The Brag #413

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Strong sexual references, nudity, coarse language and drug use

IN CINEMAS MAY 26

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AUSTRALIA 2011 With Special Guests Pulp have decided to get together and play some concerts this year.

The shows will involve the original members of the band (Nick Banks, Jarvis Cocker, Candida Doyle, Steve Mackey & Mark Webber) & they will be playing songs from all periods of their career.

(Yes, that means they’ll be playing your favourites) If you wish to know any more then please visit www.pulppeople.com where you will be subjected to a barrage of cryptic questions.

In the meantime ask yourself this: “Do You Remember The First Time?”

Thank you for your attention.

Wed 27 July Hordern Pavilion Tickets from Ticketek, www.ticketek.com.au, Ph 132 849

ON SALE FRIDAY SPLENDOURSIDESHOWS.COM

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SECRET SOUNDS PRESENTS

WITH SPECIAL GUESTS

TUESDAY AUGUST 2 METRO THEATRE

WITH SPECIAL GUESTS THE GRATES

THURSDAY 28 JULY HORDERN PAVILION

Tuesday August 2 The Factory

with special guests WITH GUESTS

E GIANT YOUNG TH HE C

AUG 2 - T Y D ART FACTOR R O F X O 3 G U A

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THURSDAY JULY 28 THE FACTORY

Guineafowl

29.07.11 Metro Theatre

SIDESHOWS ON SALE THIS FRIDAY

WITH SPECIAL GUESTS STRANGE TALK

Wednesday 27 July. Hordern Pavilion

WITH SPECIAL GUESTS

THURSDAY JULY 28 ANNANDALE HOTEL

AUGUST 3 METRO THEATRE

WITH GUESTS

DZ DEATHRAYS DEATHRA A AYS

WED 27 JULY THE BASEMENT

JULY 29 ANNANDALE ANNANDALE HOTEL HOTEL

FOR TICKETING INFO VISIT SPLENDOURSIDESHOWS.COM BRAG :: 413 :: 23:05:11 :: 9

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rock music news

welcome to the frontline: what’s goin’ on around town... with Nathan Jolly

he said she said WITH

ANDREW FROM REDCOATS

whatnot. My parents are not musicians but enjoy music a lot, which was also good for me. I was pretty much allowed to practice music as often as I wanted, which was essential to being in this position now. And for this I am grateful.

Inspiration for our music is always just what’s around and our experiences. The way it comes out is just the way we see it.

Neil Young, The Beatles, The Band, Led Zeppelin, Black Sabbath, Jimi Hendrix, Joni Mitchell, Miles Davis, Keith Jarrett and Oscar Peterson are some of my favourite musicians.

These days, the two best bands in the world are Queens Of The Stone Age and The Raconteurs. There are obviously many holes to be filled in that list, but the gist is there. These guys are all up there because they’re powerful, and communicate honestly.

y dad made me listen to Zeppelin and The Allman Brothers growing up, so that was lucky for me. Lots of Santana and Miles Davis too. I don’t

M

have a particular key musical memory from childhood, other than wanting to play drums lots when I was in primary school and pretending to play bongos on desks and

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

We scored one of Australia’s only interviews with the new kings of LA’s hip hop underground - and to celebrate, we plastered their slogan across the top of our paper. If you haven’t heard of Odd Future Wolf Gang Kill Them All, flip across to page 20 to find out more. (If you have heard of them, you’re probably there already...) Odd Future are coming down here for Vivid LIVE, which launches on Friday May 27 with the rest of Vivid Sydney. And don’t worry your little faces off - BRAG will be back to BRAG next week.

Our music is: rock, stoner rock, psychedelic, desert rock, heavy rock. We’ve released a single, ‘Dreamshaker’, and our EP is very close. We recorded at Birdland Studios in Prahran, Melbourne, with Rob Long and Lindsay Gravina. Live shows for us are nice and loud, and hopefully powerful enough that you remember it for a while.

The music scene in Australia has been sick for a while I think, but I feel like it’s slowly recovering - there’s some good music slowly sneaking through. Musos have to overcome playing to friends and nobody for a long time before anybody says hello, and it’s hard to find the time and finances to do what you want to do when you need to do it.

The best thing about any local scene is that it’s there and that something is happening. Whatever it is, it’s better that there is music than not; sometimes scenes turn into bubbles and pop, and cool shit happens. Bands I’ve seen lately that inspire me are Black Mountain, who blew me to smitherines, and Queens Of The Stone Age, who made me feel inferior and like I had lots of work to do.

Who: Parades, Guineafowl, Stonefield, Redcoats, Pluto Jonze and more; DJ sets from Zia (The Dandy Warhols), The Vines, F.R.I.E.N.D/s & more Where: Sosueme’s 4th Birthday at Oxford Art Factory When: Saturday May 28

SWAG WHAAA?

ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Niki Bodle, Katrina Clarke, Ben Kalgovas, Ashley Mar, Jacqui Mitchell, Daniel Munns, Vicky Nguyen, Thomas Peachy, Rosette Rouhanna, Patrick Stevenson 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: Meaghan Meredith (02) 9552 6725 meaghan@thebrag.com GIG & CLUB GUIDE CO-ORDINATOR: Matt Banham - gigguide@thebrag.com (rock) clubguide@thebrag.com (dance & parties) INTERNS: Sigourney Berndt, Lenny Adam REGULAR CONTRIBUTORS: Simon Binns, Joshua Blackman, Mikey Carr, Oliver Downes, Max Easton, Tony Edwards, Christie Eliezer, Murray Engleheart, Lucy Fokkema, Max Easton, Mike Gee, Thomas Gilmore, Chris Honnery, Nathan Jolly, Alex Lindsay Jones, Peter Neathway, Romi Scodellaro, Rach Seneviratne, RK, Luke Telford, Rick Warner

KISSES

There’s an ace American band who loosely trade under the dangerously-2010 but still amazingly chillwave genre. They’re named Kisses, and they’re coming out to play Purple Sneakers’ Last Night at The Gaelic Club on June 10. Betty Airs are supporting, which is Patrick Matthews’ new band and brings us to his winning streak: the first two Vines albums; Youth Group’s only number one single and The Jewel And The Falcon (that duo with Sarah Kelly from Redsunband). Go watch this.

DOES IT OFFEND YOU, YEAH?

Most people aren’t aware of this (as most people have real-life relationships to occupy them), but Does It Offend You, Yeah? is actually a clunky, clunky quote from The Office (UK, of course) - and not much of a quote at that. This is clearly an in-joke that has gone way too far... and those are the best kinds. The

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Sally Seltmann, Sarah Blasko and Holly Throsby all specialise in that dreamy, wistful, Bronte-sisters style of Aussie swoon-pop. Ignoring advice from scientists and health professionals who warned that an overabundance of breathy vocals coupled with Throsby’s heartbreaking lyrics could cause a sonic rapture in the fabric of time, the three have teamed up under the banner Seeker, Lover, Keeper to record an album (out June 3) and play a show at The Factory on July 8. Support will come from Toby Martin, of Youth Group fame.

PINBACK

EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the Publisher, Editor or Staff of The Brag.

DEADLINES: Editorial Wednesday 12pm (no extensions) Art Work, Ad Bookings Thursday 12pm (no extensions) Ad Cancellations Tuesday 4pm Published by Cartrage P/L ACN 104026388 All content copyrighted to Cartrage 2003

SEEKER, LOVER, KEEPER

electro-pop whiz-kids are coming Down Under for Splendour In The Grass, faster than you can say ‘insufficient band description’ - and they’ve announced a BRAG-endorsed sideshow on August 4 at the Metro Theatre.

Please send mail NOT ACCOUNTS direct to this address 153 Bridge Road, Glebe NSW 2037 ph - (02) 9552 6333 fax - (02) 9552 6866

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Seeker, Lover, Keeper

Warpaint

WARPAINT SIDESHOW

Last time psych-desert-stoner-popprincesses Warpaint played in this country (only a few months ago), I was furious that they were playing to a backing track. “Why do bands do that still?” I asked the long-suffering friend I was with. Then I slowly realised that, ‘Holy shit, these girls are playing all of this live, and not only are they the four prettiest girls I have ever seen, they are one of the best live bands too.’ The rest is pretty much a psychotropic blur, but you were there, and you were there, and you were there…. They’ve just announced their Splendour sideshow, which is set for Thursday July 28 at Manning Bar - tickets on sale this Friday.

Ahh, that word takes me back to the ‘50s, when I spent a whole evening outside BetsySue’s bedroom window, yelling that if she was gonna let Butch take her to the prom, I’d have to get my pin back. Over-laboured puns aside, Californian indie-pop band Pinback are embarking on their first ever Australian tour, hitting Manning Bar on August 20. They are known for mind-bending time signatures - so if you find 6/8 dizzying, stay home and watch Gilmore Girls or something. For everyone else, tickets are on sale now!

JACK LADDER LAUNCH

Sydney’s favourite son Jack Ladder is finally gearing up to release the follow-up to his Australian Music Prize-nominated and Red Bull Award-ed Love Is Gone – and he’s called it Hurtsville. Ouch. I guess it ain’t one of those giddy, first-crush kinda records… Oh well, misery loves company (that doesn’t seem right though, does it? Anyone? Elliott? ...Kurt?), so it’s a good thing Jack Ladder And The Dreamlanders are launching it at the Kings Cross Hotel on June 18 – because since FBi

Social took over, that place has been crammed.

Put it in your diary.

ABSOLUTE POWER

June 18 sees the launch of Absolute Power - a night at Gaelic Club which plays nothing but power ballads all night long. Can I get a HELL YEAH? This will no doubt get shut down early for excessive use of key changes within a commercially-zoned area, but until then: “everytime I see you, oh I try to hide away…”

OSCAR AND MARTIN

Have you seen Oscar and Martin live? On record they sound like The Avalanches with a hip hop drum machine (a Johnny 5-type character, I can only assume), but live they use tape loops, drum machines, synths and floor toms, and harmonise over the whole thing. It’s amazing, and it’s on at GoodGod Small Club on June 10.

SEBADOH TOUR

Lou Barlow did with Sebadoh what Dinosaur Jr. would have been able to do if Mascis wasn’t such a guitar-wank (send all complaints to madeup@notreal.com). The legendary group’s sloppy, noisy, lo fi pop awesomeness is happening live at The Metro on September 21 - and seeing as they haven’t been here for 15 years, they’ll probably never come back. Tickets on sale this Friday May 27.

'Warpaint' photo by Mia Kirby

EDITOR: Steph Harmon steph@thebrag.com 9552 6333 ARTS EDITOR & ASSOCIATE: Dee Jefferson dee@thebrag.com 9552 6333 STAFF WRITERS: Jonno Seidler, Caitlin Welsh NEWS CO-ORDINATORS: Nathan Jolly, Chris Honnery

TIKIDUB PRODUCTIONS AND STOP START PRESENT ACOUSTIC / MC SET WITH DJ OPTIMUS GRYME

FRI MAY 27 SELINA’S Coogee Bay NSW Coogee Bay Rd & Arden St Tix from www.Moshtix.com.au (1300 GET TIX) or Moshtix Outlets or www.Oztix.com.au 1300 764 545

NEW ALBUM OUT NOW

TOUR supported by 3D World

WWW.TIKIDUB.COM WWW.FACEBOOK.COM/STOPSTARTMUSIC

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rock music news

free stuff

welcome to the frontline: what’s goin’ on around town... with Nathan Jolly

FREESTUFF@THEBRAG.COM

five things WITH

AMY MEREDITH

IMOGEN HARPER especially ‘Suzanne’. At the moment I’m listening to Laura Marling, The Swell Season and Joni Mitchell.

Your Band My band consists of many eccentric 3. individuals, starting with my Guineafowl bandmates who are like my five hilarious, kind and over-protective brothers. Then there’s my real brother, who tells me when I write a crap song, and all my lovely talented musical friends from AIM who I jam with.

The Music You Make I recorded my EP at a fantastic local 4. studio called Crash Symphony Productions in Neutral Bay, and had many wonderful musicians play on the tracks. I generally play solo with just a guitar or piano, but will have a band for the next couple gigs - very exciting!

Music, Right Here, Right Now I’ve seen so many inspiring bands 5. recently; the best part of touring is meeting

Growing Up I grew up in a fairly non-musical family. My 1. brother and I attempted playing instruments like the trombone and oboe, but it was only until I started playing piano at the age of ten that I really began to love music. The Lion King was definitely a prominent musical memory from my childhood. Even though

SEVENSEVENSEVEN

Hi kids! Are you feeling the inescapable weight of the world’s expectations and the bleak realisation that one day we shall all watch our loved ones drop off this mortal coil one by one, as we ourselves step closer to the terrible abyss that is death? Do you like the number seven? You’re in luck! Avenged Sevenfold and Sevendust will be tearing the crap out of July 30, at the Entertainment Centre.

GIN CLUB & WAGONS

This June, awesome Brisbane (insert large number)-piece The Gin Club will be cramming into the Barina (like clowns in a shitty UK film from the 70s) to tour the country. They aren’t promoting anything (hence the unforgivable, bracketed filler in this piece) but they are supporting Melbourne (insert large number)piece Wagons, who will be launching their insanely good, album-of-the-week-worthy record Rumble Shake and Tumble at The Annandale on June 25. So buy the record, book the tickets, and get there early for the support.

MODEST MOUSE

Notorious B.I.G, Eazy-E and 2Pac all unleashed braggadocio and vitriol at the police (the pigs, the fuzz, the cops, the heat), but only Modest Mouse backed into a cop car, openly admitted it in a song (‘Float On’ – as made famous by Ben Lee), and survived to tell the tale. Now reformed and contributing positively to society, Modest Mouse are coming out for Splendour and figured, fun as a day’s worth of flying is, maybe they should do more than the 40-minute set. So they booked The Metro for July 25, borrowed some amps and have asked us to ask you guys to ask your friends to come. Tickets on sale this Friday May 27.

my sound is completely different, I’m sure that dressing up as Simba and singing ‘Can You Feel The Love Tonight’ at every family Christmas for five years had some effect…

2.

Inspirations Aaah - well, I love Leonard Cohen. I find his songwriting incredibly romantic at times,

and making friends with them. Playing with Mosman Alder and Ball Park Music was incredibly fun in Brisbane - BPM’s songs are so catchy I might even start a cover band.

I always thought we could learn something from Amy Meredith. Making a name for themselves with singles ‘Porn Star’ and ‘Lying’, it kind of seemed like these guys were holding out on us – but finally ready to share, the boys have announced their Higher Education tour, and will be teaming up with pop punk superstars Tonight Alive to teach us a lesson. We’ve got two double passes for their SOLD OUT show at The Metro Theatre on May 27 - if you want one, just send us an email letting us know a band who you think could use a little higher education...

THE VINES

Do you love Australian rock music? Do you love vodka? Do you love church? If you answered ‘yes’ to all of these then you’re probably wrapped in a self-loathing hate spiral most of the time - and in need of a good distraction. You’ll find one at St Stephen’s Anglican Church, where The Vines will be hitting the stage for 2011’s first Live At The Chapel, presented by Russian Standard Vodka. With the release of their new album Future Primitive just around the corner, The Vines are out to prove once and for all that they can even make church fun.

It’s all going down on Thursday May 26, and if you want a double pass, confess your worst sin…

With: Mark Wilkinson and Edward Dear Where: The Vanguard When: Thursday May 26

DIGI-RADIO-RADNESS

Sydney’s eight citywide community radio stations will launch digital radio services on Tuesday May 24 at the Pavilion, in Darling Park. FBi Radio, Inspire Digital, Koori RadiOO, 2MBS Fine Music, 2MFM Muslim DR, 2000Languages, 2RPH Digital and 2SER Digital will all be going digital (much like when Dylan went electric), and if you were hoping the NSW Governor Marie Bashir would be there, then you are in luck - she totally will be.

PULP REMEMBER THE FIRST TIME

Another Splendour sideshow? Yep. Jarvis Cocker is very British, in a way quite removed from Damon Albarn’s extreme Britishness, or that of the laddish Gallaghers. This is why Britpop was so amazing: the characters. And the music. Pulp had the best of both and after seven years of pottering about in bleak England, they’ve decided to reform and come to Australia – they’ll be playing in Sydney on July 27 at the Hordern Pavilion, presented by BRAG. Get online at 9am this Friday for tix.

JORDIE LANE

Melbourne troubadour Jordie Lane knows how to make a second album (Blood Thinner, out July 15). He spent a year in the Californian desert, recording in a motel room (no doubt after an illicit rendezvous), a lonely basement (no doubt after the love affair went sour) and Eagle Rock, LA (because it’s named Eagle Rock). Oh, and he got Tom Biller (Beck, Kanye, y’know?) to co-produce and mix the whole album. It’s being launched at the Vanguard on July 29.

Megastick Fanfare

MEGASTICK LAUNCH

grit aglow, the lowercase jagged blast of experimental pop by the lowercase Sydney five piece megastick fanfare, will be one of the best albums released this year. (Come back in December and see how smug we are about this prediction. Also, check our natty Summer wardrobe!)

And when you see them live, it’s even better. Help them launch the thing on Thursday May 26 at FBI Social, Kings Cross Hotel with The Parking Lot Experiments and Milk Teddy.

Gotye

GOTYE IS BACK!

Gotye’s third album, Making Mirrors, is coming out August 19, and you can expect the usual mindblowing journey of sound – the first single ‘Eyes Wide Open’ made it to 25 in the Hottest 100 only weeks after its release. What’s even more mindblowing is the launch of the record, Gotye: An Animated Album Preview. The album will be performed in full by a ten-piece orchestra, and brought to life by some of Australia’s most talented animators. It’s happening on the first evening of the Graphic Festival (Robert Crumb is coming!), which takes place on August 20 and 21 at The Opera House.

JURASSIC LOUNGE RE-LAUNCHES!

We are so happy this night is sticking around - Jurassic Lounge at the Australian Museum is every bit as awesome as it sounds. Artists, DJs, musicians, exhibitions, talks and screenings in a museum, after hours, while you drink alcohol and touch the dinosaurs (do not touch the dinosaurs!).

A new eight-week season will begin on August 2, with every Tuesday night accounted for. $15 entry (includes a free drink… in a museum!). Check out the weekly lineup at jurassiclounge.com, and check out the Sinornithosaurus Millenii on Tuesday August 2. We’re pretty sure it’s what inspired that ‘Chilly Down’ scene from The Labyrinth.

ALPINE, BOY, BOX

If you’ve listened to triple j for the past two months, you’ll have heard Alpine’s track ‘Villagers’ many, many times. They love it, and so do we. The Melbourne band are touring in celebration of that single’s existence, playing Oxford Art Factory on July 14 with guests Boy in a Box. Tickets $15 from moshtix.com

You

LOOKING FOR DANCE NEWS?

We done started a whole new section!

Flip to the back for it, foo’.

“Soft lips are open. Knuckles are pale. Feels like you’re dying, you’re dying...” - KINGS OF LEON 14 :: BRAG :: 413 :: 23:05:11

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The Music Network

themusicnetwork.com

Industry Music News with Christie Eliezer

Lifelines Ill: Stone Sour drummer Roy Mayorga, 41, suffered a minor stroke after a show in Des Moines, Iowa.

Ill: Boston rapper Akrobatik had open heart surgery after a heart attack.

Hospitalised: US blues singer Etta James, 73, for a blood infection.

Died: Lloyd Knibb, 80, influential Jamaican drummer who played with The Skatalites and helped develop the ska beat, from liver cancer.

Died: US guitarist Cornell Dupree Jr., 68. He featured on hits like ‘Respect’ by Aretha Franklin, ‘Rainy Night In Georgia’ by Brook Benton and ‘Memphis Soul Stew’

by King Curtis.

Died: M-Bone, 22, of California rappers Cali Swag District, from a drive-by.

Died: Canadian producer Jack Richardson, 81, whose produced 20 albums which made the US charts, including those by The Guess Who, Alice Cooper and Bob Seger.

JUMPIN’ JACK CRASH

Want to avoid getting into a car crash? Don’t listen to the Beastie Boys’ ‘Sabotage’. UK car accessory company Halfords did a survey on how music affects people’s skills, and found the Beasties’ track the most “blood pressure raising.” Also in this list of distracting noises are The Prodigy’s ‘Firestarter’, Papa Roach’s ‘To Be Loved’, Kanye West’s ‘Stronger’ and Rachmaninoff’s ‘Prelude In C Sharp Minor’. Most calming are Vivaldi’s ‘The Four Seasons’ suite, Jack Johnson’s ‘Breakdown’, Adele’s ‘Someone Like You’, Coldplay’s ‘Yellow’ and Fleetwood Mac’s ‘Landslide’.

This column’s readers would remember that a previous survey found that Coldplay fans are least likely to get laid on their first date. At least they won’t kill ya…

JANES QUITS SHOCK

Shock Entertainment’s GM Tim Janes leaves on June 3, with Label Manager Leigh Gruppetta promoted as replacement. Janes started 13 years ago at Shock as Australian Music Manager / A&R, and took his current role six years ago. He couldn’t talk to us about his new gig, but we’re betting it’ll be announced in the next week or so.

KATY PERRY BREAKS US CHART RECORD

Katy Perry became the first artist in US chart history to spend an entire year in the top 10. Four of her singles were in the charts separately for 52 weeks in a row. The previous record was set by Swedish group Ace of Base who were in there for 48 weeks with three singles in 1993/1994. Last month, Perry became the ninth artist to score four #1 singles in the US charts from the same album.

3D WORLD BITES THE DUST

3D World has announced its departure as a Sydney dance street press this week, after 20 years in print. The final issue will be published this week.

BLISSED OUT FANS IN DIRECTOR SEAT

Bliss N Eso launched a new free iPhone application which, says Bliss, puts fans in the director’s seat for their forthcoming live DVD. Developed in collaboration with Smudge Apps and available on iTunes’ App Store, it allows fans to shoot 30-second video clips of their experiences before and during their upcoming concerts. These will automatically upload to a server, and some will be included on a live DVD.

STORM IN A T-SHIRT

An unidentified Australian buyer has paid $10,000 for a rare Led Zeppelin T-shirt at an online auction held in Britain. The shirts were used as “a backstage pass” for those wanting to hang with the band at their 1979 Knebworth shows.

SYDNEY COMMUNITY RADIO DIGITAL LAUNCH

Sydney’s eight community radio stations will jointly launch their digital radio service from midday on Tuesday May 24 at The Pavilion, Darling Park. FBi Radio, Inspire Digital, Koori RadiOO, 2MBS Fine Music, 2MFM Muslim DR, 2000Languages, 2RPH Digital and 2SER Digital expect the new digital world to score new listeners, due to their better sound and wider formats.

NEW SIGNINGS #1: SNEAKY SOUND SNEAK TO MODULAR

After weeks of rumours, Modular Records finally ‘fessed up that it has signed Sneaky Sound System. An album From Here To Anywhere, produced by Serban Ghenea (Neptunes, Justin Timberlake, Jay-Z, Beyonce) is out at the end of winter, before which Miss Connie and Black Angus will be hitting the road.

NEW SIGNINGS #2: EPITAPH GET AUSSIE BAND

America’s Epitaph Records has signed up-and-coming Adelaide hard rock band Dangerous!, and will release their debut album Teenage Rampage in September. It was recorded in LA with Ulrich Wild (Deftones, Pantera). Dangerous!’s management is Aloha in Oz and Raw Power abroad, who look after Iron Maiden. They make their international debut at the Download Festival in the UK, followed by shows in the UK, US and Australia.

NEW SIGNINGS #3: FUSE GETS WHITE’S THIRD MAN

Fuse Group Australia has become the local distributor for Jack White’s Third Man Records. It include The White Stripes, White’s other bands The Raconteurs and The Dead Weather, and the Jack Whiteproduced album by Wanda Jackson. The label’s ‘Vault’ releases remain with Third Man’s own store.

APRA HONOURING KELLY

APRA will present this year’s Ted Albert gong for Outstanding Services to Australian Music to Paul Kelly at the June 21 APRA awards, held at Sydney’s CarriageWorks. Others who’ve won the distinction included Don Burrows, Michael Chugg, Slim Dusty, triple j, Bill Armstrong, Angus & Malcolm Young, Roger Davies, Denis Handlin AM and last year’s recipient Jimmy Little.

GREENS WANT MORE FOR COMMUNITY RADIO…

The Australian Greens party is pushing for more money from the Federal Government for community radio, despite a slight increase in funding for the sector in the recent budget.

Greens communication spokesperson Senator Scott Ludlam said, “They asked for a $25 million increase in the first year - that’s for content, infrastructure, coordination and training to help more than 430 community radio and TV stations stay on the air. Instead, the Govt has included an additional $12.5 million over four years - $3.125 million a year.”

…AND WIN AWARDS FOR FESTIVALS

The global ‘A Greener Festival’ Awards announced seven Australian winners for their work in environmental friendliness. Falls, Peats Ridge and Woodford Folk were considered Outstanding. Island Vibe was in the Highly Commended category. Bluesfest, Splendour in the Grass and Womadelaide were Commended.

Said the awards’ Australian coordinator, the aptly-named Amie Green: “Every award winner has shown themselves to be a leader in their field… often excelling in creating initiatives which are slowly becoming the standard for festivals which care about the environment.”

ADELE’S ROLLED PLATINUM

Adele’s run in Australia continues: her ‘Rolling In The Deep’ single has gone platinum. The 21 album also topped the US charts for the seventh week in a row, and Adele became the second UK artist since the millennium to achieve the #1 position on both the US album and singles chart.

MARVIN PRIEST OWNS GOLD

Marvin Priest’s debut solo single ‘Own This Club’ has gone gold after hitting #9 on the ARIA chart. It was made with Sydney-based DNA Songs.

HARD ROCK CAFÉ PREPS SYDNEY OPENING

The Hard Rock Café is relaunching in Sydney in mid-June, in Darling Harbour. The 500-seater Sydney Café, above the Rock Shop, will include rock memorabilia and a live music area. Its GM is Marian Fitzgerald, direct from Hard Rock Cafe London. 500 hopefuls have applied for jobs at the venue.

GOLDEN STAVE REVEALS LUNCH TALENT This year’s Golden Stave charity lunch (Friday June 24, Hordern Pavilion) is going for a 1920s gangsta and molls theme. Performing are Choirboys, Jon English, The Velvet Set, Jonesy & Amanda and Bianca Dye. To book head to goldenstave.com.au

THINGS WE HEAR

She’s hitched her star to Gee Roberson and Kyambo Joshua, who also manage Lil’ Wayne and Drake.

* Headbangers ahoy!

There’s interest in bringing Jason Bonham’s Led Zep Experience to these shores, although nothing is locked in.

In the meantime, the mooted Mötley Crüe/Poison tour has changed somewhat. Last month we reported it would include New York Dolls, but music reporter Nui Te Koha told Triple M Melbourne that the third slot now belongs to Whitesnake.

* Bluesfest is looking at Taiwan, Seoul or Shanghai as its second Asian city to stage in, after its Singapore festival drew 10,000. * Is News Ltd about to take a stake in last minute entertainment and sporting ticket finders, Lasttix.com.au? * After limping along since January with a pared-down

* Lady Gaga has become the first celeb to get 10 million followers on Twitter. She already has 24 million of ‘em on Facebook. * Billboard warns us not to believe reports that EMI posted a $535 million profit.

Whitesnake workforce, MySpace’s Australian office is closing end of the month, revealed The Music Network. * Black Eyed Peas’ will.i.am has taken over the management of Girls Aloud singer and X Factor US judge

Cheryl Cole, and is pushing her to break into the US music market. Cole has parted with her long-time manager Hilary Shaw. In the meantime, Nicki Minaj has booted out Diddy and his partner James Cruz as her managers, after signing to them a year ago.

* Neil Diamond reckons his sullen and crazy image saw him considered for (but not offered) Robert De Niro’s role in Taxi Driver, and also the Dustin Hoffman role of US comedian Lenny Bruce in Lenny - but he was on tour. * Midnight Oil’s Jim Moginie is selling his four bedroom waterviews home in Fairlight, Sydney, for $2.5 million.

We has internets!

www.thebrag.com Extra bits and moving bits without the papercuts “Soft lips are open. Knuckles are pale. Feels like you’re dying, you’re dying...” - KINGS OF LEON 16 :: BRAG :: 413 :: 23:05:11

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MAY 27 - JUNE 5

vivid LIVE 2011

VIVID LIVE

CURATED BY PAV

studio party

BRAG FEATURE:

the avalanches present…

Who’s playing? The Avalanches (DJ set), Hypnotic Brass Ensemble (USA), Canyons, Andee Frost.

Who are The Avalanches? Starting out in the ‘90s as a Melbourne noise-punk act, they eventually morphed into an electronic and production outfit. In 2000 they released their debut album, Since I Left You, on Modular.

What’s the big fuss? Finely stitched from over 3500 old vinyl samples, Since I Left You is one of the best Australian albums ever, and yet the follow-up is still M.I.A. over a decade later. But Modular boss and Vivid LIVE curator Stephen Pavlovic told us that this month would see them wrapping up their studio time, and rumour has it Ariel Pink has laid down some vocals. While this evening is “just a club night”, we’re hoping an album cut or three might find their way into the speakers in-between the mashed guts of another thousand obscure vinyl finds. Beg, borrow or steal to get there.

Warm-up mixtape: you can’t predict or prepare for shit like this.

