on Goldfrapp’s radar for some time. “We have been offered things in the past but we’ve said ‘no’, either because it hasn’t fitted in with our schedule or we’ve felt it wasn’t quite the right thing to do,” she says. Something that ostensibly fits into the ‘not the right thing to do’ category was Goldfrapp’s collaboration with Christina Aguilera, which has been covered at length by sections of the media. “We just wrote something for her over a year ago, we never finished it, and that’s the end of that really,” Alison says curtly. “It’s been made much bigger than it ever actually was.” With the shelved Aguilera collaboration apparently a hackneyed topic of discussion, conversation shifts to how Alison works with the ‘reclusive’ other half of Goldfrapp, Will Gregory. “Reclusive?” a bemused Alison sneers. “That’s ridiculous. He doesn’t tour, he’s never toured, but he does the press with me – he’s not a recluse he just doesn’t tour.” With the dormant beast apparently stirring, I quickly steer conversation to safer territory - how they make the music. Alison explains that, contrary to what one might glean from Goldfrapp’s disparate back catalogue, the pair doesn’t go into the studio with preconceived ideas of what an album should sound like. “It’s difficult to explain, because there’s no formula to what we do,” she says. “We spend a lot of time in the studio jamming and talking about things we’ve seen or listened to that we’ve liked. We record absolutely everything we do; as soon as we start jamming we record everything, just in case it might inspire the beginning of a song or something. It’s a process that involves playing, talking and experimenting.” BRAG :: 369 :: 05:07:10 :: 19
The Scare The Break-Up Mikey Carr
I
t’d be a lie to say that The Scare’s breakup announcement came as too much of a surprise. Having heard rumours for months, the Sydney-based band have finally announced that they’ll no longer be playing shows together. With two albums under their belt and a list of live credentials that most contemporary local bands would struggle to match, the band’s split was a bit of a shock - even if its announcement wasn’t. “We originally planned to just take a break, but there was pressure from outside the band for us to break up,” Liam O’Brien explains evenly over the phone. He doesn’t sound angry, bitter or disappointed - instead sort of half cheerful, and half bored. Understandably less than excited to field of string of interviews about his band calling it quits, he’s nevertheless happy to answer all the questions, offering at times brutally honest appraisals of why they decided to end The Scare. While discussing exactly who pressured the band to turn the hiatus into a break-up, Liam frankly explains, “it was more about getting some extra attention around these last few shows, really. And from our management’s side. It puts an end to having to deal with phone calls from promoters asking us to come play their club night in Wollongong.”
Praised by critics, coveted by labels, and with one imprint even buying the band a fridge for their barren UK apartment, The Scare seemed poised on the threshold of major success more than once. But the big deal never came through, and five years on they’ve had enough of the realities that come with living as a working band. Amongst the other factors contributing to the Scare’s dissolution, Liam mentions that the interaction with the music industry (he refers to it as “bullshit”) would have to be high on the list. With almost all of the band members refusing to take part in the administrative side, a lot of their decisions were left in the hands of managers and agents - leaving Liam and the guys trying to hold to a pace that they couldn’t sustain physically, mentally or financially. “I’m not sure what really happened there,’ Liam says. “I mean we were running at a loss there - and my new band Myth & Tropics, which has been going for about three months, is already running at a profit,” he laughs. “I s’pose it’s our own fault for not being bothered, but I mean who wants to deal with all that crap?” All these issues aside though, the band have decided to suck it up for one last run of shows as a farewell and thankyou to their fans. Their
fans in fact seem to be the one thing that kept the band together as long as it lasted. “We always tried to put everything into our shows, you know? A Scare show was definitely more of an experience, and I think there were some people out there who really connected with that.” It’s a hard industry, and these guys have done better than most - the fact anyone gives a shit about them breaking up at all is testament to the impact they’ve had. Where a lot of bands
fade into obscurity, The Scare are offering a coda with these last shows. And considering their reputation as performers, the band will leave fans with something by which to remember them. Who: The Scare With: Zeahorse, Psychonanny When: Saturday July 17 Where: The Annandale Hotel
Bear In Heaven Compass Points By Alex Young
W
hen I ask Bear In Heaven’s Adam Mills about growing up in America’s South, I’m expecting stories of cowboys, guns and wide-open roads. He doesn’t exactly nurture this image. He laughs. “Life there… I don’t know! I haven’t grown up anywhere else. It’s nice. We’re all very proud to be where we’re from, down South… it’s a super nice place, people are fluent there, and everyone’s manners are really good.”
Drawn From Bees Taking Flight By Chris Familton
T
wo years ago, Queensland’s Drawn From Bees killed off their former incarnation Glasshouse, took some time off and started over – with a drive to approach their music from a new, more satisfying direction. Their debut album Fear Not The Footsteps Of The Departed rounds out a themed series of EPs, and offers a fully realised insight into their new, more adventurous sound. The decision to wipe the slate clean was a hard one, but something the band needed to do in order to continue writing music together. “We just weren’t interested in what we’d been doing anymore. We grew up in our early 20s playing music that appealed to us - but we just lost interest in it,” guitarist Raven Jones explains to me. “I think because of our friendship we’ve gelled really well as songwriters, and that grew into our music.” Immediately following the local release of the album, the band jetted off to America, Hong Kong and London to participate in some showcase gigs. The tour was a success. “Las Angeles was really interesting, and different to what I expected. People were really nice and supportive of our music - it didn’t have the ego I thought it might. We stayed in Laurel Canyon, and there was a really good vibe,” Jones recalls. “People just came and knocked on our door and said, ‘We heard you guys and just want to know what you’re up to.’” Drawn From Bees challenge classic pop with cascading and layered harmonies, explorative prog rock and a distinctly UK guitar sound prompting talk of relocation to the motherland. “Lots of people have said we have more of a British sound, so that was one of the things we went over for - to focus more on Britain,” Jones tells me. “We’re planning to go there for a while,
maybe move there for a year or two and just push it, and see what happens.” With the band about to embark on a national tour, their fan base will finally get a chance to check out how their music translates from record to the stage. Fear Not… is very much a lush studio album, and Jones explains that they have had to reconstruct the songs to play them live. “Some of the songs were written in the studio, so now we have to sit down and learn to play them as a band,” he explains. “A lot of the time I’d be playing guitar and keyboard lines at the same time on the record, so we won’t be able to entirely replicate the recordings live. We’ve only played about half the album live but they’ve worked pretty well even if they do sound a bit more sparse.”
These are traits embedded in Mills’ personality. The now New York-based guitarist of the kraut-pop four piece is friendly, charming and chatty, and admits that he’s still very much the Southern boy. But when it comes to the sound of the band’s latest album Beast Rest Forth Mouth, he’s less inclined to acknowledge his early surroundings as a key influence. Textured with jungle-drumming and driving synth, the accessible psychedelic songs on the album are characterised with an overwhelming sense of space and openness. A result of country living, perhaps? “I’ve never denied that where we grew up has influenced us,” he admits, “but it certainly wasn’t conscious.” According to Mills, neither was the decision to take on music as a full time occupation. All moving to New York at separate times, the four-piece each had their own projects in mind for the big city - for Mills, it was film school. But after vocalist Jon Philpot released a record of his own, the group came together slowly to play their instruments and fiddle around with recording. It wasn’t long before Bear In Heaven became each member’s main creative output, and Beast Forth Rest Mouth came into fruition.
Mills laughs, then groans. “It was a pain in the ass”, he says of the time it all took. “We just didn’t have any money, and we’d never really been in a band… Being in a band as a profession has only just come a reality over the last six months. We [recorded] in our spare time – like 85% was recorded piece by piece in our practice space. We’d go in one day, record a couple of drum beats, and I would play guitar… and then the next week we’d do the same thing. It took forever.” Despite the lengthy process and lack of funds, the album is an effort that the group are infinitely proud of – although they’re keen to work in a proper studio the next time around. The fresh sound of the band attracted excellent reviews indifferent to the lo-fi production process, and opportunities to tour arose, most recently with Crystal Castles. The Beast Rest learning curve had extended for the musicians into the live arena. “We were a band that had never toured for more than two weeks at a time, and we just finished a three month long tour. That was a quick intro on how to tour,” Mills says. Without arguments, breakages or robberies, and with a successful progression from studio artists to live performers, their adventure was a success. But the reality of touring as a profession is still settling in, and Mills is pretty honest about it. “At this point, our audience is like, ‘OK, we like your record, now prove yourself.’ So it’s kind of stressful! You want everyone to like you. In front of 500 people who are all staring at you, every night… It’s a crazy situation to put yourself in.” He hints at an Australian summer tour so I push for more details, but receive only a coy laugh; “That’s the plan!”
You get a strong sense of self-belief and ambition from Drawn From Bees, but it doesn’t come across at all false or filled with pretense. These guys have been around long enough that they don’t have stars in their eyes - and listening to their album, it’s clear they can back up their ambition with bold, honest and rewarding songwriting. The next stage for the band is to build on the contacts they’ve made overseas; Jones tells me they’re already making plans for their next album, too. “For the next one we want it to be written by the entire band all in one room before we hit record,” he hints. “We’ll have more of a jam approach to the way we do it.” Who: Drawn From Bees What: Fear Not The Footsteps Of The Departed is out now When: Saturday July 10
Who: Bear In Heaven What: Beast Rest Fourth Mouth is out now through Speak N Spell
Where: The Gaelic Club
“This is Radio Clash stealing all transmissions beaming from the mountaintop using aural ammunition.” – THE CLASH 20 :: BRAG :: 369 :: 05:07:10
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Celebrating the life and songbook of the unrivalled genius of Serge Gainsbourg, Fiona Thorn and her band take you on a wild and groovy trip through French pop, electronica and chanson. Discover the true tales of Gainsbourg’s life and times, as Australia’s greatest interpreter of his music weaves songs and stories into a stunning tapestry… for two nights only!
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*TRANSACTION FEE OF $5-$8.50 APPLIES FOR ALL BOOKINGS BRAG :: 369 :: 05:07:10 :: 21
Sally Seltmann
Scuba
And Aztec Bubble Pipe By Nell Greco
Sub:Stance celebrates two years in existence this coming July. Rose and fellow promoter and booking agent Paul Fowler have achieved something of a coup, not only in establishing such a successful brand amidst a city already swarming with electronic royalty, but surmounting the fierce house and techno allegiances of the Germans. “We’ve been helped quite a lot by the local guys, which was a pleasant surprise,” Rose says. “Certain elements of the Berlin scene have got a reputation for being snobbish and difficult to deal with, but we haven’t had that at all. A lot of the guys who run the Hardwax shop, which is the big record shop in the city, have been pushing dubstep for a long time, so they were really supportive from day one.”
P
aul Rose is enjoying the newfound freedom that’s landed at his feet, and those of his contemporaries. Call it Dubstep, Future Beat, Wonky or what have you, the new generation of studio wizards create fusions of UK Funky, House, Grime, IDM, Techno and anything and everything in between. The genre boundaries are blurring fast, and electronica fans seeking mental stimulation are looking to innovators to impress them with new ideas. As DJ Scuba, Rose left London behind for the open-minded metropolis of Berlin in late 2007, and connected with some kindred spirits among the Berliners. The quarterly dubstep club he opened, Sub:Stance, held at celebrated club Berghain, has found a firm foothold. “Every one we’ve done has been a complete proper roadblock,” Rose says. Their first birthday celebration spawned rumours of cracked windows. “We’ve been able to put on quite a lot of different stuff, and people keep reacting to it. At any given party you’ll hear a wide range of different music, but people get into it, which is great. I think that’s the holy grail of any club night really - to be able to put on any record, and if it’s a good record people will dance.”
With his most recent and critically lauded sophomore album Triangulation, Rose has managed to mix up his production style, covering 4/4 tempos, garage style beats and heavier, more traditional dubstep sounds. He considers it a privileged position to be in. “I’m certainly able to do quite a lot of different stuff, and people seem to keep listening. The problem with electronic stuff and dance stuff in general is that it’s easy to pigeonhole, and I think people find themselves trapped in a narrow thing. Over the last couple of years that’s something I’ve tried really hard to avoid. There are certain boxes that people try and put me in - the dubstep/techno one is the most common, and it has become a bit of a cliché now.” The dubstep/ techno tag isn’t technically wrong, considering Rose does dabble in both those styles, but it’s clearly not the whole story.
T
he shyness I had mistakenly presumed in Sally Seltmann on first meeting was knocked down by her direct and simple, quiet confidence: “I think I’ve just always been driven to try and succeed.” The day we met up for a coffee, she’d locked herself out of her house and wasn’t the slightest bit concerned. Neither was she perturbed by the rain, which all the other clucking patrons were trying to avoid – perhaps a symptom of the couple of years just spent in Melbourne. Known as New Buffalo up until 2009, Seltmann recently opted to record and perform under her own name. “I felt like it was time for me to stop hiding behind a stage name, and just be myself”, she says. The change of heart has a lot to do with the confidence she’s now gained as a songwriter, particularly after that counting song she gave to Feist... “I think when I started out doing New Buffalo I really wanted to prove myself as a person, a writer and a musician. I was into being fiercely independent, and I think part of that was
playing solo, trying to do everything myself.” Sally adds that the change has been a wise decision. “I’m really enjoying having a band now. We share instruments and can create a bigger sound.” She has spent her time on this album, Heart That’s Pounding, aspiring to write the best pop song you could sing along to in your car, with the windows down and your eyes closed (if you’re not driving of course) and has the proven ability to glide between both spheres of art and contemporary pop. Where New Buffalo’s syncopated and rigid structure (present in tracks like ‘I’ve Got You and You’ve Got Me’ or ‘Cheer Me Up Thank You’) can be viewed as Art Pop, Heart That’s Pounding is an honest and more refined album, lush and grown-up. “I’ve always been quite influenced by Phil Spector and the ‘Wall of Sound’ idea,” she tells me at one point. Seltmann’s lyrics have always been personal, and in interviews she shows no qualms about discussing the vulnerabilities she writes into her songs. “We’re all kind of vain, we all have our fears and we’ve all got good things and bad things about us. We may as well talk about it.” Her ability to confront these insecurities and resolve them through her own sheer will are written throughout Heart That’s Pounding – songs that start out heartbreakingly sad often end up cheerful. “All up we knew that we wanted to make it a pop album,” she tells me. Francois (Frank) Tetaz was a producer and collaborator on the album, although he’s probably better known for his award-winning film score to Wolf Creek. “Frank’s really good at keeping the vibe really ‘up’. I’d do a vocal take and he’d just say, ‘Sounds too depressed. Do it again.’” So that was when Sally would focus her attention on Aztec Bubble Pipe for a few minutes... “We found this pillow that had a pillowcase that was just really bad, 80s Aztec prisms on it and then we got this yellow ball and drew a smiley face on it and just sat him on the pillow. He was called Aztec Bubble Pipe.” Sounds trippy huh? Nah, he was just the group’s mascot! “Whatever you were thinking, you’d look at Aztec Bubble Pipe and he’d get you excited so we sang to him a bit.”
Booka Shade, Phil Kieran and Will Saul all have Scuba remixes pending; just some of the work Rose has completed since Triangulation left his outbox. His record label Hotflush is keeping him busy as well, having the vision to release Joy Orbison’s gamechanger ‘Hyph Mngo’. Fans can expect new Joy Orbison later this year. This tour will be Rose’s second time in Australia; he’ll be packing a hectic nine gigs into ten days. “I don’t know what the audience should expect, to be honest, but I’ll try and get some normal dubstep in there… at some point,” he laughs. “I do mix it up quite a lot. We’ll see how it all goes down.”
Seltmann and band are currently warming up for an Australian tour. “I feel like I’ve put more of an effort into thinking about the whole live show,” she says, “and I’m really excited about it.”
Who: Scuba Who: Sally Seltmann
What: Triangulation is out now on Hotflush Recordings When: Friday July 23
What: Heart That’s Pounding is out now through Remote Control
Where: Civic Underground
When: Friday July 23 Where: Oxford Art Factory
Surfer Blood The Palm Beach Scene… By Amelia Schmidt dorm room – he was studying education while working on his music. And now he’s set to tour the world, stopping in Australia for this year’s Splendour in the Grass, and playing a few side shows to boot. Heavily influenced by his great musical loves, Dinosaur Jr and Pavement, John Paul tells me he’s been writing words since he was six and music since he was sixteen. But for all that, it was only a year ago that Surfer Blood really came together – which itself was a matter of finding the right vibe. “I wanted to play the record out in front of people, so when the band came together it was like we finally had the right people - everyone was on the same page.” It took a while, sure, but then Palm Beach is a tricky place to start a band. “Some of the stereotypes are true,” he says. “There are a lot of retirees there and Disney World’s there… Florida’s not like New York, it’s not that immediate.”
S
urfer Blood kind of did it backwards. Instead of forming a band, jamming, playing gigs and then eventually working on an album, the Florida band had a ready-made album that needed a band. “The album was already almost done by the time
we got together,” lead singer John Paul Pitts tells me, over the phone from Palm Beach. “That’s sort of how Tom [Fekete] and Brian [Black] found out about the band; they heard the recording and decided they wanted to play.” John Paul started the band in a college
So you can see why they never really played many shows in their hometown. “Our town has one good venue,” John Paul laments. “People are coming to shows more and more though, probably more now than ever. But for the most part you sort of have to make your own shows – there are a lot of shows in warehouses, and that sort of thing. You can play in pubs and bars, but usually the bartenders are really mean, and everybody kind of resents you for playing.” And we thought Sydney had it bad…
Astrocoast, their debut and explosive record, has been Surfer Blood’s ticket around the world and away from the sleepy town it’s written about. “Astrocoast is a record about what being young is like in a place like Florida, where there’s not necessarily much going on,” John Paul explains. “For a while it was pretty bleak, and it seemed that all my friends were moving on with their lives. Now we’re travelling the world and it’s awesome - but the album’s about that feeling of being stuck in a place where you don’t necessarily feel like you fit in.” Judging by the name and of course the band’s sound, it’s fair enough to assume that these guys are part of the surfer/skater crowd in Palm Beach. But John Paul tells me that he doesn’t surf much, because he’s not very good - nor does he skate anymore, because it’s too risky. The name was actually just a bit of a personal joke. “We came up with it as kind of a joke between TJ and myself one day when we were on a road trip… I thought that the whole surfer thing was a really crap aesthetic, but Surfer Blood was sort of in your face, and had a twist on it. It was kind of ‘all in’ – that’s what I liked about it.” Who: Surfer Blood What: Astrocoast is out now When: Tuesday August 3 Where: Manning Bar More: Splendour In The Grass 2010
“London calling to the zombies of death Quit holding out, and draw another breath” – THE CLASH 22 :: BRAG :: 369 :: 05:07:10
Sally Seltmann by Cybele Malinowski
Mixing It Up By Tony Edwards
PRESENTED BY
AND
SUPPORTED BY
THE SOFT PACK
DEBUT AUSTRALIAN TOUR JUNE 2010
with CABINS
WEDNESDAY 7 JULY OXFORD ART FACTORY TICKETS AVAILABLE NOW FROM THE VENUES WWW.CIVILSOCIETY.COM.AU AND THE USUAL OUTLETS THE SOFT PACK’S DEBUT SELF TITLED ALBUM OUT THROUGH POD/INERTIA
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arts frontline
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arts, theatre and film news... what's goin' on around town and more...
brushstrokes WITH
T
revor Ashley is, despite initial appearances, every woman. He’s even Liza Minnelli – in his hit show Liza (On an E), in which he pays tribute to (and pokes a little fun at, yes) the grand dame; and in his latest show, I’m Every Woman, where he will channel 12 divas in one night. Expect songs, expect sass, expect sartorial splendour; expect some fuck-off wigs. When we catch
TREVOR ASHLEY
up with him, Ashley has just come back from a wildly successful season at the Adelaide Cabaret Festival, with Liza (On an E).
elements that I believe an audience will most identify with. The wig helps too - if you can get that right, you’re halfway there!