Wallet damage: $60 When: Friday June 3, 10pm Where: The Studio, Sydney Opera House

Encompassing music, video art and film, with a focus on the multi-sensory, Pav’s program is as diverse as his taste. From the Australian debut of the enthralling Bat For Lashes, to sonic legends Spiritualized; from acclaimed French design collective SUPERBIEN, to filmclip director Chris Cunningham; from old-timers like Sonny Rollins to cult artists bubbling up from the underground, like Wu Lyf and Odd Future. And the most recent addition to the lineup is without doubt the most exciting: The Cure will be

“I began speaking to Robert [Smith] a few months ago, about whether he’d like to be part of Vivid,” Pav recalls. “He was like, ‘Look, sounds really interesting – you’ve piqued my curiosity.’” The fact that it was the 30th anniversary The Cure's third album, Faith, was one excuse to celebrate with a tour, but it was Smith who pushed for a little extra. “He was like, ‘Well, I want to give more value – maybe I should do Seventeen Seconds as well… And maybe to contextualise this I should play Three Imaginary Boys too,” says Pav. “I was like, ‘Uhh – that is aaaallllll good.’

“Robert manages himself, and gave us all of his contact details – so it was a matter of being very direct. And very patient.” Patient indeed; the backand-forth between Pav and Smith meant that the The Cure missed the official announcement on March 29 – by over a month. “To announce the program without them made it feel a little flat for me, because I knew it was probably going to happen but I wasn’t allowed to talk about it yet,” he says. “[Still], it’s kinda nice to drop it later in a different way; to breathe a new life of interest around the festival."

Proud of his program, Pav says, “I’m stoked. I’m really happy about how it’s been received – and people seem genuinely interested and excited about it.” Any advice for the next curator of Vivid LIVE? “Get the job a lot sooner,” he laughs. “There’s a lot to do!”

Who’s playing? DJ Gemma & Seymour Butz, Horse Meat Disco (UK), Azari & III (CANADA - live), Daniele Baldelli (ITALY).

What is Club Kooky? Kooky was born on a cold Sunday in June, 1995, from proud parents Seymour Butz and DJ Gemma. They wanted to create a space where queers would get together to hear live music, watch freaky performance art, and listen to music that you couldn't hear on Oxford Street; a space where they could eat together, and even make paintings and art. A place where misfits could feel a part of the Kooky family.

What’s the Club Kooky crowd? Intergenerational, homosexual, intersexual, bisexual, trisexual; fats and femmes, crosscultural, bears and otters, cougars and kittens. But above all, friendly happy creatures.

Warm up mixtape: B(if)tek – ‘Bedrock’; Blush Foundation – ‘Designer Vagina’; Presets – ‘Steamworks.’

Wallet damage: $40 When: Sunday June 5, 6pm Where: The Studio, Sydney Opera House

vivid live sony lounge festival bar

playing their first three albums from start to finish, in two huge concerts exclusive to Vivid LIVE.

studio party

V

ivid Sydney - the third annual festival of lights, music and ideas – kicks off this week, with the triptych of Lights On, Vivid LIVE and Creative Sydney.

Vivid LIVE is the jewel in its crown, a showcase of international music and performance – and for the first time it’s been curated by an Australian.

Stephen ‘Pav’ Pavlovic is the founder of tastemaking label and touring company Modular Records, and while he may not have the avant garde pedigree of his predecessors Lou Reed, Laurie Anderson and Brian Eno, he’s certainly got a track record of exceptional taste – and an uncanny ability to capitalise on trends before they exist. While most people associate his label with Wolfmother, The Avalanches or the Aussie electro-pop culture spearheaded by The Presets, Cut Copy and Van She (Modular has been referred to as “the American Apparel of Australia”), remember: this is also the guy who locked in the first and only Aussie tour of Nirvana, just weeks after Nevermind began to chart.

studio party

club kooky presents…

Who’s playing? A rotating lineup of DJs across every night of the festival.

Sell it to us: Come for a drink and a dance after the early shows or pop in for pre drinks before the studio parties. Designed and produced by Michael Delaney (who did The Norfolk and The Flinders), and conjuring Bob Guccione, Gore Vidal, Cecil B. DeMille and disco DJ diva Larry Levan, the Vivid LIVE Sony Lounge will shake the Sydney Opera House to its foundation into the wee hours! Come for the spectacular main events, but stay for the party at the bar...

Crowd specs: Come one, come all!

Wallet damage: free!

When: May 27 – June 5, open every night 'til late!

Where: Western Foyers, Sydney Opera House

modular presents: leave them all behind

Who’s playing? Bag Raiders, Beni, Softwar, Azari & III (CANADA - live) and The Swiss (live).

What is Leave Them All Behind? A series of double-disc compilations (first disc mixed by DJs, second disc unmixed) filled with the newest indie dance music from around the world. The first compilation was released in January 2006.

Warm up mixtape: ‘Reckless with your love’ – Azari & III; ‘Bubble Bath’ – The Swiss; ‘Snake Charmer’ – Bag Raiders.

Wallet damage: $40 When: Friday May 27, 10pm Where: The Studio, Sydney Opera House

P.A.M. Fratelli Fresh Assin eBay

BARS

My backyard Icebergs Dining Room and Bar The Cricketers

Where does the hunter hunt?

We asked Pav for his hot spots in Sydney and beyond…

WEBSITES

LAST BOOKS I READ:

modularpeople.com afl.com.au astrologyzone.com hipsterrunoff.com

The Wind Up Girl - Paolo Bacigalupi Shades of Grey - Jasper Fforde Way of the Superior Man - David Deida

PODCASTS

Animal Kingdom – David Michôd True Grit – Joel & Ethan Cohen Un Prophet – Jaques Audiard Youth in Revolt – Miguel Arteta

RESTAURANTS Sean’s Panaroma Porteño Shimbashi Soba

18 :: BRAG :: 413 :: 23:05:11

Beats In Space Bumrocks The Fader

LAST FILMS I LOVED:

studio party

SHOPS

mad racket presents...

Who’s playing? The Crystal Ark (USA - live), Bamboo Music DJs (MELB), Mad Racket DJs (Jimmi James, Simon Caldwell, Ken Cloud & Zootie), Alphatown (live), Jamie Lloyd & Noel Boogie, Peret Mako, Sinclair.

What’s Mad Racket? One of Sydney’s oldest and most beloved club nights, usually found running amok at the Marrickville Bowlo.

Sell it to us: A party with a soundtrack of electronic sounds to move your feet and mind. With warped technoid wizardry to soul-laden treats, we invite you to go deep.

Warm up mixtape: The Crystal Ark – ‘The City Never Sleeps’; Bob Holroyd – ‘African Drug’ (Fourtet Remix); Storm Queen – ‘Look Right Through’.

Wallet damage: $25 When: Saturday May 28, 10pm Where: The Studio, Sydney Opera House

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BRAG :: 413 :: 23:05:11 :: 19

BRAG FEATURE: MAY 27 - JUNE 5

vivid LIVE 2011

CURATED BY PAV

ODD FUTURE WOLF GANG KILL THEM ALL Discography: The Odd Future Tape (2008), Radical (2010) Follow: oddfuture.com, oddfuture. tumblr.com, golfwang.tumblr.com, @ofwgkta, @oddfuture, #SWAG #GOLFWANG #FUCKSTEVEHARVEY

MEET THE WOLF GANG Tyler, The Creator

Role: Ringleader, director, producer, visual artist, solo artist, MC, member of EarlWolf Discography: Bastard (2009), Goblin (2011) Follow: @fucktyler, formspring.me/ wolfhaley, youtube.com/user/bloxhead

Earl Sweatshirt

Role: Solo artist, MC, member of EarlWolf Discography: Earl (2010) Follow: M.I.A

Hodgy Beats

Odd Future The Overachievers

By Steph Harmon

I

f there’s one thing music critics love right now, it’s talking about Odd Future. And if there’s one thing Odd Future hate, it’s talking to the media. It’s a peculiar arrangement that’s fuelled the OF mythology to no end; without access to the buzzed collective, think-pieces about think-pieces are emerging, with rumours cast as facts before being spun into distorted expositions. “They lie a lot,” Hodgy Beats says of the music press, when I finally get the MC on the phone. “They’re losers. They have nothing else to do except lie.” There’s a long, pregnant pause as we both consider the implications.

It’s taken me weeks to secure this interview, and a promise to name an issue of BRAG after their ubiquitous catchcry (#SWAG, if you’re playing at home). They certainly don’t need to talk to me – Odd Future (Wolf Gang Kill Them All, or OFWGKTA) sold out their three Sydney shows in minutes. When I tell Hodgy he’s a hard man to get a hold of, he replies with a deep voice and genuine pride: “Thaaa’s right.”

Hodgy’s on a tour bus to Virginia with the rest of the Los Angeles collective; all up, the Odd Future gang is made up of ten-ish rappers, producers, skaters and artists, most under 21 years old. Until about eight months ago, they existed solely (and prolifically) underground and online; artist albums, mixtapes and countless videos uploaded for free, for a loyal but comparatively small following. But after their first and incendiary NYC show in November last year (which, judging by the breathless reviews that surfaced, was attended by every music writer that ever existed), they exploded with an incomparable velocity. There was the Jimmy Fallon appearance, the overblogged SxSW gigs, the covers on NME and Billboard, the European tour, and finally the deal they inked with Sony’s RED Distribution last month, to start their own label with 100% creative control. While this sort

Fuck 'hype' - I hate that word. It's stupid. When we're done with music, that's when some other 20-year-old kids that are doper than us take over.

The next movement.

20 :: BRAG :: 413 :: 23:05:11

of hyper-sensation isn’t uncommon for DIY hip hop acts with social networking know-how (think Lil B and Soulja Boy), there’s something else about Odd Future that’s got everyone worked up. They’ve made a multi-faceted brand, all by themselves – and they’ve swagged it the fuck out.

Of course, there’s also the content. Odd Future’s three most prominent members – Tyler, The Creator, Earl Sweatshirt and Hodgy Beats (who also releases as Mellowhype, with producer Left Brain) – specialise in purposefully shocking, macabre and ultraviolent raps growled and spat over heavy, deformed beats, with surprisingly polished production. Couched in murder and rape fantasies, horror and homophobia, these are some of the most condemned lyrics since the early days of Eminem, an artist to whom all three are happy to pledge allegiance. Odd Future Wolf Gang Kill Them All (or as Tyler sometimes refers to them, Oh Fuck Will God Kill These Animals) have been referred to as “a skating band of child demons”, “entrancing and repulsive”, “staggeringly creative, gleefully antisocial … and two-steps-ahead-of-you smart” by the media.

Ultimately though, they’re just a close-knit group of supremely talented, supremely smart and supremely bored kids, who jostle in studio for the most shocking raps before hitting the road for skate pranks and slap contests. And they’re having the time of their lives.

“I don’t even believe it’s hype,” Hodgy answers, when I ask how long he thinks they can ride this wave. “I just believe it’s people finding out about us. Fuck ‘hype’ – I hate that word. It’s stupid. I believe that when we’re done with music, that’s when some other 20-yearold kids that are doper than us take over. The next movement.”

Until then, media frenzy and moral panic prevail. A week before we speak, the collective’s charismatic ringleader Tyler, The Creator has been arrested in LA and caused an alleged "riot" in Boston while promoting his second solo album, Goblin. Four days before we speak, Sara Quinn of Tegan and Sara has posted an open letter condemning Tyler as “repulsive and irresponsible,” and denouncing the media and the artists who glorify him. (Tyler’s Twitter response? “If Tegan And Sara Need Some Hard Dick, Hit Me Up!”).

And two days before the interview, the infamous Earl Sweatshirt has finally broken his silence.

A catch up on Earl: Right before the group hit cult hero status in the second half of last year, the prodigiously talented 17-year-old went AWOL. Rumours started flying, spurred on by Odd Future’s own ‘Free Earl’ campaign. Jail? Vacation? Boot camp? …Grounded? The campaign kept growing until just last week, when Earl allegedly sent The New Yorker an email through his mother, asking fans to stop chanting ‘Free Earl’ at shows – he’s not being held against his will and, with the chants quickly turning to 'Fuck Earl's Mum', he’s fearing for her safety. “Nobody

even knows who’s been in touch with him," Hodgy tells me. "Like, we don’t even know where that came from, honestly. I mean, it could have been Earl, or it could have been his mum speaking out [on his behalf], you know? We don’t know anything – we don’t speak to Earl – I’m tired of talking about Earl. There’s nothing we can say about him being gone.” He’s clearly got his hackles up, but that’s forgivable. Like much of the collective, Hodgy had a rough childhood; kicked out of school, in trouble with the law, and raised by a single mum. Only 20 years old, he’s had a lot to adjust to this year. “Honestly, with us being in this type of industry, our personal lives can and will be invaded,” he acknowledges with resignation. “And that’s what we can’t, like, defeat.”

It’s hard to believe they hate the attention – after all, they’ve been courting it from the outset. They mobilise and engage with their fans continually, updating their Tumblrs, YouTubes, Twitters and Formsprings compulsively with a barrage of music, clips, skits and stunts, all wrapped up in a consistent and accomplished aesthetic. (Tyler is responsible for much of the group’s visual output, and the film clips are particularly compelling. Especially if you like watching a guy eat a cockroach and then vomit.)

Just as compelling is the irresistible balance these guys have struck between outrageous content, undeniable talent and an apparently insane fanbase.

The night before I call them, Odd Future walked off stage in Detroit after glass bottles were thrown at their beatsmith, the sole female (and sole gay) member, Syd Tha Kyd. “He missed horribly,” Hodgy deadpans. “But it was just – the fact that we’re performing and there’s someone throwing bottles that we clearly cannot see come at us. Obviously we got tired of it. Everybody got tired of it.” By all descriptions, their shows are explosive; BRAG’s own Blake Rayner came home from South by Southwest with a split lip he wore as a badge of honour. So what is it about Odd Future that makes people go so crazy? “We’re just punk rock,” answers Hodgy. “At least, our shows are.”

Hodgy’s sick, he hates interviews, and he’s just announced he’s giving up weed (“I’ve been smoking since I was twelve,” he tells me. “I’m just tired of that shit.”). So it's safe to say he’s not in the best of moods. Our conversation’s cut short when he clearly loses interest, and I’m forced to finish with a stock standard question. What are Odd Future expecting from Australia? “Obviously a lot of kangaroos,” he answers, before a thoughtful pause. “I wonder if I’m gonna be able to ride one. I wonder if they have a certain location where I can get on a kangaroo and they can like, let me ride one.” After all of that, it turns out they're just a bunch of kids looking for fun.

Where: The Studio, Sydney Opera House When: May 31, June 1, June 2

Role: Solo artist, MC, member of MellowHype Discography: Hodgy Beats – Dena Tape (2009), Ignorant (TBC, 2011); MellowHype – YelloWhite (2010), Blackened White (2010; re-release in 2011, through Fat Possum), Numbers (TBC, 2011) Follow: @killhodgy, hodgybeats.tumblr.com

Left Brain

Role: Producer, member of MellowHype Discography: MellowHype – YelloWhite (2010), Blackened White (2010; re-release in 2011, through Fat Possum), Numbers (TBC, 2011) Follow: vyron.tumblr.com

Syd Tha Kyd

Role: DJ, producer, sound engineer, sister of Taco Bennet Discography: N/A Follow: @sydOFWGKTA, friscotsc.tumblr.com

Domo Genesis

Role: MC Discography: Rolling Papers (2010) Follow: @DamierGenesis, domogenesis.tumblr.com

Mike G

Role: MC Discography: Mike Check (2009), Ali (2010), Screwed Up Sundays (2010), Gold (TBC, 2011) Follow: @MikeGKTA, moracularworld.tumblr.com, 100sounds.blogspot.com

Frank Ocean

Role: Singer Discography: The Lonny Breaux Collection (2010), nostalgia, ULTRA (2011) Follow: @frank_ocean, frankocean.tumblr.com

Jasper Dolphin

Role: MC, member of I Smell Panties with Tyler, The Creator Discography: I Smell Panties (2008) Follow: @jasperdolphin, dolphinlife.tumblr.com

Taco Bennett

Role: MC, brother of Syd Tha Kyd Discography: N/A Follow: @oddfuckingtaco, triplesixtaco.tumblr.com

Matt Martians & Hal Williams

Role: Producers, illustrators, The Super3 (illustration and production for OFWGKTA), The Jet Age Of Tomorrow Discography: Voyager (2010), The Journey To The 5th Echelon (2011) Follow: @TheSuper3, @PyramidHarrold, timemachinestudios.tumblr.com, thejetageoftomorrow.bandcamp.com

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BRAG :: 413 :: 23:05:11 :: 21

BRAG FEATURE:

vivid LIVE 2011

MAY 27 - JUNE 5

CURATED BY PAV

Bat For Lashes

Homebody

By Caitlin Welsh

I

n Bat for Lashes, Natasha Khan has created a powerful artistic persona. Darkly ethereal and steeped in intuition and mythology, as earthy and feminine as it is hauntingly alien; Bowie and Kate Bush and The Cure and something else altogether, trussed up in tribal headdresses and shadowy reverb and her sweetly husky voice, at once choirgirl-pure and world-weary.

“Oh, MOPSY!” ...So it’s hard not to marvel at the stark contrast between person and persona, hearing Khan scold her new kitten in a schoolgirlish, matter-of-fact London accent. Every now and then there’ll be a kitten-sized crash on the other end, and Khan will interrupt a serious discussion of the feminine divine to burst into exasperated giggles. “Every time I’m on the phone she’s like, [tiny kitten voice] ‘Play with me! Look at me! Why aren’t you talking to me?’” she laughs. “She’s all jealous.”

It might not be glamorous, but chasing a mewling ball of grey fluff around her Brighton flat is exactly where Khan wants to be right now. She’s just returned from ten days in northern Italy, where she and “a whole bunch of [her] favourite musicians” have been holed up, working on and recording tracks for her third album. Before that, though, there were nearly five years straight of touring, recording, performing, writing and, in preparation for her 2009 sophomore record Two Suns, living in New York City as her extroverted, hyper-feminine alter-ego Pearl – just to see what would happen. “Well, this [new album] has sort of been a project of being at home, really, for the last year. Just being in Brighton with my old friends,” she explains. “I think the second album was definitely quite a transient record, it came out of quite a tumultuous place, and looking back on the sort of methods I used to get into it, they were also methods I used to sort of get through a lot of upheavals, a lot of travelling, a lot of distance between me and my loved ones, so that – [crash] Oh, Mops! Sorry! – But now I think I feel a lot more grounded. I’m not so much living the actual characters.”

Pav: on would he'd get to direct and star in a Bat for Lashes music video:

Joan of Arc.

Spiritualized The Spacemen Of Sound

By Alasdair Duncan

Her first album, 2006’s Fur & Gold, received some of the most meaningful accolades available to a British musician, from a Mercury Prize nomination to a personal endorsement by Thom Yorke. But it was a product of a very different environment to that of Two Suns, Khan says. “I think no matter what you’re doing when you’re making creative work, you do sort of have to follow your psychic - your psyche’s needs, and already then [just after Two Suns], I was feeling this pull away from this really chaotic lifestyle and I was just really wanting to hibernate, hone it back in and come back into myself,” she muses. When she wrote Fur

Pierce’s hesitation came down to the fact that he wanted to do something new, not just relive a past glory. “I’d always been wary of those shows where a band perform one of their classic albums,” he says. “I mean, I’d seen The Stooges doing Raw Power and it was really breathtaking, one of the best shows I’d ever seen in my life - but I worried that often people’s motivation for doing that sort of thing was based around cash, or wanting to relive their youth; reforming a band and doing what you did when you were 19 with the same people.” He finally agreed, on the condition that he would get to do the show his way. “I didn’t want to revisit the past, I wanted to bring the thing kicking and screaming into the world we live in now - and to be honest, I think I did it the first time around. Then I got the call from the Sydney Opera House, and you can’t turn that down, can you? So now I’m doing it again.”

22 :: BRAG :: 413 :: 23:05:11

Ladies And Gentlemen We Are Floating In Space was one of the most loved and lauded albums of the ‘90s, merging simple, throwback rock ‘n roll with celestial choirs, brass sections and guitar drone for an effect that was pretty close to transcendental. People’s familiarity with the album, Pierce quickly realised, was the first problem he would have to overcome. “People know the album. They know the running order, they know the next song, the next chord change before it happens,” he says. “The big thing for these shows, I decided, is that we’re not going to play a purely faithful rendition of the album.

“I’m not sitting the band and the choir down and teaching them all the parts note for note,” he continues. “In fact, I’m picking up the choir and the string players when we get to Australia, right before we do the show. The shows are loose and free-form, and there’s a freedom about playing with people who don’t know their parts perfectly, who are finding their own way inside the songs.

There’s an immense amount of power and glory that we can find in the songs on the night, and bring out in a different way.

On the new songs, Khan is looking within herself and into her identity as a product of various dualities – from the male-female relationships of her ancestors, to the interaction between her Pakistani and English origins and how that relationship is reflected in British society. “It’s like England is in me and it just feels like coming home, really - it’s not something that I have to go out to find and explore,” she explains. “It’s like actually regressing back into myself and my ancestral home.”

As for the actual music of the new material, Khan’s mostly hoarding sounds that fascinate her, and seeing what emerges. “I’m really connecting with my ancestral links to England and to Pakistan, where my dad comes from. Going back to quite early folk music, whether it’s from Pakistan, or Ireland or England - it all starts to sound quite similar. There are these amazing scales, and things like that - old English folk music - but a lot of it’s really dancey, really up and quite liberated,” she says. She’s also exploring her interest in programmed percussion “and then getting live drums to come in and put really live, really human cross-beats over the drum machines.

“So God knows what it’s going to turn out like,” she adds cheerfully, “but I feel like it’s coming from a much more grounded place, and I’ve really enjoyed that.”

Khan’s interest in blending disparate styles is, she acknowledges, in line with a wider trend in music at the moment. “I mean, I’m not really on top of what’s happening in music all the time,” she admits, “but when I listen to James Blake I don’t think, ‘Oh he’s a white guy or a black guy’, I just think his voice is really soulful. And Kanye West is using piano sounds that hark back to old, folky English music... The world is becoming very small and tightly woven in some ways, and I think there’s only so far you can go with combining everything before a whole new genre will come about, or before people start regressing back to wanting to make more purist forms of music. And so that’s going to be another intriguing transition: what happens after you can’t mix it up any more?

Like, if you mix all the colours they become this brown sludge," she explains. "People will want bright, primary colours again.”

Where: Concert Hall, Sydney Opera House When: June 3 and June 4, 9pm

Pav - on the best way to listen to Ladies And Gentlemen… for the first time:

Mid-evening, next to a fireplace, under a doona, getting a blow job. That is not how I first experienced it - but I think it’s probably a good place to start.

J

ason Pierce, founder and main man of Spiritualized, likes to tell people he was high when he agreed to perform his bestknown album from beginning to end. What he goes on to say is that the high was purely the result of altitude; he was stuck halfway up a mountain at the time. “We were on Mt Buller, Victoria, playing a show with Nick Cave and The Saints and a whole load of other good Australian bands,” he says. “I got talking with the promoter that evening, and he just hassled me. I kept saying no, but he just kept going on and on about it, to the point where it was daybreak. I finally said yes, just so I could get some sleep!”

& Gold, Khan was living with her boyfriend and working as a nursery school teacher. “I think that [calm, domestic lifestyle] really gives life to the imagination - to me, anyway. It really works, gives you something to work against. But when your life is full of chaos and colourful characters and movement all the time, I feel like you don’t get that headspace and that reflection to let something really develop.”

“Albums are like time capsules," Pierce explains. "When you’re making one, you put everything about the last two years, or however long, on it. An album is about more than sitting down and playing the parts for an afternoon in a studio – everything about where you are musically and socially at the time goes into it. Then you push it away, and it’s no longer yours. That’s the deal. You can’t recall it, you can’t say, 'Oh, we fucked up a bit there’ or, ‘I want to improve that lyric, or that other little bit.’ You have to get it right, and you have to allow yourself the chance to get it right while you’re doing it, because you won’t get another chance,” he says.

“That’s why I want to do a new interpretation of the album – I want to find a new way to move people who have already been moved by it.”

My favourite track from the record is the dark, sexy ‘I Think I’m In Love’ - but to me, the most striking thing about that song is that, for a piece of rock ‘n’ roll music, it sounds more like a dance track than the Chemical Brothers remix that followed it. When I ask Pierce whether or not he sees any similarity between the music he makes

with Spiritualized and the repetitive, hypnotic energy of rave music, his answer surprises.

“There’s possibly some connection,” he says, “but I can’t say one feeds off the other.

Maybe the source is the same – Kraftwerk or Can or, in an odd way, even early rock ‘n’ roll.

“It’s all based around simplistic things,” he continues. “Rhythms. I don’t think it’s that mysterious, music. People try and dress it up – the stories and the concept can be more important than the music. Sometimes people actually go out of their way to dress music up in concepts, to get away from how bad it actually is, or how unrealised.

"Music’s quite basic at its core: a drumbeat that’s faster than your heart excites you, a drumbeat that’s slower than your heart relaxes you, and there are a million little factions that break off that. It’s not that hard to understand how you can go after it. It’s not some kind of mystery that’s beyond anybody," he says. "You don’t have to have great talent to understand that you can find something very exciting within it.”

Where: Opera Theatre, Sydney Opera House When: May 27 and May 28, 9pm

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BRAG FEATURE:

vivid LIVE 2011

MAY 27 - JUNE 5

CURATED BY PAV

Hypnotic Brass Ensemble “W

e always excited ‘bout going round the world and puttin’ our print, leavin’ our mark!” Eight-piece brass band Hypnotic Brass Ensemble may come from a free jazz upbringing (they got their start busking on the streets), but chatting to them, you’d be forgiven for thinking that they were all rappers.

Baritone player Uttama Hubert (or ‘Rocco’, to you) has evidently used all of that circular breathing practice to refine his swagger, as he pimps everything from the virtues of street performance to his band’s website, without taking a single breath. “We’re working on our new album right now, which has no expected date because it’s gonna be that intense,” he says in dead seriousness. If anybody is going to live up to the title of VIVID Live, it’s going to have to be this band of brothers (seven of the eight are sons of Phil Cohran, the legendary Sun Ra Arkestra trumpeter).

Hypnotic’s forthcoming release, which Rocco confirms will be made up of entirely original work, comes off the back of their international tour with Gorillaz in support of Plastic Beach - a tour which inspired the family band to hone their own craft. “Damon [Albarn]’s always a genius with his work,” says Rocco, “but we decided after the tour that we’d spent a lot of effort and time neglecting our fans. So now we’re just creating more and more and it’s coming like 'Bang! Bang bang!’”

The group have become internet legends thanks to their love of old-school hip hop (like the opening riff from Outkast’s ‘Spottieottiedopaliscious’, which they’ve turned into the best horn jam of all time). But after covering and supporting some of the best,

Pav - on why you have to see Hypnotic Brass Ensemble live:

“They’ve got immense energy when they perform; they don’t just stand and play, they really give it everything they’ve got. And on top of all that, they’ve performed with some really great hip hop acts like Mos Def, Gorillaz and The Roots.

It’s a no brainer.

Hypnotic Brass are keen to add to their own equally impressive back catalogue of music. “We cancelled shows for about five and a half months to get into our creative mode,” explains Rocco, of the process behind the new record. It comes after a bunch of independently released EPs, vinyl releases and a self-titled LP that have made the HBE

You may have heard Hypnotic Brass Ensemble without actually knowing it. They provide the brassy interludes on the last Gorillaz album, as well as choice cuts for neo-soul stars Maxwell and Erykah Badu. But as the saying goes, ‘if you don’t know, now you know’ - a point that Rocco is keen to drive home. “We boiled up some real good treats for y’all,” he says, of the band’s Opera House debut. “It’s gonna be real live, real energetic funky music. There’s something for everybody, man.”

Where: The Opera Theatre, Sydney Opera House When: Saturday June 4, 8:30pm

The Synth Wizard

By Hugh Robertson

“Overall, on an energetic level, the whole thing is happening live and everybody is responding to what everybody else is doing. But there is lots of structure built in, and there’s kind of an

He’s Sorry, Mr Tiesto.

By Rach Seneviratne

A

ebb and flow between when that structure is very firmly in place, and when that structure is on the looser side over the whole length of the performance, and as a whole from beginning to end. And both the dancers and the videographers are a part of that.”

An abstract description, but it sounds like a unique show – and one that’s not likely to be repeated in Sydney. Although Russom is a big fan of Australia (having been here several times as an occasional touring member of LCD Soundsystem), the simple fact is that getting eleven people together at the same time is a difficult task, and finding somewhere that can accommodate The Crystal Ark show is even harder.

“This whole experience is pretty intense,” Russom tells me, in perhaps the understatement of the year. The night he’s developed for Vivid LIVE is exclusive, and Crystal Ark’s biggest performance to date.

“It’s an almost impossible fantasy to bring this many people together, and this many different types of aesthetics," he continues. "[So] I think the main thing is just to say how enthused we are about this festival, and the opportunity it has presented us with: to create the vision that I had of the band, and what it would be.

And I think the spirit of [Stephen Pavlovic’s] curatorial idea for this year’s festival is just so consistent with what I’m interested in.

“I can’t think of a better place to do it,” he finishes. “We’ve been working really hard, and it’s going to be awesome.”

ny band that rejects advances from Passion Pit is destined for big things. Named after their lead singer, DOM emerged just this year from relative obscurity (Massachusetts) and after garnering gallons of interwebs hype and getting themselves signed to Modular, Dom now finds himself under the watchful eye of millions.

And he’s basking in it. “I fuckin’ love hearing my name. I wouldn’t say I’m in denial, but it just seems sort of surreal right now. I’m getting spoiled at an alarming rate.”

Dom’s not content with merely reaching the status of a semi-famous garage-surf band with an underground cult following – he’s had a slice of the cake, and now wants the whole thing. “I wanna make a shit tonne of money. Who isn’t gonna want extra cash? [Our song was] on 90210, for like three seconds… then we got mailed a fuckin’ $14,000 pay cheque. It’s like, fuck yeah, let’s do it. I don’t give a shit.” The guy is big on social networking; his band was discovered that way, so he understands the power of it. Dom spends hours each day updating the band’s Facebook with YouTube videos of Prince and The Spice Girls, and making eclectic playlists on his Grooveshark. He even has a ‘PRTY HWTLINE’ advertised on his websites, which is linked to his personal phone 24/7. “Sometimes I get dudes that really wanna come to the show, sometimes I get females that are feeling saucy and wanna sext,” he shrugs. “It’s all different.”

Citing everything from Ariel Pink to Mariah Carey as pivotal influences to his triumphant garagesynth rock, Dom gives off the vibe of a placidcum-hyperactive dude who just does whatever the fuck. A mash-up of T-Pain with DOM’s song ‘Living In America’ has been proudly posted on

DOM’s MySpace, earning twice as many plays as the original. “I’m not surprised it has more plays, because it sounds like it was made for it,” Dom laughs, with refreshing enthusiasm. For him, it’s not about being a music elitist – if the T-Pain-sized hat fits, then wear it. “I don’t give a shit man, that shit made it tight.” But with every outlandish Dom claim comes a rationale: “Everything is about balance. The lines get blurred between genres, and it’s good to a certain stage but then you get a fuckin’ Run DMC/Aerosmith situation where it gets too blurred and it’s like, ‘Fuck. Oh my god. How. Fucking. Lame. Is this crap.’ Y’know? Like, Tiësto wanted to do a collaboration - we had to turn that down. I’m sorry, Mr Tiësto.”

‘Living In America’ has been touted as an ironic kind of anthem for free world America, which is a weird tag to have on your flagship song. “It’s a socio-political statement that’s supposed to be ironic in a pseudo-pop medium. The song itself is ironic, because it was an afterthought on the EP, the day before it went out for mastering. Which is pretty surprising because it was the one [that became popular]. And also disappointing to a certain extent, because it’s very gimmicky.”

Still, Dom’s intelligence and respect for the world of pop music and popularity succeeds his minor distaste for the track. “If you don’t play the song that everyone loves your band for, then you’re a fuckin’ asshole. Starbucks did it, those fuckin’ assholes. There was a promotion drink, called a Dulce de Leche - I got it every day for three months. Then they stopped selling it. I went in and was like, 'Are you fucking shitting me?' So I totally empathise with anybody that goes to a show and absolutely wants to hear ‘Living In America’.”

Passion Pit wants to sign him to their label, girls want to sext him, the internet loves him… How does Dom deal? “Dude, I love the attention. I never really had any attention before; I really didn’t matter before this. And I still don’t really matter, but now I’m playing at the Sydney fuckin’ Opera House. And that is fuckin’ awesome.”

Where: The Studio, Sydney Opera House When: Saturday May 28, 7:30pm More: Mad Racket presents The Crystal Ark Club Night, from 10pm at the studio

Pav - on why Gavin Russom’s latest project is so perfect for Vivid LIVE:

His vivid use of colour, sound and visuals.

24 :: BRAG :: 413 :: 23:05:11

Pav - on what makes DOM such a good fit for Modular:

“I think they break the average kind of hype-band model; they’re sort of weird, kooky – sort of hard to pigeonhole. And their music really sounds nothing like anything else right now…

It seems like a match made in heaven.”

DOM

G

avin Russom has always been in search of new sounds. In the past he’s built synthesisers for the likes of James Murphy (LCD Soundsytem) and Tim Goldsworthy (UNKLE), and created new sounds in projects like Black Leotard Front, Black Meteoric Star and in his work with Delia Gonzalez. Broadly speaking, Russom makes dance music, but it’s long-form, minimalist dance music with a focus more on the interplay of sounds than simply getting you to move your feet.

“The group itself” involves a seven-piece live band, two dancers and two video artists, all engaged in a complex interplay of the improvised and the planned, tying in nicely with the multi-sensory theme that holds the Vivid LIVE program together. “What we do is use the songs that we’ve recorded as a skeleton,” Russom explains, “and then identify the moments in the songs where there can be an extended section where some people can have solos, or we can try an improv section, or we can open up a different landscape.” It’s the same with the dancers and video artists, he says. “There are sections in which they have choreographed movements, and then there are sections without choreographed movements, and those sort of correspond with the same sections in the music.

For Rocco, who plays one of the largest instruments in the brass family, that hard work also includes getting himself physically fit enough to both play and dance in each highenergy show. “After taking half a year off, it really gets you tired, man. I’ve realised that we could probably start our own Hypnotic Workout Tape… it burns calories, I’m telling ya. I get winded on that stage like damn! They’re really simple movements but when you do that and play at the same time, it’ll do you in.”

It’s a joke he shares with his brothers, but Rocco admits the workout series is something he actually intends to make happen one days.

It sure would beat Miss Newton-John...

The Crystal Ark

But on the phone from New York, he’s struggling to explain to me exactly what his new project, The Crystal Ark, is all about. And it’s interesting how few adjectives he uses, preferring instead to speak in broader terms as though explaining a philosophy, not a sound.

“Those other projects are based on a kind of reductive aesthetic,” he begins. “Somebody used the term ‘ascetic’, which I don’t think is so far off... But Crystal Ark is based on a very expansive aesthetic, which relates to the sound in that I’m exploring integrating lots of sound together. But it also relates to the group itself, in that it includes lots of really dynamic, creative people who are all amazing artists and musicians in their own right, but come together in this really big project and really bring a whole different energy to it.”

cult favourites from New York to Dublin. “It was good to focus fully on our writing and composing, but now we gotta work extra hard at the shows to make up for all that time we’ve left our fans without us.”

Where: The Studio, Sydney Opera House When: Friday June 3, 7pm and June 4, 7:30pm

Tiki Taane photo by Jos Wheeler

Bros Of Brass

By Jonno Seidler

SATURDAY

JUNE 18 With Special Guests:

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VMUSIC.COM.AU, FBI 94.5FM, THE BRAG, ARTIST VOICE & HELLO PAVEMENT PRESENTS

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BRAG FEATURE:

vivid LIVE 2011

MAY 27 - JUNE 5

CURATED BY PAV

Yo Gabba Gabba!

My First Rock Show

By Alasdair Duncan

D

espairing that there was nothing on television that spoke to their kids in the same way that classic shows like Sesame Street and Peewee’s Playhouse once spoke to them, friends Christian Jacobs and Scott Schultz set out to create a program that combined music and popular culture as a learning experience for children. Five years later, Yo Gabba Gabba! is a bona fide hit, where colourful puppets dance around as bands like MGMT, The Flaming Lips and Devo play sweet, psychedelic songs about art, science, friendship and the world around us. As Jacobs

tells me, the key to the show’s success is in treating children like the miniature adults they are.

opportunity to do something cool and positive for them.”

“Scott and I see our own kids as pure, awesome creatures with unlimited potential for greatness,” Jacobs tells me, “and we come at the show from that standpoint. Our only qualification in making a kids’ show is the fact that we ourselves are parents, but we felt that was enough. We wanted to create something cool, fun and pop culture-y for kids, that their parents might enjoy too, but the key thing is that we don’t like to talk down to kids – we meet them on their own level. The thing you have to remember with kids is that every little pebble you drop into their pond has a ripple effect, and you have to be conscious of that and do the right thing by them.”

As far as the Yo Gabba Gabba! live show is concerned, Jacobs and Schultz are determined to give fans a quality experience, the equivalent of seeing a band you love at a great music festival. “We did actually play Coachella last year and it was amazing,” says Jacobs. “The whole idea of what we do is to create something like a kids’ first rock show, or a dance festival for kids and families. That’s what we do, and that’s what you can expect from our shows at Vivid LIVE. Bring your kids and your dancing shoes and be ready to have a good time. The big LED screens and the balloons and the bubbles – it’s just a big party. People have said it’s like a Flaming Lips show for kids, and that’s exactly the idea.”

The bands aside, a big part of Yo Gabba Gabba!’s success comes down to its host, the colourful DJ Lance Rock. “Lance is a bit of an enigma,” Jacobs says when I ask how his hosting style – part Japanese talk show host, part manic, Deee-Lite-style club kid – developed. “Before he worked with us, he was a DJ and musician, and he worked in a record store. He thought we were crazy when we asked him to host a kids’ show, but he has nieces and nephews and cousins, and he quickly realised that the show was an

Pav – on why Yo Gabba Gabba! has been so successful:

“Bright colours, dancing; great songs – who couldn’t love a song that’s called ‘There’s a Party In My Tummy’ (so yummy, so yummy); or ‘Don’t Bite Your Friends’… Classics.”

Pav on La Boca:

“I think the artwork speaks for itself. We’ve always been a big fan of what they do. It’s vibrant, colourful and on-the-money.

Many cool bands have been involved in Yo Gabba Gabba! – The Killers were the most recent to film a segment – and many more are clamouring to be involved. The key, Jacobs tells me, is to have a sincere love of kids. “Many bands, big and small, approach us. Backstage at Coachella, we got talking to people like Usher and Rihanna, and when people like that tell you they want to do the show, that’s just mindblowing. The key thing, ultimately, is to know people are doing it for the kids. And it feels good to be able to have your cake and eat it – or make a cake for your kids and eat it too!"

What: Yo Gabba Gabba! (live) feat. Biz Markie Where: Concert Hall, Sydney Opera House When: June 4 & 5, at 9.30am, 12pm & 2.30pm

Tom Kuntz This Is The Artist Your Artist Could Smell Like

By Alasdair Duncan

Y

ou may not know who Tom Kuntz is, but it’s likely you’re familiar with his work, whether it’s his surreal and frightening Skittles commercials, the music videos he’s directed for MGMT and LCD Soundsystem, or his most famous recent accomplishment, the ‘this is the man your man could smell like’ commercials for Old Spice deodorant. Yes, Tom Kuntz is that guy.

He lives in a world that’s simultaneously surreal and strange and wonderful, and he will bring a part of that world to Sydney this month, when his first ever installation art piece opens at the Vivid LIVE festival.

Visitors to the festival will walk into the room containing his piece to find themselves surrounded by a collection of insects playing music. “It’s an idea I’ve had bouncing around my head for the last year or more,” Kuntz tells me, “a collection of menacing, fantastical insects playing instruments. I thought it was one of those ideas that would go away in time because I’d never have the time to realise it, but when Pav called me up and asked if I wanted to be involved in this festival he was curating, it was literally the first thing that popped into my mind.”

L

ondon design studio La Boca is best known for its psychedelic use of colour, and bold, often geometric designs. They specialise in album artwork design and limited edition vinyl sleeves – most notably for Muse – but their diverse client list also includes CASIO, boutique publishing house Granta Books, WIRED magazine, DVD label Artificial Eye, and car manufacturers Renault. In late 2010, La Boca's set of four official teaser posters for Darren Aronofsky’s Black Swan swagged them a whole new legion of fans – and showed a more pared back and elegant side to their work.

Given a loose design brief of ‘synaesthesia’ (a neurological condition that causes people to ‘hear’ colours, ‘see’ sounds, etc.)

by Pav, La Boca’s approach to the Vivid LIVE artwork was typically vibrant, with a '60s pop art sensibility that is reminiscent of The Beatles’ Yellow Submarine.

More: For more work by La Boca, check out www.laboca.co.uk

26 :: BRAG :: 413 :: 23:05:11

The soundtrack, provided by Kuntz’s friends Lucky Dragon, is key to the piece. The exhibit is not interactive, but it will evolve and change, with pieces of music playing in ever-shifting loops. “There are six insects in the piece, and you can see each of them playing a variety of instruments,” Kuntz says. “They play about six, depending where you are in the sequence.

Each is its own length. One insect’s loop is an hour long, one is forty minutes, one is half an hour. Basically, once we trigger this thing at the beginning of Vivid, the music is set into motion on a loop. It’s going to be a fascinating experiment to see how it sounds, and I’m still figuring out how to document the whole thing.”

Kuntz is an artist whose work has caught the attention of many and, in the case of the Old Spice ads, inspired a genuine cultural phenomenon, so before I let him go, I just have to ask – what’s the secret? He laughs heartily at this. “I really don’t know if I have an answer to that!” he admits. “I’ve never approached what I do as any kind of science. I always try to keep amusing myself, and hope that if I’m amused by what I do, then other people will be too. I tend not to look not too far outside myself for

inspiration – I’d rather not know what everyone else is doing, because I’m sure it’s all great, so I’d rather just stay in my little bubble!”

What: Tom Kuntz & Lucky Dragons present Insects!

Playing instruments!

Where: The Western Foyers, Sydney Opera House When: Fri May 27 - Mon June 13, from 11am daily More: kuntzmanor.com

Pav – on his first encounter with Tom Kuntz:

“He did a short film in 2001 called Tokyo Breakfast – I saw it and said, ‘We have to work with this guy!’” Since then, Modular and Kuntz have collaborated on a number of projects, including the film clip for The Avalanches' hit single ‘Frontier Psychiatrist’ – and most recently for Canyons' 'My Rescue'.

Tiki Taane photo by Jos Wheeler

La Boca

In Kuntz’s initial conception, the creatures were to be animatronic – rather like the strange, haunted bird creature that made its way through a desert landscape in his video for MGMT’s ‘Congratulations’ – but that proved problematic.

“I had big plans for the creatures to come to life,” he tells me. “They were going to be these threedimensional renderings of sketches I’d made in Photoshop, but that proved to be logistically prohibitive – not to mention it would have cost millions of dollars!” he laughs. “We ended up 2D animating my original sketches. There’s a crudeness to the whole thing now – it has a personality I really like. I’m happy because there’s no middleman – it’s just my sketches come to life, and it feels like a direct piece from me, rather than someone interpreting what I’ve done.”

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BRAG :: 413 :: 23:05:11 :: 27

vivid creative sydney 2011

MAY 30 – JUNE 12, 2011

I

f Vivid LIVE is the music and performance component of Vivid Sydney, then Vivid Creative Sydney is the ideas trust, where the practitioners of our creative industries come together to talk about the business of being creative. This year they’ve organised their program into two time slots and locations: a series of discussion panels and showcases taking place at the Sydney Opera House's Playhouse (Monday May 30 – Saturday June 4), and a series of live events and performances taking place at the Museum of Contemporary Art (Friday June 10 – Saturday June 12).

Even at this early stage in their evolution, Vivid Creative Sydney seems to have established itself as an essential event in any creative practitioner's calendar, with all the sessions

CREATIVESYDNEY.COM.AU selling out within days – before the full lineup of speakers had even been revealed. The first sessions to reach capacity were Digital Sydney, Start Up City, The Affection Economy, and Metroscreen’s Are You Experiential?, which features forward-thinkers who are creating immersive experiences and ‘meaningful encounters’ in film, gaming and visual art.

The good news is, even if you missed out on reserving your place at this year’s festival, they’ve just opened up registrations for a waiting list – plus all the sessions will be podcasted.

Below, we’ve taken a look at three of this year's Vivid Creative Sydney speakers that we’re especially excited about. For the full program, and to sign-up to the waitlist, check out creativesydney.com.au

See thebrag.com for profiles and articles relating to other VCS speakers, including the Rizzeria Collective, FUEL VFX, Design Is Kinky, Fabien Riggall and more…

Future Shorts Amy Broadfoot

F

ounded in 2003 by the same fella who started London’s Secret Cinema project, Future Shorts is a distribution ‘label’ that celebrates the short film format in its own right – as opposed to seeing it as merely a calling card for filmmakers looking to make their first feature. Rejecting the idea that shorts are purely the preserve of film festivals and the internet, Future Shorts holds regular screenings on the big screen – the way they deserve to be seen. The Future Shorts network now encompasses 60 cities across 18 countries. It launched in Perth mid-2010, and at this point it screens monthly in Sydney, Perth and six regional locations. Brisbane and Melbourne chapters will launch within the next few months.

Future Shorts founder Fabien Riggall and Australia Manager Amy Broadfoot are both speaking at Vivid Creative Sydney this year – so we caught up with Amy to find out a little bit more about the project.

How did Future Shorts start? The founder Fabien Riggall was a short filmmaker and wanted a life for his films beyond the festival circuit. At Glastonbury one year he observed the atmosphere of the chill-out tent while short films were playing; he knew that this was a untapped market, and Future Shorts was born. I have never met Fabien

Etsy W

hen we asked Etsy’s European Director Matthew Stinchcomb to explain the company’s vision, we received an intimidating list of principles that were geared towards nothing less than changing the way the global economy works – ambitious, to say the least, for what is basically an e-commerce site focused on handmade goods. "We believe making things makes us human,” says Stinchcomb. “We think work should be meaningful.”

in person but I’ve heard from peers that he has a reputation for being one of the most persistent film promoters in the UK. What is your own background? I chose to travel rather than go to uni, as I felt a degree would never act as an enabler for me.

Making things happen in the arts industry is about motivation. I have, however, studied a tiny bit of business – and completed many an internship. These experiences ended up teaching me more than any course in Australia could.

How did you end up in film? I caught the travel bug after working a season of the Edinburgh Fringe; the bug ended up taking me to Prague, where I got a job with an international film sales agency, largely because I was a native English speaker. It was through that job that I discovered Future Shorts.

How did FS Australia start? After four years in Europe I returned to Australia and started working for Perth's Revelation Film Festival. 'Rev' showed me that Perth had talent that wasn't being exported to the rest of the world, largely because this skill is never taught at film school. So I began setting up my own film marketing business, Amicko Films. These days we manage Future Shorts Australia, a micro cinema called ‘Cinema In A Cave’, plus film marketing consultations and freelance programming.

We’re even looking at setting up an alternative distribution platform for features.

What: Amy Broadfoot is part of the Group Think panel; Fabiel Riggall is part of the Are You Experiential? panel.

Where: The Playhouse, Sydney Opera House When: Wed June 1 at 7.30pm / Thurs Jun 4 at 1pm More: youtube.com/futureshorts | amickofilms.com

Ben Briand B

en Briand leapt into the public consciousness in May 2010, when traffic and comments on his Vimeo profile suddenly started spiking – all because of a short film he had made for Nespresso, called Apricot. Commissioned by the coffee brand, Briand brushed off an old script and played around with it; the result is visually hypnotic slice of drama played-out between a man (played by Sydney thesp Ewen Leslie) and a woman (Laura Gordon) on a blind date, flawlessly segueing between the restaurant and memories of her childhood. Vimeo co-founder Blake Whitman described it as “One of the best shorts I’ve seen in a LONG time.”

Apricot was the second instalment of what has become an unofficial trilogy – starting with Castor & Pollux (2009), which Briand made for the launch of his partner Brenda’s accessories label Benah, and closing with the chilling Lynchian short Some Static Started – which is shot by Adam Arkapaw (Animal Kingdom and Snowtown) and stars Briand's art-school buddies Ed Woodley (co-founder of China Heights gallery), and video artist Sam Smith.

Briand also makes commercials, film clips and video installations, and won the OPTUS ONE80PROJECT in 2007 for his TV thriller Hammer Bay. ON HIS TRAINING: College of Fine Arts (CoFA) – BA Fine Arts, Majoring in Time Based Art (Film/Video Art, Media Art & Sound). “I always felt that if I went to a traditional film school environment, then someone would tell me that what I was doing – my process – was wrong.”

ON HIS STYLE: With his Fine Arts background, Briand says, “I think I’m much more informed by [painter] Francis Bacon that I am Francis Ford Coppola.” At the same time, he bashfully cites Wes Craven’s original A Nightmare on Elm Street as the film that influences his work the most: “I think a lot of the techniques and storytelling devices, where it slips between reality and a dream world, really stuck with me.”

COMMERCIALS VS ART: “I like the commercial

Rizzeria printmaking collective, and fashion labels We Are Handsome (swimwear) and Colab (sunnies) – plus one lucky etsy. com seller, to be announced in the week commencing May 30. Matt’s also talking at Creative Sydney’s Creative Futures day, in the panel The Affection Economy – after partying at FBi Social’s ‘Etsy Party’ the night before. He wants you all to come. The fact that his background is indie rock, rather than a business degree, is really just the cherry on top…

Since their launch in 2005, etsy.com have risen to #52 in Alexa.com's US popularity rankings for websites, and developed a loyal base of sellers and shoppers who prefer local and handmade to mass-produced, and describe the Etsy experience as more personal and friendly than eBay. Etsy actively cultivate this sense of community; for example, they hold weekly craft nights at their Brooklyn and Berlin offices, where expert advice, craft resources and equipment are made available to wannabe artisans.

So, Matt: how does Etsy stay in touch with the needs of its store-holders?

It's an entirely symbiotic relationship. Our community is our partner, and with them we must be respectful, fair, honest, transparent, accessible, supportive, and friendly. When you think about your community as your partner, it changes the way that you communicate with one-another. It's the reason that we publish all of our financial and traffic data in our blog. It's why we have 24-hour, 7-day-aweek participation in the forums and customer support; it's why we are regularly hold Meetups around the world – or shareholder meetings, as I like to call them.

Representing Etsy at Vivid Creative Sydney, Matt will be hosting the session Hands On: Makers Show Their Wares, which showcases five local boutique manufacturers of handmade goods, including Marrickville’s

And how do you draw in new craftspeople to set up shop on etsy.com?

In cities throughout the US and Europe we have Etsy Labs, spaces where people come together to make things and connect. We find

28 :: BRAG :: 413 :: 23:05:11

Briand stars in his short Some Static Started format. I find the concept of branding, in an abstract way, quite interesting, because when you’ve got an entity with a specific set of values that they’re trying to convey, then it’s really interesting converting it into something on screen – obviously it’s their idea and values merging together with your own as a filmmaker, and obviously that’s why they pick you.”

ONLINE VS FESTIVALS: You can watch all Briand’s films (in full, and in high definition) on his website and his Vimeo profile. “The whole Apricot online thing was a total surprise. It had been online for two or three months, and then one day it just went through the roof. It was as though over a weekend it found its audience, and once they started passing it on… It went from 14 views to 14,000 views, then 32,000 views – it just escalated. It resonated, and found an audience. Apricot’s been viewed by half a million people… My audience is online."

ON VIMEO: For Briand, the appeal of Vimeo over YouTube is design and technical specs geared for filmmakers, its targeted community of cinephiles and filmmakers, and the level of quality control. “Another filmmaker said to me once, ‘But in a festival environment all the right people will see [your film].’ But out of Apricot being on Vimeo it was voted the Best Narrative at their awards – and when we went over to LA to do meetings afterwards, all the ‘right people’ had seen it. All the executives we met with, the production companies, etcetera, they all pass these links around. And they scour Vimeo looking for new talent.”

WHAT NEXT? Briand is working on his first feature. “It’s a combination of the themes and ideas of Apricot, and the stylistic hues and atmosphere of Static. So those [ideas of] memory and identity, which seem to appear a lot in my stuff.” [DEE JEFFERSON] What: Briand features in the Money Shot panel, talking about creative ways to fund your art.

When: Tuesday May 31, 7.30pm Where: The Playhouse, Sydney Opera House More: creativesydney.com.au | benbriand.com

The Etsy Lab, Brooklyn

partners in museums, art schools, and other existing community groups and we bring them all together. We created “teams” of Etsy members organised around a shared location or interest, and we support them with data, education, and grants. At present time, we have 50,000 active team members around the world. [DJ]

What: Matt hosts the Hands On session + FBi Social's Etsy Party feat. Kate Jinx & DJ Jack Shit When: Friday June 3, 6-7pm, party at 9pm Where: The Playhouse, Sydney Opera House / Kings Cross Hotel More: The Affection Economy is June 4, at 2.15pm

Tiki Taane photo by Jos Wheeler

BRAG FEATURE:

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arts frontline

free stuff email: freestuff@thebrag.com

brushstrokes WITH DANA

STEPHENSEN (THE AUSTRALIAN BALLET)

needed to be a part of the action. It looked like far too much fun!

What attracts you to ballet over other forms of dance? I have always loved dance, literally how it felt in my body. With classical ballet, I found something unique and especially challenging. I like that we often tell stories and there can be a great range of emotion and dynamics. As hard as ballet is, there are moments when it feels wonderful – the most natural way to express something!

A

ustralian Ballet keeps it fresh with their annual Bodytorque series, which matches emerging choreographers with the AB’s talented dancers. The upcoming instalment, Bodytorque.Muses, is themed around the idea of muses in all their different forms, whether it’s a person, a film, a book – anything that inspires the artist to create. We caught up with Telstra Ballet Award-winner Dana Stephensen, who collaborated with independent dance-theatre practitioner and budding choreographer Lisa Wilson, in the short piece Contour.

When and why did you start dancing? I started dancing when I was three because it was what my older sister was doing, and I

A large part of ballet is tradition, and companies can be criticised for failing to present the classics in authentic ways – how does the Bodytorque season of new works fit into that context? The Australian Ballet certainly cares about its past and tradition, and I think we honour that with a lot of the work we do. But we are also in a position, with hungry young artists and passionate young choreographers, to create new and exciting offerings for our audiences.

Bodytorque is the epitome of this raw new talent, but it comes off the back of our British Liaisons triple bill, that honours our past. I love that The Australian Ballet offers that versatility – for me as a dancer, and for our audiences.

What was it like working with Lisa Wilson?

Did you find it difficult to reconcile your styles? As a student back in Brisbane I had done a couple of Lisa’s classes so I had a fair idea of her style – very earthy, dynamic, but really natural. Lisa is a wonderful dancer in her own right so it has been awesome

Robert Crumb ventures to Sydney for GRAPHIC

watching her in rehearsals and trying to put that into my body. She is very easy to work for; encouraging and helpful and great with direction.

What are some of your own muses? Music is often my inspiration – it’s usually the initial rhythm I feel when I hear something. When steps are put to music, they gel quite quickly and I find it hard to separate the two. They form a relationship.

What is your training regime like? Our training encompasses daily class, hours of rehearsals, 7 or 8 shows a week, Pilates, yoga, cross-training, physio, myotherapy, meditation, endless pointe shoe sewing... It is intense and it’s demanding. We are pushing our bodies to the limits, but it’s also mentally very challenging.

Do you see yourself as a choreographer one day? A few years ago, I would have said no, I could never choreograph. But as I have enjoyed more choreographic processes, and my fair share of fun in Bodytorque seasons, I think there is a little choreographic voice inside me – but it may take time to emerge. I do know that I would want to make a work that dancers enjoyed dancing, not solely to fulfil my own choreographic needs.

What: Bodytorque.Muses

SOUNDS ON SCREEN Coz we love films and music, Sydney Film Festival have given us one double pass to each of their Sounds On Screen films to giveaway. See what takes your fancy below, and email us with what you want tickets to, and why. More at sff.org.au Beats, Rhymes & Life explores the troubled history of legendary hip hop outfit A Tribe Called Quest. Wed June 8, 9pm Ain’t In It For My Health revisits drummer Levon Helm, 30 years after he appeared in Scorsese’s seminal rockumentary The Last Waltz. Fri June 10, 12.30pm LENNONYC explores Lennon’s New York years, via interviews with friends, family and colleagues, and never-before-heard-or-seen recordings. Sun June 12, 1.45pm LBF: based on Cry Bloxome’s novella Living Between Fucks, Alex Munt’s debut stars Toby Schmitz and a swag of Sydney bands, including Teenagers In Tokyo, Kids At Risk and Fergus Brown. Sun June 12, 4.15pm Microphone dives into Egypt's alternative music scene. Wed June 15, 4.25pm Sing Your Song is a tribute to goldenvoiced legend and political activist Harry Belafonte. Thurs June 16, 4pm Dingo (1991) – don’t miss this schmick new preservation print of Rolf De Heer’s jazz tribute, starring Miles Davis and Colin Friels.

Sat June 18, 2pm

When: May 26 – 29 (five performances) Where: Sydney Theatre / Walsh Bay More: sydneytheatre.org.au

Terry Street complex in Rozelle, and running from June 6 – August 31. Applications close this Friday May 27, and the studios are open to applications from individuals, OR groups of people who would like to share a studio.

Successful applicants will be required to pay a $100 security bond in addition to a $20/week participation fee – cheap as chips, even for a languishing artist. For all the details, check out serialspace.org/applications-open

FESTIVAL OF NEW WRITING

Griffin Theatre Company’s Festival of New Writing kicks off on June 6 and runs a week-long gamut: the winner of the coveted $10000-cash-prize Griffin Award for best new Australian play will be revealed, alongside staged readings of excerpts from all the shortlisted plays; Griffin will unveil its HeartbreakHotel project, a theatre-installation piece created from public submissions and donated relics of romances gone wrong…

You can evaluate the next generation of NIDA theatremakers when six writer-director teams compete in the 24-Hour Play-Offs; or see

Mama Africa pays tribute to South African singer and activist Miriam Makeba. Sun June 19, 6.30pm

established talent in action at the Currency Press 40th Anniversary ‘medley performance’ of assorted scenes, directed by Griffin's Artistic Director, Sam Strong. Finally, the Griffringe presents a series of short works and works-indevelopment. Tickets for almost all the events are just $10. Book at griffintheatre.com.au

[TITLE OF SHOW] SHOW

Your grandma always told you there’s no second chances in life, but she lied: [title of show] is getting a remount at Marrickville’s Sidetrack Theatre this week, after knocking the socks off all the major Sydney theatre reviewers during its Seymour season last year. The kind of show that Charlie Kaufman would probably write (if he liked musicals), [title of show] is a story about two guys writing a musical about two guys writing a musical, chronicling its own creation from the page to the Broadway stage, and spanning years… (but not really). It's a celebration of showbiz built from four chairs, a keyboard, nerdy charm and a cracking sense of humour.