What is your background and training? I grew up in Bexley. I went to Sydney Technical High School in Hurstville, which was a great school. I guess my main training ground was a place called Shopfront, in Carlton, which was a wonderful theatre that worked with young actors and people who wanted to be a part of the arts. I learnt so much from that place; I started there at five years old, and left in my late teens - it was what truly turned me into a performer. The rest I have learned on the job as it were... I never even auditioned for NIDA or WAAPA.
You make a living just off performing – how hard has that been? I have worked extremely hard. I have never had a day job since I was twenty years old, I have lived solely off performing, or if not performing, the industry as such. Mostly it is because I have created my own work, I am pretty fearless even when I lose money on a show I have produced. You just pick yourself up and keep going. Showbiz is all about the highs and lows, and believe me, there were times I never thought I’d “make it”. But honestly, it is never an overnight success story.
Tell us about I’m Every Woman - how and why did you come up with the idea? I’m every Woman is a love letter to the female music that I have grown up with and loved for years. I have a very diverse musical taste, except for the fact that all my favourite singers are women. I wanted to play with the idea of being them all in one night, rather than with the Liza show of just doing her for 90 minutes. It’s an incredible catalogue of songs; pop songs really, from as far back as ‘The Trolley Song’ of the 1950s, to ‘Bad Romance’ by Lady GaGa.
Any advice to emerging artists? The only thing I can tell people is to always invest in yourself. Financially, emotionally and with your training... You can learn something from everyone.
The 12 divas you’re channelling in the show: how did you get inside their skin? I study their work a lot. It has become a lot easier in recent years, just because of YouTube. It is such a resource! So much rare footage. I try and take the essence of their characters and their voices and use the
What else are you up to this year? Sadly, this will be my last cabaret for quite a while, as I am moving to Melbourne to star as Edna Turnblad in the Australian premiere of Hairspray the Musical. I can’t wait, as obviously it is a dream role, and I just want to sink my teeth into it. I haven’t done a big musical since Priscilla, so I look forward to that again! What: I’m Every Woman When: July 7-10 Where: The Studio, Sydney Opera House
A SINGLE MAN DVD We heart Tom Ford’s debut film so much (see our DVD review on p29) that we wanted to share the love. Sublimely stylish and desperately romantic, A Single Man follows a day in the life of a middle-aged English professor who’s just lost his long-term partner. Set amongst the paranoid, post-nuclear, homophobic, Cold-War America of the 60s, A Single Man celebrates the beauty of human connection. This single-disc DVD release has just one featurette, but it’s a knockout, intercutting interviews with stars Colin Firth and Julianne Moore, and director Tom Ford. Thanks to Icon, we have 5 copies of A Single Man up for grabs, PLUS 5 copies of Christopher Isherwood’s novel of the same name, on which Ford based his film. To get your hands on one of each, tell us what famous Italian fashion house Tom Ford was previously associated with.
BRET EASTON ELLIS: YIP © Will Reichelt
Hear that? That’s the sound of Sydney’s hipsters and literary cultists wetting their pants. Bret Easton Ellis – the guy who put the psycho in American Psycho, and took the Rules out of Attraction, is coming to our lil city, for a musical / literary mash-up event at Oxford Art Factory (Irvine Welsh and BEE in one year? Nice one OAF). Mr Ellis will be, appropriately, accompanied by Sydney band Models, and hosted by the Chaser’s Dominic Knight. We can’t decide whether we’re smiling from happiness or pure terror, at the prospect of being in the same room as the guy who wrote the most terrifying book we've ever read. Gird your loins, people. Tuesday August 10, Oxford Art Factory. Tickets at moshtix.com.au
PINE STREET ARTS CLASS
STEALING THE SETLIST
Photographer Will Reichelt and MART gallery are doing their part to support FBi Radio, with Stealing the Setlist – a show of ‘Indie Electro Portraits’: Kirin J Callinan announcing he’ll be selling his DNA for 50c a pop at the merch stand; PVT filming the crowd with futuristic headsets; Spod racing through the Hopetoun Hotel, plastering loveheart Post-It notes on everyone in sight… All works, including prints, catalogues and postcards, will be for sale, with all profts going to FBi. July 23-29 @ MART, 156 Commonwealth St Surry Hills.
Places are now available for Pine Street Creative Arts Centre’s Term 3 workshops – affordable skills-building workshops that run for between 4-8 weeks, usually just one evening per week. The workshops kick off on July 19. In Digital Design Studio, a tutor guides you through the print and web applications of Adobe CS4 Photoshop and InDesign; A Cut Above Street Art is a stencil-making workshop; Craig Bunker’s Digital Animation workshop takes you from sketch to script to screen, using Photoshop, Flash and After Effects. Course prices range from between $110-$180, and are open to anyone between the ages 15-26-years-old. We imagine places are limited, so head to www.pinestreet. com.au for more deets.
Nat Rose, Zoe Coombs Marr and Mish Grigor from pos post. t.
B SHARP SEASON.2
Indie theatre haven B Sharp – Belvoir St Downstairs Theatre – has just announced its line-up for the rest of the year, and it’s a curious bunch. So far we’re most excited about the very final slot of the year, from November 25 – December 19, which is a genius double-bill combining short shows by two of Sydney’s most interesting performance collectives: Version 1.0 (This Kind of Ruckus) and post (Shamelessly Glitzy Work). With parts titled Everything I Know About the Global Financial Crisis and The Market Is Not Functioning Properly, this already sounds like cheeky fun. If you’re looking for a season that is sure to surprise you, rather than comfort you, then you might want to get the Sharp Card, which entitles you plus one to $24 for the whole season. Nice. belvoir.com.au
FUTURE MAKERS x STC
As part of their Greening The Wharf program, Sydney Theatre Company has just begun installation of the second-largest roof-top solar array in Australia - more than 1900 solar panels; if only we all had government funding for energyefficient home technologies... oh, wait… To celebrate, the STC are holding a screening of the award-winning documentary The Future Makers, about the eminent scientists in Australia who are leading the way on the world stage in renewable energy. The screening will be followed by a panel
discussion with director Maryella Hatfield, Eureka Prize winner and solar scientist Nicole Kuepper, and University of NSW’s Professor Alistair Sproule. Monday July 26 at 6.30pm. Tickets $15 from sydneytheatre.com.au
PLAY NOW ACT NOW: NOW
Play Now Act Now festival has just announced the winning entries for its June round of monthly “mini competitions”. Each winner receives
$100 cash and progresses to the PNAN grand final in October. They’ve also announced the theme for their August competition: ‘Out Of It’. The deadline for the next round of entries is midnight July 27, and young creatives aged 16-25 are invited to incorporate PNAN’s theme (some reference to alcohol or drugs) into their entry – in the categories of Short Film, Digital Design and Micro Fiction. All the deets at playnowactnow.com.au
FLICKERFEST CALL-OUT
Flickerfest Short Film Festival has become one of the prime platforms in Australia for emerging filmmakers to gain an audience, exposure and recognition. The prize winners for each festival inevitably go on to bigger and better things: Luke Doolan’s Miracle Fish was Academy Awardnominated; in 2009, David Michôd (Animal Kingdom) won for two different categories and two different films. Flickerfest is, in fact, Australia’s only Academy® Award-accredited short film festival, meaning that if you are selected, you go into the pool of films eligible for Oscar nomination. Entries are now open, for festival in January 2011. All the details are at flickerfest.com.au 24 :: BRAG :: 369 :: 05:07:10
POSSIBLE WORLDS FILM FESTIVAL
Sydney’s Canadian Film Festival, Possible Worlds, has just announced its full line-up for this year (August 2-8). This is the fifth PW and the best line-up so far, for our money: the festival opens with Chloe (starring Julianne Moore) by Atom Egoyan (Exotica, The Sweet Hereafter), and closes with Sydney Film Festival favourite I Killed My Mother, by 21-year-old FrenchCanadian director Xavier Dolan (pictured, right). This is Dolan’s debut feature, but his second - Heartbeats - won Sydney Film Festival's Official Competition last month. We’re also excited about the Margaret Atwood doco In the Wake of the Flood, 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 (including Best Picture). To be honest, the whole program rocks: www.possibleworlds.net.au
UNDERBELLY ARTS 10 Days of Public Arts Lab + 1 Huge Festival Day. Lucy Fokkema does the maths.
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projects, 100 artists, a new home in Chippendale and only 10 days to develop a work. When you phrase it like that, Underbelly Arts Lab and Festival sounds a little like a high-pressure episode of Masterchef - if Masterchef featured a DIY 3D film project, vicious 1900s street dance, random choral outbursts, and Chatroulette. Half fringe-festival, half artist’s residency, Underbelly showcases Sydney’s emerging artists as they experiment and invent, developing works and performances to be presented at the Underbelly Arts Festival on July 17. From July 8, as part of the Lab strand of the festival, venues around Chippendale’s old Carlton United Brewery site will be teeming with theatre and filmmakers, musicians, installation artists, publishers, sound engineers and even puppeteers; and throughout the Lab, you can peek behind the scenes at art in the making. While working on arts events around Australia, Creative Director Imogen Semmler noticed that artists were often too busy presenting their work to act on the potential for learning and collaboration. “I thought it would be nice to have an event where the artists spent the development time together,” she explains. “We wanted to bring emerging artists out of their bedrooms and makeshift theatres, bring them into a space where they can work together.” ‘Never show a work in progress,’ some might say. ‘Pfft!’, replies Semmler. When conceiving Underbelly in 2007, she not only wanted to create a hothouse environment for artistic talent, but to have the public view and engage with the works being made. Tours depart daily from FraserStudios during the Lab phase of Underbelly, giving curious punters the chance to get involved.
Photography by Isabella Melody
“The tour is a way to add a bit of context, having someone take people through and explain some of the works... It’s my favourite part of the whole thing actually,” Semmler says excitedly. “When we came up with the idea of doing public tours it was really for the public’s benefit; but we are now getting projects that need an audience to develop,” she explains. At one end of this spectrum, relying entirely on audience participation, is I Can Draw You A Picture - an 'onsite publication' or 'publishing installation' being guided into printed form by writer/editor Alice Gage (Ampersand Magazine), Michael Inglis, designer Esther Chung and Simone Mandl. Punters can sign up for a Project Participation Session (craft scissors and non-toxic glue
From L-R: Underbelly's Imogen Semmler & Clare Holland; Applespiel's Mark Rogers, Joseph Parro & Troy Reid provided) to be part of creating the final 'magazine', which will be available at the Underbelly Festival on July 17. Another Underbelly project premised entirely on audience participation is Snail Piece, by performance collective Applespiel. Inviting the public to grapple with the ethical dilemmas posed by a fragile snail plus a crushing hammer, the sixstrong collective ask, what happens next, who decides, and how? ‘We’re exploring collective decision-making by re-creating and experimenting with different models of forum and debate,” explains Applespiel’s Joseph Parro. Scott Brown, one third of new media arts collective AngryPixel, sees audience participation in a different light: “It’s hard to explain [softwarebased art] to someone when you’re sitting in front of a computer day after day and all they see is the finished product that pops out at the end... the open nature of this project hopefully
will get people more engaged with the process behind that product.” AngryPixel is a collaboration between Brown, electronic musician Eli Murray (Gentleforce) and video artist Lukasz Karluk. Their project Dusk is premised on the notion that we have become so relaxed with computers that we even ascribe them personalities. Viewers will engage with tiny ‘creatures of light’ that respond organically to human movement, playfully exploring the links between people and technology. “It’ll be interesting to see [audience] reactions," says Brown, "because we don’t think Underbelly will be the end point for Dusk. Through the lab we’ll get to experiment with new artistic directions.” Reef Knot's Filling in the Gaps is a project with gentler aspirations to audience interaction, much like their knitted installation ‘I Heart Kings Cross’ (which you
may have seen while stumbling home at 4am during Art&About). Helmed by Michelle McCosker and Alasdair Nicol (co-founders of the now defunct Knot Gallery), this 'scalable artist collective' is inviting new and emerging public artists to work with them to ‘fill the cracks’ in Chippendale walls with found materials. Besides having interactive components, other unifying qualities in this year's Underbelly line-up are cross-disciplinary collaboration, and experimentation. Thomas Keily and Bravo Child are writing a play in hip hop, and "very loose collective" The Seafarer’s Academy are making their maiden voyage with a performance piece exploring themes of childhood and family. You can expect a private viewing of DIY 3D from Pie Full of Blackbirds and a ghostly cacophony of human voices from Synarcade’s ‘Lumiphonic Creature Choir’. At the most playful end of the spectrum is Ecto-
UNKNOWN PLEASURES COMPETITION
British bass-player Peter ‘Hooky’ Hook has had quite some times in the music industry: a co-founder of Joy Division, who went on (after Ian Curtis’ death) to found yet anotherr seminal outfit, New Order. Hooky’s still kicking around – and to celebrate the 30th anniversary of Joy Divisions’ seminal debut album Unknown Pleasures, he and some of his pals will be visiting Australia to perform the album in its entirety. The show will include live performances of all of the songs from the album including ‘She’s Lost Control’, ‘New Dawn Fades’ and ‘Disorder’, as well as early Joy Division tracks and the classic non-album singles ‘Transmission’ and ‘Love Will Tear Us Apart’. You couldn’t be there in the ‘70s, so this is possibly the next best thing.
Plasm's 'sculptural installation' Air City, built out of inflatable forms. With such a rich program, it's surprising to find that Underbelly 2010 is actually a down-size. “2008 was crazy," Semmler admits. "We had 250 artists, 47 projects and no money... One of the changes we’ve made has been taking a year off, building an arts organisation to support the festival - and as a result we have enough funding to resource a smaller event properly." A little older, a little wiser, it seems. Semmler laughs, "It's good to be back.” What: Underbelly Arts: Public Lab + Festival Where: Kensington Street, Chippendale Arts Precinct When: the Lab is open to the public 8-15 July, with a massive showcase on Saturday 10. Underbelly Festival: July 17 all day. More: underbellyarts.com.au
GIVEAWAY Hook and Co. H h Sydney hit on Saturday o September 25, S a at the Enmore Theatre – and T ttickets ic have just go gone on sale. We have two double passes to the Unknown Pleasures show up for grabs! To get your hands on one, email freestuff@ thebrag.com and tell us the name of one other member of the original Joy Division.
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The Horseman [FILM] Steven Kastrissios talks about his controversial revenge thriller, The Horseman. By Paul Rankin shoestring budget that so-called low-budget productions would spend on catering—“we had less than two-thousandth of a percent of the budget of Transformers,” he quips. Since then, both he and the film have been edging towards eventual distribution. “When things are going well you don’t mind the length. But if you told me when we shot it that it would have taken this long to get out, I probably would have had a nervous breakdown.”
Peter Marshall exacts bloody revenge in The Horseman Horseman..
F
ilmmaker Steven Kastrissios is 28 years old, warm and confident. His demeanour is characterised by repose - like a person impossible to bait into argument. He welcomes me into his one-man office in Newtown, where the walls are adorned with posters for films including Apocalypse Now, The Evil Dead, Heat (which I’m impressed to see is autographed by DOP Dante Spinotti), and a Boba Fett helmet sits by the window. I spot a copy of Dances With Wolves and am intrigued to hear that this is Kastrissios’ all-
time favourite film - something that may seem surprising for a director whose debut feature is a self-proclaimed genre film containing seat-squirming violence. “My father beat me and my mother introduced me to blowtorches,” the director jokes. (He also remarks that the black R18+ rating looks nice on the dark poster.) Some background: Kastrissios shot The Horseman four years ago, on two small video cameras, in limited locations around Brisbane’s outer suburbs, on the kind of
It’s not that people don’t want to see the film, as several sold-out festival screenings prove; rather, it seems that things move at a snail’s pace when you have peanuts for funding. “I always really loved the idea of doing a superindependent, micro-budget feature. When I was 18 I made a film called The Park for $600; that was almost an hour-long action movie. I mean, it’s a silly sort of movie, but we got very close to shooting a feature for under a thousand dollars. So it always felt within reach.” The Horseman is a simple revenge story about a father (played by Peter Marshall) who seeks out those responsible for his teenage daughter’s death, and kills them. But don’t discount it as just another entry to the 'torture porn' subgenre; this film walks a line between Texas Chain Saw Massacreesque exploitation and the tender story of a father’s connection with his child. “There have always been middle-aged women who feel compelled for some reason
to come up to me after the screening and tell me how much they enjoyed the film, which has probably been one of the most satisfying elements of getting to the end, because it’s not just been teenage boys who have liked it; and that writing as a young man, I’ve managed to craft a story that a middle-aged woman could connect to, is really flattering and encouraging.” This being the case, Kastrissios makes no apologies for the masculine violence. “At [A Night Of Horror Festival] the first question was ‘why so violent?’ And, well, the concept is a guy killing people; if you can’t get on board with that then what do you expect? Then the second question was a girl who got up and basically asked how could I could possibly have female friends in my life. Fortunately I was onstage with three women. "Charlie’s Angels don’t exist in the real world," the director argues - "in the real world women get raped and murdered all around the world as we speak, in crazy numbers. I would think it to be more offensive if [the film ended differently]. It may get uncomfortable to watch, but it’s trying to do a cheesy concept, but in the real world.” What: The Horseman, Dir. Steven Kastrissios When: Opens July 8 Where: Exclusively at the Chauvel Cinema
Bambina Borracha [THEATRE] The exciting young theatre collective tackle Dylan Thomas. By Nell Greco
Set in the town of Llareggub (bugger all if you reverse it) in Wales, Under Milk Wood is Thomas’ warm-hearted reincarnation of the people and places of his homeland. A narrator provides insight into the dreams and mind-wanderings of the townspeople – from the now-blind Captain Cat (who dreams of his deceased crew) to the twice-widowed Mrs Ogmore-Pritchard (who still talks to her deceased husbands, ordering them around the house); and Lord Cut-Glass, who "in his kitchen full of time listens to the voices of his sixty-six clocks, one for each year of his loony age, and watches..." As a child, Norton Lodge’s Welsh father would read her the play before bed; Hughes, meanwhile, has previously experimented with the stories in Under Milk Wood, producing and directing short films from the text. Their collaboration for this production was a chance to let their imaginations run, somewhat unfettered, in the third dimension. “We’ve got a lot of audio recordings, we’ve got a lot of projections and also there’s me jumping around!” exclaims Norton Lodge – who will be embodying and exorcising in excess of 60 characters on stage. “Some [of the play’s] characters are tough nuts to crack, like, really tough,” says Hughes, who directs
the production. “It took us some time to come to terms with [Lord Cut-Glass] because he’s absolutely mad – schizophrenic or something,” laughs her partner-in-crime. Even as a radio play, the task of defining this menagerie of distinct characters and voices has proved challenging to past casts - so what is Norton Lodge’s secret? “I’m the queen of the stupidest ideas,” she insists, “and you just always have to throw them out there, until people laugh at you and then move on. Sometimes little nuggets of [comedic] gold pop through!” Both ladies have been working on this project for some years. Having been high school buddies, it was only a matter of time before the two were combining their talents in a theatre. Sydney University Drama Society (SUDS) is where they first got the chance - but once their degrees were completed, they realised they didn’t want the fun to stop there. Along with co-founders Tim Spencer, Cait Harris and Bryony Weiss, they formed their own production company, Bambina Borracha, in 2007. “We kind of realised really early on that there was this huge gap between what we were doing and community theatre – and even independent theatre in Sydney,” says Norton Lodge. Hughes adds, “there aren’t many companies that do what we do, or have open auditions or an open submissions process.” In just over two years, Bambina Borracha has been nominated for the Sydney Theatre Awards (Best Independent Production - Beyond the Neck, 2009) and won the Adelaide Fringe Festival People’s Choice Award for Words They Make With Their Mouths (2010). Under Milk Wood, however, represents a unique challenge. “I’ve definitely never done anything this ambitious,” Hughes admits.