May 24-29 – book at sidetrack.com.au

GRAPHIC FESTIVAL

A master of American comics on the level of Jack Kirby and Will Eisner, the inimitable Robert “R.” Crumb, will be making his first Australian appearance for this year’s GRAPHIC festival. Crumb will appear in conversation with Fantagraphics co-founder Gary Groth, and will also apply his extensive knowledge of early American music to a special 'live jukebox' evening, featuring Captain Matchbox (Mic & Jim Conway). Other highlights include an exclusive, animated preview of Gotye’s long-awaited 4th studio album, plus screenings and talks with such characters as Scott McCloud (Understanding Comics), Masaya Matsuura (Parappa the Rapper), Nathan Jurevicius (Scarygirl) and Reg Mombassa. GRAPHIC runs August 20 & 21. See sydneyoperahouse.com/GRAPHIC

DO THE DIP

Who hasn’t found themselves at GoodGod of an evening, fishing the sozzled fruit-bits out of the bottom of an empty sangria jug because Hungry Jack’s is too far to walk? No more soggy apple chunks for you, friend, because DJ pals Andrew Levins and Bianca Khalil have created The Dip: a dreamscape of delicious global & American-retro noms. From sweet avocado icecream to pulled pork sambos and trashily exotic hot dog creations, you’ll never want (or be able) to haul yourself out of those cosy booth tables ever again. Find The Dip in the front lounge at GoodGod Bar & Smallclub, 55 Liverpool St, Chinatown.

SONGS FROM THE ETHER

In collaboration with indie label extraordinaire Spunk Records, photographer and filmmaker Andrew Kidman is presenting a unique live music/surf-film event at venues up and down the East Coast in June and July. Bringing a little bit of balmy summer vibe to chilly evenings, Kidman’s band The Windy Hills (formerly The Brown Birds From Windy Hills) will perform a live soundtrack to projections of Kidman’s new film, Lost In The Ether. The visuals will also 30 :: BRAG :: 413 :: 23:05:11

incorporate projections of the new Patrick Trefz film, Idiosyncrasies. The show hits the Vanguard in Newtown on Sunday June 5, The Boatshed in Manly on the previous two nights, and Cronulla’s Brass Monkey on Wednesday June 1.

REALISE YOUR DREAM

The British Council’s terrific Realise Your Dream initiative is on again for 2011 – a competition that offers not just one, but five Australian creative types a massive kickstart in their field. Each winner scores an amazing package, including flights to the UK, an $8000 NAB Cash Passport and a tailored development program for each individual, where they are guided and mentored by top British creatives. Whether you’re a budding photographer, scribe, raging thespian or even a Don Draper wannabe, check out realiseyourdream.org.au for application details (and a really fun promo vid featuring an intrepid chip). Applications close June 18.

ARTIST RESIDENCIES

Serial Space and Anyplace Projects have opened the next round of submissions for their three-month artist residencies, based at their

COUPLES

Winner of the People’s Choice category at last year’s Head On Portrait Prize, photographer Franky Tsang is back with a solo exhibition called Couples, which captures moments of seemingly-impromptu intimacy in a series of delightful black and white photographs. Franky grew up in Hong Kong, playing with his Uncle’s Hasselblad and 4x5 cameras, and dreaming of darkrooms. When he moved to Sydney in 1984, his Uncle gave him his first ever SLR. Couples opens next week at Paddington’s Global Gallery, and runs from June 1–11 as part of the Head On Festival. More Franky-times at beani.com.au

Dana Stephensen/Bodytorque.Muses – photo by Paul Empson

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

Toby Gough brings Buena Vista’s heyday to Sydney

By Simon Binns

Reynaldo Creagh shows us how it’s done in The Bar at Buena Vista

T

he term “brave director” is s thrown about fairly generously. ously. It might be in reference to a “brave new interpretation” of a classic script, or a “daring decision” to stage a show in a certain way, or a “radical casting” asting” that brings new light to an actorr who has long been written off. Very rarely, when someone is called a “brave ve director” is it meant that the person rson in question has undertaken an act ct that placed them at great physical risk. isk.

Toby Gough is one such man who fits this more literal description.

Toby Gough

In the midst of the Bosnian War, ar, Gough smuggled his way into Goug Sarajevo through a sewage tunnel Saraje nnel co-direct an opera. In the wake to coake of 2004 Asian tsunami, he travelled the 20 avelled to Sri Lanka and ran theatre projects rojects with ssurvivors. Subsequently he devised another production, that devise hat brought together child soldierss broug sides of Sri Lanka’s from opposite o ka’s 20-year-long civil war. Even at 20-ye tender age of 18, as a student the te dent teacher in Africa, Gough wrote teache e plays toured lakeside villages byy boat that to jeep. As far as the term “brave and je brave director” goes, he more than fits the directo bill.

Gough has always tried to balance Goug lance in social change with his his interest int commercial dreams. As far as comm s he is concerned, positive change is conce s part of the reason for being in the game.

“If you’re you studying medicine want to see the work you’re you w ’re studying having some effect… studyi … and your writing can fulfi as a writer w lfil some sort of purpose,” he says. ys.

“I like to feel theatre does have ve transformative abilities to change transf nge people’s live, to resolve conflict, peopl ct, to bring people together, to give other people a different opinion, to deal peopl prejudice. As a theatre maker with p I like tto take theatre into places es see it has relevance and a you se resonance.” reson

THE

KISS

This belief in theatre’s ability to b affect social change recently took Gough to rural Queensland, G and, where he worked with Indigenous nous performers on an adaptation of perfor Peter Pan – a story that well and truly hit h home. “You’ve got these ese characters, these lost boys who chara ho have lost their parents and don’t on’t know the end of their story, and nd Wendy’s brought there to give Wend e them a story stor so that they can escape pe from this world where their only t nly future is becoming a pirate… It found a real resonance.”

The inspiration for The Bar Att in Buena Vista, came from a different ferent kind of o experience, however. “It’s probably thanks to a beautiful proba Australian called Kylie Minogue,” Austra ue,” Gough Goug tells me. “I was directing ng her in a production of The Caribbean p ean Tempest in Barbados, and I started Temp tarted getting gettin very interested in Caribbean bbean cultures.

I took a plane over to cultur o Cuba…

Cuba and walking into Cuba, a, 12 years ago, was like walking into to a museum – the life, the music and muse the characters.” ch It’s an understatement to say Gough fell in love with Cuban culture..

The first show to come out of this newfound infatuation was the epic newfo Lady Salsa. Bringing the music ic and dance that is synonymouss d

with C Cuba to the world’s stages, es, Gough Goug created a show that was as writhing writhin with life. “It’s very young, ung, female, femal sexy, energetic…” he recalls passionately – particularly arly the pe performers, who, he tells me, “dance “danc like they’re having the best sex of their lives.”

The inspiration for his second in Cuban project came from the ‘90s revival reviva of an iconic music venue ue in Cuba’s Cuba’ capital Havana: the Buena uena Vista Social Club. A stalwart of Havana’s music scene, Buena Havan a Vista served serve as a hub for some of Cuba’s greatest greate musicians throughoutt the ‘40 ‘40s and ‘50s, and those very musicians were recruited by Gough music to create The Bar At Buena Vista. cre ista.

After the t glitz and glamour of Lady Salsa, Salsa Gough wanted to recreate ate the world that this Cuban energy came out of, of but in a far more stripped ed back ssetting. “Instead of having ga huge show with hundreds of dancers ancers and co costume changes and showbiz owbiz sets, I thought let’s go back and nd recreate recrea the beautiful old bar with these legendary musicians on stage telling these colourful stories of what it was like back in the day.”

He’s hardly a household name, h e, but 94 94-year-old Reynaldo Creagh agh is probably the world’s oldest pro

working workin singer, and is considered by many ma to be Cuba’s last remaining living legend. He is accompanied on stage sta by 86-year-old guitarist Maracaibo, one of Cuba’s most Marac loved composers, and 85-year-old pianist pianis Maestro Rubalcaba, who is nicknamed ‘The Hands of Gold.’ nickna Together, this trio makes the Toget Rolling Rollin Stones look like spritely teenagers – and when Gough first teena decided decide to put them on stage, the se sewer in Sarajevo must have seemed seeme like a truly risk-free venture by comparison.

“You have to go com slowly,” slowly admits Gough, who has obviously spent his fair share of obviou time waiting on the performers over w the de decade that the show has been on the road. “But you do get to ride in the buggies at the airport,” he adds, with obvious affection.

Despite Despi their age, Gough assures me that th Reynaldo and Co. are still living the Cuban dream. “They’re full of passion and romance… And they h have the secret of eternal life,” he laughs: “they smoke cigars every lau day and an they drink rum.”

What: The Bar at Buena Vista What May 27 & 28 State Theatre, Sydney ticketmaster.com.au

She let me do everything – except kiss her WRITTEN BY ANTON CHEKHOV KATE CHOPIN PETER GOLDSWORTHY GUY DE MAUPASSANT

12 MAY – 12 JUNE SEASON EXTENDED EXTRA WEEK NOW ON SALE

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BRAG :: 413 :: 23:05:11 :: 31

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.

PICS :: TL

the wall: tumblng ovr

The Kiss – photo by Heidrun Löhr

Steve Rogers, Rita Kalnejais & Catherine Davies star in The Kiss

11:05:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

■ Theatre

THE KISS Until June 12 / Belvoir Downstairs The Kiss is a brave project. While it's not the first experiment in bringing prose to life on stage (in almost every interview director Susanna Dowling acknowledged Elevator Repair Service’s Gatz as a key influence), it’s far from common to see short stories forming the basis of a new theatre work. Therefore, the decision to present Anton Chekhov, Kate Chopin, Peter Goldsworthy and Guy de Maupassant’s various takes on The Kiss in their entirety is hardly a risk-free venture.

Fortunately for all involved, it has proved to be a risk worth taking.

PICS :: TL

34b burlesque: berlin!

The show begins with Rita Kalnejais caressing the back wall as famous kisses from films (and for the most fleeting of moments a recent royal wedding) are projected onto it. She then performs a gorgeously tempered rendition of Maupassant’s The Kiss, a manual for how women can use the kiss to exert power in a relationship. Kalnejais focuses on the playful side of a story that could so easily take itself too seriously.

14:05:11 :: Q-Bar :: 34b, 44 Oxford St Darlinghurst 93312956

The next story is Goldsworthy’s, and it was the highlight of the show for me. The story itself is superbly sculpted, always failing to deliver on clichéd expectations. It is supported by a clever staging from Dowling that leads to an intimacy with the two main characters, played by Steve Rodgers and Yalin Ozucelik, that reminds you why the Belvoir downstairs space can be so magical.

PICS :: TL

semi-permanent

The stories of the second half struggle more with their theatrical setting than those of the first. The main issue is length, with Chopin’s work too short, leading to a lack of depth and Chekhov’s too long, reminding you that prose is not the perfect resident of the theatre. However, the creativity of the actors triumphs, and the prose is all the better for it.

12:05:11 :: The Paper Mill :: 1 Angel Pl, Sydney

Henry Florence ■ Theatre

Arts Exposed

BAAL

Until June 11 / Wharf 1, STC Baal contains ‘adult themes, nudity, violence, simulated sex scenes, drug references and very coarse language’. So the last thing I expected to feel as I walked out

What's on our calendar...

TEDX SYDNEY: LIVE SIMULCAST Saturday May 28, 8.30am - 6.30pm: YouTube / ABC Radio / CarriageWorks

32 :: BRAG :: 413 :: 23:05:11

The Baal of this production (played by Thomas M. Wright) is a singer-songwriter and poet, a boozer and a womaniser; he has the mind of an adult, but the emotional range of a pre-socialised child: in the opening scene, set at a yuppie cocktail soirée, where our 'hero' is surrounded by cooing socialites with artistic pretensions, he cuts through the babble to demand food and wine, then interrupts to insist one of the women dance with him. She does, and they do so with an awkwardness that is almost innocent – until he lifts her dress and gropes at her undercarriage. Like a child, Baal grabs for what he wants, but his attention span is brief, and he discards lovers like yesterday’s toys. In contrast, he seems genuinely beholden to his best friend and sometimes-lover Eckhardt. ‘You think she’s more beautiful than me?’ he demands of Eckhardt at one point, in a flash of jealousy.

If Baal’s misanthropy and misogyny are integral to Brecht’s conception of the character, then this production makes him uncharismatic and unappealing to boot (Genius? Really?) – possibly so as to distance itself from his philosophy. But the end result is something cold and glossy where only ideas flourish – mostly Baal’s unequivocally bleak ideas, unfortunately, rather than reactionary impulses of humanity or empathy that a play like this might provoke, or any particularly clear or profound social commentary from writer-director Simon Stone. Baal dies filthy, raving and alone, spreadeagled on the ground with his eyes to the sky. I can't say I was surprised, and I can't say I cared much.

Besides Oscar Redding’s excellent performance as Eckhardt, and flashes of inspired prose poetry, this show's strongest asset was Nick Schlieper's lighting and design, which furnished some starkly beautiful and unsettling set pieces.

Dee Jefferson

Baal photo by Jeff Busby

Baal's past comes back to haunt him...

TEDX Sydney - photo by Daniel Boud

TED (Technology, Entertainment & Design) is a non-profit organisation dedicated to disseminating 'Ideas Worth Spreading', through semiregular conferences. Founded in the USA in 1984 – and famously the site at which Steve Jobs first unveiled the Apple Mac to the world – TED has by this time become a juggernaut of social change, with its flagship annual conferences in Long Beach (USA) and Edinburgh hosting such forward-thinking luminaries as Al Gore, Bill Gates, Frank Gehry, Sir Richard Branson and Philippe Starck.

Attendance at the actual conference is by invite only – BUT you can still watch the simulcast of TEDX SYDNEY on YouTube from 8.30am to 6.30pm, listen to ABC Radio National’s broadcast from the event at 1pm, OR go to the CarriageWorks free 'simulcast event’, to chill on a bean bag whilst watching the broadcast live on the Big Picture LED wall. For all the deets, and the line-up of smarts, see www.tedxsydney.com

of the theatre was bemused. I wanted to be shocked; I wanted to be challenged; I wanted to experience something visceral at the theatre – as I had, for example, with the recent Belvoir production of Cut; something that so totally engaged my primal instincts, that it would lurk in the back of my mind for days, or even weeks, afterwards. And while my expectations are not the responsibility of the theatremakers, I’m pretty sure Baal was intended to move me; intended to function as an audiovisual liturgy, to purge the soul.

See www.thebrag.com for more arts reviews

Street Level

DVD Reviews

Get to know your Sydney Film Festival Official Competition contenders...

BADLANDS

MARIA FULL OF GRACE

Warner Bros Home Video This week I revisited Terrence Malick’s first two films, Badlands (1973) and Days Of Heaven (1978).

The latter is pretty much one of the most ravishing cinematic experiences on hand; however, you could and should start with Badlands, for these three reasons if nothing else: to see what a 29-yearold writer-director with vision and something to say can do; to see Martin Sheen, aged 32, in his breakout feature film performance (after oodles of TV work – and six years before Apocalypse Now); and because Malick’s Tree of Life is playing in Sydney Film Festival’s Official Competition this year. “Little did I realise that what began in the alleys and backways of this quiet town would end in the Badlands of Montana.� So says our narrator, Holly (Sissy Spacek), as we watch the fresh-faced, baton-twirling version of her 15-year-old self meet Kit Caruthers (Sheen) – a 20-something veteran of the Korean War with a severe misanthropic streak that is only barely concealed by his James Dean veneer of insolent charm. Both are attractive and damaged, emotionally autistic and morally numb. The only admirable thing about Kit is how loyal he is to Holly; the only admirable thing about her is a total absence of guile. There’s no relating to them, or empathising – but both have charisma to burn. Malick follows Kit and Holly on a road trip from South Dakota to Montana, as they make their way to an inevitable doom, via a trail of ‘incidental’ and often casual murders.

Badlands is a stylish exercise in audiovisual poetry, as visually sensual as it is emotionally barren. While its thesis about the effects of mass culture (and possibly war) on the American psyche wasn’t necessarily subtle, it is compelling, beautiful, and introduces Malick’s unique cinematic sensibilities in their embryonic form. Next stop: Days Of Heaven.

Dee Jefferson

Paramount Home Ent. Aus. Joshua Marston picked up a swag of awards for this, his debut feature – including an Academy Award nomination, the Berlinale’s Silver Bear, and the Sundance Audience Award – thanks to some very assured direction, a knockout performance by Catalina Sandino Moreno, and an urgent story.

Like Steven Soderbergh’s Traffic, Maria Full Of Grace tackles the back end of the drug trade – but it’s not interested in the big picture, or the political and economic issues. Marston is interested in the people at the bottom of the food chain, who make the trade of drugs between Central and North America possible: the mules. Specifically, he’s interested in Maria, a 17-year-old Colombian factory worker whose paycheque supports her entire family, and whose dream of a better work life sets her on a harrowing journey to New York, with 62 latexwrapped pellets of cocaine in her stomach – next door to her unborn child...

Shot in a low-key, observational mode, and for the most part eschewing the violence, squalor and villainy often associated with the drug trade, Maria Full of Grace takes an unexpected approach by presenting its protagonists as economic aspirants, rather than victims forced into the business under duress. Nor does it give Maria the world’s worst job – she packs roses all day. Maria doesn’t have to become a drug mule. But Marston seems very interested in exploring what circumstances could make her think it was worth it.

Marston came to film via photography first, followed by a stint in academia, studying politics. His desire to tell stories and explore social issues in a vital, cinematic sense bursts through in this film – he’s tried other ways, and this is where he’s settled. His second feature, The Forgiveness of Blood, screens in Sydney Film Festival’s Official Competition this June.

With Sarah Gleeson eekly arts affair The Wall is hosting an exhibition supporting the Red Cross Japan Appeal, curated by graphic designer Sarah Gleeson. Entitled Seventeen Syllables, the concept is neatly themed: Gleeson asked selected artists to write haikus, and then create artworks that reflected their written pieces.

The artworks will be auctioned off, with all proceeds going to Japan’s Red Cross.

Additionally, a charismatic little booklet containing haikus by the artists (and some more besides) will be on sale for just $5 on the night. We took five with Sarah to find out more.

W

What is your background in design? Since I could hold a pencil I’ve been drawing and loving it, so being a graphic designer was a natural progression. I didn’t do all that much study after school, I attribute where I am to experience and learning from senior designers I’ve had the pleasure of working with.

How did you come up with the idea for Seventeen Syllables? I had planned a holiday to Japan in April, however after the disasters struck it just wasn’t the right time to be holidaying there. I felt terrible about my decision because I wanted to spend money over there and help them out. So that’s how the charity exhibition idea came about, I wanted to lend a hand somehow.

The idea of the artworks being inspired by the artist’s own haiku was a way to tie it all in with Japanese culture and hopefully inspire the artists to create something they usually wouldn’t have.

Who is taking part in the exhibition? And how did you select them? All participating artists are friends of mine. It was hard not to ask all of my friends who are generally very creative, so I tried to pick out a group who I thought would each contribute something different from the other.

Tell us about this artwork (pictured)? This is a detail from the work I created for the show.

I’m only showing a small part of it as I don’t want to give too much away! The haiku I wrote is a kind of conversation between my younger self and who I am now. I wrote the haiku first and then let my imagination take charge of the artwork!

What’s going down for the opening night?

The exhibition will be upstairs at the World Bar from 7.30pm. A DJ will be spinning Japanese-themed tunes, and the auctioning of the artworks will begin at about 8.30pm.

Also available for purchase will be lovely little handmade booklets, filled with haikus specially written by local and international wordsmiths.

All proceeds from the art and booklets will be donated to The Red Cross Japan appeal.

What else are you up to in 2011, projectwise? I would love to eventually write and illustrate a children’s book. I hope to dive into this project with any bits of spare time I have for the rest of the year.

What: Seventeen Syllables When: Wednesday May 25 from 7.30pm Where: The Wall, World Bar / Kings Cross More: artonthewall.tumblr.com

Dee Jefferson

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Amy Meredith The Drummer Boy By Emma Jane

S

o, it’s Saturday morning and I’m watching rage when this bouncy, annoyingly infectious Amy Meredith clip comes on. The dudes are all way too cute with great hair and spiffy outfits, and all of a sudden I’m having this OMG moment: Amy Meredith is the new Ratcat!

Good-looking boys, catchy, suggestive pop music and really, REALLY awesome haircuts? ...No? A week later, I excitedly pose my latest hypothesis to a confused Amy Meredith drummer, Kosta Theodosis, who’s holed up at the family compound in Toowoomba, QLD. He sounds flattered and a bit put-off by my suggestion, but agrees that the hair thing is inextricably linked to Amy Meredith’s burgeoning success. “Christian wins because his dad is a hairdresser and he lives at the salon,” Kosta laughs. “Pretty much every day he gets his hair fully styled by his dad, so it’s hard to compete with that. I’ve had to pay attention to my look since I’ve been in the band or I feel a bit left behind. I was always this dirty scruffy-haired dude, but I’ve had to sharpen myself up a bit.”

almost saw the band implode after his infamous Sydney A&R showcase faux pas, inviting reps from all the labels while Warner already had an informal deal with the band.

It was an incident so sweet in its naivety that they were eventually forgiven and signed to a major regardless - but Kosta agrees that it was a lucky break; the episode could have destroyed the band before they’d even begun. “Definitely! In the very early stages, so many things happened and everyone just got caught up in it.

We weren’t quite mature enough to make the right decisions, but for everyone in the band, this is our life - no one has anything else to fall back on. We did everything we possibly could to make it work, and I think it’s paying off.”

It certainly is. Their debut album for Sony, 2010’s Restless, peaked at #8 in the ARIA album chart, while the single ‘Lying’ (with its soft-porn clip) went to #10 in the single charts.

2011 has seen the boys consolidate it all, with a bit of rest time before they embarked on the ‘Higher Education’ mega-tour of major cities and regional centres, a shindig that promises kungfu and inflatables. “[It’s] super exciting,” Kosta

enthuses. “It’s our biggest tour to date, and we’re playing at venues that I’ve always wanted to headline.”

Despite his natty bowties, Toowoomba-native Kosta is still a big old drum nerd at heart. A respected young muso in his own right, he’s toured the world with the Raw Dance Company (as a drummer), and played his fair share of artsy-type gigs. In other words, he’s paid enough dues to now be working the 9pm-5am of a touring pop-rock band with a major record contract. “That’s why I’m always blown away by everything that’s happened, because I’ve always been the biggest drum nerd in the world, y’know what I mean? Like all through high school I never went to any parties, I just practiced twelve hours a day. So for me, I’m still like the biggest loser in the world. I still read every word in every drum magazine.”

So if you’re at one of Kosta’s shows and want to get him chatting, hit him up about his gear. And then get him drunk, ‘cause drummers can be so serious!

What: Restless is out now through Sony Where: The Uni Bar, Wollongong / Level One, Newcastle / The Metro Theatre

‘Christian’ refers to Christian Lo Russell, the pint-sized heartthrob and Cure fan who fronts the Sydney-based five piece. It was Lo Russell’s rampant enthusiasm that

When: May 25 / May 26 / May 27

The Vaccines

Parades

Great Expectations By Dermot Clarke

Leaving The Garage By Jonno Seidler

I

f you haven’t heard from Parades in a while, they haven’t been ignoring you. “All we have in mind at the moment is to do something that’s a lot better than the first album,” explains guitarist Dan Cunningham, as some sort of excuse for his tardiness. It’s an excuse that would work had his band’s debut, Foreign Tapes, not been universally adored by critics and fans across the country.

Cunningham laughs when I inform him that this kind of palming-off will not fly, explaining that while he’s happy for all the positive response the band has had, “we really want something that’s more representative of what we are and where we are at the moment.”

Key clues to their new direction include an approach that’s weightier and more intricate - which by all accounts will have devoted musos frothing at the mouth; the group’s first outing had odd time-signatures, sweeping key changes and any number of other gems to be discovered over repeated listens.

But what Cunningham is really driving at is that Parades are now a leaner, meaner unit.

They’ve finally abandoned drummer Jonathan Boulet’s ‘mythical garage’ (famous as the site for his own debut recording, as well as theirs) in favour of “an established facility elsewhere”, which one infers is probably a studio without cars parked inside it and sans roller door. And as of the release of their single ‘Water Stories’ earlier this year, Parades are now a fourpiece, without female vocals - the dizzying melodic heights provided by their friends from kyü the first time around have given way to “bro-ing the hell down”, a decision made for practical as well as aesthetic reasons.

“Rather than keeping going back and forth with that female element and trying to find someone who could put as much into the live show as Alyx [Dennison] did, we just decided

it would be way easier to just keep it the four core members,” he says. Dennison moved to the UK earlier in the year. “I think we’re most comfortable doing that anyway, keeping it in the family so to speak... We’ve lost one element [but] gained another.”

In between their forays into the weird world of Total Masculinity, Parades will be headlining Sosueme’s fourth birthday party at the Oxford Art Factory, a venue which has become something of a second home for Cunningham.

“It’s been over a year since we’ve done [a Sosueme party], not for any other reason other than that we’ve never managed to be there at the right time,” he says.

As the top of the bill, the boys have the luxury of checking out the rest of the lineup, which includes Guineafowl, DJ sets from The Vines and Art Vs Science in their new incarnation The Block-Ness Monsters. Most notably, the night features the Victorian girl rock group Stonefield, who Parades shared a stage with at the One Movement music conference in Perth last year. “We watched a few songs, I don’t remember it being that crazy - but the bass player’s like 13 or something, right?” This time they’ll have the chance to catch the whole set and maybe form some kind of alliance with the four girls, some mega-collaborative outfit which has the best of both sexes… Or maybe you should just see them separately - Parades have a new bag of tricks up their sleeves.

Since last August, editorial commentary has been treading as fine a line as possible, heralding The Vaccines as a fresh new batch of rock & roll saviours - with next to nothing to back this up. There’s no record of their six-month genesis before being discovered by the BBC’s excitable Zane Lowe, and their live reputation rests on two London gigs from December and January; 30-minute media feeding frenzies about which we know two things: 1. They were damn good and 2. Alex Kapranos was there.

Whether in spite of the hype or because of it, the album that finally appeared - What Did You Expect From The Vaccines? - really is great; a quick and refreshing blast of guitar pop that leaves you wondering if Phil Spector really did go to prison.

“We were definitely after something that was warm, and sounded like a live recording, that sounded like a band in a room,” drummer Pete Robertson says of the band’s intent.

Instrumental to capturing this was producer Dan Grech. “He’s primarily known for his work as an engineer, and we threw a lot of references at him, some of them being from the ‘60s, some from the ‘50s, right the way through to modern production techniques. He did a great job of translating those references to a universal theme.”

They wrote and recorded the album in one isolated stint, which amusingly included a ban on self-Googling. The album clearly displays their desire to move past merely embracing influences to embracing the spirit of those influences. “We were conscious that we wanted to draw on the traditions of music, without sounding pastiche-y.

We didn’t want to sound like a modern version of Eddie Cochran. We wanted to draw on elements of traditional pop music, fuse a lot together and then try and find a little modern twist on it. I wouldn’t say it was easy to write; we kind of did things a little differently in the sense that when we put it together, we kind of shut ourselves off from the world for three months in a little rehearsal room, and we gradually got ourselves a set of songs that we really loved.

“All four of us come from quite different backgrounds, musically and socially,” Pete continues. “The thing that bound us in our musical passion and taste was really great pop music, in a very pure form. And I think we wanted to translate a musical directness with our music.

I think we wanted to cut the crap, we wanted to get back to the nuts and bolts of great pop music.”

In a way, What Did You Expect From the Vaccines? is a document of perfect timing. The band aren’t a marketing construct, but how they battle with what they’ve created will be exciting to witness.

What: What Did You Expect From The Vaccines?

With: Kanye West, Pulp, Jane’s Addiction, James Blake, The Hives, The Mars Volta and loads more Where: Splendour In The Grass at Woodfordia, Queensland When: July 29 – 31 / tickets are still available Sideshow: August 2 @ The Metro Theatre

With: Guineafowl, Stonefield, Redcoats, Pluto Jonze, Bon Chat Bon Rat and more / DJ sets from The Vines, Zia (The Dandy Warhols), Joyride, The Block-Ness Monsters, F.R.I.E.N.D/s and more Where: Sosueme’s 4th B’day @ Oxford Art Factory When: Saturday May 28

“I’m a ghost and I don’t think I quite know where we gonna go”- KINGS OF LEON 36 :: BRAG :: 413 :: 23:05:11

The Vaccines photo by Roger Sargent

I

t comes across as a bit too perfect on the surface: exploding onto the scene with no past, all nice and pre-packaged with the appropriate checklist for UK indie-pop cred. Jammed into your face and primed for niche consumption, but with the added dimension of immediate percolating approval, not just from any music critic, but from the essential elements like NME and The Guardian. This ‘highly anticipated hot property’ PR approach is almost identical to The Strokes’ imposition on the mind’s eye a decade ago.

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BRAG :: 413 :: 23:05:11 :: 37

Manchester Orchestra Do The Math By Jaymz Clements

T

o write a concept album about oneself might seem like the height of hubris. And were it, say, Andrew Stockdale, Daniel Johns or Billy Corgan (again), it likely would be. But in the case of Manchester Orchestra, the idea of challenging themselves in the most emotionally exhaustive and honest way possible – by creating a narrative centred around 24-year-old frontman Andy Hull’s examination of his life – makes perfect sense. It’s also just the latest way the band were able to give the traditional process of music making a big ‘eff off’: Manchester Orchestra do things the way they want to. And in the case of Simple Math, ‘concept album’ is not a dirty phrase.

Built like a lumberjack and sporting a beard that would inspire a pang of jealousy in poet-era Jim Morrison (or bed-in-era John Lennon), Andy Hull presents a unique case as an artist. The first Manchester Orchestra album, I’m Like A Virgin Losing A Child, was created when Hull was still in his teens, and its follow-up Mean Everything To Nothing was incredibly accomplished. For someone so young to be onto his band’s third album speaks volumes of his character – and it’s a very effusive character, too. Already married, raised in the suburban American south and happy

to speak about his spirituality (Hull believes in God, but not religion), there are few people who present such a singularly intriguing proposition. To put it bluntly, there’s no bullshit about Andy Hull.

He’s open, funny, self-deprecating and eminently confident in his band’s ability to write great music.

And Simple Math is all about him. Or at least, all about how he perceives his relationships - with his wife, with his bandmates, with his God and with himself.