What: Under Milk Wood, by Dylan Thomas When/Where: Until July 18 @ Sidetrack
The Samurai of the Drum [DANCE] Japan’s TAO ensemble return to Australia with their fierce new show. By Nell Greco
W
hen I speak to Taro Harasaki on a rainy afternoon in Sydney, he’s done more exercise and training that day than I do in an entire week. It’s not the Japanese musician’s first time in the country - “I love Australia; I’m really happy to be here again” - but it’s no holiday for him or the other TAO drummers, who are touring with The Samurai of the Drum. With such a physically intense performance comes a responsibility to be fit, and the drummers need to follow what I would call a 'rigorous exercise regime'. TAO are described as ‘martial arts drummers’, and while there might only be thirteen of them on stage, the intensity of their drumming has the power of a hundred galloping horses. “Some people describe the TAO drummers as musicians but at the same time, they’re athletes!” says Harasaki, who is the lead drummer of the ensemble. “When we’re not on tour, we're up at 6am to start running and doing weights training. Then we do two hours of drumming without any breaks. When we’re on tour, we’ll wake up at the same time and just go running for an hour.” TAO productions are created by fusing traditional drumming techniques and technology with contemporary stories and rhythms. “We are using typical, traditional Japanese instruments, Wadaiko (also known as Taiko), in our show, so it’s cultural but it’s not traditional – it’s totally brand new.” The drums themselves, which are made using a Japanese technique that is over 400 years old, can be up to two metres wide and can weigh up to 400 kilograms - so they can definitely withstand the energetic routines of TAO’s new show.
More: www.bambinaborracha.com Zoe Norton Lodge and Vanessa Hughes.
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Just as the technique of TAO fuses both the old and the new, The Samurai of the Drum
looks both forwards and back to the past in its content. In some ways, the show is a reaction to the overbearing issues of consumption and unnecessary waste in contemporary society. “The samurai are a very ancient people in Japan and they have a very pure spirit,” Harasaki explains. “[They possess traits] like modesty, loyalty, kindness, and they are hardworking. That spirit tends to be lost in young generations and we want to express those beautiful values on stage, to the people.” The other major influence in all TAO creations is their ‘home ground’, Grandioso, located in Aso-Kuju National Park (southern Japan). A home ground is essentially where the drummers live together in one house – but it’s more than just your average house: perched atop a mountain, Grandioso has an amphitheatre that can seat up to 2000 people, and has 360-degree views of the valleys below. “Where we live, we’re surrounded by cows, fields and mountains,” says Harasaki. “We can see tonnes of glittering stars in the sky at night, huge, huge blue sky and beautiful mountains. So basically the music we compose is inspired by those surrounds of nature.” By all accounts, the cumulative effect of their mythic, historical and musical inspirations – combined with the visceral energy of their performances – make TAO’s shows breathtaking... And probably a lot more enjoyable than that 6am jog. What: The Samurai of the Drum When: July 15 – 17. Where: The State Theatre More: www.drum-tao.com
Bambina Borracha photo by Isabella Melody
B
ack in the olden days - before television had been invented, and when theatres were too expensive to visit - folks used to crowd around their wireless and listen to radio plays to get their kicks (or so I’m told). Dylan Thomas’ Under Milk Wood was, I believe, a family favourite – even the kids loved it! For their latest production, Sydney theatre collective Bambina Borracha have re-animated Thomas’ play for the third dimension, spearheaded by Zoe Norton Lodge and Vanessa Hughes.
all new show!
T HE SAMURAI OF T HE DRUM 15-17 July : State Theatre Sydney 1300 136 166 www.ticketmaster.com.au
“undoubtedly one of the worlds nest shows ” Herald
20 July : Newcastle Civic Theatre 13 28 49 www.ticketek.com
www.drum-tao.com LIVE MUSIC THURS, FRI & SAT NIGHTS THROUGHOUT JULY, 6 - 10.30PM
INDOOR ICE SKATING 45 min session $12.50 – 16.50 Open in all weather Book now at winterland.com.au or 1300 723 038
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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.
The Karate Kid
■ Film
THE KARATE KID Released July 8. PICS :: RR
the wall
You can decry Hollywood’s current obsession with remakes and reboots if you like (and I do, frequently), but as an example of that trend, this new version of the 1984 favourite is better than could be expected. Pound for pound – and at almost two and a half hours, it’s quite heavy – it’s about as a good as the original.
23:06:10 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700
Not too hard, one might argue, given that that film was a pulpy bit of wish-fulfilment which today seems nostalgically of its time. Formulaic? Yes. Trite? Not so much. Despite its simple story of a bullied boy finding the inner strength, martial arts skills and father figure to defeat his tormentors in a karate tournament, that film was elevated in part by an Oscar nominated performance from Pat Morita as Mr. Miyagi, the boy’s trainer and mentor. His famous “Wax on, wax off” phrase has been replaced in the 2010 version by “Jacket on, Jacket off,” Karate replaced with Kung-Fu and the story moved from California to Beijing. There the film finds a welcome texture in the everyday back alleys and the grandeur of the Great Wall, Wudang Mountains and the Forbidden City (the first production allowed to film there since Bertoulucci’s The Last Emperor in 1987).
underbelly dvd launch
PICS :: AM
While an attractive postcard for China, this change also emphasises the fish-out-of-
24:06:10 :: Tunnel Nightclub :: 1 Earl Place Potts Point 0419488888
Arts Exposed What's on our calendar...
JULY
10
UNDERBELLY ARTS: Lab Saturday Program 2-6pm / Kensington St + The Clare Hotel, Chippendale Meet the new guard of Sydney’s performance scene, brought to you by the third Underbelly Arts: Public Lab + Festival (July 8-17) – a fringe-y, artsy, hands-on festival that invites the public backstage to be part of the creative process. Previous Underbellies have been creative hotbeds for groups like Bambina Borracha, Pig Island and Token Imagination. To see who's playing this year, see our feature on p25.
July 10 is the FREE Lab Saturday program, with tours departing at 2pm, 4pm, 5pm and 6pm; a panel discussion, from 3pm at The Clare, asking: What kind of role can the audience play in the creation of art? featuring Jess Cook, Eddie Shap, Alice Gage and Applespiel; and punters can sign-up for the I Can Draw You A Picture Public Participation Session, from 11am-6pm, to take part in making a special publication-type-creature. For all the details, head to underbellyarts.com.au
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Wil Anderson
water story. This time the fish is played by Jaden Smith, the plucky son of Will and Jada Pinkett. He has a tough time dealing with the local bullies, especially Cheng (Wang Zhenwei), who we know will eventually get his comeuppance in the climactic martial arts tournament, where James Horner’s soaring strings and the iconic freeze frame awaits. While overstuffed, the story follows the 80s version closely, and some scenes are recreated verbatim. Hence, if you’re familiar with the original, much of this feels like a rehash; but it’s saved by solid filmmaking, an unusually stoic Jackie Chan in the Mr. Miyagi role, and exciting – if brutal – martial arts scenes (too strong for under 10s). It’s not a knockout, but it’s a roundhouse kick, and it’ll do. Joshua Blackman ■ COMEDY
WILFUL MISCONDUCT Until July 26 @ The Comedy Store I don’t know what happened, but in the two years since I last saw Wil Anderson he’s turned into an angry old man. Or maybe the theme of his show has just rubbed off on him: morons and why they should die, leaving the world for the rest of us. It’s an endless well of Darwinian material, and Wil, fresh from a few months in the U.S.A, seemingly leaves no stone unturned with his scorn: teenage boys, Jessica Watson, energetic twenty-somethings, youth obesity, doting parents, old people. Increasingly age-focused, it’s on this last group that Wil becomes the most animated, joking about how he’s going to annoy young people when he gets old (by holding up ATM lines) and delivering a hilarious discourse on legalising different drugs for people at different ages. Without a warm-up act, Wilful Misconduct is a blitzkrieg of a show, barely stopping for breath and all over much too soon. Starting at 7pm, we were literally out the door at five past eight. Was it opening night nerves that caused Wil to rush through the material? Or did the previous week’s leadership spill leave the normally politically-aware comic ten minutes short of Rudd material? Either way, Wilful Misconduct leaves you hungry for more, and if anything, hungry for some of Wil’s own personality to shine through. What prompted him to suddenly become so focused on his own aging disgracefully? Who knows, but it’s a solid funny hour. At 36, you do feel for the first time Wil is becoming aware of his own mortality and age, but it’s still a bit too young to be ranting about kids growing up with highspeed internet. One of Australia’s most prolific and hard working comics, could Wil be slowly turning into the next curmudgeon comic? Our very own George Carlin? Only time wil tell. Dylan Behan
See www.thebrag.com for more arts reviews
DVD Reviews What's been on our TV screens this week Two hero quests that take place down very different rabbit holes...
EDGE OF DARKNESS
Icon Home Entertainment Released July 7 Mel Gibson is back in front of the camera in this effective revenge thriller, that has echoes of his earlier films Payback and Ransom. No, the premise is not particularly unique â&#x20AC;&#x201C; in fact more recently, Liam Neesonâ&#x20AC;&#x2122;s recent Taken covered similar ground. No matter, for Mel is still a likable presence even when playing a variation on his other hardnosed vengeful fathers. At the outset he, as Boston police officer Thomas Craven, witnesses the brutal murder of his daughter on his porch doorstep, with enough blood flowing that the scene is worthy of another wellknown Craven. Believing the buckshot was meant for him, he sets off on a grim-faced investigation to find those responsible. Mel thumps ex-boyfriends, lawyers and slimy senators on his way to discovering his daughter was a victim of a conspiracy related to her internship at the Northmoor nuclear facility. Set against the backdrop of the rise and dangers of nuclear power, Edge of Darkness feels like itâ&#x20AC;&#x2122;s from another era. Which it is, being an adaptation of the 1985 BBC miniseries - also directed by Martin Campbell (Casino Royale). Its strengths lie in the slow burn of paranoia worthy of an X-File, punctuated by raw and well-judged moments of shock. Even though the third act rushes by too fast, up until that point the line between realism and hokum is nicely drawn. Itâ&#x20AC;&#x2122;s eminently watchable and a solid return for a star who remains noteworthy both behind and in front of the camera. This single disc release has a gratifyingly generous spread of special features â&#x20AC;&#x201C; the best of which are two featurettes about miniseries and the adaptation process.
A SINGLE MAN
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Icon Home Entertainment Released July 7. Everyone was fairly surprised when fashion genius Tom Ford turned his hand to filmmaking; even more so when his feature debut turned out to be quite exquisite â&#x20AC;&#x201C; and not just in the looks department; this is seriously soulful filmmaking. Infused with a kind of stately melancholy, which resides both in lead actor Colin Firth, and in the measured pace of its camera work, which leans towards a washed out palette of 60s hues, A Single Man completely evokes the numb, hazy state of grief that its protagonist has fallen into, where life has lost all its colour.
â&#x20AC;&#x153; ...A WINNER.â&#x20AC;? ER.â&#x20AC;? - Herald Sun n
Based on Christopher Isherwoodâ&#x20AC;&#x2122;s novel of the same name, A Single Man follows a day in the life of George Falconer, an English professor who has recently lost his partner of ten years, Jim. A homosexual and a Brit, living in anxiety-ridden Cold War America, George feels more isolated than ever. His only lifeline is his best friend Charlie (Julianne Moore), a boozy drama queen, and tiny daily moments of human connection: a conversation with a neighbour; a smile from a pretty secretary; the surreptitious appreciation of a young male body (Ford highlighting these moments by suffusing the frame with colour). None of this is enough, however; George has decided to kill himself. Over the course of one day, life will make it exceedingly hard for him to disconnect, throwing moments of beauty and simple human intimacy in his path. The trick is to make us care whether he lives and dies, and make us treasure the special moments in our own lives all the more â&#x20AC;&#x201C; and Ford does this, with elegance and even humour; but most of all, with intensely sincere feeling. Dee Jefferson
Joshua Blackman
Street Level With creative force Lauren Brincat
the whole body is used to paint. I used drumsticks and guitars as my brush and canvas. Eventually the physical act became more interesting and exciting for me to develop, rather than the use of paint. I was using these kinds of objects in my work to perform with, sometimes they stood alone as well or better than they did with me. I am still a painter, I just donâ&#x20AC;&#x2122;t use paint. What ideas interest you most as an artist? I am interested in limits. I am interested in challenge. I like to fight for art. Performing in nature or the environment is a good platform. Can you describe â&#x20AC;&#x2DC;Best Time Everâ&#x20AC;&#x2122;? The staircase will be pitched at an angle of 27 degrees, located at 27 degrees latitude. It will cast a shadow during daylight hours that will hit scribed marks in the hill, creating a sundial. The idea for this was developed from the song title â&#x20AC;&#x2DC;Stairway to Heavenâ&#x20AC;&#x2122;.
A
fter being part of the Splendid Arts Lab in 2009, for which artists were handpicked for a mentored development process, Lauren is back to present two works at this year's Splendour in the Grass. â&#x20AC;&#x2DC;Best Time Everâ&#x20AC;&#x2122; is a giant timber staircase reaching towards the sky, created in collaboration with architect Dominic Finlay Jones (pictured above); â&#x20AC;&#x2DC;Where the Party Isâ&#x20AC;&#x2122; is a performance/ sculpture work involving balloons, created in collaboration with Mish Grigor, from Sydney performance trio post. What is your background and training? I completed a masterâ&#x20AC;&#x2122;s degree in Painting at Sydney College of the Arts in 2006. I donâ&#x20AC;&#x2122;t really have a formal background in performance, its something that developed later. I learned a lot after leaving art school, working as an assistant to many artists. In regards to performance, Mike Parr was my upstairs neighbour for a few years, he has really had an influence on me as a performer. How did you get from First Class Honours in painting to working predominantly in sculpture and performance? The transition began from painter to performer after I became very interested in Gutai (Japanese action painting) where
What about â&#x20AC;&#x2DC;Where The Party Isâ&#x20AC;&#x2122;? We are building a giant birthday totem. It is a durational performance piece in which weâ&#x20AC;&#x2122;ll be inflating thousands of balloons over the three days of the festival. The work borrows from the parties and lightness of Andy Warhol, the guts of the female action painters, and the many hard-core endurance artists who have put their bodies under stress in the name of art. We will then destroy the work on the final day. What else are you up to in 2010? This year is all about travel and exhibiting. I have been in New York, Next Wave festival in Melbourne and then in Tokyo for the past month researching. Iâ&#x20AC;&#x2122;ll be heading back to Tokyo followed by a show in Bundaberg in September, then off to Europe for more research. This year is something I have been building towards for a while. Itâ&#x20AC;&#x2122;s nice to finally be working this way. What: Splendid Arts Lab / Splendour in the Grass 2010
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When: July 29 - August 1 Where: Woodford, QLD More: splendid.org.au / splendourinthegrass.com
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Album Reviews What's been crossing our ears this week...
ALBUM OF THE WEEK BEST COAST Crazy For You Popfrenzy Bethany Cosentino feels a strong pull towards the West coast of America. While crammed in an apartment in New York, she felt such strong Californian pangs that she composed a bunch of songs that painted her as some stoned Gidget of 2010, lying on the beach with her cat. It’s woozy pop about lovers past and present, each song infused with that giddy youthful summer rush that many bands have fruitlessly tried to capture in the chillwave surf renaissance of the past few years. Music to soundtrack that summer fling you wish you had. And she's put her cat on the cover, too.
The main thing that makes Best Coast stand apart from all of that, aside from an inbuilt melodic sensibility, is that nothing about the music seems forced. Cosentino has so far released a series of giddily infectious 7”s that recall the great singles era of the mid ‘60s, and now she's consolidated everything that’s great about Best Coast and delivered a debut record which comes in at under half an hour. The way things should be.
The song titles alone are enough to set the scene. The opener ‘Boyfriend’ makes its intentions clear from the opening line, “I wish he was my boyfriend,” while ‘Crazy For You’, ‘Our Deal’, ‘Summer Mood’, ‘Honey’ and ‘When The Sun Don’t Shine’ mine the same sun/weed/romance terrain. Cosentino manages to sound like all of the Ronettes and Liz Phair rolled into one, with guitars that sound like Juliana Hatfield-era girl pop. It’s honest, and it’s effortless. In ‘Happy’, she is happy; in ‘Goodbye’ she is sad, and any further analysis seems trite. Some music requires time to let it absorb, but Best Coast seem content to deliver twelve blasts of sun drenched pop, and hook you the old fashioned way. Nathan Jolly
STARS
DEVO
EMINEM
OZI BATLA
ARTISAN GUNS
The Five Ghosts Shock
Something for Everybody Warner
Recovery Aftermath/Interscope
Wild Colonial Elefant Traks
Hearts EP EMI
Stars as a band have been responsible for some truly spectacular music - in particular 2005’s Set Yourself On Fire. Even excluding their work in Broken Social Scene, my expectations are high - but sadly, they're not quite met here. The weaker songs suffer from either an overbearing, cinematic quality in the arrangements (heavy-handed layers that aim for wall-of-sound, but mainly just flatten the fragile interplay between the simple, pretty vocals), or a generic electropop sheen. For example, ‘We Don’t Want Your Body’ opens with a synth fanfare that would give John Hughes a hard-on, and Campbell seems to be having fun with the chirpy verses - but then Millan comes in on a deeply weak chorus. A meaningless lyric like “You’re tuned into my frequency / But that don’t mean a thing to me/Cos I don’t want your body” is barely worthy of Miley Cyrus, let alone the band who wrote ‘Your Ex-Lover Is Dead’. ‘The Passenger’ similarly sounds like a mediocre Goldfrapp B-side. Lyrical simplicity and open-ended meaning are not weaknesses, but they must be handled with care - and Stars do know how to do that. Witness the gentle miracle that is ‘Changes’, Millan’s voice building in perfect sync with the piano to an ethereal climax that spirals off beautifully. Several songs sport a soaring guitar that call to mind The Edge at his best, and it justifies the band aiming for a slightly bigger sound. Most of what’s here is a four-star effort, but it's dragged down by a couple of tracks so irritatingly banal I want to punch them in the face. Still, though, it sounds so damn pretty. Caitlin Welsh
Devo! What on earth? How old are these guys now, and this still rules? The sense of humour that runs through this album is brilliant, because Devo are totally old and fat now and look silly wearing flowerpots but holy balls this music is great. ‘Fresh’ even features an amazing handclap that harks right on back to the good ol’ days of ‘Whip It’. In ‘What We Do,’ Mark Mothersbaugh sings, no joke, “Eenie eenie meenie meenie miney miney mo,” in a reverberating bass voice - and in the bridge, in the most overwrought and dramatic tone, “Don’t do what I do, just do what I say!” The beat pumps and pumps and I almost want to hear this playing in clubs, so trash can dance to “Cheeseburger cheeseburger / Do it again” – which, yes, is also an actual lyric. It’s so silly, but every song is gold! The guitar solo in ‘Please Baby Please’ is a catchy call and response affair… and I love it. ‘Mind Games’ starts with what basically sounds like a Gameboy, followed pretty immediately by a rocking guitar-riff and some power chords. The album basically sounds like it’s been made by the dorkily exciteable robot brothers of Daft Punk. By track six I’m personally a bit discorocked out, but it continues on in its intensity, and then things start to go really peculiar. In ‘Cameo,’ with its weird lyrical storytelling, there's a voice distortion that sounds like Satan? Then on the 11th track, you get a piano ballad opening, and vocals, and a brass section! And after all that, the epic beat drops... Where’s the fan? Let me stand in front of it.
This album now sits at number one on our music charts, but that doesn’t make it the best thing Eminem’s recorded by a long shot. The devil’s answer to the Beastie Boys has now officially returned from retirement, and he’s angry as hell. What's startling about this record isn't the extraordinary amount of words Slim Shady piles into every verse (almost drowning cameos from Pink and Rihanna), but rather how honest he is. Sure, we’ve all heard how much he wants to kill his ex-wife, but not how much he still loves her at the end of the day and how really, he hates himself more. Eminem’s frustration at his apparent addiction to prescription medication, the death of his best friend (Proof from D12) and the perils of trying to re-enter the scene all get adequate airtime here. It’s an abrasive listen - mainly because Eminem always succeeded in cloaking his violent intent with tongue firmly planted in cheek, and that doesn’t appear to be happening anymore. Even when he’s on a mission, Eminem’s lyrical dexterity still wipes the floor with pretty much every other rapper around at the moment (save Li’l Wayne, a fact that he acknowledges about three times as part of his newfound humilty.) The rhythm of the rhymes is mind-boggling, the pace often breakneck and it seems like having seen what ignominy is like, Em is now powering through couplets to get himself back to where he belongs. Not sure if his turn at singing his own choruses works, but clearly even Dr Dre wasn’t going to school his student on this one. He’s still the voice of a generation, but if Recovery is anything to go by, we’ve just hit our quarter-life crisis.
Having refined his skills as an MC with both The Herd and Astronomy Class, Ozi Batla has finally stepped out on his own, offering up his first solo LP Wild Colonial. While some fans may have their preconceptions of Ozi challenged by the wide array of influences on display here, his debut is his most personal and honest work to date - a showcase of one of Australia’s most talented MCs. With Sandro providing masterful production across the whole album, and DJ Bonez popping up on a few tracks to lend a few choice cuts, Wild Colonial is built on a shimmering bed of varying samples that work to create an oddly cohesive sound. While touching on a variety of topics, the album’s driving theme seems to hark back to Australia's convict roots - encapsulated in the lyrics from the title track. “He bade the judge good morning and he told him to beware / That he never robbed a needy man or one who acted square. / But a judge who robbed a mother of her one and only joy, / well surely he’s a worse outlaw than the wild colonial boy.” But my personal highlight of the album doesn’t fit quite into all of that. ‘She’s Gotta Have It’ is a humour-filled track about Ozi being the unwitting victim of a girl’s sexual advances. The opening skit and the airtight rhymes that follow it are as enjoyable as they are funny. While not breaking boundaries or reinventing the wheel, Ozi Batla has delivered a really solid debut. That time spent working with some of Australia's best crews has clearly paid off. Mikey Carr
Artisan Guns are an indie-pop-rock band from New Zealand who apparently record in Dave ‘DA-DA-DA’ Dobbyn’s studio. And much like Dobbyn's unofficial national anthem, the music of Artisan Guns involves a great understanding of classic riffs, and some pretty strange choices. Let me say right now that I’m letting Hearts off the hook, even with the lyrics. And the autotune. “All the pretty stars will go unnoticed here tonight,” sings Matt Hope on 'The End', with an awkward male sincerity and enough autotune and melisma to rival Mariah Carey - were he a couple of octaves higher. The autotune is surprising, seeing as the song starts out in normal indie rock land with a beautiful slow pounding drumbeat, and space for rushing cymbals and almost symphonic build-ups. Autotune does something to my brain, making me disregard the lyrics like I’m listening to overproduced pop - and this definitely isn’t that. When Hope sings, “The sun awakes with instant regret on his face / With only the clouds’ sympathetic embrace / Soon I’ll be gone without a trace,” part of me thinks it’s actually quite poetic. It’s the sincerity and strength of the voice that either makes or breaks the lyrics and the music - depending on how much of a softie you are, I guess. This is a strong six-track EP with shades of Kings of Leon, The Shins and Bright Eyes. Handclaps and tambourines abound, sensitive boys singing charming/naff lyrics about being young and in and out of love... It’s really enjoyable, classic and kind of adorable at times - but at some times confused, and at others contrived.
Amelia Schmidt Jonno Seidler
Amelia Schmidt Kirsty Brown
INDIE ALBUM OF THE WEEK
OFFICE MIXTAPE
BEARHUG
Wondering what the 'experts' listen to? Here's the music that drives The Brag... for this week, anyway.
To Anything EP Spunk Records
Bearhug are supporting Broken Social Scene at their Splendour sideshows, and I’d say that’s a very good match. But beyond the ubiquitous BSS and Pavement comparisons, I’ve been able to find very little in the way of descriptions that do real justice to their sound. Bearhug offer a laid-back vibe, with elements of prog that open up into strong, guitar-based codas; it’s chilled, epic, reverb-y and slapped up at
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the edges with a bit of altcountry. And it’s very hard to classify. This four track EP is their second, after Cartoon Islands in 2009. In this one, the band pulls together some soft, subtle production and quality song-writing. The first track, ‘Firey Stars’ easily morphs into a big extended guitar solo, while ‘Grapefruit’ uses a more angular guitar and faster drum pattern to pick up the pace. ‘In Blue’ is the most Pavement-esque of all the tracks, with its moaning, offkey fuzzy guitar paired with beautiful,
understated melodic vocals. ‘Breadstick’ comes in at the end, and transports us to an almost Explosions In The Skytype epic exploration of sound and distortion, echoing its way deep into your subconscious. This EP is a really great sign of things to come from Sydney's Bearhug, who are already one of the best local bands of their genre - whatever that genre is... A big sound, captured tastefully on a wellproduced EP. To Anything either colours your dreams with its gorgeous slow guitar solos, or makes you long to see them live. Try both. Amelia Schmidt
THE DRONES - Havilah FANFARLO - Reservoir RICHARD IN YOUR MIND - My Volcano
FAITHLESS - The Dance FOUR TET - There Is Love In You
Single Reviews
Vinyl Record Review
By Jacob Stone
BAND OF SKULLS
BIG BOI
SINGLE OF THE WEEK
Shutterbug
Baby Darling Doll Face Honey (Limited edition LP) Shangri-La
This new hip hop track from Big Boi re-establishes the MC and producer as a creative force, both in the studio and on the mic. He’s been reasonably quiet since being overshadowed by Andre 3000’s 'Hey Ya' crossover success but he hasn’t been idle. This is a classic, almost G-Funk era single. The resonant, simple boom-bap beat programming leaves room for busy syncopated vocoder/voice bass, and Big Boi’s complicated rhyming schemes. The arrangement is amazing, mixing thick club, ravey dance and classic funk/hip hop - and he even mentions the Wu-Tang. This pushes all the right (Akai MPC) buttons.
FLIGHT FACILITIES Crave You (Feat. Giselle) This laid-back Aussie house outing has a 90’s cafe feel to it. Percussion and muted drum machines wind a snake through the center of a glowing, reverberant Rhodes organ. Singer Giselle has a weightless tone in a musical souffle - a delicate, spare and deliberate construction. The only thing that really annoys me is the egotism and selfish opulence in the lyrics: “I walk into the room dripping in gold... Why can’t you want me like the other boys do.” It's a Ministry of Sound-style cliche, but she can sing to match this mood and it’s a wonderfully breezy, downtempo tune from the local outfit. Big future for these guys if they can keep doing this... Nice song, too.
MALE BONDING
TIM FITE
Year’s Not Long
We Didn’t Warn You
Philadelphia Grand Jury tell me these guys are the next big thing to come out of the UK, but I guess I don’t quite see it yet. It’s a fresh sound, with a muddle of guitar fuzz and distorted, roomy live drums played in a classic punk feel. Despite the punk trappings of the rhythm section, the melody is power pop, and the singer (despite being obscured by walls of distortion) is a capable ray of indie sunshine. But I just don’t like how buried everything is! This trend of obscuring the mix is a reaction to the hyperclean sound of dance music over the last three years, and it, like everything else, will pass... I’d like something more substantial from this band.
Tim Fite is another crazy dude from Brooklyn, focused on wry performance art and folkrock. The vocal is a spoken word piece, rich with rhyme and rhythm construction. Fite is equal parts humour and cynicism, warning you through rhymes about every bad thing that could possibly happen in your life. “If you stand out in the sun, you’re gonna have cancer when you’re done. I’ve seen it on the evening news... When the fruit is made of wax, it’s hard to tell the fiction from the facts.” Mixing subtle electronics and rock/folk arrangements, Fite keeps himself honest and modern at the same time... If the world has some Tim Fite’s in it, the world is okay by me.
MIDNIGHT JUGGERNAUTS
ANIMAL SHAPES
Lifeblood Flow
Ransacking The Chinese Room
I’m not so sure about this new direction. The pop thing isn’t a bad idea per se - but the lyrics are saccharine, and there’s no guts in the music anymore. The mix of live and digital instrument used to be a thick, aggressive idea that beefed up the basslines and drum parts - but now it all just sounds vague and digital. Vince's vocals, while ideal for a banging disco track, aren't strong enough for straight pop. The melody is nice but unmemorable, the vocal and lyrics are weak, and the arrangement is too convoluted to cut it. This band used to have real balls; that’s why I liked 'em. No balls? C’mon boys...
There’s a distinctly live feel to this Sydney band's recording. They've embraced the rehearsal room aesthetic, and so we get wiry delayed guitar that hangs in the air, and broken rhythm arrangements that sound like Matt Tong, if he listened to The Stone Roses and the Spunk Records roster... There’s a loose, repetitive feel to the structure that also evokes the mathrock of Foals, and a touch of something heavier in the way the guitars start breaking up... Maybe these guys have a secret emo past? The production is not what it could be and there’s a bit too much room - but otherwise... Let me follow-up with the album...
Buying vinyl just makes you feel like a better person. I enjoy the sense of superiority that emanates from a 13” square brown paper bag clutched to my chest; in my mind, I tower over the puny plebs with their flimsy jewel cases in yellow plastic JB Hi-Fi bags. With this absurd self-importance comes a tendency to feel irrationally peeved that so seldom are any concessions made to the format, particularly with new releases. I want to feel rewarded for my desire to reject convenience, to commune with the music, man, to engage in the ritual of plastic sleeve, paper sleeve, slipmat, stylus. I am not the only vinyl fan who feels this way, so it shouldn’t be such a surprise when a band actually releases something that’s not just a 12” replica of the CD. Band of Skulls’ Emma Richardson (bass & vocals) created the distinctive album art – bloody, symmetrical swirls like a Rorschach test on acid - and it’s thoughtfully showcased here on a beautiful glossy gatefold. Further investigation reveals a poster the size of my bed. And it all comes with a high quality .mp3 download, including a bonus .mp3 not included on the CD release: ‘Low To Behold’ is no ‘Fires’, but it’s still another little treat in a package of many. Not only is this a kick-ass album, but it’s also a really nice record. Highly recommended. Caitlin Welsh
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live reviews What we've been to see...
The Red Rattler Saturday June 26 From the word on the street, Melbourne's had Sydney beat for a while now when it comes to packing out cool venues - but the Red Rattler has certainly helped our city get back in the race. The Marrickville warehouse was buzzing last Saturday, and a closeto-capacity crowd enjoyed plush couches, friendly security, the PAN Magazine launch and some Sydney rock n’ roll. It can be tough for a band to get attention when live music isn’t the night’s focus. Tonight, ferocious chatter boomed from the bar and camera flashes blasted away for the social pages, while The Model School conjured their y’alternative sounds. The songs were approachable but didn’t grab me by the neck to make a lasting impression. Although hearing a lyric about God on the phone did make me wonder if He was one of us, or a stranger on the bus… DJs kept the mood high until The Holy Soul took over proceedings, and put on a casual but powerful display of how to get your rock on. On their newest album, I thought The Holy Soul crept close to cliché - but played live these songs felt more faithful to a musical tradition than a formula. They ran and sometimes stumbled through their set of heavy blues and quasi-classic rock, but their unholy rhythm turned every risk into triumph. This band definitely bleeds chemistry and when they hit the last note of ‘That’s All,’ the chatter that had plagued previous bands had transformed into howls of approval. Psychonanny and the Babyshakers also dabbled in risk and triumph tonight. They came bursting out of the gates with a lengthy and raucous version of ‘Ding Dong Dang’s,’ one of the best songs to surface in Sydney this year (and it's even better live). They went on to play the rest of their set with little adherence to live music rules - songs rambled, choruses were skipped, bandmembers cast confused glances at each other, banter was mumbled and they ended with a slow song. But somehow it was the best thing I’ve seen in ages. Mixing nonchalance and rock n’ roll can go horribly wrong, but Psychonanny played with a tension-laced spontaneity that sounded incredible and made me want to see what happened next. All in all, it was a night that would make any city jealous of the thriving Sydney scene. Tyler Broyles
THE VINES, BLUEJUICE, THE JOHN STEEL SINGERS The Annandale Hotel Wednesday June 23
bluejuice It’s been a week-long celebration at The Annandale featuring artists of all kinds from the venue’s past, yet few have as longstanding and special connection with the iconic hotel as The Vines. From the infamous gig over five years ago where band walk-outs and abusive behaviour showed a group in meltdown, to secret gigs under ridiculous guises to mark their comeback, the Annandale has played a strong role in the Vines’ history. While perhaps turbulent, the connection is a strong one, and their appearance to celebrate the venue’s 10th birthday couldn’t be more appropriate. But before they arrive, two of the Annandale’s other past guests grace the stage: Brisbane’s The John Steel Singers, and bluejuice. The John Steel Singers have a difficult crowd to meet at such at early time; although it’s a packed room, standing rigidly with arms crossed seems to be the uniform attire. But the strength of their summery pop – fully equipped with beaming trumpet solos,
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delicate singing and strong psychedelic interludes - proves infectious, slowly breaking the audience. bluejuice arrive and offer a completely different outlook on music - the band are by no means the greatest musicians the country has to offer, but they make up for it easily in their boundless energy, hooks, humour and performance. They rip their shirts off, climb the speakers, run along the bar, crowd surf - even from afar, the electricity is felt. A sing-along to ‘Broken Leg’ proves bluejuice will always be crowd favourites; and deservedly so. The Vines are delayed, but run into their set with a no-fuss attitude. Throughout, Craig Nicholls is polite, thanking the audience between songs, avoiding eye contact, and sipping coca-cola before the band throw themselves into the next track. It’s easy to forget that it’s approaching 10 years since Highly Evolved dropped, but tonight they play with the same confidence and cohesion as their former years – and Nicholls’ voice hasn’t weakened one iota. Of course, there are moments of frustration: new material showcased sounds a little bit samey, and the band (excluding Nicholls) at times look disinterested. But all in all it’s an excellent set list with new tracks and old favourites - and Jake Stone crowd-surfing through closers ‘Get Free’ and ‘Fuck The World’ brings a fucking loud evening to a ridiculously fun end. Alex Young
HOPE SANDOVAL The Enmore Theatre Friday June 25 Dirt Blue Gene play heady, reverbed, psych-country indie. It’s wonderful being enveloped in the soft glow of dueling twin reverb amps, and having the hackles raised with some chilling pedal steel once in a while; DBG happily oblige in both respects. The band’s sound falls somewhere between Meddle-era Pink Floyd and, well, Mazzy Star. The vocals are a let down, though - musicians seem to so often think that because they play so effortlessly, they shouldn’t have to work much on their voices. It’s an attitude that detracts here. I last saw Mick Turner play here with the Dirty Three. That performance flamed and spat, Turner’s guitar acting as the muted, vital catalyst for the relentless argument that continually erupted between Warren Ellis and Jim White. Tonight, he’s accompanied by a reserved bassist and a tactful drummer; much gentler company which frames Turner’s eloquent, wiry fumblings perfectly. He knows an awful lot about making a guitar talk, and half the fun of his music is witnessing how he goes about hiding that skill. Hope Sandoval takes the stage gracefully, a slight silhouette in the near-total darkness. A moment or two of standing, and she impatiently implores her band The Warm Inventions, ‘Will y’all play the song?’ Projections of swirling dancers interlaced with fading showers of sparks faintly illuminate the stage. The wonderful fug established by the first opener and thickened by the second is cut through by Hope & Co., the first few bars bringing everything into a lucid focus. And as she graces us with the first few syllables of that smoky, delicate voice, even the hipsters surrounding me are sufficiently arrested to shut up and listen. The set traverses the smooth and sublime alt-country we’ve come to know her for, with a couple of viscerally textural two-chord jams that leave me completely levelled. It’s a good three or four songs into the set before I locate the source of that quiet flickering sound: it’s issuing from three reel-to-reel projectors next to the sound desk. A dedicated projectionist is cuing loops of aged film to play simultaneously against the stage, fading them in and out of focus by caressing the beams with his bare fingers. This is a classy, tasteful, near-flawless act, the likes of which Sydney is not often lucky enough to see. The audience leaves feeling deliciously dazed, and thoroughly sated. Luke Telford
bluejuice photo by Ashley Marr
PSYCHONANNY AND THE BABYSHAKERS, THE HOLY SOUL, THE MODEL SCHOOL,
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A n n a n d a l e H o t e l S a t u r d a y 1 4 th A u g u s t •
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The Minor Chord The All Ages rant bought to you by Indent.net.au. By Melody Forghani
Tame Impala
Y UTOPIAâ&#x20AC;&#x2122;S 30TH
BIRTHDAY METALFEST FEAT. MORTAL SIN + THE AMENTA + DAYSEND + SWITCHBLADE + KILLRAZER + DARKER HALF + ANNO DOMINI + NORSE + HELLBRINGER & MORE
ou wake up late for school â&#x20AC;&#x201C; man you donâ&#x20AC;&#x2122;t want to go. You ask your mum please but she still says no! You missed two classes and no homework. But your teacher preaches class like youâ&#x20AC;&#x2122;re some kind of jerk. Well, youâ&#x20AC;&#x2122;ve got to fight. For your right, to party. Oh Beastie Boys, curing teen angst circa late â&#x20AC;&#x2DC;80s - but your lyrics couldn't be truer right now. No, donâ&#x20AC;&#x2122;t talk trash about your mum, donâ&#x20AC;&#x2122;t ditch school - and we are not encouraging anything that the song may be talking about when you go back and listen to it; but there is a grey cloud looming over inner city live music, and yes this is your time to fight. A haven for the inner-Sydney indie kid, the Oxford Art Factory has opened their doors for those under the legal drinking age on Saturday afternoons since July 2008 â&#x20AC;&#x201C; decking their halls with the sweet tunes of bands like Tame Impala, Art Vs Science, Cassette Kids, Cut Off Your Hands and The Holidays, to name a few. As well as working with established event and tour promoters to offer up all ages gigs with professional bands, Oxford Art Factory established a series of â&#x20AC;&#x153;Xrayspexâ&#x20AC;? events â&#x20AC;&#x201C; gigs entirely put on by young people. They book the bands, seek sponsorship, host the winners for the annual FBi underage-sets DJ competition, promote the event, and in tune with the Oxford Art Factoryâ&#x20AC;&#x2122;s unique take on live music and live art, invite young visual artists to take hold of the venue's walls on said special afternoons. But hereâ&#x20AC;&#x2122;s the kicker. The Venue is under instruction from the council to not operate before 6pm any more, eliminating these delights in the all ages entertainment calendar. We caught up with venue-operator Mark Gerber, to talk about what this could potentially mean for all ages entertainment. â&#x20AC;&#x153;All ages audiences were always part of my initial concept for the OAF and hopefully well into the future; I canâ&#x20AC;&#x2122;t see how one could do without them. Young people are the future in everything,â&#x20AC;? Mark says. He continues to explain how giving young people the opportunity to go out and see live music and art is beneficial and essential, not only for the young people that these afternoon gigs are aimed at, but for the prospects and progression of the live music industry as a whole. â&#x20AC;&#x153;The benefit (for the venue) is not financial; but more about building for the future.â&#x20AC;?