The band struck on the idea of giving the album an overarching theme shortly after their 2009 visit to Australia, when they were already into the recording process. “It started then,” Hull says. “We started recording songs that we had… something like 100 songs, and we got it down to 27,” he muses. “The songs really started to dwell around this super-personal stuff, so it was like, ‘Well, why don’t we actually make this a concept album, and do it the right way?’” Hull chuckles. “So we kind of created this conceptual record about me, and my wife, and my God and my band and my friends.” According to Hull, the decision to roll with a combination of interlocking stories, relationships and emotions was an easy one. “It all just happens, every time,” he says, of inspiration. “It’s all just progressively getting an idea that you feel like, ‘Yeah. That’ll work.’

“The way inspiration works is amazing to me,” he adds, before explaining how the exploration of his innermost thoughts impacted the way he examined his life. “The lyrics at the end of the process – and towards the end of the record – ended up being far more different than what was originally written, because I was far more calm and grateful and, I don’t know… in a ‘steady’ place.”

“Nobody ever came in and said, ‘That’s a good single’ - ever. We finished it and looked around and we’re like, ‘Oh shit, we forgot!’”

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Over the entire recording process of Simple Math, Hull was able to witness the evolution of himself as a person who was still learning about life – even aside from the actual concept of the album. And it’s something that makes the record all the more affecting. “Absolutely man, absolutely,” he agrees. “How old are you?” 27, is my reply.

“So, I’m 24 – and would you say, between my age and your age, there’s a difference in the way you look at things, the way you think of things? ... That’s what’s exciting about records, and the records we’re gonna make. I’m just getting there!

“Hopefully, what we’ve made is, for our fans, another great chapter in the catalogue of where we’re heading and what we’re able to do… and put any doubters of it aside. You either like our band, or you don’t like our band,” he adds blithely.

He makes a good point; Manchester Orchestra are a classic example of a band that, if you’re into them, it’s likely that you’re very into them.

They play to their strengths, too – muscular pop, with a hint of punchy, malevolent rock – and on Simple Math, they’ve added a certain grandiosity to their sound. There’s more strings and more horns, and more expansive songwriting. “Nobody ever came in and said, ‘That’s a good single’ – ever. We finished it and looked around and we’re like, ‘Oh shit, we forgot!’” he laughs. “Like, ‘We didn’t write an ‘I’ve Got Friends’ [their conquering single from ’09]… Oh shit’. [But] we made what we made… and what we made is better than that entirely.”

Simple Math is all-enveloping, and for Hull to put his inner dialogue on such display takes an impressive amount of stones; it must be increasingly strange to be revealing ever more innermost thoughts to his band, let alone the wider world. “Not really, honestly,” Hull replies.

“These are my best friends and I see them every day. We all have homes less than a mile away from each other, and when I went through this stuff, they went through it with me. So they understand exactly what it’s about,” he continues.

“They understand far more about Simple Math than they did during Mean Everything To Nothing.

“You have to realise that the entire record, all of Simple Math, is just the result of all the barbaric emotion of Mean Everything To Nothing: they could serve as counterpoints to each other,” he adds. “I just didn’t know how to phrase it then.”

What: Simple Math is out now through Sony

38 :: BRAG :: 413 :: 23:05:11

Teeth & Tongue x By In Now x 3D By Caitlin Welsh

J

ess Cornelius is not one for standing still.

When I get her on the phone from Melbourne, she’s just had a day behind a coffee machine, her “one-day-a-week little job”. I offer my congratulations – getting the day job down to one day a week is an achievement for any creative type. “Oh, I’ve got another different day job,” she corrects me cheerfully. “But I also do one day a week [making coffee] - and I study as well. It’s all a bit of a mish-mash.” She skipped uni for the day in order to have time to do an assignment tonight, all the while fielding calls from those pesky media types. “I’m moving house, I’ve got four assignments due, I’m doing interviews all the time and I’m trying to rehearse for shows! So it’s kind of mental, but it’s good.”

Cornelius’s creative life resists consistency as consistently as her everyday routine. After playing South By Southwest in 2005 under her own name, the NZ native fronted Melbourne four-piece Moscow Schoolboy, who put out a few wellreceived singles and played a lot of well-received shows. After that outfit went south, she rebranded herself as Teeth & Tongue and released her solo debut Monobasic. Since then, Teeth & Tongue has been a solo project, a duo, a three-, fourand five-piece variously. But Cornelius thinks the current iteration is the best yet – the core is herself, guitarist and longtime collaborator Marc Regueiro-McKelvie, and the newest recruit, Damian Sullivan on bass. Sullivan joined just after the recording of T&T’s sophomore LP Tambourine (released this week), but is a crucial element in bringing the record to the stage.

That Marc appears on the cover of Tambourine alongside Cornelius reflects her ever-increasing collaborative tendencies. “I think I’ve often thought about changing direction,” she admits, “but I think that I’m just beginning to explore this combination of sounds and this combination of people - and I’d like to do another record working on these sounds and this particular lineup a little more. And being able to utilise the live aspects a little bit more, in terms of putting on record what we do live, rather than trying to recreate the record live,” she says.

“I went through the whole of last year not really having a solid live lineup. And every time we played a gig it was like learning a whole new set, and having a whole new band, because we did it in so many different formats. And it was exhausting!” she adds with a laugh. “It would be nice to not have to change it for a while.”

What: Tambourine is out on Dot Dash, through Remote Control Where: GoodGod Small Club When: Thursday June 2

“It’s just really come together now,” Cornelius enthuses. “I mean all the press is very much about me and Marc, we’re on the cover of the record and Damien isn’t on there because he didn’t play on it - so I think it’s a little insensitive to him! He’s quite an important part of the live show now. He takes care of the bass and a little bit of percussion, and then me and Marc take care of the guitars, and I do the drum machines and a bit of keyboards. So it’s just a three piece.”

“I’m moving house, I’ve got four assignments due, I’m doing interviews all the time and I’m trying to rehearse for shows. It’s mental, but it’s good.”

Cornelius admits she had her doubts about the viability of performing the Tambourine tracks with only three bodies on stage, “because in the past we’ve done it as a five-piece and a four-piece.

But we’ve stripped everyone back, and I bought some new drum machines, and we managed to get a really tight-sounding representation of the album together. And it’s just easy because there’s no flab, there’s no extraneous sounds happening, no-one’s on stage just playing something just because they happen to be playing on another song,” she explains. “Everyone is doing something integral all the time.”

Cornelius is either terrible at naming albums, or just a little cheeky. Monobasic was, in fact, quite exploratory and eclectic, and Tambourine – for a record named after an instrument that’s often an afterthought and oftener a punchline – displays a consistency and clarity of vision that’s anything but frivolous. The interplay between Cornelius’s pet noise, the drum machine, and RegueiroMcKelvie’s grungy, eloquent guitars, draws a fine line between crisp and scuzzy. Cornelius, who says she loves the “relentless metronomy” of drum machines, wrote and recorded early versions of most of Tambourine with programmed percussion and then found that the warm, live versions that came out of band sessions didn’t quite add up.

“I’ve always loved really fake-sounding snares, and handclaps – I don’t know why, maybe I’m just a child of the ‘80s. I just really grew to love those particular sounds, just heavily dated, and really compressed, bassy snares, really mid-rangey kick-drums and all those things,” she says. “I became so used to hearing those sounds when I was writing that it became part of the song, and I couldn’t then separate them - I just happened to be writing with these particular drum samples, because that’s what I had with me. I really like to play around with drum samples and drum beats and basslines and guitar parts and keyboard parts when I’m writing, I like to throw all different things in there and not so much treat it like a linear song. I might write a verse and work out all these other parts to go with it before I even move on to the chorus. So it’s almost like a vertical kinda way of writing, or a 3D kinda way of writing!”

The album you’ll be listening to over and over again...

Named in SPIN’s Best New Artists for 2011 “gorgeous” - Rolling Stone “a dark and moody album, full of delights” - Associated Press

Produced by The Black Keys’ Dan Auerbach

Album In Stores Now BRAG :: 413 :: 23:05:11 :: 39

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

ALBUM OF THE WEEK could provide. (God knows I’d listen to a radio spot hosted by Henry Wagons’ multiple personalities...)

WAGONS Rumble, Shake And Tumble Spunk Records Henry Wagons has always rollicked down the lines that Neil Young and Johnny Cash drew in the sand, his Melbourne band caught red-handed stuffing their paws into a mixed bag of Americana. But with Rumble, Shake And Tumble, Wagons claim irrefutable ownership of those borrowed sounds and draw some lines of their own.

Finally at home on a range all their own, Rumble Shake And Tumble expands Wagons' borders tenfold.

Henry rocks a baritone that narrates his tall and roguish tales impressively, with whimsy intact beside the suspiciously heartfelt gestures – a deceptive union that proves all too interesting in the growing Wagons mythology. Each lap-steel lick and forlorn lyric sounds born of the AM waves, yet begs for the fever-inducing exposure that only an FM frequency

‘Downlow’ comes blaring from somewhere inside a Black Hawk helicopter, just as it rains hell upon some unsuspecting village. The doomsaying mantra of “sizzlin’, cracklin’, smokin’ & fizzlin’” descends us into the bowels of the inferno on ‘Love Is Burning’, as Mr Wagons assumes his televangelist alter ego, leading the flock in the appropriately hymnal ‘Save Me’. He trades that for a barfly crooner’s shitkickin’ boots in ‘Life’s Too Short’, before a long kiss goodnight on the bittersweet lips of ‘Mary Lou’.

That a band can offer such vivid escapism in ten songs is a real triumph of imagination, but it’s when you notice how intelligent this beast is that it seriously begins to awe.

Dan Patrick

VARIOUS ARTISTS

NOAH AND THE WHALE

DRIVE-BY TRUCKERS

Electric & Eclectic: Rarities Volume One Popboomerang

Last Night On Earth Co-op / Shock

Go-Go Boots Liberation

Indie label Popboomerang Records has shone a deserved light on great melodic guitar-pop for the past decade, and on this compilation they’ve assembled unheard originals, covers and alternate versions from their artists.

Unreleased gems like The Bon Scotts’ ‘Drape Those Caring Arms Around Me’ and Skipping Girl Vinegar’s ‘The Wedding Song’ demonstrate just how special an album of rarities can be.

The latter is romantic without being maudlin, suffused in a shimmering tranquility that’s resplendent in both the melodious guitars and warm strings. Other highlights include The Aerial Maps’ cover of Weddings Parties Anything’s ‘For A Short Time’ (the song’s classic Australian cadence and blissfully nostalgic air are captured perfectly), D. Rogers’ cover of Guided By Voices’ ‘Learning To Hunt’ and Grand Atlantic’s unexpectedly brilliant cover of Enya’s ‘Only Time’. That’s right – Enya. The fact that the Brisbane four-piece have managed to cover Enya with such poise and beauty is a welcome and captivating surprise.

Meanwhile, superb Ballarat folk entity Underminers provide an alternative version of ‘Trouble Man’ (the original can be found on their outstanding third album, Heart Part Of Your Mind). Also highly notable is Young Werther’s ‘Lazy Babies’ – a pensive folk lament trading in rippling guitar and manifestations of search and longing. But most compelling of all is Splurge’s haunting original, ‘When I’m Down’ – a moving, solemn moment of introspection via Greg Williams’ expressive vocals and his band’s intensely foreboding rhythms.

Some might say that the splicing of Laura Marling from the rest of Noah And The Whale resulted in the birth and rebirth respectively of two wonderful artists, but others (me) reckon that the toe-tapping, hand-clapping, sunlit twee-folk of the band’s early days represented its musical peak.

The Belle & Sebastian-esque charm of NaTW is succeeded here by agreeable, down-the-line pop that will harmlessly bounce around your brain until it fades into nothingness.

Last Night On Earth could have been an album by anyone: a compilation to accompany the montages at the start of Pixar movies, or a collection of songs for outback-themed car ads, or the soundtrack for a floppy, diluted Western film starring John Goodman.

That’s not to say that the album is bad – it's expertly produced, and frontman Charlie Fink’s affable charm shimmers through both lyrically and musically. He has a flair for variety; the use of mellifluous piano tinkles in the interlude ‘Paradise Stars’ gels nicely with the almost Irish-sounding violin in ‘Just Before We Met’ and the calypso glockenspiel that plonks through ‘Give It All Back’. But amongst the sometimes-strong diversity comes stylistic confusion, exemplified in Fink’s vocals - perfectly tuned but sung with a strange Americanacum-Brit-folk twang, which reflects a kind of struggle between the new sensible, clean pop they’ve adopted and the imperfect charm of ‘5 Years Time’... Oh, and ‘L.I.F.E.G.O.E.S.O.N’ is basically ‘Lola’ by The Kinks.

A delightful introduction to a Melbourne roster which continues to flourish in diversity and depth.

Noah & The Whale have adopted a tamer pop-rock persona with this album - but while they might lose some devotees, they’ll gain a herd of new fans.

Christine Lan

Rach Seneviratne

Accepted as one of the finest alt-country acts the genre has to offer, Georgia’s Drive-By Truckers have been a beacon for Southern rock and country for over a decade. Though they've recently taken on work as the backing band to rhythm and blues legend Booker T, as well as the backing for Bettye LaVette’s comeback record, Go-Go Boots represents an assured return to their own material - lap-steels, Western rhythms and slack-jawed vocals included.

The arrangements at the fore of tracks like ‘Everybody Needs Love’ and ‘Go-Go Boots’ are stunning in the cohesion of their many varied elements. Three guitars and an organ all fight for the same space along the low end, and come out with no loss of prominence amongst the wall of sound.

Instrumentally, this is as close to a perfect alt-country album that you may ever hear, but it’s the vocals and lyrics that let Go-Go Boots down. The a capella intro to the record on ‘I Do Believe’ is cringe-worthy in its weakly delivered whine, while the lyrical howlers are all too prominent; “and you say that we’re the assholes / cos we bitched about the hassles / are you sleeping in your castles?”

It’s hard to argue that this isn’t just Drive-By Truckers going back to the well for more of the same, but there’s so much to love about this record. It’s relaxed, foot-tapping fare that consumes a swath of Southern influences from gospel to the blues.

Go-Go Boots is by no means a game-changer for Drive-By Truckers. There’s no evolution to be found – but when it sounds this good, why should there be?

You And I EP Independent If there was a checklist to complete in order for a band to traverse successfully across a burgeoning music career, Perth’s Young Revelry have got the boxes ticked.

Radio competition win? Check. Opening slot at national festival? Check. Highlyrotated single on national airwaves?

Check. So on the well-thumbed blueprint of working bands, the obvious next step would be the debut EP – and where better to record it than in a studio deep in Margaret River’s rural

40 :: BRAG :: 413 :: 23:05:11

THE FEELIES

Showroom Of Compassion Upbeat/Sony

Here Before Popfrenzy

It’s not hard to work out why Cake never managed to capitalise on the success of ‘Short Skirt/Long Jacket’ and ‘The Distance’, and why they remain sadly unappreciated and largely unknown.

It’s because they’re too funny. And in an industry where you have to work extremely hard to look like you couldn’t care less, no one has ever really known what to do with them.

Showroom Of Compassion was foreshadowed as significantly different from earlier Cake albums, but it’s really just another shade of brown - John McCrea’s vocals remain half-spoken, his lyrics entirely idiosyncratic, and the band is locked in that mid-tempo shuffle that they’ve owned for nigh on twenty years. But having spent all that time wryly observing other people and their absurdities, McCrea’s narrator has switched to far more personal matters. The result is far more inward-looking than their previous work, with McCrea’s focus on ‘I’, ‘you’ and ‘me’ rather than ‘he’, ‘she’ and ‘they’.

That personal approach makes this come off as less ‘funny’ and more ‘serious’ than earlier albums, and it does lack a little of the magic that made me fall in love with them in the first place. But the trade-off is that you get an album of proper, well-written songs, rather than threeminute jokes set to music. It may not be what you're hoping for, but get past that initial disappointment and you’re rewarded by killer tracks like ‘Easy To Crash’ or ‘Sick Of You’.

It’s good rather than great, but good Cake is still better than the endless procession of pop tarts being shoved down our throats.

Hugh Robertson

To compare Here Before with The Feelies’ earlier material is unnecessary, but unavoidable; whereas The Velvet Undergroundmeets-Talking Heads oddball art punk of Crazy Rhythms carved out a niche on the underside of the indie-pop generation, Here Before is a more conventional record, rich in pop sensibility but conservative in its exploration of the genre.

Yet the band’s irreverent empathy with punk, pop and garage continues to shine through. A track like ‘Nobody Knows’ – replete with typical shuffling Feelies beats, sublime melody and cute lyrics – could have held its head up high in 1982 against the likes of The Clean, while the shiny ‘Should Be Gone’ is the perennial pop recipe for fun times, ice cream and adolescent wonder. ‘Again Today’ drops into a slick groove as Glenn Mercer paints a threatening picture of angst and concern; ‘When You Know’ throws caution to the wind, embracing a light garage tone that whisks you into a Lincoln convertible and onto a suburban road. After the soft tones of ‘Later On’, ‘Way Down’ drops back into The Feelies’ pitch-perfect pop groove, packed full of mesmerising yet subtle licks. ‘Morning Comes’ has a vague hint of Ed Kuepper, before the title track glides effortlessly into a glistening soft-sand beach zone.

But while the rest of the record – from the folky, Dunedin-esque ‘Blue Skies’, to the hip-thrusting garagelite elegance of ‘On And On’ – is as subliminally attractive as the rhetorical flourishes of a cult leader, it’s the racing ‘60s guitar in ‘Time Is Right’ that sends shivers down your spine.

By golly fuck it’s good to have them back. Sublime.

Alvin Kallicharan

Max Easton

INDIE ALBUM OF THE WEEK YOUNG REVELRY

CAKE

heartland, with producer Woody Annison (Red Riders, Children Collide, Cabins) in tow. Young Revelry’s seven-tracker You And I is the result.

Their sound is an unapologetic nod to mid-nineties rock and from the outset, inescapable comparisons can be made to Placebo – especially in the songwriting and Sebastian Astone’s vocals (which are a dead ringer for Brian Molko’s). Sludgy, lowslung basslines and fuzzed-out guitars are the order of the day, as the band sway effortlessly between shoegaze and indie rock, steering clear of the simple hooks that make so much recent guitardriven rock so turgid.

The EP leads in with the first single ‘You And I’ and with its incessant guitars and undeniably catchy chorus, it’s no wonder that triple j has gripped this with both hands and thrust it into rotation. Tracks like ‘Nineteen Seventy Three’ and ‘Here Now’ show the band’s propensity for noise and fuzz, while the EP’s two closers are the true stand-outs on the recording - ‘Came Back Today’ and ‘Old Souls’ are slices of Fugaziesque post-punk complete with shoutalong choruses and distortion pedal mashings.

This is a raw and promising debut from a band that should win a few more followers before their first LP. Rick Warner

OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week...

BJÖRK - Medúlla KING FANTASTIC - Finger Snaps & Gun Claps MEGASTICK FANFARE - grit aglow

KELPE - Margins EP WHY? - Elephant Eyelash

ALBUM OUT NOW VISIT ROMEALBUM.COM TO FIND OUT MORE

BRAG :: 413 :: 23:05:11 :: 41

SAT MAY 28

THE ATLANTICS RETURN TO COOGEE

SAT JUNE 4

TRIPLE SHOT OF ORIGINAL ROCK

PORTLAND + THE ICEBERGS+ CROWS FEAT FRI JUNE 10

BONDI CIGARS COMING

SOON!

NATALIE GAUCI SAT JUNE 25 SARAH MCLEOD SAT JULY 16 S Band Bookings

info@codeone.net.au - www.codeone.net.au

Tickets & info from www.coogeediggers.com.au

COOGEE DIGGERS 9665 4466 CORNER BYRON & CARR STREETS

USE ME.

What we've been to see...

BEN FOLDS State Theatre Friday May 13

It can't be easy being Ben Folds. Every time he comes back to his second home in Australia he sells out shows from coast to coast, receives rave reviews and inspires millions of kids to take to their pianos, banging out their own versions of his selfdeprecating gems, which have survived grunge, garage and electro-rock. How does one of modern music’s top performers up the ante? With many audience members repeat offenders who have seen Folds own the stage both solo and with an orchestra, and heard him bust jams with Five and even Nick Hornby, the pressure must be on to do something different – again. But Folds takes it in his stride; performing is what he does for a living and, as evidenced by yet another stellar two-hour show, he’s a natural.

For a change of pace (in case collaborating with a world-famous author was considered regular), Folds has brought his new session band, that just so happen to be a quintet – again. It’s a heady reminder of the glory days of Whatever & Ever Amen, with distorted bass complementing Folds’ expert ivory-bashing, and live drums adding that proper kick that his better songs – ‘Annie Waits’, ‘Kate’ and ‘Not The Same’ among them – always demanded. Leaning heavily on the Lonely Avenue songbook, Folds delights by opening with the hilarious ‘Levi Johnston Blues,’ and later veers towards insanity with the maniacal ‘Saskia Hamilton’, before the more subdued (and ultimately better written) ballads ‘Doc Pomus’ and ‘Picture Window.’

As always, Folds’ banter is in top form; along with voice, as it rings out across the State Theatre, it's what makes the man such a delight to watch. He treats the crowd like old friends, feeding us gold nuggets of information about how the songs were written, and apologising in advance for a Ke$ha cover – which happens to be one of the best moments of the evening. The other is when he brings out support act (and vocal legend in her own right) Kate Miller-Heidke to add rocket fuel to ‘From Above’ and ‘You Don’t Know Me’, her staggering soprano negating any need for a string section.

Always a soloist par excellence, and so full of energy that he never seems to need his piano stool at all, Folds exudes all the professionalism that is so distinctly lacking in many of his peers – which in itself is a falsehood, because the man really is peerless.

Jonno Seidler

DARWIN DEEZ, OWL EYES The Metro Theatre Tuesday May 10

With little circulation left in fingers and toes on this icy Sydney evening, the scarfwrapped crowd needed thawing, stat.

Warming us up was Melbourne's Owl Eyes, delighting a handful of enthusiasts with a sweet ‘n’ light alt-pop spell, including hits ‘Faces’ and new single ‘Raiders’.

Unfortunately, her normally endearing act came across more earnest than compelling, evoking the kind of blasé bedroom-rehearsal vibe that, by now and on this scale, should be well and truly ready to leave the house.

Wild soul screams over the PA heralded the casual entrance of New York indie-pop sweetheart Darwin Deez and his band, supported adorably by the Jaws theme and the first of a series of choreographed dance breaks – mashing up Enya, deep ‘70s soul and the Spice Girls. More chillaxed and loosey-goosey than their weekend set at Groovin’ The Moo, they bathed in blue, yellow and purple lights, launching into a comfortable version of ‘Up In The Clouds’. With an unfussy sense of philosophical indie pop (and an amazing tribal jumper), the band exuded what should have been an incredible knack for dance-inducement from the outset. But the crowd failed to engage. “It’s like looking in from the outside on a really great party,” Twentysomething #1 was overheard lamenting.

The gangly, ringleted frontman expressed genuine loveygush for his bandmates, praising guitarist Hoepfner (“We took a photo with a moose once, it was ill as”) and

42 :: BRAG :: 413 :: 23:05:11

making every audience member fall a little bit in love with bassist Michelle Dorrance (aka Mash Deez). Between bouncing to ‘The City’ and sweet singalongs with ‘The Sky Is Green’, he delighted the loyal fans with a ballin’ break-out of his ridiculously great un-whiteboy ‘Where’s The Chocolate?’ rap, direct from his new Wonky Beats mixtape. Afterwards, the foursome initiated a kind of dream sequence of layered wonderment, telling a tale of “… sitting in the park having beers with Owl Eyes, when some guy comes over and kicks the beer over, and it’s like WHAT THE FUCK?” Cue ‘Bad Day’, a crowd favourite and much-treasured venting track.

Seamless and smart in his setlist, the jangly, swift change from ‘The Coma Song’ to love-it-but-get-over-it-already hit ‘Radar Detector’ proved that this was a gig for the legit Deez fans.

Opening the encore with a twangy version of ‘Nobody Knows Me At All’ by The Weepies, a tender nostalgic moment of misunderstood childhood came complete with “one more jam for everybody who wants to dance” – and a final trance breakdown of the Ghostbusters theme.

Jaunty single ‘Constellations’ finally grabbed a rise from the generally static crowd, with one particular gang of excited teenagers mid-centre proving why all-ages gigs might not be so bad after all.

Bridie Connellan

CUT COPY, THE HOLIDAYS The Enmore Theatre Thursday May 12

More live pics on p46 The Holidays showcased their contagious calypso-inspired indie at Laneway earlier this year and, more recently, at Groovin’ The Moo, touring alongside the fellow Australians and electronic savants they were supporting tonight. This evening’s set opened with ‘Moonlight Hours’, jamming out a song that sounds and feels like a dreamy summer vacation; by ‘Monday Morning Bermuda Triangle’ I had the urge to whip out a teeny polka dot bikini, slather on some SPF30+ and slink off to a Caribbean island. Getting a little frisky, Will ran his guitar up and down the microphone. Simon unveiled his falsetto register in ‘Golden Sky’, a track that I place in the same vein as Yeasayer’s ‘O.N.E’, with its upbeat tempo, driving percussion and breezy guitar riffs – not to mention those tropical maracas. They sauntered off stage leaving us pining for more of their sweet stuff, as they head over for dates in the UK. The momentum was certainly built up for Cut Copy, with a patient audience standing to attention until the suited men entered the stage via a large white back door. Blinking lights filled the room as Dan jerked around in an Ian Curtis-esque fashion, with pure, velvety vocals lifting ‘Far Away’. Their second song, ‘Feel the Love’ was reminiscent of sunny, happy, psychedelic days, and their affinity for '80s dance was evident in the metallic and blippy ‘Corner of the Sky’. The crowd reached climax in ‘Lights & Music’, which featured an intergalactic display of light beams somewhat akin to an alien abduction. ‘Take Me Over’ paid further lip-service to the '80s with a sample from Fleetwood Mac’s ‘Everywhere’, before the heavenly white door transformed into a visual of rapidly rolling clouds, as the unmistakable ting-ting cowbell came in for ‘Pharaohs & Pyramids’, followed by their classic tracks ‘Saturdays’ and ‘Hearts on Fire’. An ethereal encore including ‘Need You Now’ rounded out an emotive set, proving exactly why Cut Copy’s star is (still) ascending.

Chloe Hazelwood

Cut Copy live photo by Ashley Mar

COOGE E

live reviews

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W W W. L I ZOT T E S.CO M.AU BRAG :: 413 :: 23:05:11 :: 43

The Minor Chord The all-ages rant bought to you by Indent.net.au

ALL-AGES GIG PICKS ROCK THE SHIRE

The young and music-minded will be interested to know that the good folk at the Sutherland Shire Council Events Crew and Indent will be hosting the Rock the Shire Band Workshop on the evening of Thursday June 2, at 4-20 Eton Street, Sutherland. Have your questions about the business side of things answered by a panel of industry professionals, and take home a few pointers on how to build your band a business, get gigs and get the word out. Featuring artist manager (Jinja Safari) and label co-owner (Young Mine Records) Blake Rayner, and digital expert and strategist Vanessa Picken, the workshop is a must for those hoping to place in Rock The Shire: Battle of the Bands this August.

And if you're not entering, or don't live in the Shire, never fear - all are welcome.

Registrations are essential, so hit up the Sutherland Shire Council website, or check out indent.net.au

(SWE)

TEDX SYDNEY SOUNDS

(USA)

CarriageWorks reserve the last Saturday of every month for live local music â&#x20AC;&#x201C; and this Saturday May 28, it coincides with the TEDx Sydney conference of ideas. A live simulcast of the speaker presentations of these stories and ideas will be broadcast in the foyer (and webcast to the world), and for some between-talks entertainment, Sydney acts will take to the foyer stage, including previous triple j Unearthed winner, Leroy Lee. He'll be joined by fellow singer-songwriter Rosie Catalano, who'll be charming audiences with songs from her debut self-titled EP. Also on the bill is folktronica act John Christo, who'll be taking live samples from his own vocal, guitar and percussion to create a one-man band. Finally, an act that will surely break a smile: the artists and MCs from Sketch the Rhyme will be delighting audiences with their multimedia/visual arts show. If you've not seen this group before, it involves live projections of drawings on paper sketched by artists, while rappers freestyle about what's being drawn. What better way to spend your Saturday afternoon than with some bright young talent and some bright ideas - and best of all, itâ&#x20AC;&#x2122;s free!

CHANGE IT FOR THE BETTER

Hereâ&#x20AC;&#x2122;s a definite date for the diary: June 3 at the Factory Theatre sees three of the countryâ&#x20AC;&#x2122;s best hip hop representatives hit Sydney on the national Change It For The Better Tour, proudly presented

by The Line - a government initiative that's all about respectful relationships.

Responsible for the ever-chill anthem of â&#x20AC;&#x2DC;The Festival Songâ&#x20AC;&#x2122; in late 2008, Pez has since been working on his anticipated follow-up to his debut, A Mind Of My Own. This will be your chance to hear his new single â&#x20AC;&#x2DC;Shineâ&#x20AC;&#x2122; live, as well as catch songs from the yet to be released second record.

(USA)

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SATURDAY MAY 28

Unplugged + Uncomplicated Leroy Lee, Rosie Catalano, John Christo, Sketch The Rhyme CarriageWorks, Eveleigh

SUNDAY MAY 29

Abandon All Hope, Trainwreck (USA), Endless Heights Masonic Hall, Blacktown The Dandy Warhols (USA), Los Huevos Enmore Theatre

FRIDAY JUNE 3

Change It For The Better Tour Pez, Maya Jupiter, 360 Factory Theatre Pez

on her solo music career. With the fresh release of her latest single â&#x20AC;&#x2DC;Phenomenalâ&#x20AC;&#x2122;, Maya will be bringing back to Australia all she's learnt about the stage from her recent world tour supporting her husband, Aloe Blacc.