(USA)
Harry White, an eager young event promoter, has been involved with the Xrayspex events. These events act as training programs, offering real and transferable skills in event management Art vs Science
Cassette Kids
Cut Off Your Hands
and music business, at what he calls â&#x20AC;&#x153;one of Sydneyâ&#x20AC;&#x2122;s coolest venues.â&#x20AC;? For Harry, some of the highlights of being involved with Xrayspex: â&#x20AC;&#x153;Getting the opportunity to bring some of these acts that had only ever played 18+ gigs to embrace this new audience... AJAX did his first ever under 18 gig for us, and we had Tame Impala do an all ages gig amongst a tour of 18+ venues.â&#x20AC;? Harry agrees with Mark on the importance of all ages events in and around Sydney. â&#x20AC;&#x153;Young people are exposed to quality live music, which hopefully fosters an interest in later life â&#x20AC;&#x201C; creating a wider audience for quality music arts and culture in our city. â&#x20AC;&#x153;These events certainly taught me and many others some amazing skills in event management, marketing and publicity,â&#x20AC;? Harry continues. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re very lucky to have this more â&#x20AC;&#x2DC;fringeâ&#x20AC;&#x2122; music scene in Sydney â&#x20AC;&#x201C; it would be a shame for U18s to be excluded.â&#x20AC;? Should the OAF be denied the ability to host gigs before 6pm, there will be a gaping void of all-ages events on Oxford Street. Both Harry and Mark commented on what would result - a prolonged draining effect on the all-ages crowd, and their willingness to engage with live music; â&#x20AC;&#x153;For one, the path for going out to see bands would be so much longer that most kids when they get older just wouldnâ&#x20AC;&#x2122;t bother any moreâ&#x20AC;Ś If there is no support specifically aimed at them, why should they bother?â&#x20AC;? asks Mark. â&#x20AC;&#x153;Putting more financial and logistical constraints on a venue like Oxford Art Factory would only put up even more barriers between young people and quality live music. I feel that the implications of this would be dire on an already troubled Sydney music scene.â&#x20AC;? Harry agrees.
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The Oxford Art Factory understandably canâ&#x20AC;&#x2122;t afford to open its doors to under-agers at night - it needs alcohol spend in order to stay afloat. Hereâ&#x20AC;&#x2122;s a venue that wants to bring the coolest tunes to you guys for all the right reasons - so show your support! Want all ages gigs to continue at the OAF? Fight for your right to party, and head to the OAF support page to join the petition: oxfordartfactory.com/support. Hit up Indent on Facebook to join in what everyone else is saying.
Send pics, listings and any info to minorchords@thebrag.com 34 :: BRAG :: 368 :: 28:06:10
Remedy More than The Cure since 1989 with Murray Engleheart way that month are buffed-up versions of John Lennon/Plastic Ono Band, Imagine and Some Time In New York City - with its live material recorded during a jam between members of The Mothers Of Invention.
SLIPKNOT’S FUTURE?
After the recent death of Slipknot’s bass player Paul Gray, the band’s entire future is up in the air it seems. Guitarist Jim Root told SonisphereFestival.com it would “probably be two years at least” before anything happened with the outfit. The Holy Soul
HOLY SOUL & DAMO SUZUKI
The Holy Soul are such lucky buggers. Not only have they acted as the backing band for former Can man Damo Suzuki and Pere Ubu’s David Thomas, but now there’s tangible proof of these collaborations in the works. One is a live, improvisational album with Suzuki, and Thomas also wants a show with them put on mp3 for his hearpen.com site. Fingers crossed.
DAZED AND CONFUSED COPYRIGHT
There’s long been a moral shitfight about the fact that the big, blues-based rock bands of the late sixties and early seventies made squillions out of appropriating the songs of old blues guys, who made a pittance (if anything at all) back in their day. We seem to recall that Led Zeppelin had a problem like that with the use of ‘You Shook Me’ on their first slab – and now it appears they’ve got another with the very next track on that same record. American folkie type Jake Holmes is taking on the mighty Zep, claiming the epic ‘Dazed and Confused’ is his song and thus his copyright. He played with The Yardbirds in 1967 when Page was of course on guitar, and the rest is history.
JOHN LENNON SIGNATURE BOX SET
We can’t recall which sessions exactly, but John Lennon once called up Cheap Trick’s Rick Nielsen and Bun E Carlos, and asked them to come down to the studio and add some grunt to what he was working on. They did - and in a very big rock kinda way. Lennon apparently loved it but the record company of course hated it. How were they going to market a Lennon slab that sounded closer to AC/DC’s Powerage than Imagine? We told you that story to make you wonder if some of that stuff will, by some act of some God, be part of The John Lennon Signature Box, a deluxe 11 disc box of his eight remastered albums, a disc of rare and previously unreleased recordings, and an EP of unreleased singles that’s due on October 1. It’s the big hitter of a reissue and release program to mark what would have been Lennon’s 70th birthday. Also on the
EX-KISS MANAGER PASSES
Bill Aucoin, Kiss’ manager during their ground-breaking golden years in the seventies, has died. He was 66. According to legend, he paid for the tour for their third album Dressed To Kill with his credit card - but then everything changed. “We didn’t have the money to do a fourth one,” he told Classic Rock’s Malcolm Dome in an unpublished interview. “Neil (Bogert of Casablanca Records) then suggested a live album, as it was alot cheaper. So Alive! came out in 1975, and just exploded. We went from poverty to luxury.” Aucoin saw the power of image and marketing: in 1978, the band made $55 million from merchandise alone.
DELUXE BOSS
Oh dear. The good news is that there’ll finally be a deluxe version of Bruce Springsteen’s Darkness On The Edge Of Town out by Christmas, with a stack of unreleased tracks from the sessions. The bad news is that, like the recently unearthed songs on The Stones’ Exile On Main Street, the old stuff might get a bit of a modern day polish… Why can’t people leave things the fuck alone!
DISCHORD REISSUES
The Dischord label continues its reissue program with the Dag Nasty slab, Can I Say and the complete Boycott Stabb sessions from Government Issue, which will include everything from the original recording session, including out takes.
MORE DEATHS...
And still the death notices come. Founding Kinks bass player Pete Quaife has died, as has Johnny Kidd from The Pirates. The Lynyrd Skynyrd curse rumbles along also - 58 year old backing singer JoJo Billingsley, who was with the band for two years before their 1977 plane crash horror, has also died.
77 BOADRUM DVD
Not sure if we mentioned this or not but we should have. In July 2007, The Boredoms, who have built a solid rep on never doing anything no fun and normal, played in Brooklyn’s Empire Fulton Ferry State Park with seventy-something number of drummers, including Brian Chippendale from Lightning Bolt, to create ‘77 Boadrum’. In September that beat fest event makes it onto
ON THE TURNTABLE On the Remedy turntable is American Slang, the newie by The Gaslight Anthem, who seem determined to set themselves up as the more rock version of Bruce Springsteen. That’s fine, so long as they can keep the hero worship in their lyrics down a touch. Also spinning is The Reigning Sound’s glorious Too Much Guitar and Johnny Thunders and The Heartbreakers’ L.A.M.F, which for us still stands a touch above anything the New York Dolls ever did. So there.
TOUR AND INDUSTRY NEWS Kim Salmon and the Surrealists are at the Annandale on August 7. Thee Wylde Oscars, The Unheard and The Escapes are at the Town and Country Hotel, St Peters on August 7. In August, Shihad will be performing their 1996 Killjoy and 1999 The General Electric slabs in their entirety at two special shows at the Annandale. On August 20 they’ll be doing Killjoy and on August 21 it’s The GE – But that second show is now sold out.
Thee Wylde Oscars
Send stuff for this column to remedy@ozemail.com.au by 6pm Wednesdays. All pics to The Brag please. www.myspace.com/remedy4rock BRAG :: 369:: 05:07:10 :: 35
snap sn ap
hell city glamours
PICS :: TL
up all night out all week . . .
It’s called: Teenage Kicks It sounds like: The Brag presentin g the best indie rock’n’roll of the loud variety.
DJs/live acts playing: Richard In Your Mind DJs, Howling Bells DJs, Johnny Segment, El Mariachi and Sugar Ape. Sell it to us: It’s a right proper guita r-based indie institution that’s a onestop-shop for Teapots, rock n’ roll and Britpop sing-alongs. Those that a beat to a twang, you’ll find Dan prefer cey 16 Tacos, G-Wiz, Nic Yorke and M.I.TBollocks played upstairs by the likes of . The bit we’ll remember in the AM: photos, album launches, giveaway It’ll probably be quite hazy, so for s and drink specials find our page Facebook. on
annandale hotel's 10th birthday week
23:06:10 :: Annandale Hotel :: 17 Paramatta Rd Annandale 95501078
Crowd specs: Loads of indie mofo s Vodka and $12 teapot student drink having a good run at our $4.50 VB/ specials, just show your student the door. card at Wallet damage: Always Free Where: The World Bar / 24 Bays water Rd / Kings Cross (on the side good, not evil...) of When: Every Thursday from 9pm .
pan magazine launch
PICS :: RRU
party profile
teenage kicks
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25:06:10 :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711
operator please 26:06:10
PICS :: RR
26:06:10 :: The Red Rattler :: 6 Faversham St Marrickville 95651101
:: The Metro Theatre :: 624 George St City 92642666
36 :: BRAG :: 369 :: 05:07:10
ASHLEY MAR :: S : TIM LEVY (HEAD HONCHO) ON :: RENEE OUR LOVELY PHOTOGRAPHER IEL MUNNS :: PATRICK STEVENS REW VIDLER DAN :: RING BOW MY JERE :: NA AND :: NEL WES :: ROSETTE ROUHAN LIER COL JAY :: ENZO :: MAJA BASKA RUSHBROOK :: JULIAN DE LOR
BRAG :: 369 :: 05:07:10 :: 37
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trash
PICS :: RR
up all night out all week . . .
26:06:10 :: Agincourt Hotel :: 871 George St City 92814566
trash
24:06:10 :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711
party profile
bird automatic
PICS :: AM
It’s called: Trash 3-year Annivers ary It sounds like: Punk / Rock / Indie mayhem! DJs/live acts playing: Live: Stea ling Gentlemen; plus special guest DJs O’Neal, Tonight Alive, Ladies & Hand of Mercy Sell it to us: come celebrate anot her killer year at Trash, in which we partied with the likes of New Found Glor y, Stor Time Low, Set your Goals, Four Year y of the Year, Taking Back Sunday, All Stro ng and man y more. With that in mind, we figured we’ll make this a party to remember for ya’ll: mosh mate s Han Mercy spinnin’ their fav pop punk and pop mosh tunes from 10 - 11pm d of resident DJ’s Markm and Norman and spinnin’ the best in pop punk, indie party tunes from 9pm till dawn. Dow , rock and n of new, up-and-coming plus old favo on the Trash Basement its our usual mix urites in the metal and hardcore DJs Nick, Luke and Naked Dave genres: spinnin’ the best from 10pm till way late. The bit we’ll remember in the AM: Was it Trash!? Crowd specs: 500 tix, selling fast! Wallet damage: $15 Where: Agincour t Hotel / Cnr Geo rge & Harris St / Central
25:06:10 :: Agincourt Hotel :: 871 George St City 92814566 PICS :: AM
annandale hotel's 10th birthday week
club blink
23:06:10 :: Annandale Hotel :: 17 Paramatta Rd Annandale 95501078 38 :: BRAG :: 369 :: 05:07:10
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When: Saturday July 10
ASHLEY MAR :: S : TIM LEVY (HEAD HONCHO) ENSON :: RENEE OUR LOVELY PHOTOGRAPHER :: DANIEL MUNNS :: PATRICK STEV :: ANDREW VIDLER RING BOW MY JERE :: NA HAN NEL WES :: ROSETTE ROU LIER COL JAY :: KA ENZO :: MAJA BAS RUSHBROOK :: JULIAN DE LOR
BRAG :: 369 :: 05:07:10 :: 39
g g guide gig g send your listings to : gigguide@thebrag.com
pick of the week
9.30pm Troubadour Tuesday Mean Fiddler, Rouse Hill free 6pm
JAZZ
Mace Francis Orchestra, Snafu 505 Club, Surry Hills $8–$10 8.30pm Peter Head Harbour View Hotel, The Rocks free 8pm
ACOUSTIC/FOLK
Tuesday Night Live: Sun Solider, Lovers Jump Creek, If We Had A Boat, Ashlee Carroll Beach Road Hotel, Bondi Beach free 8pm
COUNTRY
SATURDAY JULY 10
Papa vs Pretty
FBi Radio's Sydney Sounds Like: Choose Your Own Adventure
Cloud Control, The Jezabels, The Holidays, Papa vs Pretty, megastick fanfare, Laurenz Pike, Georgia Fair, Halal, How Are You?, Betty Airs, We Are Volcanoes, PVT DJs The Factory Theatre, Enmore $15–$25 12pm MONDAY JULY 5 ROCK & POP
Bernie Segiden The Observer Hotel, The Rocks free 8.30pm Carribean Soul Paddy Maguires, Haymarket free 8.30pm DinkiDiAcoustic: Genevieve Maynard, Lyrebird, Chris Shaw, Graham Healy The Hive Bar, Erskineville free 7pm Fiddler Footy Monday: Remote Nightlife Mean Fiddler, Rouse Hill free 6pm Nicky Kurta Opera Bar, Sydney free 8.30pm Singer Songwriter Night Vic on the Park Hotel, Marrickville $5 8pm Steve Tonge O’Malley’s Hotel, Darlinghurst free 9.30pm The Jam Thing Albion Hotel, Parramatta free 8pm Unherd Open Mic: Derkajam Downstairs, Sandringham Hotel, Newtown free 8pm
JAZZ
Don Rader Sextet 505 Club, Surry Hills $10 8.30pm 40 :: BRAG :: 369: 05:07:10
ACOUSTIC/FOLK
Songsalive!: Daniel Coates, April Sky and guests Kellys On King, Newtown free 7pm Songwriter Sessions Excelsior Hotel, Surry Hills free 7.30pm
COUNTRY
Camden Valley Country Music Club Hope Christian School, Narellan free 7pm
TUESDAY JULY 6 ROCK & POP
Mitchell Anderson Band Downstairs, Sandringham Hotel, Newtown free 7pm Mr Percival Raval, Surry Hills $20 (+ bf) 8pm Rob Henry The Observer Hotel, The Rocks free 8.30pm Secret Society: Lions At Your Door, Cameras, idea idea The Vanguard, Newtown $8 (+ bf)– $10 (at door) 6.30pm Snaketide Manly Fisho’s $10 7.30pm They Call Me Bruce Maloney’s Hotel, Sydney free
Steel City Country Music Club Club Macquarie, Argenton free (member) 7.30pm
WEDNESDAY JULY 7 ROCK & POP
Andy Mammers Novotel Homebush, Homebush Bay free 4.30pm Dave White Duo Maloney’s Hotel, Sydney free 9.30pm Dumbsaint, Pirate, Space Project, Solkyri Excelsior Hotel, Surry Hills 8pm Gemma The Observer Hotel, The Rocks free 8.30pm House Cabaret: I’m Every Woman: Trevor Ashley The Studio, Sydney Opera House $29 (conc)–$59 8pm In Pieces The Orient Hotel, The Rocks free 9pm JP O’Malley’s Hotel, Darlinghurst free 9.30pm Monesque Artichoke Gallery Cafe, Manly free 7.30pm Muso Jam Night Live at the Wall, Leichhardt free 7pm Rick Price Brass Monkey, Cronulla $23.50 (presale) 7pm Sideshow Wednesday: Red Ink, One Jonathon Beach Road Hotel, Bondi Beach free 8pm The Duchesses, Dusker Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm The Soft Pack, Cabins Oxford Art Factory, Darlinghurst $38.60 (presale) 8pm Uni Night Wednesday Mean Fiddler, Rouse Hill free 6pm YourSpace Muso Showcase Town Hall Hotel, Newtown free 7pm
JAZZ
A Tribute to Weather Report: Mysterious Travellers The Basement, Circular Quay $25 (+ bf)–$30 (at door) 9.30pm Darryl Beaton Band Civic Underground, Sydney free 10pm John Redmond Trio The Manhattan Lounge, Sydney free 6.45pm Oximetric 505 Club, Surry Hills $10 8.30pm Peter Head Harbour View Hotel, The Rocks free 8pm Rhys Crimmin, Jessica Cain The View Factory, Newcastle free 7pm Robyn Pinson Trio Canterbury-Hurlstone Park RSL free 9.30pm Skii Harvey, Aaron Lyon, Little Fury The Vanguard, Newtown $15 (+ bf) 6.30pm
Songsalive!: Daniel Coates, Russell Neal and guests Coach & Horses Hotel, Randwick free 7pm Songsalive!: Pave Leclair, Andrew Denniston and guests Harbourview Hotel, the Rocks free 7pm
THURSDAY JULY 8 ROCK & POP
As Chaos Unfolds, Hudson State Live at the Wall, Leichhardt $10 7pm Ash Grunwald Harp Hotel, Wollongong $20 (+ bf) 8pm Backlash Riverwood Sports Club free 8pm Behind Crimson Eyes, Cola Wars Annandale Hotel $12 (+ bf) 8pm Blu FM Band Competition: Glen Hopper & The Cat People, Picture Perfect, The Scary Rabbits Hotel Gearin, Katoomba free 8pm Dave White Duo The Orient Hotel, The Rocks free 9pm G3 Marble Bar, Sydney free 8.30pm Get Rich Woollahra Hotel free 7.45pm Gonin, The Gap Players, Rargo, Capitol Gaelic Theatre, Surry Hills $10 (+ bf) 8pm Hitseekers Bradbury Inn free 8pm Hot Damn!: One Vital Word, Final Fall, Hot Damn DJs Spectrum, Darlinghurst $10–$12 8pm House Cabaret: I’m Every Woman: Trevor Ashley The Studio, Sydney Opera House $29 (conc)–$59 8pm Ian McCrae Big Band, Donnie Sutherland Smithfield RSL free 8pm Jefferson Groove The Tea Gardens Hotel, Bondi Junction free 6pm Jo Vill Windang Bowling Club free 6pm Johnathon Devoy Downstairs, Sandringham Hotel, Newtown free 8pm Joysticks, The Chemist Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Keith Armitage Harbord Beach Hotel free 8pm Lisa Miller, Dog Trumpet Clarendon Guest House, Katoomba $30 8.30pm Mark Lanegan (USA), Amaya Laucirica Metro Theatre, Sydney $54.60 8pm Mick Hanna, Brett Winterford, The Alison Avron Band Raval, Surry Hills $22 (presale) 7.30pm Mr Maps, Founder, Understudy Excelsior Hotel, Surry Hills 8pm Musos Are People Too: TFT, Tantrum Fantasy, Brayke, Buzzkiller, Anthony Ousack
Sandringham Hotel, Newtown $10 8pm Petulant Frenzy The Basement, Circular Quay $22 (+ bf) 9.30pm Residents: Smoke and Silver, DJ Greg P Beach Road Hotel, Bondi Beach free 8pm Rick Price Coogee Diggers $20 (+ bf) 7.30pm Rockabilly Frenzy: Laurie Rix & His Side Kix Cat & Fiddle Hotel, Balmain $10 8pm Ross Ward GJ’s Coffee Lounge, Cronulla Mall free 6.30pm Sam Ferraro Guildford Leagues Club free 10pm Scout TV Live at the Lewisham Webcast, Unit 13, Paradox Park Lewisham Hotel $15 8pm Smith Style Artichoke Gallery Cafe, Manly free 7.30pm Starr Witness The Harp, Tempe $10 8pm Steve Edmonds Band Amber Ale Hotel, Annandale free 7pm The Honeys, Darren & Greg Atkinson, Steve Clark, The Morris Lane Project Brass Monkey, Cronulla $15 (+ bf) 7pm The Smiths Vs The Cure: Matt Ralph, The Creepers, Radio National, The Rapids, Stickyfingers, Joel Sarakula, Chris Byrne, Katy Wren, Sam Newton, Neil Aitken, Greg Cade, Matt Heath The Vanguard, Newtown $15 (+ bf) 6.30pm The Wildes Notes Live, Enmore $18.40 (presale) 7pm White Bros New Brighton Hotel, Manly free 10pm - late
JAZZ
Didi Mudigdo Jazushi, Surry Hills free 7.30pm Jazz Factory The View Factory, Newcastle free 7pm Marsala 505 Club, Surry Hills $10–$15 8.30pm Peter Head Harbour View Hotel, The Rocks free 9pm Smirnoff Singer Competition Piano Room, Potts Point free 7pm
ACOUSTIC & FOLK
Bacon & Cabbage, TeeJay Cock ‘n’ Bull Tavern, Bondi Junction free 9pm Dennis Aubrey’s Songwriters Night @Newtown RSL free 7pm Mark Wilkinson Lizotte’s Restaurant, Lambton $40 (show only)–$99.50 (dinner & show) 7pm Open Mic Nite: Kent Daniels Shenanigans, Maitland free 7pm
ACOUSTIC/FOLK
Carmen Townsend, The Sins, Spooky Land Raval, Surry Hills $12 (+ bf) 8pm Open Mic Fubah on Copa, Copacabana free 7pm
Behind Crimson Eyes
gig guide send your listings to : gigguide@thebrag.com
COUNTRY
Bryen Willems Canterbury-Hurlstone Park RSL free 7pm Travis Collins Rooty Hill RSL Club free 8pm
FRIDAY JULY 9 ROCK & POP
The Soft Pack Songsalive!: April Sky and guests Henry Lawson Club, Werrington County free 7.30pm Songsalive!: Ben Osmo, Andrew Denniston and guests Pittwater RSL, Mona Vale free 7.30pm Songsalive!: Clem Gorman, Taos and guests Red Lion Hotel, Rozelle free Songsalive!: Russell Neal and guests
Pennant Hills Inn free 8pm Winterland: Wil Massey, The Lurkers, Preachers, Charlie Trindall CarriageWorks, Eveleigh free 6pm
HIP HOP
The Last Kinection, Stunna Set, Trindoe, Munkimuk, The Black President Oxford Art Factory, Darlinghurst $15 (presale)–$20 8pm
2 Of Hearts Rocksia Hotel, Arncliffe free 9pm 241 Duo Sydney Rowing Club, Abbotsford free 7.30pm 3 Way Split Woy Woy & District Rugby League Football Club free 8pm Alice Terry Nag’s Head Hotel, Glebe free 8pm Andrew Winton Clarendon Guest House, Katoomba $20 (show only)–$58 (dinner & show) 7pm Arbori Artichoke Gallery Cafe, Manly free 7.30pm Ash Grunwald, Jordie Lane, The Widowbirds Metro Theatre, Sydney $22 (+ bf) 8pm Behind Crimson Eyes, Cola Wars, Rincon, Breaking Orbit Hamilton Station Hotel, Islington 8pm Blaze of Glory Taren Point Bowling Club free 9pm British India Gaelic Theatre, Surry Hills $22 (+ bf)–$25 (at door) 8pm Brown Sugar Marble Bar, Sydney free 9.30pm Chris Connolly Guildford Leagues Club free 10pm Chris Drummond Smithfield RSL free 7pm
TUE 06 JUL
Club Blink: Datura Curse, To The Grave, Sundacy Agincourt Hotel, Ultimo $12 Dan Parsons The World Bar, Kings Cross $10 (guestlist)–$15 8pm Denmarko’s Dog, Thylacine The Harp, Tempe 8pm Domino, Meza Notes Live, Enmore $13.30 (presale) 7pm Eye Of The Enemy Live at the Wall, Leichhardt $12 8pm Front End Loader, Horse Bolted Wickham Park Hotel, Islington free 8pm Guineafowl, Preachers Gallery Bar, Oxford Art Factory, Darlinghurst free 7pm Happy Hippies Celebrity Room, Blacktown RSL Club free 8pm Hit Machine Campbelltown Catholic Club free 9pm Hotel California: A Tribute to The Eagles: Bernie Segedin, Floyd Vincent, Shane Flew, Rex Goh, Nick Meredith, Steve Bull, Lloyd G, Clare O’Meara, Brydon Stace The Basement, Circular Quay $30 (+ bf) 9pm House Cabaret: I’m Every Woman: Trevor Ashley The Studio, Sydney Opera House $29 (conc)–$59 Hue Williams Eastern Suburbs Legion Club, Waverley free 8pm Ian Moss Shoalhaven Entertainment Centre, Nowra $38.50 8pm Ignition, SB Marlborough Hotel, Newtown free 10.30pm In Pieces After Dark Bar, Canterbury-Hurlstone Park RSL free 10pm Infusion, The Dirty Secrets Annandale Hotel $20 (+ bf) 8pm
James The Grey, The Affairs, PJ Wolf The Polo Lounge and Supper Club, Darlinghurst $15 8pm John Paul Young Auditorium, South Sydney Juniors, Kingsford $35 8.30pm Jumari Club Menai free 8.30pm Kevin Borich Coogee Diggers $15 (+ bf)–$18 (at door) 8.30pm Kingfisha Beach Road Hotel, Bondi Beach free 8pm L.U.S.T, The Licks and more, Liquid Sky: Tom Piper, Moonchild, Lights Out!, A-tonez ft Adam Zae, Itchy & Scratchy, Anything Slim, We Can Solve Mysteries, Get Wet Candys Apartment, Kings Cross $10/$15 8pm Liza Ohlback Dee Why RSL Club free 7pm Lonesome Train Lakes Hotel, The Entrance free 8pm Mick Buckley Padstow RSL Club free 7.30pm MUM: Mr Maps, Akestra , Wilfred Jackal, Indigo Rising, Fishing, Upstairs at MUM: The Villainaires, Dan Parsons, Nick Van Breda, DJs: Walkie Talkie, Vivienne Kingswood (Badwives/Bondi FM), Jack Shit (FBi), Sweetie (LAYD/FBi), Lloyd, Sammy K, 10th Avenue, PhiPhiDoesDiDi, Gatsby, Electrorash.com DJs, Skully Boo, La Discoteca, 16 Tacos The World Bar, Kings Cross $10– $15 8pm No Brakes, Grizzly Adams Windsor RSL, South Windsor free 8pm Purple Sneakers: Kid N Bird, Monkey Genius, Heartattack, Alba Varden DJ Set, Retox, Girls Gone Wrong Gladstone Hotel, Chippendale free–$12 7pm
ROCK-STEIN TRIVIA MC - JAKE GRIGG (SOMETHING WIHT NUMMBERS}
FREE ENTRY
THE STUDY ft WED 07 JUL
FREE ENTRY
HAILER + THE PRAYER CIRCLE + KRIS SPENCE
THU 08 JUL
GONIN + GAP PLAYERS + RARGO + CAPITOL
FRI 09 JUL
BRITISH INDIA
SAT 10 JUL
DRAWN FROM BEES + CITY FADES LIGHT + ALBA VARDEN + FRANKIE COMING SOON
FRI 16 JUL
Fbi’s STOLEN RECORDS
THU 22 JUL
SNOWDROPPERS
SAT 24 JUL
SPIT SYNDICATE
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 :: 369 :: 05:07:10 :: 41
gig guide send your listings to : gigguide@thebrag.com Rick Price Lizotte’s Restaurant, Kincumber $95 (dinner & show) 6pm RoadHouse Rockers, Karen Mayfield Ex Services Club Ltd free 8.30pm Solskyr, Satellite @Newtown RSL free 7pm Soul Agents Harbord Beach Hotel free 8pm Steve Edmonds Band Amber Ale Hotel, Annandale free 8pm The Amity Affliction, Misery Signals (USA), Confession, Flood of Red Roundhouse, Kensington $30.80 (+ bf) 6.30pm The Art, Hailer, The Black Paintings Caringbah Bizzo’s 8pm The Beards Sandringham Hotel, Newtown $10 8pm The Great Dividing Range, Rubix Cuba, Tiger Tiger Lansdowne Hotel, Chippendale free 8pm The Honeys, Darren & Greg Atkinson, Steve Clark, The Morris Lane Project The Vanguard, Newtown $25 (+ bf) 7pm The Snowdroppers, Kira Peru, The Wildes, Lanie Lane Brass Monkey, Cronulla $13.30 7pm Tim Rogerstein, Rob Clarkson Excelsior Hotel, Surry Hills 8pm Zoltan Town Hall Hotel, Balmain free 9pm
JAZZ
Bridge City Jazz Band Club Ashfield free 7.30pm Dirty Spaniard, Jack Dawson, Amber Lee The View Factory, Newcastle free 7pm Full Swing Quartet Lane Cove Golf & Country Club, Northwood free 7.30pm Fun & Brass: James Morrison, Sydney Symphony Orchestra Concert Hall, Sydney Opera House $35 (+ bf) 8pm House Cabaret: The Friends Series: Elana Stone The Studio, Sydney Opera House $19 (conc)–$49 8pm Jamie Oehlers 505 Club, Surry Hills $10–$15 8.30pm Kinetic Jazz in the Round Festival: Alex Masso, Ed Rodrigues, Kraig Grady, Terumi Marushima St Luke’s Hall, Enmore $15 (conc)– $20 7.30pm Paul Sun Arthouse Hotel, Sydney free 6pm Pianoman Cruise Restaurant, The Rocks free 10pm Susan Gai Dowling Duo Jazushi, Surry Hills free 7.30pm
ACOUSTIC & FOLK
Adam Roycroft, DJ Black Jade Tavern, Haymarket free 7pm Songsalive!: Clem Gorman, Andrew Denniston and guests Casa di Musica, Enmore free 7.30pm
COUNTRY
Macarthur Country Music Club Wests Campbelltown Tennis Club, Leumeah free 7pm
HIP-HOP
Diafrix, Ozi Batla, Nikkita Oxford Art Factory, Darlinghurst $12 (+ bf) 8pm Dust Tones: Kingfisha, Ali Mc And New Dub City Sound, Mc 1/6 And Dj Voodoo Dred, Frenzie Beach Road Hotel, Bondi free 8pm
SATURDAY JULY 10 ROCK & POP
2days Hits Woy Woy & District Rugby League Football Club free 7pm After Party Band Epping Hotel 10pm Black Diamond Heart Club Marlborough Hotel, Newtown free 10.30pm
Blood, Sweat & Beers: Mid Youth Crisis, Gilgamesh, The Go Set, Fear Like Us, asecretdeath, Identity Theft, Between the Devil & the Deep, Surprise Wasp, Steel City Allstars, Chinese Burns Unit, Lo! Annandale Hotel $30 (+ bf) 3pm Bon Jovi Show Revesby Workers' Club $5–$10 8pm Breaking Orbit, Rincon, Geminine Excelsior Hotel, Surry Hills 8pm Brel: Rick Price Lizotte’s Restaurant, Lambton $35 (show only)–$95 (dinner & show) 7pm British India Cambridge Hotel, Newcastle West $22 (+ bf)–$25 (at door) 8pm Buried Spheres, Ramonk The Harp, Tempe 8pm C.W. Stoneking, Al Duvall (USA) Selina’s, Coogee Bay Hotel $43.10 8pm Chartbusters Campbelltown Catholic Club free 9pm Chickenstones, Mother Truckers, Jarran Zen & the Blind Childrens Orchestra, The Beaut Utes Town & Country Hotel, St Peters $10 7.30pm Club Blink: Tonight Alive Agincourt Hotel, Ultimo $10–$15 9pm Crushed Ice St Marys RSL free 7.30pm Dave White Woolloomooloo Bay Hotel free 4pm Delinquent, The Licks, Second Nation, Eager 13, Eye On You, Delamare Lansdowne Hotel, Chippendale free 8pm Dragon Moorebank Sports Club, Hammondville free 8pm Drawn From Bees Gaelic Theatre, Surry Hills 8pm Driving The Rhino, H Train, Kohji, Brown Esky, Hong Kong Manly Fisho’s $10 8pm Gilbert Whyte Artichoke Gallery Cafe, Manly free 7.30pm Glenn Shorrock State Theatre, Sydney $85 8pm Hit Machine Tea Gardens Hotel, Hawks Nest free 7pm Hotel California - A Salute to The Eagles Civic Theatre, Civic Precinct Newcastle $58 (conc)–$68 8pm House Cabaret: I’m Every Woman: Trevor Ashley The Studio, Sydney Opera House $29 (conc)–$59 8pm HR King Brass Monkey, Cronulla $13.30 (presale) 7pm Ian Moss Notes Live, Enmore $39.80 7pm Jim Jeffries Sydney Comedy Store, Moore Park $30 8.30pm Joe Casali Guildford Leagues Club free 10pm Late Night Lounge The Studio, Sydney Opera House $30 10pm Lies & Destruction: Guns & Roses Show Oatley Hotel Free 8pm Liz Stringer, Van Walker The View Factory, Newcastle free 7pm Lonnie Lee & the Leemen Dural Country Club $20 8.30pm May-December The Vault 146, Windsor free 7pm McCauley’s Raiders Smithfield RSL free 8pm Metal For The Masses: Mortal Sin, The Amenta, Daysend, Switchblade Manning Bar, Sydney University, Camperdown 4pm Mick Buckley Terrey Hills Tavern free 8.30pm Midnight Shift, Grizzly Adams Ashfield RSL Club free 8.30pm Midnyt Sun After Dark Bar, Canterbury-Hurlstone Park RSL free 10pm Mr Maps Lass O’Gowrie Hotel, Wickham 8pm New Life Duo Arncliffe Scots Sports & Social Club free 7pm Pete The Belvedere Hotel, Sydney free 8pm Pop Fiction Penrith Panthers free 9.30pm
The Model School
Radio City Cats Marble Bar, Sydney free 10.30pm Rob Henry Duo Harbord Beach Hotel free 8pm Royale Nag’s Head Hotel, Glebe free 8pm Rozelle Markets: John Mackie, Simon Kinny-Lewis Rozelle School free 12pm Salute to Paul Rodgers, Free and Bad Company: Spencer Jones, Dave Leslie, Dario Bortolin, Lachlan Doley, Mick Skeleton The Vanguard, Newtown $22 8pm SFX: Stealing O’neal, Tonight Alive, Ladies & Gentlemen Space, Sydney $15 Shade Of Red Brighton RSL Club, Brighton-LeSands free 8pm Sky Bar Watershed Hotel, Darling Harbour free 9.30pm Steve Edmonds Band New Orana Hotel, Blacksmiths free 8pm Stormcellar Bald Rock Hotel, Rozelle free 8pm Sydney Sounds Like - Choose Your Own Adventure: Cloud Control, The Jezabels, The Holidays, Laurenz Pike, Georgia Fair, PVT DJs, Papa Vs Pretty, megastick fanfare, Betty Airs, Halal, How Are You?, Halal, How Are You?, We Are Volcanoes The Factory Theatre, Enmore $15– $25 12pm The Butterfly Effect, Calling All Cars Newcastle Panthers, Newcastle West $33 (+ bf)–$38 (at door) 8pm The Frocks Guildford Leagues Club free 8.30pm The Honeys, Darren & Greg Atkinson, Steve Clark, The Morris Lane Project Heritage Hotel, Bulli $25 (+ bf) 7pm The Kamis, Dirty Deeds AC/DC Show Celebrity Room, Blacktown RSL Club free 10pm The Model School, Ya-Aha Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm The Wildes Heritage Hotel, Bulli 6pm The Young Heretics Spectrum, Darlinghurst $12 (+ bf) 8pm Turn It Up: No Pressure, True Love Chaos, Neon Heart Umina PCYC, Umina Beach $10 6.30pm Turn Page, The Sculptures, The Wire Fitzroy Hotel, Windsor free 8pm Two Minds Regents Park Sporting & Community Club free 7.30pm Wickham Park Hotel Rockabilly Festival: Danny & the Cosmic Tremors, Leah & the Atomic Boys, Twilight Rhythm Boys, The Ezra Lee Show, Scott Baker, Pat Capocci Wickham Park Hotel, Islington free 3pm Wild on Woodstock: Phil Emmanuel Shellharbour Workers’ Club $23 (member)–$25 7.30pm
Wilde End, Sundacy, Nomads of Noise Hornsby Inn free 9pm Winterland: Voices from the Vacant Lot, Another Roadside Attraction Choir CarriageWorks, Eveleigh free 1pm Winterland: Feral Media Showcase: Vorad Fils, Gentleforce, Afxjim, Textile Audio, Underlapper CarriageWorks, Eveleigh free 6pm
JAZZ Anna Salleh and Marcello Maio on piano Berkelouw Winebar, Leichhardt free 7.45pm Fun & Brass: James Morrison, Sydney Symphony Orchestra Concert Hall, Sydney Opera House $35 (+ bf) 8pm Geoff Davies Heathcote Hotel free 8pm Ice Blue - BBQ Blues and Brews: Cass Eager & the Sirens, Ray Beadle, Andrew Winton, Jim Conway’s Big Wheel, Chase The Sun, Bondi Cigars, Phil Manning, Continental Robert’s Blues & Boogaloo Party, Don Hopkins Burwood Park $20 (dinner & show) 12pm James Valentine Quartet Clarendon Guest House, Katoomba $73 (dinner & show) 7pm Jamie Oehlers 505 Club, Surry Hills $10–$15 8.30pm Kinetic Jazz in the Round Festival: Susan Gai Dowling, Alister Spence, Paul Cutlan, Abel Cross, Phil Slater St Luke’s Hall, Enmore $15 (conc)– $20 7.30pm Phil Davidson Sydney Rowing Club, Abbotsford free 3pm Soul Deep, DJ Nick The Tea Gardens Hotel, Bondi Junction free 7pm The Entrance Winter Blues & Jazz Festival: Kevin Borich, Galapagos Duck Memorial Park, The Entrance free 10am Tice & Evans, Kaki Downstairs, Sandringham Hotel, Newtown free 4pm
ACOUSTIC & FOLK
Mark Wilkinson Lizotte’s Restaurant, Kincumber $110 (dinner & show) 7pm Nicole Keipert Fubah on Copa, Copacabana $6.50 8pm Songsalive!: Andrew Denniston and guests Grumpy’s Inn, Hurlstone Park free 8pm
COUNTRY
Lonesome Train, The Johnny Cash Show Bankstown Sports Club free 8pm
SUNDAY JULY 11 ROCK & POP
2days Hits Harbord Beach Hotel free 6pm Ash Grunwald Mean Fiddler, Rouse Hill $18 (+ bf) 7.30pm Blues Sunday Artichoke Gallery Cafe, Manly 7.30pm Boys Like Girls (USA), Hot Chelle Rae Roundhouse, Kensington $54 (+ bf) 7pm Drive: Peter Northcote Bridge Hotel, Rozelle $10 3.30pm Galleri The View Factory, Newcastle free 7pm Glenn Whitehouse Oatley Hotel free 1pm Helpful Kitchen Gods, The Cleanskins, The Thing Os, Ned Alphabet, Dr Delites Gladstone Hotel, Chippendale free 5pm House Cabaret: I’m Every Woman: Trevor Ashley The Studio, Sydney Opera House $29 (conc)–$59 8pm Hunter & Suzy Owen Band Marrickville Bowling and Recreation Club 8pm Jack Derwin The Vault 146, Windsor free 1pm Joyce Collins The Belvedere Hotel, Sydney free 5pm Marisa Mars Sandringham Hotel, Newtown 7pm Mick Aquilina Smithfield RSL free 6.30pm Midnight Shift Windsor RSL, South Windsor free 8pm Mullane Sisters, David Bond Smithfield RSL free 2.30pm No Breaks Matraville RSL Club free 8pm Randy Hurstville RSL Memorial Club 2pm Rick Price Heritage Hotel, Bulli $20 4pm Rockin the Kasbah The Gaff, Darlinghurst free 5pm Rozelle Markets: Andrew Russell, Fernando Rozelle School free 10am Songwriters Live Paddy Maguires, Haymarket free 6.30pm Steve Edmonds Balgownie Hotel free 4.30pm The Belles, Ruby Delight Raval, Surry Hills $24 (presale) 7.30pm The Butterfly Effect, Calling All Cars Mona Vale Hotel $33 (+ bf)–$38 (at door) 8pm The Honeys, Darren & Greg Atkinson, Steve Clark, Sascha Klave, The Morris Lane Project Coogee Diggers 8pm
“I’m never gonna dance again. Guilty feet have got no rhythm” - GEORGE MICHAEL 42 :: BRAG :: 369: 05:07:10
gig picks
gig guide send your listings to : gigguide@thebrag.com The Maple Trail, Underwater Birds, Cryin’ Skies, Wade Jackson The Vanguard, Newtown $10 (+ bf) 6.30pm The Wildes, Jeremy Edwards & the Dust Radio Band Clarendon Guest House, Katoomba $15 (show only)– $53 (dinner & show) 6pm Veora, Alex Anonymous Live at the Wall, Leichhardt $10 7pm Wildcatz Trio Woolloomooloo Bay Hotel free 3pm Zoltan Penrith Panthers free 4pm
JAZZ
up all night out all week...