And finally on the bill, after just having dropped his sophomore release Falling & Flying, Melbourne MC 360 will be bringing his awesome flow to the stage.

His latest single â&#x20AC;&#x2DC;Just Got Startedâ&#x20AC;&#x2122; features a little help from his friend Pez, so this is an opportunity to see the two of them perform it live! Tickets are on sale now - and find more info about The Line at theline.org.au.

PSSSST!

Whatever youâ&#x20AC;&#x2122;re up to on Wednesday afternoon, donâ&#x20AC;&#x2122;t forget The Minor Chord will be coming to you as usual - on FBi 94.5 at 5pm.

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FRIDAY MAY 27

Sketch The Rhyme

Send pics, listings and any info to minorchords@thebrag.com 44 :: BRAG :: 413 :: 23:05:11

Remedy

More than The Cure since 1989 with Murray Engleheart

RENAISSANCE MAN

Jack White seems to be fast becoming the Rick Rubin of his generation, the go-to guy for all things classic and traditional.

After all, this was the man who was strongly tipped to be involved with The Stooges’ comeback record (many years before they actually ended up reuniting) – but given how shithouse The Weirdness ended up being, he did his cred no end of good by not being involved. Anyways, his latest dream project is said to be tackling the soundtrack for a movie based on The Kinks’ Schoolboys In Disgrace.

PEARL JAMMING

They started off hugely powerful, but for some time now (for us at least) Pearl Jam have been little more than a middle-ofthe-road rock band with a great singer.

The whole transcendental thing that they had going early-on has long gone - which is why the billing for their 20th anniversary celebrations, the PJ20 festival (which happens in September in sunny Wisconsin), is kinda weird. The other acts include the still-vital-after-all-these-years Queens Of The Stone Age, The Strokes, and grunge’s very own ‘Strolling Bones’, the ever-loveable Mudhoney. Our point being: the worst band on the bill is actually the headliners... Still, there should be plenty of interesting jamming we reckon.

HEAVY ROCKS

Sometimes people must do stuff just to deliberately fuck with good, well-meaning folks like us. We speak of the mighty Boris, and their now damn-tough-to-find Heavy Rocks slab. It seems the 2002 recording hasn’t been reissued at all, but there is in fact a new release with the same name – and with similar artwork. Heavy Rocks (2011) features guest appearances by folks like Ian Astbury (The Cult) and Aaron Turner (Isis).

Sonic Youth’s Thurston Moore – complete with sexy bedroom-eyed promo pic – has released his fourth solo album: the more reflective, less ‘fuck rock let’s noise’ Demolished Thoughts, produced by Beck.

Besides Moore on guitar, the album features violinist Samara Lubelski and harpist Mary Lattimore. See? EVOL it ain’t.

+ JAMIE ROBBIE-REYNE + THE GROWL

The Soul Jazz label has pretty much been about just that from day one, with the very best of funk thrown in. But they’ve just broken the mould in a big way with the release of a new comp called Delta Swamp Rock: Sounds From The South – which caught our good eye and ears for reasons that should be pretty damn obvious to any regular reader of this column. The twindisc affair traces a lineage from Memphis, Muscle Shoals and Sun Studios to Nashville and Macon – and the Godfearing, hellhound-tailing sound that resulted. We’re talking music by the likes of the mighty Lynyrd Skynyrd, Johnny Cash, Tony Joe White, and plenty more.

WEDNESDAY 8PM Jack White

ON THE TURNTABLE On the Remedy turntable is Rocket From The Crypt’s killer twofer, Hot Charity/Cut Carefully And Play Loud. Their whole Know Your Product Saints-formula of horns, buzz-saw guitars and sneer saw them reach huge heights at major tour stops like the Reading Festival back in their day, and on albums like this it’s so damn easy so see why. It's equally damn amazing that they’ve been criminally allowed to gather dust in the Remedy bunker for too long... Also spinning is Bukka White’s gloriously gritty Mississippi Blues, which includes a rambling and probably drunken (but nonetheless fascinating) spoken word rave about his memories of Charlie Patton.

TOUR AND INDUSTRY NEWS

Sebadoh make their long-awaited return to Australia this September. The band began in the late ‘80s as a songwriting outlet for Lou Barlow of Dinosaur Jr, and blossomed from there. But you should already know that. On September 21 they’ll be at The Metro.

Grindhead Records and 666 Entertainment presents Slaughterfest IV on July 30 at The Sando, in Newtown. The event is into its forth year and promises to be the biggest and best yet, with a bill that includes

VIOLENT SOHO

MORE THURSTON

DELTA SWAMP ROCK

With many of us are still recovering from Soundwave, it’s time to get ready for Soundwave Revolution, which hits Sydney on September 25 at a yet-to-be-announced venue. The huge bill includes Van Halen with David Lee Roth, Alice Cooper, Bad Religion, Machine Head, Hole, Danzig, The Used, The Cro Mags, The Sisters Of Mercy, Dashboard Confessional, the Devin Townsend Project, Hatebreed and stacks more. Soundwave members’ pre-sale tix are available on Wednesday May 25 at 9am. To be eligible for the pre-sale you must be signed up to the mailing list on the festival website at www.soundwaverevolution.com, or be an existing member of the Soundwave Festival. General public tix go on sale Thursday June 2 at 9am, through the Soundwave site and Ticketek.

SIDESHOW WEDNESDAYS

Fuck...I’m Dead (VIC), Looking Glass (ACT), Roadside Burial, Summonus, Mother Eel, Deathcage, Mother Mars, Ether Rag, Red Bee, Agonhymn (VIC), Burial Chamber, Arrowhead, Rock N Roll Weapon, Fat Guy Wears Mystic Wolf Shirt and Van. Doors open at 12pm and entry is $20. The first 100 payers get a free Slaughterfest IV compilation featuring tracks from all the bands at the festival. Go to facebook.com/SlaughterfestSydney to keep up with all the latest.

This will be huge. Resist and Unbelievably Bad are bringing the hugely raw, powerful Doomriders to our shores in July. The Boston supermob, who are more rock and more punk and more gristle than just about anything else on the planet, feature Converge bassist Nate Newton on guitar and vocals, alongside Jebb Riley (Disappearer), Chris Pupecki (Cast Iron Hike), and new drummer Q (Clouds). Joining them for their Oz run are Canberra’s I Exist, who’ll be out on the back of their new album, II: The Broken Passage. Dates are July 23 at the Annandale, July 24 at the Cambridge in Newcastle, and July 25 at the ANU Bar, Canberra.

MAY 25TH PICNIC EVENTS PRESENTS

KALI

+ SPECIAL

NYC GUEST DJ

SUNDAY 8PM

MAY 29TH

On June 4, Age of Menace, Geminine, Lie Dormant and Kilter are Live at The Wall @ The Bald Faced Stag Leichardt.

Send stuff to remedy@ozemail.com.au by 6pm Wednesdays.

Pics to art@thebrag.com www.facebook.com/remedy4rock BRAG :: 413 :: 23:05:11 :: 45

snap sn ap up all night out all week . . .

going steady

It’s called: F@B - Fridays at Bedlam Bar + Food It sounds like: Deep house, funky house - think Cafe del Mar sunsets.

Three tracks you’ll hear on the night: Ben Macklin – 'Feel Together'; Paul Keeley – 'Sunset Boulevard'; Bookashade – ‘Night Falls’.

One you definitely won’t: Justin Bieber – ‘Baby Baby Baby’ Sell it to us: Everything between lounge bar and cocktail bar... Cool, retro, sexy, chic, cocktails, unique.

What we’ll remember in the AM: Being asked to get down from dancing on the pool table.

Wallet damage: No cover charge, so you can spend more at the bar!

Where: Bedlam Bar + Food / University Hall, 2-12 Glebe Point Road When: Every Friday, from 6pm.

PICS :: KC

party profile

F@B

ben folds

PICS :: AM

12:05:11 :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711

paddle emporium

PICS :: TL

13:05:11 :: State Theatre :: 49 Market St Sydney 93736655

13:05:11 :: GOODGOD :: 55 Liverpool St. Sydney 92673787 :: NIKI BODLE :: KATRINA CLARKE S : TIM LEVY (HEAD HONCHO) NS :: VICKY NGUYEN :: SARAH OUR LOVELY PHOTOGRAPHER MUN IEL DAN :: MAR LEY ASH :: AS :: BRANDON ELS :: BEN KALGOV ETTE ROUHANNA :: PATRICK STEVENSON :: ROS O'BRIEN :: THOMAS PEACHY ::

46 :: BRAG :: 413: 23:05:11

cut copy

PICS :: AM

jack ladder

PICS :: TL

13:05:11 :: Ruby Rabbit :: 231 Oxford St Darlinghurst 93260044

12:05:11 :: Enmore Theatre :: 118-132 Enmore Road, Newtown 9550 3666

snap sn ap

dappled cities

PICS :: AC

up all night out all week . . .

big british sound 12:05:11

PICS :: AM

12:05:11 :: Rock Lily, Level 1 Star City, 80 Pyrmont st, Pyrmont 97779000

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

It’s called: MUM It sounds like: A house party thrown by Ol’ Dirty Bastard, headlined by Jonny Cash and Jeff Spicoli on the decks.

Who’s playing? Myth & Tropics, Millions, The New Brutalists, Bird & Prey, Kill City Creeps, Day Ravies and Little Blak Dress Sell it to us: Heaps of the best local bands anyone can offer, crammed into two rooms in a terrace house-style bar, with our house party-style DJs playing what ever they want til the break of day.

The bit we’ll remember in the AM: Damn! You have work in a little while and you are still here. That’s going to suck.

Crowd specs: People looking for a terrace house party.

void

PICS :: TL

14:05:11 :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711

Wallet damage: $15 / students free before 10, $10 after.

Where: The World Bar / 24 Bayswater Rd Kings Cross When: Friday May 27

mick harvey 13:05:11

PICS :: KC

pink house charity event :: Oxford Art Factory :: 38-46 Oxford st, Darlinghurst 93323711

13:05:11 :: The Goldfish:: 111 Darlinghurst Rd, Potts Point 83546630 :: NIKI BODLE :: KATRINA CLARKE S : TIM LEVY (HEAD HONCHO) NS :: VICKY NGUYEN :: SARAH OUR LOVELY PHOTOGRAPHER MUN AS :: ASHLEY MAR :: DANIEL :: BRANDON ELS :: BEN KALGOV ETTE ROUHANNA :: PATRICK STEVENSON :: ROS O'BRIEN :: THOMAS PEACHY ::

BRAG :: 413 :: 23:05:11 :: 47

PICS :: KC

party profile

MUM

g g guide gig g

send your listings to : gigguide@thebrag.com

pick of the week

JAZZ

John Harkins Jazushi, Surry Hills free 7pm Peter Head Harbour View Hotel, The Rocks free 8pm The Rejavanation Band, Andy Fiddes’ Limewire 505 Club, Surry Hills $10 8:30pm

COUNTRY

Blacktown Country Music Club The Lucky Australian, North St Marys free 7pm

WEDNESDAY MAY 25

ROCK & POP x

ROCK & POP

FRIDAY MAY 27

Jebediah

The Factory Theatre, Enmore

Jebediah

Violent Soho, Young Revelry $28.60 (presale) 8pm MONDAY MAY 23 ROCK & POP

Andy Mammers Opera Bar, Sydney free 8:30pm Bernie The Observer Hotel, The Rocks free 8:30pm Nicky Kurta Coogee Bay Hotel free 9pm Stone & the Sky Albion Hotel, Parramatta free 8pm

JAZZ

Bec Loughton 505 Club, Surry Hills $10 8:30pm

ACOUSTIC/FOLK

Massimo Presti, Chris Brookes, Russell Neal Kellys On King, Newtown free 7pm

COUNTRY

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

TUESDAY MAY 24 ROCK & POP

Adam Pringle Sandringham Hotel, Newtown free 8pm Colin Hay The Basement, Circular Quay

$30 (+ bf)–$78.80 (dinner & show) 9:30pm Dom Turner, Martin Cilla, Brad Carr, Fess Parker Brass Monkey, Cronulla $19.90 7pm Matt Jones The Observer Hotel, The Rocks free 8:30pm Mushu, Stephen Convery Beach Road Hotel, Bondi Beach free 8pm Steve Tonge O’Malley’s Hotel, Darlinghurst free 9:30pm The Early Birds Live at the Wall, Leichhardt free 6pm They Call Me Bruce Maloney’s Hotel, Sydney free 9:30pm Third Watch Scruffy Murphy’s Hotel, Sydney free 11pm

Andy Mammers Duo Maloney’s Hotel, Sydney free 9:30pm Bones Atlas, Spangled Mistress Brass Monkey, Cronulla $14.30 (presale) 7pm Elizabeth Rose, Jugu, Mike Brislee Gaelic Theatre, Surry Hills 7pm Emily Morandini, Defektro Red Rattler $10 8pm George Nikolopoulos, Irene Vacondios, Nick Lazarou Notes Live, Enmore $17.85– $40.30 (dinner & show) 7pm Goodnight Dynamite O’Malley’s Hotel, Darlinghurst free 9:30pm Jackson McClaren & The Triple Threat, Spooky Land, Hey Big Aki The Vanguard, Newtown $8–$43 (dinner & show) 6:30pm Mark Lucas Petersham Bowling Club free 7:30pm Mick Daley, Den Hanrahan Downstairs, Sandringham Hotel, Newtown free 8pm Musos Club Jam Night Bald Faced Stag Hotel. free 8pm Musos Jam Night Live at the Wall, Leichhardt free 6pm Nick Norton, Inner City Crepes, Gawk Sandringham Hotel, Newtown $5 8pm Open Mic Night Coach and Horses Hotel, Randwick free 8pm Open Mic Night Mars Hill Cafe, Parramatta free 8pm Open Mic Night Down Under Bar & Bistro, Kings Cross free 7:30pm Outlier Scruffy Murphy’s Hotel, Sydney free 11pm The Unravelling, Empty, Contrakids, Keystroke The Valve, Tempe $10 8pm Violent Soho, Jaime Robbie Reyne, The Growl Beach Road Hotel, Bondi Beach free 8pm

ACOUSTIC/FOLK

Blue Tongue Lizard Artichoke Gallery Cafe, Manly free 7:30pm Daniel Hopkins Taren Point Hotel-Motel free 7:30pm Daniela, Cameron and Matias, Sanity’s Collision, Dan Crestani, Andrew Denniston Mars Hill Café free 8pm Mark Wilkes, Russell Neal Kogarah Hotel free 7pm Men With Day Jobs, Gavin Fitzgerald‎, Tim Jones, Ken Mclean Coach & Horses Hotel, Randwick free 7pm Tamara Stewart Royal Cricketers Arms, Prospect free 7:30pm

THURSDAY MAY 26 ROCK & POP

Adam Rennie Rag and Famish Hotel, North Sydney free 7pm Black Math, Machine Death Red Rattler $10 8pm Cable, Broken Riot, Tranzphat, Rocket To Nowhere The Valve, Tempe 7pm Calling Mayday Sandringham Hotel, Newtown $7 8pm Dave Graney & The Lurid Yellow Mist Lizotte’s Restaurant, Dee Why $30 7pm David Agius Harbord Beach Hotel free 8pm DJ Rock Fan Woollahra Hotel free 7:45pm Electric Empire, DJ Huwston, Bentley Beach Road Hotel, Bondi Beach free 8pm Elevate Scruffy Murphy’s Hotel, Sydney free 11pm Emergenza Band Competition The Lair, Metro Theatre, Sydney $15 7:30pm Front End Loader, Arcane, The Drunken Sailors Mona Vale Hotel $16 (+ bf) 8pm Ghosts On Broadway, Uncorrected, Soapbox Summer Spectrum, Darlinghurst $12 (guestlist)–$15 8pm Glen Whitehall Edinburgh Castle free 7pm Indie Warhols, The Early Birds, The Growl, Kiki Lansdowne Hotel, Chippendale free 8pm Imogen Harper, Guineafowl The Vanguard, Newtown $10 (+ bf)–$45 (dinner & show) 6:30pm Jackson McLaren, Spooky Land Brass Monkey, Cronulla 7pm

Johnathon Devoy Downstairs, Sandringham Hotel, Newtown free 8pm Kirsty Bolton, Snez, Fiona Treloar Excelsior Hotel, Glebe free 7:30pm Mark Seymour, Abby Dobson The Basement, Circular Quay $20 (+ bf) 9:30pm Megastick Fanfare, Parking Lot Experiments, Sealion Kings Cross Hotel, Darlinghurst $13.30 (presale) 8pm Monks of Mellonwah, Static Silhouettes, Hattie Carroll, Claire Annandale Hotel $10 7pm Musos Club Jam Night Carousel Hotel, Rooty Hill free 8pm Noliver Fig Down Under Bar & Bistro, Surry Hills free 8pm Propagandhi (Canada), Stolen Youth, Yoko Oh No Metro Theatre, Sydney $38.90 (+ bf) 8pm Stone & the Sky Kurrajong Hotel, Erskineville free 8pm The Amity Affliction, I Killed the Prom Queen, Deez Nuts, Of Mice and Men Roundhouse, Kensington $49.30 (+ bf) 6:30pm The Truth Is, Sound of Seasons, Ex Curia Gaelic Theatre, Surry Hills $10 (+ bf) 8pm Live At The Chapel: The Vines St Stephen’s Church, Newtown 7pm The Whipped Cream Chargers, Psychonanny & The Baby Shakers GoodGod Small Club $10 8pm Tiki Taane (NZ) Penrith Panthers 8pm Tony Mazell & the Four Tunes, Miriam Waks, George Alexander South Sydney Juniors, Kingsford free 8pm

JAZZ

Alister Spence Trio 505 Club, Surry Hills $10–$15 8:30pm Anna Salleh’s Bossa Boots Cru54, Surry Hills free 7:30pm Jonathan Hollowell Cafe Church, Glebe $10 (conc)–$20 8pm The Gentlemen Callers Petersham Bowling Club $5 7:30pm Bobby Singh, Guy Strazz World Jazz Quartet, The Sandy Evans Trio The Sound Lounge, Seymour Centre, Chippendale $15– $18.50 11am Nativosoul Artichoke Gallery Cafe, Manly free 7:30pm Peter Head Harbour View Hotel, The Rocks free 8pm The Amity Affliction

JAZZ

Anna Salleh’s Bossa Boots Cru54, Surry Hills free 7:30pm Bec Laughton The Basement, Circular Quay $15 (+ bf)–$63.80 (dinner & show) 9pm Briana Cowlishaw 505 Club, Surry Hills $20–$30 8:30pm Deva Permana Trio Jazushi, Surry Hills free 7pm Peter Head Harbour View Hotel, The Rocks free 8pm Robert Susz & the Continental Blues Party The Rose Hotel, Chippendale free 7pm

“Just like the girlies back at corner stone wash my bugle boy a watching my throne,” – KINGS OF LEON 48 :: BRAG :: 413 : 23:05:11

g g guide gig g send your listings to : gigguide@thebrag.com Aaron Goldberg Trio (USA) The Sound Lounge, Seymour Centre, Chippendale $25 (member)–$35 8:30pm Sirens Big Band, Samba Mundi Macquarie Hotel, Sydney free Ted Sly’s Band Jazushi, Surry Hills free 7pm

ACOUSTIC/FOLK

The Yearlings, Laneway Lizotte’s Restaurant, Kincumber $23 8:30pm Redundantt, Anna Forbes, Helmut Uhlmann Lone Pine Hotel, Rooty Hill free 7pm Tim Jones, Peter Eliot & Wayland Montgomery, Daniel Hopkins Narrabeen Sands free 7:30pm Freddie White (Ireland) Notes Live, Enmore $39.80– $62.25 (dinner & show) 7pm Kavisha Mazzella Camelot, Marrickville 7pm Rose Acoustic Session The Rose Hotel, Chippendale free 7:30pm

Susan Picking Mars Hill Cafe, Parramatta free 8pm James Pamino Marlborough Hotel, Newtown free 8:30pm

HIP HOP

Kurtis Blow, Paper Plane Project (Live), Gian Arpino, Mike Who?, DJ Naiki and Kato Tone Bar $25

FRIDAY MAY 27 ROCK & POP

2 Of Hearts Harbord Beach Hotel free 8pm Abby Dobson Lizotte’s Restaurant, Dee Why $33–$73 (dinner & show) 7pm

Calling All Cars

May

Ghoul Tone, Surry Hills 8pm GTS Club Rivers, Riverwood free 9pm Heartbreak Club, Crouching 80’s Hidden Acronym, The Optionals, The Smith Street Band Lansdowne Hotel, Chippendale free 8pm Hue Williams, Fender Benders Smithfield RSL free 7:30pm Inner Games Fred Chubb Lounge, Rooty Hill RSL Club free 8pm Innerwestlife Petersham Bowling Club 7:30pm Jackson Firebird, Doc Holliday Takes The Shotgun, Meow Kapow The Vanguard, Newtown $16 (+ bf)–$50 (dinner & show) 6:30pm James Parrino, Outlier Dee Why RSL Club free 10:30pm Jebediah, Violent Soho, Young Revelry The Factory Theatre, Enmore $28.60 (presale) 8pm Jellybean Jam South Sydney Juniors, Kingsford free 8:30pm Lisa Hunt (USA) Dee Why RSL Club $25 8pm Mark Seymour Brass Monkey, Cronulla $28.60 (presale) 7pm Night Owl Down Under Bar & Bistro, Kings Cross free 8pm Phil Spiller Artichoke Gallery Cafe, Manly free 7:30pm Vivid LIVE: Spiritualized (UK) Opera Theatre, Sydney Opera House $59 (B Res)–$89 (gold) 9pm

Guineafowl

Spurs for Jesus Rose of Australia Hotel, Erskineville free 9pm Steph Miller & the Winter Station, Remo Street, The Handsome Young Strangers, Rex Havoc, Browny Town Hall Hotel, Newtown free 8:30pm Stormcellar Matraville Hotel free 8pm The Amity Affliction, I Killed the Prom Queen, Deez Nuts, Of Mice and Men Roundhouse, Kensington $49.30 (+ bf) 6:30pm The Atlantics Vault 146, Windsor 8pm The Australian Killers Show Scruffy Murphy’s Hotel, Sydney free 11pm The Australian Pink Show Asquith Leagues Club, Waitara free 8:30pm The Bar At Buena Vista State Theatre, Sydney $79.80–$98.90 8pm

The Haunted (Sweden), Buried in Verona, Recoil, Dawn Heist Manning Bar, Sydney University, Camperdown $41.65 (student)–$49 8pm The Maristians Rag and Famish Hotel, North Sydney free 8:30pm The Mission In Motion, Strangers, City Lights Fade, Ghosts of York Oxford Art Factory, Darlinghurst $14 (+ bf) 8pm The Never Ever, Daylight Hours, We The Giants, Madison, Karma, Firefly, Snowflake, B-Zurk St James Hotel, Sydney free–$10 9:30pm The Owls, Future Prehistorics Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm The Prehistorics, The Volts, The Marines Excelsior Hotel, Glebe free 7:30pm

(9:00PM - 12:00AM)

wed

25

Alice Terry, The Scarlets, Nick Latta, Johnny4Lucy The Basement, Circular Quay 8pm Amy Meredith, Tonight Live Metro Theatre, Sydney sold out 8pm Avarin, Tentris, Teratornis The Valve, Tempe 7pm Bad Voodoo, Cursing Stone Live at the Wall, Leichhardt $8 8pm Betty’s Turn Sandringham Hotel, Newtown $10 8pm Debit Mastercard Priceless Series: Birds of Tokyo Cockatoo Island, Sydney $40 (Debit Mastercard only) 8pm Booty Call Kro Bar, East Leagues Club free 8:30pm Calling All Cars, Strangers, The Cairos Spectrum, Darlinghurst $16 (+ bf) 8pm Creedence & Beyond St Marys Leagues Club free 9pm Creedence Clearwater Recycled Rooty Hill RSL Club $8 (member)–$58 (dinner & show) 8pm Dundas Sports Next Best Thing, Rydalmere free 8:30pm Emergenza Band Competition The Lair, Metro Theatre, Sydney $15 7:30pm Fallon Bambu, Western Suburbs Leagues Club Campbelltown, Leumeah free 8pm Flamin’ Beauties Broadway Hotel free 10pm Front End Loader, Hytest, Small Town Incident Annandale Hotel $15 (+ bf) 8pm

State of Origin Party - see the game live!

thu

26 May

(9:00PM - 12:00AM)

ELIZABETH ROSE

4(5

-!9

THE TRUTH IS

fri

27 May

(5:00PM - 8:00PM)

(9:15PM - 1:00AM)

SUNDAY AFTERNOON

SATURDAY AFTERNOON

(4:30PM - 7:30PM)

(4:30PM - 7:30PM)

sat

28

SATURDAY NIGHT

May

May

(9:00PM - 12:00AM)

&2) 27 -!9

sun

29

SUNDAY NIGHT

(8:30PM - 12:00AM)

THE STUDY feat

7%$

-!9

SOUND OF SEASONS + EX CURIA PURPLE SNEAKERS PRESENT LAST NIGHT

:

LIVE

RUFUS

JIMMY HAWK AND THE ENDLESS PARTY + THE GROWL + DEAD LEAVES + DANGEROUS

3!4

-!9 35.