Don Hopkins Dee Why RSL, Scores Bar free 6pm Feral Swing Katz Rocksalt, Menai free 12pm Hip Sister Sydney Rowing Club, Abbotsford free 3pm House Cabaret: Speakeasy Sundays: Dick & Christa Hughes The Studio, Sydney Opera House $19 (conc)–$49 8pm Kinetic Jazz in the Round Festival: Gai Bryant Quintet, Mike Majkowski, Chris Abrahams, James Waples St Luke’s Hall, Enmore $15
(conc)–$20 7.30pm Nic Jeffries Woollahra Hotel free 6.30pm Paul Sun Bradfield Park, Milsons Point free 11.30am The Entrance Winter Blues & Jazz Festival: Kevin Borich, Galapagos Duck Memorial Park, The Entrance free 10am The House of Blues: Matt Black & the Phat Cats Town Hall Hotel, Newtown free 6pm Yuki Kumagai, John Mackie, Richard Booth, Laurie Bennett The Entrance Winter Blues & Jazz Festival, The Entrance free 6pm
The Amity Affliction
ACOUSTIC & FOLK
Bacon & Cabbage, Mark Oats, Dan Lissing Cock ‘n’ Bull Tavern, Bondi Junction free 5pm Kelly’s Heroes P.J. O’Brien’s, Sydney free 7pm Nothing Sacred Fubah on Copa, Copacabana $6.50 2pm
COUNTRY The Maple Trail photo by WILK (wilk.com.au)
Charlie Landsborough (Ireland) Shoalhaven Entertainment Centre, Nowra $49 3pm Greater Southern Country Music Association Bomaderry RSL free (member) 1pm Northern Beaches Country Music Club Balgowlah RSL Club, Seaforth free (member) 1pm The Hoo Haas Downstairs, Sandringham Hotel, Newtown free 4pm
TUESDAY JULY 6
Secret Society: Lions At Your Door, Cameras, idea idea The Vanguard, Newtown $8 (+ bf)–$10 (at door) 6.30pm
WEDNESDAY JULY 7
SUNDAY JULY 11
The Maple Trail, Underwater Birds, Cryin’ Skies, Wade Jackson The Vanguard, Newtown $10 (+ bf) 6.30pm The Maple Trail
House Cabaret: I’m Every Woman: Trevor Ashley The Studio, Sydney Opera House $29 (conc)–$59 8pm The Soft Pack, Cabins Oxford Art Factory, Darlinghurst $38.60 (presale) 8pm
THURSDAY JULY 8
Joysticks, The Chemist Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Mark Lanegan (USA), Amaya Laucirica Metro Theatre, Sydney $54.60 8pm
FRIDAY JULY 9
Ash Grunwald, Jordie Lane, The Widowbirds Metro Theatre, Sydney $22 (+ bf) 8pm The Amity Affliction, Misery Signals (USA), Confession, Flood of Red Roundhouse, Kensington $30.80 (+ bf) 6.30pm The Friends Series: Elana Stone The Studio, Sydney Opera House $19 (conc)–$49 8pm Diafrix, Ozi Batla, Nikkita Oxford Art Factory $12 (+ bf) 8pm
SATURDAY JULY 10
Winterland: Feral Media Showcase: Vorad Fils, Gentle Force, Afxjim, Textile Audio, Underlapper CarriageWorks, Eveleigh free 6pm
wed
07 July
(9:15PM - 12:15AM)
thu
08 July
(9:15PM - 12:15AM)
fri
09 July (9:15PM - 1:00AM)
(5:00PM - 8:00PM)
SUNDAY AFTERNOON
SATURDAY AFTERNOON
sat
10 July
sun
SATURDAY NIGHT
(9:00PM - 12:00AM)
11 July
SUNDAY NIGHT
(8:30PM - 12:00AM)
BRAG :: 369 :: 05:07:10 :: 43
club guide send your listings to : clubguide@thebrag.com
club pick of the week Kid Kenobi
MONDAY JULY 5
NERO
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
TUESDAY JULY 6 Xxx
FRIDAY JULY 9
Oxford Art Factory, Darlinghurst
FBi Radio’s Sydney Sounds Like: Cuddle Puddle Kid Kenobi, Mark Pritchard, Kato, Anna Lunoe, Ro Sham Bo DJs, Hoops, Toni Toni Lee, Dizzi, Simon Caldwell, James Taylor, Ben Morris, Monkfly, Garage Pressure, Stolen Records, Andrew Maxam, James McIness, Boonie, 16 Tacos, Wedding Ring Fingers, Generic DJs From 11.30pm $8 FBi supporters / $10 others 44 :: BRAG :: 369 :: 05:07:10
Cruise Bar, Circular Quay DCE Salsa Lessons $20 Establishment, Sydney Rumba Motel DJs Willie Sabor and Guests free Martin Place Bar, Sydney Louis M, Sammy free Oatley Hotel Suburban Alternative DJ Mini Mullet 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 Daigo, M.I.T and Shipwreck free
WEDNESDAY JULY 7 Bank Hotel, Newtown Girl’s 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 $5 VIP/$10 door Gasworks Nightclub, Albion Hotel, Parramatta DJ Fresh free Goldfish, Kings Cross The Salsa Lounge Latin Mafia Sound System free Scary Canary, Sydney Wet Wednesdays DJ Lews Lewi, Ahshit, Ryzie-Ry, Down & Out free Sly Fox, Enmore Queer Central Sveta, DJ Beth, DJ Bel free The Argyle Hotel, Rocks Danny De Sousa, Liam Sampras 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 World Bar, Kings Cross The Wall/SUGD free
THURSDAY JULY 8 202 Broadway, Chippendale Basic Foreign Dub, Headroom, Space is the Place, Void free Ching-a-lings, Darlinghurst D & D’s Beat Kitchen Dave Fernandes, Dean Dixon 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 free Martin Place Bar, Martin Place Thursday’s at MPB Louis M free Oxford Art Factory, Darlinghurst The Last Kinection, Stunna Set, Trindoe, Munkimuk, The Black President $15 (presale)–$20 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 World Bar, Kings Cross Teenage Kicks Howling Bells DJs, Richard In Your Mind DJs, Johnny Segment, El Mariachi free
FRIDAY JULY 9 ARQ Nightclub, Darlinghurst United Colours of Trance Scott Richardson, Ruby, Pato De Gomah, Sasha Vatoff, Scott Anderson $15–$20 Brighton Bar, Darlinghurst Twist & Shout Milli Von Ill, Twist & Shout DJs $6 Bungalow 8, Darling Harbour Bungalow Nights free Candy’s Apartment, Kings Cross Liquid Sky Tom Piper, Moonchild, Lights Out!, A-tonez ft Adam Zae, Itchy & Scratchy, Anything Slim, We Can Solve Mysteries, Get Wet CarriageWorks, Eveleigh Winterland Arithmatix free Chinese Laundry, Sydney NERO (UK), Doctor Werewolf, Glove
cats, Slice, Mindgutter, A-Tonez $15 all night Civic Hotel, Sydney Chemistry Ant J Steep, Trinity, Matt Aubusson, Jordan Deck, Nick Belshaw $15 door Civic Undergound, Sydney Plus One Fridays Murat Kilic, Robbie Lowe, Trinity, Dave Stuart, Jamie Mattimore, Sam Watkins, Alex Caminer, Daniel Lupica $10 before midnight, $15 after 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 Gladstone Hotel, Chippendale Purple Sneakers Kid N Bird, Monkey Genius, Heartattack, Alba Varden DJ Set, Retox, Girls Gone Wrong $12.00 Goldfish, Kings Cross Sugar & Soul Phil Hudson, Paul Hatz, Agey, Danny De Sousa, Matt Cahill, Tom Kelly free Home The Venue, Darling Harbour Trance Nation Vol. 2 TyDi, Marlo Peewee, Scotty G, Big Dan, Arbor, Dover, Haze, Team Rocket, RaversMVP, JTS, DJmon, Zander, Monk3y, Kinetix, Vekta and Fazed $20-$25 Home The Venue, Darling Harbour Delicious Flite, IKO, DJ Seiz, Uncle Abe ` Kinselas, Taylor Square Toby Wilson free Kit & Kaboodle, Darlinghurst Falcona Fridays Falcona DJs plus The Gameboys $10 Ladylux, Kings Cross Make or Break James Taylor, Aaron Robins, Lamba, Kid Crooks, Detnum, 8Ball $15 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 Miss Snow Bunny 2010 feat.DJ Smokin Joe Mekhael & Tony Why free Omega Lounge, Sydney Unwind Greg Summerfield, Matt Brunton free Oxford Art Factory, Darlinghurst Diafrix, Ozi Batla, Nikkita from 8pm $14.80 (presale) Oxford Art Factory, Darlinghurst FBi Radio’s Sydney Sounds Like Cuddle Puddle: Kid Kenobi, Mark Pritchard, Kato, Anna Lunoe, Ro Sham Bo DJs, Hoops, Toni Toni Lee (live), Dizzi (live), Simon Caldwell, James Taylor, Ben Morris, Monkfly,
7
SIDESHOW WEDNESDAY
ONE JONATHON (EP LAUNCH)
8
LOCAL SWELL THURSDAYS
9
FRIDAYS
SMOKE AND
SILVER
KINGFISHA ALI MC & NEW DUB CITY SOUND +
8PM / ACOUSTIC + FOLK
SUN SOLIDER / LOVERS JUMP CREEK / IF WE HAD A BOAT / ASHLEE CARROLL
8PM / INDIE ROCK
202 Broadway, Chippendale Jamrock Nick Toth, Joe (USA), Lukie D, Shotta Paul, Admiral Kilosh $15 Agincourt Hotel, Ultimo Trash DJ M!Veg, DJ Absynth $12 BB’s, Bondi Beach Wildlife DJs Mesan, James Roberts, Adriano Giorgi, Dinseh Sundar, Matt Singmin, Chris Kyle free Burdekin Hotel, Darlinghurst Shake That Monkey RIP, Kemik, Kate Doherty, G-Mo, Typhonic $5-$10 Candy’s Apartment, Kings Cross Disco! Disco! Vengeance, The Hump Day Project, Whitecat, FNGRLCKN, Heroes Of The Party, JPL, Sexwax $15 – $25 Carmen’s Nightclub, Miranda The Aston Shuffle, Dux Guts, Paysee free–$15 Chinese Laundry, Sydney Harvard Bass (USA), Anna Lunoe, Jeff Drake, Chris Fraser, Samrai, Steve Lind, Club Junque, Matttt, King Lee, Naany, Paul Moritz, hosted by MC Adam Zae $20 Civic Underground, Sydney Adult Disco Flight Facilities, Graz, Future Classic DJs $10–$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 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 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 Haymarket Hotel, Sydney The Market Kai, Willtown, Beef, Rosso, Mr Victorious free Home the Venue, Sydney Homemade Saturdays The
6
8PM / FOLK + BLUES + POP
SATURDAY JULY 10
808s, Aladdin Royaal, James “Saxman” Spy, Matt ferreria, Hannah Gibbs, Tony Venuto, Dave Austin, Flite, LKO, Seiz, Uncle Abe $20 VIP/$25 door Ivy, Sydney Pure Ivy Jay Sebag, Tass, Liam Sampras, Robbie Santiago, Beth Yen $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 Metro Theatre, Sydney Godspeed Neophyte, Tommyknocker (Italy), The Beholder, Toneshifters, S Dee, Bio Weapon, Nik Fish, Weaver, Suae $49 (1st release)–$65 (+ bf) Opera Bar, Circular Quay Krishna Jones free Oxford Art Factory, Darlinghurst Tuff Em Up Nadisko, Smacktown, Why Not!, DJ Obey, RA, Gus Lakeview $20 (at door) Q Bar, Darlinghurst Ghetto Disco Bag Raiders, Hey Now, Murray Lake, Frames, Hoodlmz, Downkick, Jamie Von Parrty, Omz Lay, Alpine Circuit $15 Sandringham Hotel, Newtown Freshly Squeezed Class A, Nikita, Gabi, Daily Meds, Tuka, Luke Presto $10 Shelbourne Hotel, Sydney Shipwreck, Daniel Nall, Leon Pirello $10 after 10pm Space Nightclub, Sydney SFX DJs Bzurk, Absynth, Snowflake $10 Spectrum, Darlinghurst P*A*S*H Goldfoot, DJ Knife $7 Stonewall Hotel, Darlinghurst Greg Boladian, Nick J free The Argyle Hotel, Rocks MarcUs, Dante, Phil Hudson, Mark Mathews on Sax free The Bank Nightclub, Kings Cross Sin City Don Juan, DJ Willie, Mista Kay, MC Q-Bizzi The Basement, Circular Quay Flava in Your Ear - A Tribute to Bad Boy Entertainment Mike Champion, Miss Bernie Love, The Harlem Knights, Shorty $30 (+ bf) 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
8PM / HIP HOP
Garage Pressure, Stolen Records, Andrew Maxam, James McIness, Boonie, 16 Tacos, Wedding Ring Fingers, Generic DJs from 11.30pm $8 FBi supporters / $10 others Phoenix Bar, Darlinghurst Index Instra:mental, Mark Pritchard, Victim, Ritual, Alf, Zerodub $10 Q Bar, Darlinghurst Sosueme Aplonea, Burning Brooklyn, Underlights, The New Pagans, DJ Hansom, Devola, Chode, Alison Wonderland, Max Smart, Mike Who $10 Raval, Surry Hills Listen Hear Huwston, Micah, James De La Cruz, Chris Coucouvinis free Sapphire Lounge, Kings Cross Sapphire Fridays Parrish Wintersmith (Former Groove Junkies) Phil Hudson, Kate Monroe, Phil Toke, Dave 54, The Soul Junkies, G.I Jode $20 Sly Fox, Enmore Sly Fridays free Soda Bar, Golden Sheaf, Double Bay Mike Who, Mr Glass, Brynstar free 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 Blank Canvas The Francis Inferno Orchestra, Carlos Zarate, George Hall, Robbie Piper $10 The Argyle Hotel, Rocks John Devechis, Kate Monroe free The Lincoln, Kings Cross The Scene Charlie Brown, Samari The Loft, King Street Wharf Late at The Loft free The Rouge, Kings Cross Kiss n Tell Jack Bailey, Radio Crash, the Hump Day Project, Ajax, Joel Granger free on guestlist before 11pm The Roxy Hotel, Parramatta Roxy Fridays $10, free for members The Sugarmill, Kings Cross The Gameboys, Calling In Sick, Joyride $10 after 10pm Tonic Lounge, Kings Cross Tonic Fridays $15 World Bar, Kings Cross MUM Walkie Talkie, Vivienne Kingswood (BadWives/ Bondi FM), Jack Shit (FBi), Sweetie (LAYD/FBi), Lloyd, Sammy K, 10th Avenue, PhiPhiDoesDiDi, Gatsby, Electrorash.com DJs, Skully Boo, La Discoteca, 16 Tacos and special guests $10
MN>L=:R GB@AM EBO>
MC 1/6 & DJ VOODOO DRED + FRENZIE
10 DJ MICKEY MORPHINGAZ 11 SATU RDAY
N I G HT
Bagraiders
8PM / PARTY
send your listings to : clubguide@thebrag.com
6PM / FUNK & SAMBA
club guide
COMING UP IN THE REX...
INFUSION 14/7 THE TONGUE 16/7 LOST VALENTINOS 21/7 OZI BATLA 23/7 THE JOY FORMIDABLE + THE TEMPER TRAP DJ’S 28/7
BRAG :: 369 :: 05:07:10 :: 45
club guide
Deep Impressions
clubguide@thebrag.com 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, Chris Fraser, Tim McGee, Neon Stereo, Digital Damage $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 Tan Cracker’s Soul Club $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! Shivers, James Taylor, Rob Kay, Levins, Ember, Kerry Wallace, Husky, Foundation, Mehow, Harry Cotton, Yogi, The Jackal, Shamozzle, Gabriel Clouston $15 before 10pm, $20 after
Underground Dance and Electronica with Chris Honnery
SUNDAY JULY 11 CBD Hotel, Newcastle Harvard Bass (USA) 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 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 Hotel Chambers, Sydney La Chambre Rouge X-Tof, DJ XL, Trey, Twinz $20 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 Phoenix Bar, Exchange Hotel, Darlinghurst Loose Ends DJ Matt Vaughan & Seymour Butz, Mark Murphy, Stephen Allkins, Avra-
Cybele, Ben Drayton, Sveta, The Loin Brothers free entry from 10pm Sapphire Suite, Kings Cross Random Sundays Mike Rukus, Tom Piper, James Taylor, Matt Nukewood, Goodfella, Adam Lance, RobKAY free (guestlist)–$15 The Argyle Hotel, Rocks Charley Bo Funk, MarcUs free The Bank Nightclub, Kings Cross Soul On Sunday Nino Brown, Don Juan free The Beresford Hotel, Surry Hills B Side free The Bunker Bar, Kings Cross Marco Resmann free The Rouge, Kings Cross Cheap Thrill$ Peeping Tom, Matt Nukewood, J Smoove, Josh Flanagan free The Roxy, Parramatta Sunday Social $10, free for members The Sugarmill, Kings Cross Neighbourhood Kate Munroe free The Tea Gardens Hotel, Bondi Junction DJ Guiseppe, Gary Honor 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...