-!9

JUGU + MIKE BRISLEE

ESKIMO JOE

MYLES MAYO + FELICITY GROOM

LOS SKELETONE BLUES

THE BLINDFOLDS + ANDY WELSH-aKa MAINLINE

31/05 ROCK STIEN TRIVIA 02/06 JOHNNY ROCKER 04/06DEVOLVED/SRDL AFTER PRTY 09/06 ROB BRINKMAN 10/06 PURPLE SNEAKERS LST NIGHT 11/06 SIED VAN RIEL 12/06 OYNX 16/06 DRUNK MUM 18/06 ABSOLUTE POWER

COMING SOON BRAG :: 413 :: 23:05:11 :: 49

g g guide gig g send your listings to : gigguide@thebrag.com Tiki Taane (NZ) Selina’s, Coogee Bay Hotel $27.50 (+ bf) 8pm Tongue & Groove Marlborough Hotel, Newtown free 10:30pm Travelling Willabees Freeway Hotel, Artarmon free 8pm

JAZZ

Aaron Goldberg Trio (USA) The Sound Lounge, Seymour Centre, Chippendale $25 (member)–$35 8:30pm Bec Laughton, Jenny Biddle, Luke Escombe, Kevin Hailey The Manly Fig $13 (at door) 8pm Doug Williams, The Leisure Bandits Eskimo Joe

Macquarie Hotel, Sydney free 8:30pm Freefall Duo Jazushi, Surry Hills free 7pm Jess Pollard Quintet 505 Club, Surry Hills $15–$20 8:30pm Jive Bombers, Grizzly Adams Windsor RSL, South Windsor free 8pm Not Quite Cabaret Paddington Arms $24 7pm Vicky Turner Dee Why RSL Club free 7pm

COUNTRY

Macarthur Country Music Club Wests Campbelltown Tennis Club, Leumeah free 7:30pm

SATURDAY MAY 28 ROCK & POP

2 Of Hearts Brighton RSL Club, BrightonLe-Sands free 8pm 2days Hits Coogee Bay Hotel free 10pm A French Butler Called Smith The Macquarie Hotel 8pm Abby Dobson, Edoardo Santoni Brass Monkey, Cronulla $25.50 7pm Adam Katz, Benny Vibes Beach Palace Hotel, Coogee free 8:30pm April Falls, Dystopic, The Frogs, Your Way Sucks, Oscar & Friends, The Lucid Jefferys High Tide Room, Bondi Pavilion Community Centre, Bondi Beach $7 7pm Blaze of Glory Chester Hill-Carramar RSL free Boogie Fever South Sydney Juniors, Kingsford free 8pm Chartbusters Epping Hotel free 10:30pm Chick Rock Oatley Hotel free 8:30pm Elevation U2 Show Eastern Suburbs Leagues Club, Bondi Junction free 8:30pm Emergenza Band Competition The Lair, Metro Theatre, Sydney $15 7:30pm Empires & Vampires, Lockdown, Azlock, The Ocean, The Sky Caringbah Bizzo’s 8pm

Eskimo Joe Gaelic Theatre, Surry Hills $40 (+ bf) 8pm Fab Two Bambu, Western Suburbs Leagues Club Campbelltown, Leumeah free 8pm Feicks Device, The Fires, The Belle Havens Excelsior Hotel, Glebe free 7:30pm Finn Jack Duggan’s Irish Pub free 8:30pm Funpuppet Peachtree Hotel, Penrith free 9pm Greg Byrne Duo Dee Why RSL Club free 10:30pm Ignition Scruffy Murphy’s Hotel, Sydney free 11pm Mark Da Costa Marlborough Hotel, Newtown free 10:30pm Mere Women, Kasha, Sweet Tooth Black Wire Records, Annandale 8:30pm Morbid Angel (USA), The Amenta, Ouroboros Manning Bar, Sydney University, Camperdown $50.15 (student)–$59 (+ bf) 8pm New Navy, The Bungalows, Glass Towers, Boats of Berlin Kings Cross Hotel, Darlinghurst $8 8pm Nick Rheinberger Cat & Fiddle Hotel, Balmain $15 (conc)–$20 8pm On The Stoop Camelot, Marrickville 7pm Sosueme’s 4th B’day: Parades, Guineafowl, Stonefield, Redcoats, Pluto Jonze, Joyride & the Accidents, Mrs Bishop, Bon Chat Bon Rat, The

Stonefield

Growl, Furnace & the Fundamentals plus DJ sets from The Vines DJs, Zia (The Dandy Warhols), The Block-Ness Monsters, Sosueme DJs and more Oxford Art Factory, Darlinghurst $20 (+ bf) 8pm Peabody, Where’s Jerome, Vegan Mosquitoes, Maydayweyhey Lansdowne Hotel, Chippendale free 8pm Professor Malakai, Stephanie Bruno, DJ Alfie, Stefan Jamal Down Under Bar & Bistro, Kings Cross $10 8pm Rob Henry Duo Harbord Beach Hotel free 8pm Robert Hood Marrickville Bowling Club $30 10pm Ruin Gloria, Jade Monkey, The Conspiracy Plan, We Built Atlantis St James Hotel, Sydney $10–$15 9pm Spiritualized (UK) Opera Theatre, Sydney Opera House $59 (B Res)–$89 (gold) 9pm

TUESDAY 24TH MAY

WEDNESDAY 25TH MAY

THURSDAY 26TH MAY

FRIDAY 27TH MAY- SOLD OUT

SATURDAY 28TH MAY

SUNDAY 29TH MAY

TUESDAY 31ST MAY

50 :: BRAG :: 413 : 23:05:11

Stone Monks Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Stormcellar Bald Rock Hotel, Rozelle free 8pm The Atlantics Coogee Diggers $17 (+ bf)–$20 (at door) 8pm The Bandits, Dig This Fred Chubb Lounge, Rooty Hill RSL Club free 8:30pm The Bar At Buena Vista State Theatre, Sydney $79.80–$98.90 8pm The Road Crew Collingwood Hotel, Liverpool free 9pm Tice & Evans, Kaki Downstairs, Sandringham Hotel, Newtown free 4pm Too Many Guitars Cronulla RSL free 8pm We Are The Champions Queen Show Celebrity Room, Blacktown RSL Club free 9pm White Male Dumbinance, Ill Brigade, Vigilante, Eyegouge, Never Right Sandringham Hotel, Newtown $12 8pm

Wednesday 1 June Songs From the Ether Thursday 2 June Renée Geyer Saturday 4 June Classic Rock Show Sunday 5 June Darren Jack Band Tuesday 7 June Anthony Hughes Wednesday 8 June Joel Leffler Friday 10 June King Tide Saturday 11 June Bondi Cigars Sunday 12 June Sarah McLeod Wednesday 15 June Bianca Meier Friday 17 June Georgia Fair Saturday 18 June Steve Flack Monday 20 June Kinky Friedman Tuesday 21 June Kinky Friedman Thursday 23 June English And The Doc Friday 24 June The Gin Club Sunday 26 June Natalie Gauci Thursday 30 June Caravãna Sun Wednesday 6 July James Blundell Saturday 9 July Johnny Cash Tribute Thursday 14 July Martinez Akustica Friday 15 July Dan Sultan & Alexander Gow Saturday 16 July The Paper Scissors Thursday 4 August Diesel Wednesday 17 August Bob Log III Thursday 18 August Wendy Matthews \Sunday 21 August Jace Everett Wednesday 24 August Alvin Youngblood Hart Friday 9 September Ian Moss

g g guide gig g

send your listings to : gigguide@thebrag.com Pink Chevys The Cube, Campbelltown $29 8pm The Change Royal Cricketers Arms, Prospect free 7.30pm The Flood, The Pardoners Lizotte’s Restaurant, Dee Why $33–$73 (dinner & show) 7pm

HIP HOP

Pegz, Dialectrix, Bingethinkers Annandale Hotel $20 8pm Peabody

JAZZ

A French Butler Called Smith Macquarie Hotel, Sydney free 8:30pm Dee Dee Bridgewater Concert Hall, Sydney Opera House $49 (conc)–$89 8pm Freefall Duo Jazushi, Surry Hills free 7pm Ilan Kidron 505 Club, Surry Hills $15– $20 8:30pm Lauren Dawes Trio, Adrian Petlevanny Dee Why RSL Club free 7pm Paul Sun, Matt Lamb, Didi Mudigdo Orange Grove Public School, Leichhardt free 9:30am Peter Head Harbour View Hotel, The Rocks free 5pm Quinsin Nachoff’s Forward Motion (Canada) The Sound Lounge, Seymour Centre, Chippendale $22 (member)–$27 8:30pm Rhonda Burchmore Campbelltown RSL $25 8:30pm

Virna Sanzone Band, Lucy Hall The Vanguard, Newtown $20 (+ bf)–$55 (dinner & show) 6:30pm

ACOUSTIC & FOLK

George Doukas, Balcano, Kostas Polydoropoulos, Karlos Gourdalis Addison Road Community Centre, Marrickville $18 (member)–$22 8pm Kafe Kool Supper Club Fairfield RSL Club free 7pm Laurie McKern, BADjane, Renee Jonas, Ciara Hayes, Russell Neal Belrose Bowling Club free 7pm Michael Peter The Belvedere Hotel free 8pm The Crooked Fiddle Band, Steve & Aislinn Bevis Katoomba RSL $15 8:30pm

COUNTRY

Catherine Britt, Jetty Road Rooty Hill RSL Club $12 (child)–$50 8pm

SUNDAY MAY 29 ROCK & POP

Abandon All Hope, Trainwreck (USA), Endless Heights Masonic Hall, Blacktown 8pm Ace Brighton RSL Club, BrightonLe-Sands free 7pm Ana Nguyen, Century, Cornstalk, Crossing Red Lines, Essentia, H Train, Heston Drop, Ivy Lies (New Zealand), Jupiter Menace, King & Ace, Knuckle Up, Mercury Sky, Monannlisa Wilde Band, Motion Motive, My Hollowed Fantasy, Rani’s Fire, Syko, Tarun Stevenson, Teknofear, The Early Birds, The Latonas, Tim Jones, Verusive, Viagro Annandale Hotel $20 (presale)–$30 12pm Andy Mammers Cronulla RSL free 7pm Architecture in Helsinki Vivid LIVE: Opera Theatre, Sydney Opera House $39 (B Res)–$55 (A Res) 7pm

Brewster Brothers Brass Monkey, Cronulla $25 (presale) 7pm Bob Geldof (Ireland), Jon Stevens, Danielle Spencer Lyric Theatre, Star City, Pyrmont $150 7pm Brad Johns Harbord Beach Hotel free 6:30pm City Falls Lucky Oz Tavern, St Marys 1pm Craig Calhoun Woollahra Hotel free 6:30pm Cut Copy Vivid LIVE: Concert Hall, Sydney Opera House $55 9pm Emergenza Band Competition The Lair, Metro Theatre, Sydney $15 7:30pm Exit Strategy The Orient Hotel, The Rocks free 8:30pm Finn Macquarie Arms Hotel, Windsor free 12pm Jont Lizotte’s Restaurant, Dee Why $28 7pm Kaleidoskope, Three Wise Monkeys, Statis, The Good God Damned The Valve, Tempe 2pm Los Skeletone Blues, The Blindfolds Gaelic Theatre, Surry Hills free 6pm Outer Space Cowboys, Supro Downstairs, Sandringham Hotel, Newtown free 4pm Peter Byrne Scruffy Murphy’s Hotel, Sydney free 3pm Peter Northcote Bridge Hotel, Rozelle $15 Rockin the Kasbah The Gaff, Darlinghurst free 8pm

Rumble In The Quad Lansdowne Hotel, Chippendale free 8pm Sydney Blues Society Botany View Hotel, Newtown free 7pm Sydney Omega Ensemble Utzon Room, Sydney Opera House $40 (student)–$60 4pm The Dandy Warhols (USA), Los Huevos Enmore Theatre $74.20 7:30pm Triple Imagen South Sydney Juniors, Kingsford free 8pm

JAZZ

Craig Thommo The Belvedere Hotel free 5pm Don Hopkins Dee Why RSL Club free 6pm Evan Lohning Jazushi, Surry Hills free 7pm Freddy Macks Cronulla RSL free 12pm Jack Evans & The Spyders Pyrmont Bridge Hotel free 5pm

Mark Hopper Artichoke Gallery Cafe, Manly free 3pm Unity Hall Jazz Band Unity Hall Hotel, Balmain free 4pm

ACOUSTIC & FOLK

Anthony Hughes Oatley Hotel free 2pm Russell Neal Club Totem, Balgowlah free 7:30pm Shane MacKenzie Cohibar free 5pm The Yearlings The Vanguard, Newtown $16 (at door)–$47 (dinner & show) 8pm

COUNTRY

Cash Only Marrickville Bowling and Recreation Club $10 4.30pm

HIP HOP

Onyx Gaelic Club $53.70 8pm

Ivy Lies

“...punk rock R&B – more evocative than ever.”

THE GUARDIAN 2011 LIVE REVIEW

WEDNESDAY 25TH MAY Wed 8/06 Dominique Fraissard EP launch

Fri 10/06

THURSDAY 26TH MAY

FRIDAY 27TH MAY

TUESDAY 31ST MAY

FRIDAY 3RD JUNE

First Ladies Of Soul Sat 11/06 Perry Keyes Tue 14/06 Eora Showcase Thur 16/06 Georgia Fair + Daniel Lee Kendall Fri 17/06 Organ In Rock Thur 23/06 Carus Thompson Request Show Fri 24/06 D.I.G. 20th Anniversary Fri 1/07 Skipping Girl Vinegar (album launch) Thur 7/07 Steve Kilby (The Church) & Ricky Maymi (Brian Jonestown Massacre) + Jill & Alsy (The Triffids) + Richard Lane (The Stems) Fri 15/07 Deep Purple Tribute Sat 16/07 Hendrix & Heroes Fri 22/07 The Strides + Uncle Jed Sat 23/07 The Sins Single Launch + The Glamma Rays + Burlesque Performers

Fri 9/09 Otis Redding 70th Birthday Celebration w/ Johnny G & The E Types

ENMORE THEATRE THURSDAY 09 JUNE

BOOK NOW AT TICKETEK.COM.AU | 132 848 OR VBO - 9550 3666

PRESENTED BY

LIVE AT LIZOTTE’S - NEWCASTLE - FRI 03 COMMUNITY THEATRE - BYRON BAY - SUN 05 TICKETS ON SALE NOW AT USUAL OUTLETS New album THE DEEP FIELD out now joanaspolicewoman.com | gaynorcrawford.com BRAG :: 413 :: 23:05:11 :: 51

gig picks

up all night out all week...

The Dandy Warhols

WEDNESDAY MAY 25 Violent Soho, Jaime Robbie Reyne, The Growl Beach Road Hotel, Bondi Beach free 8pm

THURSDAY MAY 26 Electric Empire, DJ Huwston, Bentley Beach Road Hotel, Bondi Beach free 8pm Imogen Harper (Guineafowl), Mark Wilkinson, Edward Dear The Vanguard, Newtown $10 (+ bf)–$45 (dinner & show) 6:30pm Megastick Fanfare, Parking Lot Experiments, Sealion Kings Cross Hotel, Darlinghurst $13.30 8pm

Spiritualized

Live At The Chapel: The Vines St Stephen’s Church, Newtown 7pm

SATURDAY MAY 28

FRIDAY MAY 27

Eskimo Joe Gaelic Theatre, Surry Hills $40 (+ bf) 8pm

Debit Mastercard Priceless Series: Birds of Tokyo Cockatoo Island, Sydney $40 (Debit Mastercard only) 8pm

Mere Women, Kasha, Sweet Tooth Black Wire Records, Annandale 8:30pm

Ghoul Tone, Surry Hills 8pm Vivid LIVE: Spiritualized (UK) Opera Theatre, Sydney Opera House $59 (B Res)–$89 (gold) 9pm

Sosueme’s 4th B’day: Parades, Guineafowl, Stonefield, Redcoats, Pluto Jonze, Joyride & the Accidents, Mrs Bishop, Bon Chat Bon Rat, The Growl, Furnace & the Fundamentals plus DJ sets from The Vines, Zia (The Dandy Warhols),The

Block-Ness Monsters, Sosueme DJs and more Oxford Art Factory, Darlinghurst $20 (+ bf) 8pm The Bar At Buena Vista State Theatre, Sydney $79.80–$98.90 8pm

SUNDAY MAY 29 Architecture In Helsinki Opera Theatre, Sydney Opera House $39 (B Res)–$55 (A Res) 7pm The Dandy Warhols (USA), Los Huevos Enmore Theatre $74.20 7:30pm Architecture In Helsinki

BIG JAZZ JUNE! The Basement returns to its roots with a huge program of Australian and international acts in June. We’ve got US legends The Ron Carter Trio, New York hard men Jason Moran and the Bandwagon, Belgian stylists The Pascal Schumacher Quartet, UK a capella sensations The Magnets, and a whole host of others including The Gapp Project, Jane Badler and Paul Grabowsky, the fabulous Velvet Set and the wonderful Stephen O’Connell. Book fast! Check our website for details.

Tickets online at

www.thebasement.com.au

52 :: BRAG :: 413 : 23:05:11

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dance music news club, dance and hip hop in brief... with Chris Honnery

he said she said WITH

ELECTRIC ZOO

month within a foreseeable scope of music taste, like synth pop, electro pop, chill and experimental electronica. I hope the night will facilitate the cross-pollination of fanbases, so that the smaller followings that each of these hard working acts has individually built up through social media and rigorous shows can grow into a thriving scene.

I have a very eclectic music taste. I love so many DJs and programmers, but the most inspiring musicians for me are show(wo)men who PERFORM their music live, with powerful emotion. Throw in crazy costumes and a good dose of theatricality and I am in love!

Sydney’s electronic music fans need to realise that there’s amazing music being produced on their doorstep. You don’t have to wait until one of these European or American groups like Daft Punk tour here and ask you to fork out $150 to see them. Instead, take every opportunity to support our local live electronic music industry, by attending events like Electric Zoo. Not only do the musicians involved finally get to play to larger audiences who are actually interested in discovering them, but the audience will actually dance to their music, instead of going out to smoke before the band comes on.

I

trade as a freelance events producer, under the name MAROPA Productions.

I decided to create Electric Zoo as a once a month event, because there are so many amazing local live electronic musicians in Sydney who feel like square pegs in round

holes. They struggle in a very rock-focused live music scene, while electronic music fans are dancing in nightclubs to pre-recorded music, predominantly from overseas.

With: Garcon Garcon, DJ Sveta, Divine Knights, Snout Cassette, Alice SpaceDoll and The Carnival of Electric Illusions DJs

Electric Zoo handpicks a lineup each

When: Saturday May 28 / $15 on the door

Where: Red Rattler, Marrickville

LADYTRON

Liverpool synthphiles Ladytron have just announced details of their latest album, Gravity the Seducer, to be released on September 13 via Nettwerk. The group recorded the album in the English countryside, with Arctic Monkeys and Editors collaborator Barny Barnicott co-producing. The early scoop is that this album has a more dreamlike quality than their previous efforts, as Daniel Hunt of the band elucidated: “Gravity the Seducer is more of a jump than the last album was, more ethereal and melodic, a touch more abstract in places than we’ve gone before, baroque ‘n’ roll. It was a pleasure to make, took us right through last summer. It’s our best record, in my opinion.” Meanwhile the group’s singer, Bulgarian-born Mira Aroyo, has stated that it’s “a lot more of an atmospheric record than previous ones, more mature without being boring”.

UNITED COLOURS

After hosting acts like Round Table Knights, Mowgli and Zombie Disco Squad, irrepressible party crew United Colours return

Australian dance veterans Itch-E and Scratch-E – the partnership of Paul Mac and Andy Rantzen – are preparing to embark on a tour in support of their latest album, Hooray For Everything!!!, which includes a set at Chinese Laundry on Saturday June 18. Itch-E and Scratch-E are set to release another single off the album between now and then, ‘Imperial Rockets’, which will be available online as of this weekend as a package that includes remixes from some fairly illustrious figures - namely Jori Hulkonnen, Deepchild and Stereogamous. Discussing the single, Rantzen declared, “I think we were trying to write a Greek techno anthem but ended up contemplating the space/time continuum or something like that.” Though not quite matching his partner in terms of peculiar turn of phrase, Paul Mac probably does a better job of selling the track: “We think it’s romantic, visionary, futuristic and retro all at the same time”.

to the fold with a local bash which comes accompanied by outlandish promises that “shit is going to get interracial with different brands of house music from around the globe”.

Staple jocks Kato, Bad Ezzy and Chux will be representing behind the decks alongside Gabby, Rubio and Newcastle-based house deviants Twenty97. It’s curtain up at 10pm this Friday at GoodGod Small Club, with entry costing a mere $5 before midnight, and $10 thereafter.

ROBERT HOOD

Minimal pioneer and veteran of the scene, Detroit’s Robert Hood, will headline the next in HaHa’s ‘Versus’ series this Saturday May 28 at Marrickville Bowling Club, ahead of an extensive support cast headed by Glitch’s Matthew Aubusson. A member of Underground Resistance, and having recorded alongside Jeff Mills under the moniker H&M, Hood is credited as being one of the pioneers of minimal techno. His landmark 1994 album Minimal Nation was a prototype seized upon by Richie Hawtin et al, and last year he released the concept LP Omega, which was written and produced as a soundtrack to the 1971 sci-fi film The Omega Man. Hood has just dropped Omega: Alive, a release that takes the raw elements of tracks from last year’s album along with new and old material and reworks them into a 12-track set, which will form the basis of what should be a thumping live show this Saturday. Presale tickets can be secured online.

ITCH-E AND SCRATCH-E

ONYX

James Pants

JAMES PANTS

James Pants’ new self-titled album is out through Fuse Group Australia/Stones Throw next Monday May 29. It will be Pants’ third album proper, following 2008’s Welcome and 2009’s Seven Seals. The latter record found Pants reaching for his guitar and charting choppier terrain than on his more accessible, ‘feel good’ debut, with an acknowledged debt to the sounds of minimal wave, post-punk and the fucked-up psychedelia of Bobby Beausoleil and Bruce Haack. The new album picks up where Seven Seals left off, and according to its maker was partly inspired by David Lynch’s Twin Peaks; with Lynch now dabbling in electronic music (as announced in last week’s dance music news), it’d be interesting to find out whether Lynch in turn registers Pants’ work... We’ll try posing that question in a future interview...

Legendary New York City rap group Onyx are finally making their Australian debut for the Bacdafucup Tour, and will play The Gaelic on Sunday June 12. Onyx was formed back in 1998 and eventually inked a deal with Def Jam with whom they released their debut LP in ’93, Bacdafucup. It sold three million copies and won awards like Soul Train’s album of the year, beating out a certain Dr Dre in the process and leading to the group touring alongside hip hop deity like KRS-ONE and Run-DMC. After the departure of Big DS, the remaining three members of Onyx - Sticky Fingaz, Fredro Starr and Sonsee - showcased a darker sound on their sophomore album All We Got Iz Us, and between subsequent albums like Shut Em Down and Triggernometry both Fredro Starr and Sticky Fingaz ignited acting careers that have since seen them claim roles in The Wire, Clockers, Moesha and Save The Last Dance.

Come June 12 it ain’t about their acting though, as Onyx tour Australia for the first time some 18 years after first entering the popular sphere.

Tickets are available online now.

“It’s sitting right in my lap I see it, scribbled across the lines I read it / I’m the fucking poet who knows it, you know it, you bogus” – HODGY BEATS BRAG :: 413 :: 23:05:11 :: 53

dance music news

free stuff

club, dance and hip hop in brief... with Chris Honnery

FREESTUFF@THEBRAG.COM

he said she said WITH

CHARLIE CHUX FOR UNITED COLOURS I’d have to say that any of the artists on the Crosstown Rebels roster (Deniz Kurtel, Russ Yallop etc) as well as a breakaway from that label, Hot Creations (Jamie Jones, Lee Foss), are really doing it for me at the moment! These guys, as well as the Wolf + Lamb label artists like Soul Clap and Nicolas Jaar, are really paving a new direction in dance music, finding an edgy middle ground between house, deep house, techno and disco. With such an incredible sound and complimentary aesthetic, it’s no wonder that a whole new scene is being born.

I DJ on my own as Charlie Chux as well as with United Colours and Disco Punx both ferocious parties in their own right!

United Colours is a house music party that has heralded a bunch of A-list house talent from around the globe - people like Round Table Knights, Mowgli, Solo and Zombie Disco Squad, to name a few.

I

fondly remember car trips with my old man, belting out every word to a soundtrack along the lines of Kate Bush, The Who, Crowded House and more. I also had an influential older sister who made me sing back-up lyrics in her Madonna phase (did that ever end?), before redeeming myself with bands like Radiohead and Nirvana. I draw on my 90s nostalgia LOADS - I’m so into contemporary house music at the moment, the

stuff that really has a ‘90s house feel to it - it’s definitely come from what I used to listen to.

I’m playing heaps of things like Azari & III and Jamie Jones, which predominantly revolve around amazing new spins on older sounds.

Thom Yorke has to be one of my fave musicians of all time. It’s amazing to listen to how far Radiohead’s music has progressed without losing that initial charm. In the club,

Sneaky Sound System

There’s such an amazing stream of incredible new music from all over, and there are definitely people who want to hear it. There are some amazing producers and DJs coming out of Sydney that are copping recognition on a world scale, which is definitely a good thing, and there are some really strong parties that are constantly pushing the packet in terms of the new music I mentioned!

Who: Charlie Chux, Kato, Bad Ezzy, Gabby, Twenty97 and Rubio Where: United Colours @ GoodGod Small Club When: Friday May 27

PAINT PARTY

Local party hero BenLucid wants you to deck yourself out in stuff you don’t mind destroying, and head along to Q Bar this Saturday May 28 for Paint Party – another celebration of FUN from a bunch of kids who don’t need an excuse. A stack of paint and brushes will be supplied for you to cover yourself and the rest of the party with your artistic prowess, with DJ inspiration provided by I.T. & BenLucid (friendship set), Lonewolf, DJ Norman, Girls Gone Wrong and Alistair Erskine.

To win one of four double passes to Paint Party (each of which comes with four drink tickets) tell us: if you could paint Charlie Sheen as any animal, what would it be?

DJ Shadow

SNEAKY SOUND SYSTEM RETURN

After a break from the limelight, Sneaky Sound System have surged back onto the radar in recent weeks. Inking a deal with Modular Records and announcing the release of their forthcoming album From Here To Anywhere, the now two-piece of Black Angus and Miss Connie Mitchell, who have parted with MC Double D since the last Sneaky Sound System project, have unveiled details of their first Australian tour in over two years, which includes a Syndey show at The Metro on Saturday July 2. The tour will be preceded by the release of their new single ‘We Love’, the first cut off From Here To Anywhere, which will hit the airwaves this Friday before the album follows in late August.

SHADOW ROKS OUT RIP 3D WORLD

Long-running Sydney dance street press 3D World went to print for the final time this week, with the magazine’s publishers at Street Press Australia citing a loss of advertising support and a changing musical environment as reasons for the publication’s demise: “As the clubbing community is now part of the wider music scene it can no longer be sustained as a standalone publication,” said SPA’s Craig Treweek. With the end of 3D World, you’re holding the lone established voice for Sydney’s dance market – and we’re not going anywhere.

BRAG is now Sydney’s only weekly street press that caters to lovers of dance music, hip hop and club culture (and all the genres that lie between), and we’ll continue to provide the news, features, reviews, columns and snaps we always have, along with the most comprehensive club guide in town. We’ve got a whole new section for you, and it comes with a promise of expansion - we’re ramping up our beats-based coverage, and invite writers and photographers who love Sydney’s club culture as much as us to get involved.

Want in? Email steph@thebrag.com.

Pioneering turntabilist/producer Josh Davis, aka DJ Shadow, returns Down Under in support of his forthcoming album, The Less You Know The Better (which is expected to see release in September) - he’ll play the Hordern Pavilion on Saturday July 30, in addition to his appearance at Splendour In The Grass. Shadow probably remains best known for his acclaimed 1996 debut album Entroducing…, which has been followed by Pre-emptive Strike, The Private Press, The Outsider and the Bay Area EP, as well as other production projects such as the James Lavelle collaboration that was UNKLE’s Psyence Fiction.

In the leadup to his impending album, Shadow has just released a new EP, I Gotta Rok, which includes ‘Def Surrounds Us’ and ‘I’ve Been Trying’ - both released as one-off singles last year, along with a creditable remix of ‘Def’ by UK drum ‘n bass producer Rockwell. It’s available digitally now. Shadow will be supported by the Midnight Juggernauts in a DJ Set and Ghoul - with tickets on sale this Friday May 27, at 9am sharp.

“Here’s the number to my therapist / Tell him all your problems, he’s fucking awesome with listening…” – TYLER THE CREATOR 54 :: BRAG :: 413 :: 23:05:11

BRAG :: 413 :: 23:05:11 :: 55

free stuff

dance music news club, dance and hip hop in brief... with Chris Honnery

FREESTUFF@THEBRAG.COM

five things WITH

NAY, WENO AND JAYTEE FROM THE LAST KINECTION Your Crew [Jaytee]: The Last Kinection have been a 3. crew for about five years now, and consist of brother and sister Joel and Naomi (who come from a large family belonging to the Kabbi Kabbi people of South East Queensland) and me, Jaytee. Besides The Last Kinection, I’m also DJing/producing with Briggs, an MC from Shepperton, Victoria. The Tuned In festival at Oxford Art Factory will be the first night where The Last Kinection and Briggs are both billed, which is exciting.

The Music You Make [Jaytee]: Stuff I’m currently listening to would be a mix of The Roots, Hilltop, Kanye, Ghostface, Pharoahe Monch, Urthboy, Funkoars, Raekwon, Big Boi etc.

[Weno]: I’ve been tuning into 1xtra (UK equivalent to JJJ), hearing homegrown UK acts that are mad. There is such good, fresh, original music out there, and the UK scene is always willing to mix up a few styles of music into one track. I guess that’s what we try to do in our songs.

4.

Growing Up [Nay]: The most prominent and frequent 1. musical memory I have was loading mum and dad’s gear in and out of the car ALL THE TIME! I’m looking forward to having children for the same reason: free roadies!

[Weno]: She only had to carry mic stands and a keyboard. I had to lug the PA, guitar amps - and sometimes her, when she pretended to be asleep after a late gig.

2.

Inspirations [Nay]: I’m mostly inspired by songwriting - that’s why I get obsessed with actual songs

CO-OP TURNSth4

CO-OP celebrates its 4 birthday on Saturday June 4 with a bash boasting the dual international headliners of Iron Curtis, aka Mr Johannes Paluka, and Vincenzo of Pokerflat and Dessous fame, who has just been added to the bill. Iron Curtis releases on Tensnake’s Mirau label as well as the Mule Electronic, Dirt Crew and Galaktik imprints, and will be given a full four hours to showcase a mix of Detroit-, Chicago- and European-influenced house, a splash of disco and some serious organic

and not artists or styles of music. My music library consists of styles ranging from reggae to R&B to punk rock to hip hop to hardcore rap - the list goes on and on…

[Jaytee]: I started DJing at nightclubs around 2001; I was playing a lot of dance music at the time, but the room I used to play would close earlier than the small bar downstairs. I used to go down there after my sets and listen to a guy called DJ Tone – he’d play lots of stuff I hadn’t really heard before, and had a huge vinyl collection. He really opened my eyes to a lot of good music.

Music, Right Here, Right Now [Weno]: The live music scene is 5. definitely more of a festival scene than the old pub or youth venue gig - the obstacle is getting on the festival bills. Newcastle’s scene is not as lively as it was 20 years ago when I was playing with my parents’ band, but there are still a few great live venues.

What: Tuned In Festival, presented by Heaps Decent and the NSW Reconciliation Council With: Koolism, Briggs, The Last Kinection, Tuka (Thundamentals), Stunna Set + Spesh DJs Where: Oxford Art Factory When: Friday June 3

techno sounds. Vincenzo, who is something of a local favourite having spun regularly around town everywhere from Playground Weekender and Spice Afloat to the Civic Underground over the past few years, has just completed his third artist album, Wherever I Lay My Head - a release that is apparently slanted “more towards the sunnier side of house and techno” than his earlier LPs. The revelry will commence from 9pm at a secret inner city venue; $30 final release tickets are currently on sale through Resident Advisor.

Biz Markie

KATY B

Katy B’s finally released her debut album, On A Mission - and, featuring two UK top five singles, the record has been lauded as “British pop debut of the year” and won the Pitchfork stamp of approval. It’s all thanks to Katy’s powerful pipes and her ability to manoeuvre seamlessly between genres, tackling dubstep in her Bengaproduced debut single ‘Katy On A Mission’, and collaborating with hip hop and grime singer-cum-rapper Ms. Dynamite for her other stand-out single, ‘Lights On’. If you wanna jump on the Katy B bandwagon, we have five copies of On A Mission up for grabs. To get your hands on one, tell us Katy’s last name.

BIZ MARKIE AND YO GABBA GABBA

With more than 25 years of hip hop and pop cultural history under his belt, beatboxer, MC and DJ Biz Markie is in Australia for the first time next month. He’s heading down for some hotly-anticipated shows with blog-loved kids group Yo Gabba Gabba as part of Vivid LIVE - but he’ll be playing a sideshow at Oxford Art Factory on Thursday June 9.

The Proxy

First strolling onto ‘tha scene’ in 1985 after meeting legendary producer Marley Marl, Biz released his debut album Goin’ Off at the backend of that decade, a release which displayed a humourous and melodic take on the hip hop oeuvre.

After some trouble with the law over an uncleared sample on his third album, 1991’s I Need A Haircut (which resulted in a ruling that had significant ramifications on the rap community and copyright laws), Biz stayed out of the spotlight for nearly a decade. During this time however, he did work with the Beastie Boys on several recordings, while also playing a beat boxing alien in Men In Black 2 alongside assorted appearances on TV shows - none of which quite match his appearance opposite Will Smith as an extra terrestrial. Presale tickets are currently available online.