THURSDAY JULY 8
LOOKING DEEPER FRIDAY JULY 9
Chemistry Feat. Ant Steep The Civic Underground
FRIDAY JULY 16 Loose Kaboose The Civic Underground\
SATURDAY JULY 17 Alexkid Plantation
SATURDAY OCTOBER 23 Michael Mayer
This Week’s Episode: Saucer Eyed Thieves
B
-b-big news in Kompakt land this week. [Cue a chorus of trumpets, bugles and alpenhorns atop a stripped-back 4/4 microhouse beat] The seminal Cologne-based record label will release Total 11, the latest instalment in their annual compilation series, in late August. The unmixed double-CD collection features contributions from most of the Kompakt ‘big guns’, including co-founders Michael Mayer, Wolfgang Voigt and Jurgen Paape alongside cuts from Ada, Heiko Voss, DJ Koze, Matias Aguayo, The Field, Justus Kohncke, Gui Boratto and Jorg ‘The Modernist’ Burger. In terms of notable new additions to the bourgeoning Kompakt family, English-based duo Walls, comprised of Sam Willis and Alessio Natalizia, are represented with an Allez Allez remix of ‘Hang Four’, while ‘You’ll Win Again’ marks the debut outing for the aptly named The Three Lions – the collaborative trio of Rebolledo, Superpitcher and Jorg Burger. An essential purchase then? You’d better believe it, maestro! Revered local institution Loose Kaboose returns to the proverbial fray on Friday July 16 with a bash at The Civic Underground. Founder DJ Trinity continues to persist with the proven formula of using the night as a platform to push quality local DJs, with Pinksilver’s MarkoJux and Jamie Stevens of Infusion fame on headline duties ahead of residents Claire Morgan, Jay Smalls and Trinity herself. Stevens’ DJ pedigree is sometimes overlooked by those only familiar with his work as part of Infusion, but the fact is he is also a top-drawer producer and DJ in his own right - having remixed renowned acts such as Booka Shade, John Digweed and fellow Aussie Deepchild. Doors will open at 10pm, with $10 entry for those who email organisers their names for the guestlist. While online, check out the Loose Kaboose flier for this party – it has a badass cat on it sporting a pair of saucer eyes that will outdo any of the dilated pupils found on the dancefloor at 6am.
Oxford Art Factory, Darlinghurst The Last Kinection, Stunna Set, Trindoe, Munkimuk, The Black President $15 (presale)–$20
FRIDAY JULY 9 Chinese Laundry, Sydney NERO (UK), Doctor Werewolf, Glove cats, Slice, Mindgutter, A-Tonez $15 all night Phoenix Bar, Darlinghurst Index Instra:mental, Mark Pritchard, Victim, Ritual, Alf, Zerodub $10
SATURDAY JULY 10
The German brothers Ali and Basti Schwarz, collectively known as Tiefschwarz – ‘deep black’ for
Civic Underground, Sydney Adult Disco Flight Facilities, Graz, Future Classic DJs $10–$20
Circo Loco Greenwood
all you linguists – recently released their third LP Chocolate, their first in five years. The album features guest spots from Seth Troxler, Dave Aju, Daniel Wilde and Cassy, and I also highly recommend the Jamie Jones remix to the Troxler collaboration ‘Trust’ (not included on the album) which has worked wonders on the dancefloor all year. One track that is on the album, ‘Home’, is a total curveball, and dare I say anomaly; it’s a song that projects patent pop pretensions that are built upon Daniel Wilde’s crooning vocals and certainly takes some getting used to. I must confess the first time I heard ‘Home’ I had one of those ‘what the hell is this?’ moments, but it certainly has something about it… Whether the brothers intend to experiment further with mid-tempo synthetic house sounds will be unveiled when they release the follow up record, More Chocolate, later this month. (So soon I know, but when it rains it pours right?) Finally in this week’s techno ‘police beat’, M_nus main man Richie Hawtin was the victim of a theft while playing in Paris last week. The techno icon was staying at Hotel Costes during his Plastikman tour when someone broke into his room and made off with an array of expensive hardware necessary for his live performances. Hawtin offered a reward via his Facebook page, writing, “I am asking everyone to keep their ears and eyes open for any information about these very important and personal items. I’m offering a 2500 € reward for any information that leads to the return of the equipment. Please email me at x@m-nus.com. If found/returned I will not prosecute anyone involved as I would just like to have my equipment returned.” If nothing else you now have Richie’s email address, so I say make the most of this and bombard him with your ‘criminally underappreciated’ demos. You never know, your ‘minimal’ Ableton masterpieces may be the next thing released on M_nus (not bloody likely!).
Ivy, Sydney Pure Ivy Jay Sebag, Tass, Liam Sampras, Robbie Santiago, Beth Yen $20 Metro Theatre, Sydney Godspeed Neophyte, Tommyknocker (Italy), The Beholder, Toneshifters, S Dee, Bio Weapon, Nik Fish, Weaver, Suae $49 (1st release)–$65 (+ bf) Q Bar, Darlinghurst Ghetto Disco Bag Raiders, Hey Now, Murray Lake, Frames, Hoodlmz, Downkick, Jamie Von Parrty, Omz Lay, Alpine Circuit $15 World Bar, Kings Cross Wham! Shivers, James Taylor, Rob Kay, Levins, Ember, Kerry Wallace,
46 :: BRAG :: 369 :: 05:07:10
Tiefschwarz
Jay Sebag Husky, Foundation, Mehow, Harry Cotton, Yogi, The Jackal, Shamozzle, Gabriel
Clouston $15 before 10pm, $20 after
Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com.
Soul Sedation Soul, Dub, Hip Hop & Bottom Heavy Beats with Tony Edwards
snap sn ap up all night out all week . . .
up all night out all week . . .
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.
L
ondon dubstep femme fatale Ikonika has released her debut LP Contact, Love, Want, Hate on Hyperdub Records. It’s synth-heavy electronica of the tech variety. Thinking man’s music, underground and instrumental, she plays around with hip hop, dnb, dubstep and reggaeton tempos. Ikonika is only the third artist to release a full-length on Hyperdub, after Burial and label boss Kode 9. If you’re feeling the future beat movement you’ll enjoy this album, and you’ll probably want to go back and check out her highly regarded XLR8R podcast as well.
Kode 9’s DJ Kicks landed on the Soul Sedation desk last week, but I haven’t been back for a repeat listen. The guy is unquestionably an amazing collector of electronica, but for my mind the mix moves too quickly and most of the beats are fairly experimental so the groove never sticks for long enough. It’s almost like a document, not a mix – although Hyperdub fans will probably think this is the best ish ever. Soul Sedation is not sure some of the newer artists invited to mix a DJ Kicks are compiling them in quite the right spirit…
ON THE ROAD WEDNESDAY JULY 14 Oxfam Presents The Hip Hop Approach Oxford Art Factory
FRIDAY JULY 23 Scuba Civic Underground
SATURDAY JULY 24 Funkdafied Warehouse Party TBC
SATURDAY JULY 31 Jazz Rooms The Basement
WEDNESDAY AUG 11 A Tribe Called Quest The Hordern Pavilion
FRIDAY SEPTEMBER 3 Horrorshow Gaelic Theatre
Ikonika or digital cumbia, and it’s killer global dancefloor material. Soul Sedation’s favourite tune is ‘Guajira’, but ‘Cumbia Bichera’ has legs as well, and is the one that’s catching most people’s ears. Crazy sounds, nice slow-burning tempo, really exciting stuff! You can pick up some dancefloor funk from Favourite France with the Funk League’s Boogie Down Bombers EP. The League have collaborated with Andy C (Ugly Duckling), Diamond D and Sadat X on this one and it’s all up-tempo party hip hop. The Favourite label puts out dope party bangers and are well worth following.
f.r.i.e.n.d.s
23:06:10 :: Fringe Bar :: 106 Oxford Street Paddington 93605443
Oslo’s diskJokke has dropped his second full-length album, En Fin Tid, on the incredible Smalltown Supersound label. Cosmic disco fans will need to get down with this one - he really is an exceptional, off-kilter talent. The man has serious studio skills, and I guarantee your nu-disco sets will sound deeper and weirder and infinitely more epic with diskJokke on the playlist. It’s nice and slow stuff as well, all 120BPM and under. Sydney side: Oxfam have teamed up with a good swathe of local hip hop talent to bring you a Wednesday nighter at the Oxford Art Factory. The Hip Hop Approach looks to support progress on global poverty through raising awareness. The Tongue, Thundamentals, Tru Vibenation, live art crew Sketch The Rhyme and DJ Triptrix will all be illin for the cause on the night. It happens Wednesday July 14, and there’s no cover charge. They’re also looking for some volunteers to assist with the night in various roles. You can head here for more information - thehiphopapproach. my3things.org.
Send stuff for this column to tonyedwards001@gmail.com by 6pm Wednesdays. All pics to The Brag (art@thebrag.com).
starfuckers
PICS :: AM
If you take one piece of advice from the column this week, get your hands on an album from El Remolon called Pibe Cosmo. He’s Buenos Aires’ answer to Diplo, before Diplo got massive. The guy makes electronic cumbia rhythms,
23:06:10 :: Carriageworks :: 245 Wilson Street, Eveleigh 85719099
PICS :: RRU
Jamie Catto of One Giant Leap fame has turned out an album with South African band Aluta & The Mystics. Entitled The Struggle Continues, it’s primarily traditional reggae, slightly pop-tinged, with plenty of soul as well. The production duties have largely been taken care of by Kiss FM jockey, and sometime Grand Central records collaborator Manasseh. It’s going to be too pop for some people - but if you like lazy, world music sounds you’ll definitely appreciate it.
wrong prom:blues bros
PICS :: RRU
Rusko’s new album O.M.G! has arrived through Mad Decent/Inertia. Full of heavy-hitting dubstep, there’s no intellectualisations here, no techno diversions, just massive, ridiculous bass; and to be honest, for all its similarities, it’s fairly diverse. Rusko gets creative with his ‘80s synth work and some digital reggae tempo stuff with vocalist Rod Azlan. The sounds are nothing revolutionary, but straight up, wall-of-bass dubstep people will go mad for it.
25:06:10 :: Club 77 :: 77 William St Kings Cross 93613387 ASHLEY MAR :: ROSETTE S : TIM LEVY (HEAD HONCHO) :: HBROOK OUR LOVELY PHOTOGRAPHER ICK STEVENSON :: RENEE RUS PATR :: NS MUN IEL DAN :: RING ROUHANNA :: JEREMY BOW KA :: ANDREW VIDLER :: JACQUI MANNING :: MAJA BAS
BRAG :: 369 :: 05:07:10 :: 47
teenage kicks
PICS :: AM
up all night out all week . . .
souled out sundays It’s called: SOULed Out Sundays
wham
PICS :: DM
24:06:10 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700
25:06:10 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700
It sounds like: Quality Soul, Hip Hop selectors plus special international , Reggae and Funk with the best local guests. DJs/live acts: Graham Mandrou les, (Versionaries), DJ Senyo, JC (Fun Stephen Ferris, Christian Burns kdafied) with Virginia Lillye on voca ls Sell it to us: SOULed Out Sund ays and in that time we have had Norm has been running for a year and half an Jay, J Period, DJ Platurn and a whole host of local and internatio nal event, with a stacked line up of loca DJs. This Sunday we have a special l Train’ cocktails - 5 shots of the finest DJs from 6pm, plus our special ‘Soul liqueurs and spirits provided by Thin Spirits…. k The bit we’ll remember in the AM: All of it, (depending on how man Train cocktails you have!) y Soul Crowd specs: appreciative mus ic crowd. Wallet damage: Free entry! Where: BB’s / 1/78 Campbell Para de, Bondi Beach When: Sunday July 11, 6pm – midn ight (and every Sunday evening)
sosueme
PICS :: PS
party profile
25:06:10 :: Q-Bar :: 34-44 Oxford st, Darlinghurst 93601375
mum
PICS :: JD
3
snap sn ap
25:06:10 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700 48 :: BRAG :: 369:: 05:07:10
ASHLEY MAR :: ROSETTE S : TIM LEVY (HEAD HONCHO) :: OOK OUR LOVELY PHOTOGRAPHER STEVENSON :: RENEE RUSHBR ICK PATR :: NS MUN IEL DAN :: ROUHANNA :: JEREMY BOWRING :: ANDREW VIDLER KA :: JACQUI MANNING :: MAJA BAS
snap
apres ski burlesque
PICS :: AM
up all night out all week . . .
the palace
PICS :: MB
25:06:10 :: 34b :: 34b Oxford St Darlinghurst 93601375
sly fridays
PICS :: RR
18:06:10 :: The Palace :: 169 Dolphin St Coogee 96642900
25:06:10 :: Sly Fox :: 199 Enmore Rd Enmore 2042 95571016
ghettoblaster DJs/Live acts playing: first up are White Bats, followed by Myth & Tropics; then we let loose our DJs: Dialz, Double Denim, Alex Already, Nick illusive Mar k C. les & the Sell it to us: Aforementioned soun launching a limited edition serie dtrack to the night aside, this month we’re s of ‘GhettoBears’. These cute-asfuck bears will be dropped throughout the venu get one, you’ll also score yourself e all night and if you’re luck y enough to a free drink. Sinead Condell is our featured artist, and will have transformed the entire VIP room into another world, and of course $4.50 drinks all night, and $1 pool. The bit we’ll remember in the AM? At this time of year, we can’ t guarantee you’ll remember much more than your entrance, asking our staff for “that blue drink she’s got”, flirting with a DJ and undoubtedly trying to steal one of our bear backdrops. Crowd specs: A good part of Sydn those Q Bar regulars you wouldn’t ey’s Music, Art & Fashion students and want to keep away. Wallet damage: $5 entr y/$4.50 drinks. Where: Q Bar & 34b, Oxford St. When: Wednesday July 7
candy’s apartment
PICS :: AV
party profile
It’s called: GhettoBlaster
25:06:10 :: Candy’s Apartment :: 22 Bayswater Rd Kings Cross 93805600 ASHLEY MAR :: ROSETTE S : TIM LEVY (HEAD HONCHO) :: ENSON :: RENEE RUSHBROOK OUR LOVELY PHOTOGRAPHER STEV ICK PATR :: NS MUN IEL :: DAN ROUHANNA :: JEREMY BOWRING :: ANDREW VIDLER KA :: JACQUI MANNING :: MAJA BAS
BRAG :: 369 :: 05:07:10 :: 49
snap sn ap
big whoop
PICS :: AM
up all night out all week . . .
25:06:10 :: Melt :: 12 Kellett St, Kings Cross 93806060
ghetto disco
party profile
purple sneakers
PICS :: JM
It’s called: Ghetto Disco’s 2nd B’day feat. The Bag Raiders It sounds like: A bad joke...What do you always get on your birth year older… day? Another DJs/Live acts playing: Bag Raid ers, Hey Now, Frames, Murray Lake, Hoodlmz, Downkick, Jamie von Parr ty, Omz Lay, Alpine Circuit. Sell it to us: A musical mecca sinc Disco is back and ready to bring e its inception way back when, Ghetto in of fun. Mar k it in your diaries - Bag its third year in one big riotous cacophony Raiders are taking over Q Bar for special b’day and promising one this very of celebrations this side of tomorrow the craziest, naughtiest, wildest B’day . The Baggies have already prov as consummate dance floor profe ed themselves ssionals having garnered a rep for notoriously balling DJ sets. Get down with them and the rest of the Ghetto crew streamers and other forms of part y parapher nalia will be forced upon b’day hats, you. Wallet damage: $10 early/$15 late Where: Q Bar + 34B Stereo / 44 Oxford St / Darlinghurst When: Friday July 10/ 9pm
candy’s apartment
PICS :: JB
25:06:10 :: The Gladstone Hotel :: 115 Regent St Chippendale 96993522
hot damn
PICS :: AM
26:06:10 :: Candy’s Apartment :: 22 Bayswater Rd Kings Cross 93805600
24:06:10 :: Spectrum :: 34 Oxford St Darlinghurst 93316245 50 :: BRAG :: 369:: 05:07:10
ASHLEY MAR :: ROSETTE S : TIM LEVY (HEAD HONCHO) :: EE RUSHBROOK OUR LOVELY PHOTOGRAPHER NS :: PATRICK STEVENSON :: REN MUN IEL DAN :: RING BOW MY ROUHANNA :: JERE KA :: ANDREW VIDLER :: JACQUI MANNING :: MAJA BAS
79,:,5;,+ )@ 4@:7(*, =(906<: (9;0:;:
A MID-WINTER FESTIVAL OF FUN(D)RAISERS FOR FBi RADIO
OXFORD ART
FACTORY -90+(@ 1<3@
:<7769;,9: 565 KID KENOBI MARK PRITCHARD KATO & ANNA LUNOE RO SHAM BO HOOPS TONI TONI LEE (LIVE) DIZZ1 (LIVE) SIMON CALDWELL JAMES TAYLOR & BEN MORRIS MONKFLY GARAGE PRESSURE STOLEN RECORDS ANDREW MAXAM JAMES MCINNES BOONIE 16 TACOS WEDDING RING FINGERS GENERIC DJS
THE FACTORY
THE METRO
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:(;<9+(@ 1<3@
THEATRE
:<7769;,9: 565
THEATRE
:<7769;,9: 565
(5 (33 (.,: (33 +(@ -,:;0=(3 >0;/ -6<9 :;(.,: 6- 4<:0* *64,+@ (9;
PHILADELPHIA GRAND JURY
CLOUD CONTROL
MATT VAN SCHIE
THE JEZABELS
PARADES
THE HOLIDAYS
DEEP SEA ARCADE
LAURENZ PIKE
LOST VALENTINOS DJS
GEORGIA FAIR
SEEKAE
PAPA VS PRETTY
PHDJ & PURPLE SNEAKERS DJs
MEGASTICK FANFARE
KYÜ
ZEAHORSE
GUINEAFOWL
BETTY AIRS
CABINS
HALAL, HOW ARE YOU?
JINJA SAFARI
WE ARE VOLCANOES
PLUTO JONZE
PVT DJ SET
BON CHAT, BON RAT
DAPPLED DJS
THE PRESETS (DJ SET) JONATHAN BOULET
PASH DJs & BAD WIVES
-69 -<33 305,<7: ;0*2,;: /,(+ ;6 -)09(+06 *64
GAELIC
THE OPTIMEN (QLD)
-90+(@ 1<3@
DAILY MEDS
SOSUEME DJS
THEATRE
APSCI
:<7769;,9: 565
PHATCHANCE FEAT.
KOOLISM
COPTIC SOLDIER
THUNDAMENTALS
LOOSE CHANGE
OZI BATLA
KATALYST (DJ SET)
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