THE PROXY

Russian electro proponent The Proxy returns to Australia for his first headline club tour since early 2009 courtesy of Fuzzy, and will play a set at the newly launched Fakeclub (the old Plantation) in King’s Cross. The Turbo Recordings-endorsed Proxy is renowned for his post 9/11 rave vibes ‘cloaked in Muscovite angst’, which is epitomised in cuts like ‘Raven’ and ‘Dancing In The Dark’, along with gargantuan remixes of Boys Noize, The Prodigy, Tiga, Peaches and Digitalism. In discussing his sound, the stoic Soviet has stated, “My music tells you what to do, but never why. Your ear may be afraid, but your body completes its labour.” ...Anyone else getting Marxist overtones from that?

AEROPLANE SINGLE REMIXED

Aeroplane has just released a third single taken from last year’s debut LP We Can’t Fly. ‘My Enemy’ offers remixes from Rex The Dog and stalwart preacher man Green Velvet, and is out now through Eskimo Records via Australian distributor I Like the Noise It Makes.

Aeroplane initially sprung to prominence as the duo of Vito De Luca and Stephen Fasano, but Fasano departed the production vehicle leaving

De Luca as the sole pilot for Aeroplane’s first full-length album (I’ll drop the clumsy metaphor now). While not at the level of Aeroplane’s initial EPs and remixes, We Can’t Fly was still an enjoyable, iPod-friendly release, displaying a penchant for cheesy 1970s rock in addition to the obvious disco and Balearic signifiers. Not everyone knows about Aeroplane yet though; Tiga, with his tongue (as ever) planted firmly in his cheek mused, “Apparently, Aeroplane are not a mid-period Red Hot Chili Peppers tribute band. I’d be lying if I said I wasn’t a little disappointed.”

“The sun is rising and I’m advising you to pay attention to my advertisement / I’m on my slicker material, satisfying, I ain’t lying” – HODGY BEATS 56 :: BRAG :: 413 :: 23:05:11

BRAG :: 413 :: 23:05:11 :: 57

Maya Jupiter On Drawing The Line By Chad Parkhill

T

his month and next, up-and-comers Pez and 360 and the legendary lady of Australian hip hop, Maya Jupiter, are joining forces to bring us the Change It For The Better national tour, presented

by The Line: an Australian Government anti-violence, pro-respect campaign. One in three Australian women become a victim of domestic violence each year – one of the startling statistics that led to the campaign’s launch, and Maya, Pez, and 360’s support as its ambassadors.

“First of all, I’m a true believer in the power that music has to effect positive change,” Maya says, of her involvement with the The Line. “So I thought that as an artist, that’s something I can actually contribute to and be involved with, delivering a message through music.”

As Maya reveals though, her connection to the campaign runs a little deeper.

“It wasn’t until I started reading all of the research that I realised how close to home it was; how I’ve actually had personal experience with this idea of establishing respectful relationships,” she says. “‘The Line’ is really about behaviour at a young age, and defining and deciding for yourself what’s appropriate and what’s not within your relationships.

I really wanted to get involved to talk to

Kurtis Blow

young women in that age range of 15-18: it’s the time where you feel – and I personally remember this – you feel that you’re not a kid anymore, but you’re not an adult yet, so you’re in this weird place where you’re acting grown up and want to have adult relationships, but you don’t really have the tools or the know-how to go about it.”

Her own personal experiences aren’t sordid tales of physical abuse, but the more everyday (and problematic precisely because they are everyday) experiences of a young woman rushing headlong into relationships. “I had a friendship with a girl whose boyfriend started telling her what to wear and who to be friends with at the age of fifteen,” she says. “Personally, I got into a relationship with an older guy who manipulated me and made me do things I wasn’t really comfortable doing. And I think perhaps if there was a discussion about it, some kind of dialogue out in the open, things would have been different.”

The experience wasn’t traumatic, and Maya doesn’t dwell on it, but it has strengthened her resolve to act as an ambassador. “Fast forward to today, I’m really keen to talk to young women and girls, to reach out to them and say, ‘Think about it - think about your role in your relationship. Are you safe? Are

you happy?’,” she says. “It’s about promoting healthy relationships so that when they become adults they will hopefully have respectful, happy relationships as adults.”

Maya understands the power of a well-placed role model. “When I was a young woman growing up, I looked towards women in positions of power and empowered women – especially artists like Salt ‘N’ Pepa, or Janet Jackson, or even Lauryn Hill,” she remembers. “These were women who were intelligent, expressed themselves clearly, knew who they were and were in a position of power, in control.

“I can only speak about my own personal role as an ambassador for this campaign, but I hope that young women see me as an empowered woman who has learnt a little bit along the way. I hope that they can share in what I have learnt, which is to look out for yourself, to love yourself, to stand up for yourself, and to stand up for what’s right.”

With: Maya Jupiter, Pez & 360 What: The Line’s ‘Change It For The Better’ Tour Where: The Factory Theatre When: Friday June 3 More: www.theline.gov.au

DJ Friction Shogun Assassin By RK

And The Church Of Hip Hop By Jordan Smith

I

f you don’t mind a little drum and bass, then you should be familiar with DJ Friction. And if not? Well: any time you’ve danced silly to quality DnB, there’s a good chance it involved a white label, a dub or an EP from Shogun Audio – the UK label run by the man himself, known to his mother as Ed Keeley.

K

urtis Blow hails from another era, an era when rappers were slow and clear when they explained their subject matters - such as which ones, exactly, are The Breaks. In 1979, Blow became the first rap artist ever to be signed to a major label with the playful single ‘Christmas Rappin’’, launching a controversial new genre into the mainstream; a precursor to gems like Jay Z and Biggie Smalls, and squashed sandwiches like Soulja Boy.

Keeley is full of enthusiasm on the eve of his Australian sojourn, with more stories to tell than the fifteen minutes we’ve got to hear them. “Where do I start?” he asks me. “As per normal, I’ve been doing my thing - going around the world, doing the DJ thing and pushing the record label. The label has been going unbelievably well; it’s progressed at the rate of knots since we started it about four or five years ago. And we’ve signed a number of artists during that time as well.

Blow went on to release ten albums over eleven years, and as his music consistently dominated both the R&B and pop charts he became a much sought-after collaborator and producer, working with household names like Run DMC, Whitney Houston, JT (of Kool and The Gang) and Wyclef Jean. Not limited to music, Blow’s career also encompasses the film industry, where he’s produced and appeared in films that address violence and the state of hip hop – like in the Miramax film, Rhyme and Reason (1998). Host of an old school-themed radio show since the 1990s, Blow has consistently strived to bring people back to the essence of hip hop while speaking out against racism, alcohol and drug abuse. Most recently, he’s been endeavouring to unite two seeminglydisparate cultures, bringing young people back to the church through rap as co-founder of the Hip Hop Church.

would be when you were younger?

I can’t force people what to do, I’m a rapper and I have my style. Coz I’m different to other rappers doesn’t mean there should be any negativity to anyone of any style. They have the freedom of speech to say whatever they want to say.

This year marks the 30th anniversary of ‘The Breaks’, the first rap song that went gold – and he’s celebrating with an international tour that’ll see him in Sydney this week. We caught up with him about where he’s been and where he’s going...

What makes a fantastic performance for you?

The fans, the genuine lovers of this music and the culture, and the love we should have for each other, man. As long as we got that right we got a party!

30 years into your career and you’re still working hard on so many projects. What drives you?

Apart from those years I took out, it’s all about keeping the scene fresh with as many flavas as possible. I’m currently working with my son - he keeps me on my toes.

It’s been a while since we’ve heard new material from you. Will you be heading to the studio anytime soon?

I’m actually recording a collaboration with my son (Kurtis Blow Jnr.) with an album called The Legacy - so go check it when it comes out!

You’re known as the man of firsts. First rapper signed to a major label, first certified gold rap song, first rapper to use drum machines & samples etc… Were you aware of how much you were changing the scene at the time? Was there opposition?

It was pretty much a glorious time for me when I was 19 years old. We had no idea it was going to be as big as it was, but I feel blessed everyday since. We didn’t encounter much opposition really - people were really supportive.

Can you explain a bit about the Hip Hop Church?

Like the culture it rises from, the Hip Hop Church is relevant and bold. And it speaks to the heart. It’s like a traditional church service; we have a processional, we have scripture readings, responsive reading, sermons, altar calls, offerings, benediction... and a whole lot of gospel rap.

With: Paper Plane Project, Gian Arpino, Mike Who?, DJ Naiki and Kato Where: Tone, Surry Hills

Do you still feel connected to the modern rap music scene? Is it how you thought it

When: Thursday May 26

“These are totally amazing guys – Alix Perez, Icile, Rockwell – and there have been plenty of releases from Friction and artists like Noisia,” he continues. “All in all, we’re very happy with the way it has gone. We’ve built up a very good roster, which is varied and contains artists that have real talent... I’ve also started

work on a Friction album, with the first single done.” Will the album be an opportunity for him to experiment a little, or will it be more of a reflection of his club sets? The answer is a bit of both. “There’s stuff on there that is crazy; some vocals and then some straight-up dancefloortype stuff. I’ll go with whatever feels right - and if something reflects another vibe, that’s the way I’ll go. It’s my whole philosophy on music. You don’t want to listen to an album that’s one style.

It has to be varied and interesting.”

Through all of this though, one thing remains unclear: where the hell does he find the time?

Maintaining a gruelling international touring schedule while running a label and getting to the studio can’t be an easy job. “For me, drum and bass is like a true love,” he says. “Drum and bass is always taking influence from different genres and so over the years, it has mixed up everything… You can see that there are a lot of different styles of drum and bass - and that’s why the Shogun tour will be so good.”

Indeed, the Shogun brand is now an allencompassing drum and bass juggernaut, releasing anything from deep and minimal sounds to dirty tech grooves that will tear up any party. “With every performance we’ve got Prototypes and Spectrasoul and myself, and within each of these artists, there is a real cross-section of music. You’re going to have some deep stuff, some mellow stuff, some harder stuff. People don’t get bored at the Shogun nights; they get the full spectrum, and that’s why things are going so well.

“There are plenty of labels out there that run one sound,” he adds. “We’ve always been about doing things a little bit differently.” He says there’s no real formula to his roster, either. “If I hear a tune and like it, I will put it out. If it wasn’t for that approach - to put out stuff that’s a bit different - [the label] would never have grown.”

The Shogun Audio tour, which hits Sydney next weekend, will feature DnB sets from Prototypes and Spectrasoul, with SP:MC heading up the dubstep room. As for Friction’s set? Three decks and dub plates. “It does get harder and harder to push the vinyl thing,” he concedes.

“I am definitely becoming a rare breed! But I will always do that one thing; I will push it for as long as I can. I don’t want to be that guy standing behind a laptop… What people will see will always be real and coming from the heart,” he says, “and the show will be great. I can’t wait.”

What: Shogun Audio Tour With: Friction (UK), SP:MC (UK), Prototypes (UK), Spectrasoul (UK) and more Where: Oxford Art Factory When: Saturday June 4

“I wear green hats because I’m fortunately lucky / Fuck me the monster said, somehow the monster’s dead inside of me” – TYLER THE CREATOR 58 :: BRAG :: 413 :: 23:05:11

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ENROLLING NOW FOR J U LY BRAG :: 413 :: 23:05:11 :: 59

Deep Impressions Underground Dance and Electronica with Chris Honnery

As I mentioned last week, Nu:Tone’s new record is out through Hospital Records/ Inertia. Words & Pictures (his third fulllength) features a truly all-star lineup of collaborators, including 4 Hero, Ben Westbeech, Logistics, The Cinematic Orchestra’s Heidi Vogel and more. It’s a pretty straightforward drum’n’bass approach for Nu:Tone; in fact he’s leaned more towards classic, old-school jungle snares rather than playing around with anything too dubstep-y or wonky, so d’n’b purists will get their kicks – but there is a couple of downtempo grooves that change up the pace of the album. Shapeshifter fans will go mad for this record; in terms of vocals and production, it’s right down the same line.

L

Such enterprise extends to Curtiss’ DJing as well; the sounds he creates and pushes have a broader scope, drawing on an array of disparate influences. On this point, and also for a bit of extra ‘behind the artist’ information, I had the pleasure of having dinner with Lee (note the switch to the first name) when he was in town last year and, in discussing Visionquest’s remix of Tracey Thorn‘s ‘Swimming’, he alerted me to the Fleetwood Mac influences underlying the production. Apparently the rework is something of a Fleetwood Mac tribute, and the homage certainly becomes more apparent if you’re aware of it… relisten and see if you agree. Watergate 8 collates material from the ‘so hot right now’ Maceoplex, Alex Smoke and James Teej along with remixes from Reeves and Crosson, and though ostensibly exploring the beats and basslines of the club oeuvre, it’s never that simple with Curtiss at the controls. As the man himself said, “For me

LOOKING DEEPER Robert Hood

SATURDAY MAY 28 Robert Hood, Matt Aubusson Marrickville Bowling Club

SATURDAY JUNE 4

Co-Op feat Iron Curtis & Vincenzo Secret inner-city venue

SATURDAY JUNE 11 Kid Sublime Marrickville Bowling Club

SATURDAY NOVEMBER 19 Hot Natured AGWA Boat Cruise

Kid Sublime house and techno already sound similar enough from track to track that I am always trying to push boundaries and take it a bit further.” Watergate 8 is released July 4.

The next Mad Racket party, slotted for the Queen’s Birthday Long Weekend in June, will feature the versatile and adventurous Amsterdam producer Kid Sublime, a chap who has carved out a niche by crafting “soulful house music with a b-boy attitude.” The moniker of Jacob Otten, Sublime garnered critical and popular acclaim for his work as part of Rednose Distrikt before leaving the group in late ’03 to concentrate on his solo outings.

His first LP as Kid Sublime, Basement Soul, featured guest vocals by the likes of Melodee, Lilian Vieira, Nicky Guiland, Alma Horton and Jneiro Jarel among others, and was followed by contrasting releases such Rappin’ Blak on Dopeness Galore and his collection of ballads, the Alicia Keys Tape. At present, the inside word has it that Sublime is working on new projects that include more sample-based soul and house cuts – which I’ll tentatively describe as his bread and butter – along with a Dutch rap record (an anomaly in anyone’s book). Support for Sublime will be headed by Melbourne-based artist Declan Kelly aka Dream Kit, who will be launching his debut EP Future Tense, which is purportedly influenced by a range of ‘bass music’, techno and the machine soul of Detroit, and is the first of a two part series of EPs. Presale Mad Racket tickets can be procured online.

At the time of writing, I was playing the latest release from German producer Matt John, a seven-track EP called The Bridge released through Bar25 (the record label of the infamous Berlin club of the same name), and damn well loving it. The man responsible for the timeless cracker Joker Family Park One 12” on techno bastion Perlon records also runs his own imprint, Holographic Island, and was a resident at Bar 25 when it was at its debaucherous zenith. RA stated it best when declaring, “Matt John has logged so many hours doing the graveyard shift at Berlin’s Bar 25, it’s not surprising to see how his tunes reflect the milieu: a delirious nocturnal carnival, herky-jerk forests peopled by grimacing clowns and Monty Python ghosts.” Infinitely more engaging than the generic dross flooding the market at the moment, any listeners after some tech house with a bit more bite – quite literally on the track ‘Meatball’, which makes a hook out of the line “the dog didn’t eat the meat” – ought to seek out The Bridge and give it a thorough listen; it’s available now both digitally and as a vinyl for purists, romantics and fantasists alike – keep reaching for that rainbow, guys…

Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com.

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Soul, Dub, Hip Hop & Bottom-heavy Beats with Tony Edwards 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.

Lee Curtiss

ee Curtiss, the Detroit DJ/producer who is also part of Visionquest alongside Ryan Crosson, Shaun Reeves and Seth Troxler, will helm the eighth instalment in Watergate nightclub’s “boutique-style mix CD series.” (Classic specious press release garble, but a catchy description nonetheless.) Curtiss has released on labels like Spectral Sound, Wolf & Lamb, Cityfox and Guy Gerber’s Supplement Facts, and is holding down a residency at DC10 in Ibiza this (European) summer; not a shabby CV by anyone’s standards. As a solo producer, Curtiss has churned out cuts like ‘Smoking Mirrors’, while last year he released a tribute to the legendary Arthur Russell, ‘I Can Hear You Arthur,’ which is indicative of the fact that Curtis should not be pigeonholed as your ‘average club producer’ (whatever that is).

Soul Sedation

Sydney based producer Omegaman has dropped a new tune, ‘Skankin’ Riddim’, through Super Hi-Fi Recordings. The original mix is a funky, horn-fuelled ragga breaks affair, and remixes from Stickybuds, Mark Walton/Fretless, Thomas Blondet and The All Good Funk Alliance shift it through dub and bassheavy breakbeat/reggaeton styles. All round it’s a tight release - the remixes all stand up on their own.

Further on the reggae/hip hop front: British expat Wayne Lotek, who ghostwrote a lot of Roots Manuva’s early albums, and also produced Speech DeBelle’s Mercury Prize-winning album Speech Therapy, has dropped a new solo record titled International Rudeboy. It’s a fusion of ska, reggae, beats and breaks, the pop leanings of which Soul Sedation expects will give it some legs in the mainstream. Lotek is based in Melbourne now, and as a result the record features some of Australia's finest emcees: Ozi Batla, RuC.L, and Dialectrix – as well as some heads from the old country, like Jimmy Screech and Manuva himself. !K7 subsidiary Strut Records have released a self-titled album from eminent US guitarist Dennis Coffey. It’s an exercise in funk, psyche and blues, and the respected guitarist has gathered around him an interesting cross-section of vocalists to

ON THE ROAD THURSDAY MAY 26 Kurtis Blow Tone

FRIDAY MAY 27 Bliss n Eso, Horrorshow Hordern Pavilion

MAY 31, JUNE 1 & 2 OFWGKTA Sydney Opera House

THURSDAY JUNE 2 Sonny Rollins Sydney Opera House

SATURDAY JUNE 4 DJ Friction Oxford Art Factory

SATURDAY JUNE 4 Hypnotic Brass Ensemble Sydney Opera House

SATURDAY JUNE 18 Lyrics Born The Metro Theatre

Lyrics Born

appear on the record. We hear from Fanny Franklin of Orgone fame, Stones Throw’s Mayer Hawthorne, Rachel Nagy, and Lisa Kekuala of The Bellrays.

This coming Thursday, Tone will explode as old school US hip hop don Kurtis Blow takes to the stage. In an event that will no doubt play on that golden age nostalgia to some extent, Blow will be supported on the night by the knowledgeable selectors the Paper Plane Project, Gian Arpino, Mike Who, DJ Naiki and Kato. You can track down presale tickets through Resident Advisor, Tone and The Recordstore.

Also going down this weekend, Aussie hip hop success story Bliss n Eso take over the Hordern with Elefant Tracks stars Horrorshow on support. The Saturday show is sold out, but at the time of writing you could still pick up tickets to the Friday night show...

Wayne Lotek

Sydney’s Vivid LIVE festival kicks off next week, and in amongst all the nu wave indie electro fusions you’ll also be able to catch the travelling hip hop caravan that is Odd Future, fronted by man of the moment Tyler The Creator, who are visiting Australia for the first time. Jazz saxophonist Sonny Rollins will bring his timeless sound to our harbourfront on the Thursday night, and another fantastic US act, Hypnotic Brass Ensemble, bring their troupe of horns to Sydney Opera House on the Saturday. Hopefully you’ve tracked some tickets down for yourself!

Hypnotic Brass Ensemble

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

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

club pick of the week

FRIDAY MAY 27

Azari & III

The Studio, Sydney Opera House

Vivid LIVE: Leave Them All Behind IV

Bag Raiders, Beni, Softwar, Azari & III (Canada), The Swiss $25 10pm MONDAY MAY 23 World Bar, Kings Cross Mondays at World Bar Mista Killa free 8pm

TUESDAY MAY 24 The Gaff, Darlinghurst Coyote Tuesday Kid Finley, Johnny B 9pm

The Valve, Tempe Underground Tables Gee Wiz, Myme, Benji, BC 6pm Tone, Surry Hills Battle Of The DJs $15 (+ bf) 8pm World Bar, Kings Cross Pop Panic Karaoke, Djs Cris Angel, Nickles, Power Ballads free 8pm

WEDNESDAY MAY 25

Horrorshow

Bank Hotel, Newtown Girls’ Night Sandi Hotrod free 9pm GoodGod Small Club Danceteria Hip Hop Karaoke $5 8pm Lewisham Hotel Club Cubano DJ Jamie free$12 7pm Marlborough Hotel, Newtown DJ Moussa 11pm World Bar, Kings Cross The Wall Free Dubstep Party free 8pm

THURSDAY MAY 26 Beach Road Hotel, Sydney Drop Electric Empire 8pm Goodgod Small Club Dancetaria Rumble! 8pm Goodgod Small Club - Front Bar Club AL Levins, Joseph Gadget, James McInnes free Ivy Courtyard The Groove Academy, Sarah J Hyland free 7pm The Gaff, Darlinghurst The College Party Gaff DJs free 9pm The World Bar, Kings Cross Propaganda Propaganda DJs free (student)–$5 (at door) 9pm Tone, Surry Hills Kurtis Blow (USA), Paper Plane Project, Gian Arpino, Mike Who, Naiki, Kato $25 (+ bf) 9pm

FRIDAY MAY 27 Australian Hotel & Brewery, Rouse Hill The Cool Room DJs free 9pm Bank Hotel, Newtown Friendly Fridays: Murray Hood Murray Hood free 8pm Blue Hotel, Woolloomooloo Sarah J Hyland free 7pm Chinese Laundry, Sydney NuTone $15–$20 9pm Civic Hotel, Sydney Adult Disco Trickski, Future Classic DJs $20 (+ bf) 10pm Club 202 Broadway Frathouse 9pm Cohibar, Darling Harbour Mike Silver, Andres Hitchcock, Shamus free 5pm Exhibition Hall, Sydney Opera House Vivid LIVE Tom Kuntz, Lucky Dragons (USA) free 11am Gaelic Theatre, Surry Hills Purple Sneakers Rufus, Jimmy Hawk & The Endless Party, Dead Leaves, Dangerous, The Growl, Kill The Landlord, Randall Stagg, Toki Doki, Wacks G $15 (at door) 8pm Goldfish, Darlinghurst Funktank Mike OConnor, Fabz, Drop Dead Ed 9pm GoodGod Small club -Dancetaria United Colours Kato, Charlie Chux, Bad Ezzy $5-10 10pm Hordern Pavilion, Moore Park Bliss n Eso, Horrorshow, Big B $49.50 (+ bf)–$95.10 (premium) 7pm Jacksons on George Ultimate Party Venue Over Four Floors Lenno, Aladdin Royale free 9pm Kings Cross Hotel, Darlinghurst FBi Social: Golden Era Paper Plane Project, Cupcakes, Mr Smith, Raine Supreme $5–$10 10pm Kit & Kaboodle, Kings Cross Falcona Fridays Falcona DJs $10 10pm Oatley Hotel We Love Oatley Hotel Fridays DJ Tone free 9pm Selinas, Coogee Bay Hotel Tiki Taane (NZ) $27.50 (+ bf) 8pm The Dee Why Hotel Kiss & Fly The Polo Lounge Oxford Hotel Jack Mark Murphy, Magda Bytnerowicz 7pm The Studio, Sydney Opera House Vivid LIVE: Leave Them All Behind IV Bag Raiders, Beni, Softwar, Azari & III (Canada), The Swiss $25 10pm Watershed Hotel, Darling Harbour

Kurtis Blow Bring on the Weekend! DJ Matty Roberts free 9pm World Bar, Kings Cross MUM 8pm

SATURDAY MAY 28 Annandale Hotel Pegz, Dialectrix $20 8pm Australian Hotel & Brewery, Rouse Hill The Cool Room DJs free 9pm Bank Hotel, Newtown DJ Delacroix, Busta free 9pm Blue Hotel, Woolloomooloo Damien Goundrie free 8pm Cargo Bar, Darling Harbour The Institute of Music 9pm Chinese Laundry, Sydney Kid Kenobi, Jono Fernandez, Jeff Drake, King Lee, Robbie Lowe, Club Junque, Samrai, Mike Hyper, Marky Mark $15$25 9pm Coach and Horses Hotel, Randwick Retro Night free 8pm Cohibar, Darling Harbour Jeddy Rowland, Anders Hitchcock free 8pm Dee Why Hotel Kiss & Fly Steve Frank, Kaiser, Olsen 8pm Empire Hotel, Darlinghurst Empire Saturdays Empire DJs free 9pm Exhibition Hall, Sydney Opera House Vivid LIVE Tom Kuntz, Lucky Dragons (USA) free 11am GoodGod Small Club Danceteria Jingle Jangle Smokey La Beef, Smart Casual $5 10pm Hordern Pavilion, Moore Park Bliss n Eso, Horrorshow, Big B $49.50 (+ bf)–$95.10 (premium) 7pm Hotel Chambers, Sydney Red Room Trey, Naiki, C-Major, Troy T 8pm Jacksons On George, Sydney Ultimate Party Venue DJ Michael Stewart free 9pm Marrickville Bowling and Recreation Club Robert Hood, Matthew Aubusson, Henry "The Henchman" Compton, Dave Fernandes, Dean Dixon $30 (+ bf) 10pm Oxford Art Factory Sosueme’s 4th B’day DJs: Sosueme DJs, Zia (The Dandy Warhols), The Vines DJs, Joyride, Stoney Road DJs, The Block-Ness Monsters, Frames, F.R.I.E.N.D/s DJs; LIVE: Parades, Guineafowl, Stonefield, Redcoats, Pluto Jonze, Joyride & The Accidents, Mrs Bishop, Bon Chat Bon Rat, The Growl, Furnace & The Fundamentals $20 (+ bf) 8pm The Burdekin Minimal Sydney Oblique Industries, Bump DJs, Shepz, Tall Timba 1am The Forbes Hotel, Sydney We Love Indie $10 9pm The Gaff, Darlinghurst Johnny B free 9pm The Red Rattler Theatre, Marrickville

Electric Zoo Garcon Garcon, Divine Knights, Snout Cassette, Alice Spacedoll, Sveta, Casio Ono, Antochrist Superstar $15 8pm The Roxy Theatre, Parramatta HYBRID Josh Lang, Audio Damage, Spellbound, Matrix, Nik Import, Germ, Keely, Patrix, Raven, Kinekt 4, Scott Richardson, Onekid, Thomas Knight, Alex Panik, TK1, Nick Arbor, Scotty G, Big Dan, John Glover, Alen Zenicanin, Brendan Clay, Nat Noize, Dirty Double, DarkWaters, Fazed, Aztek, Nick Hayden, Iniquity $30 9pm The Studio, Sydney Opera House Vivid LIVE The Crystal Ark (USA) $40 7.30pm The Valve, Tempe Chris Liberator, 6HeadSlug, Vic Zee, Mookie, Andrew Wowk, Linken & Vertigo, Bec Paton, Protagon 8pm The World Bar, Kings Cross WHAM! Goodwill $15–$20 8pm Tone, Surry Hills Swarm Presents Chris Liberator (UK) 8pm Watershed Hoted The Watershed Presents Skybar

SUNDAY MAY 29 Alexandria Hotel Sunhaze Future Classic DJs free 2pm Bank Hotel, Newtown Scott Pullen free 4pm Beach Road Hotel, Bondi Picnic Sundays Kali 6pm Cohibar, Darling Harbour Shane McKenzie free 5pm Concert Hall, Sydney Opera House Vivid LIVE: Cut Copy $55 9pm Exhibition Hall, Sydney Opera House Vivid LIVE: Tom Kuntz, Lucky Dragons (USA) free 11am Fakeclub Spice Matt Weir, Mike O’Conner, Murat Kilic $20 4am Gaelic Theatre, Surry Hills Onyx (USA), WDBM $49 (+ bf) 8pm Jacksons on George Aphrodisiac Industry Night free 8pm Oatley Hotel Sunday Session DJ Tone free 7pm Sweeney’s Rooftop Sundaes Hanna Gibb, Ty $10 12pm The Bird in Hand Inn, Pitt Town Blake Morrison free 1pm The Studio, Sydney Opera House Vivid LIVE: Sneaky Sundays Presents Black Angus, Miss Connie, Van She, Flight Facilities $20 3pm Watershed Hotel, Darling Harbour Afternoon DJs DJ Brynstar free 3pm World Bar, Kings Cross Fortune! 6pm

“The sun is rising and I’m advising you to pay attention to my advertisement / I’m on my slicker material, satisfying, I ain’t lying” – HODGY BEATS 62 :: BRAG :: 413 :: 23:05:11

club picks up all night out all week...

WEDNESDAY MAY 25 GoodGod Small Club Danceteria Hip Hop Karaoke $5 8pm

THURSDAY MAY 26 Tone, Surry Hills Kurtis Blow (USA), Paper Plane Project, Gian Arpino, Mike Who, Naiki, Kato $25 (+ bf) 8pm

FRIDAY MAY 27 Civic Hotel, Sydney Adult Disco Trickski, Future Classic DJs $20 (+ bf) 10pm Kings Cross Hotel, Darlinghurst Paper Plane Project, Jony Cupcakes, Mr Smith, Raine Supreme $5–$10 10pm

Selinas, Coogee Bay Hotel Tiki Taane (NZ) $27.50 (+ bf) 8pm

SATURDAY MAY 28 Annandale Hotel Pegz, Dialectrix $20 8pm Marrickville Bowling and Recreation Club Robert Hood, Matthew Aubusson, Henry "The Henchman" Compton, Dave Fernandes, Dean Dixon $30 (+ bf) 10pm The Red Rattler Theatre, Marrickville Electric Zoo Garcon Garcon, Divine Knights, Snout Cassette, Alice

Spacedoll, Sveta $15 8pm The Studio, Sydney Opera House Vivid Live The Crystal Ark (USA) $40 7.30pm

SUNDAY MAY 29 Fakeclub, King's Cross Spice Matt Weir, Mike O’Conner, Murat Kilic $20 4am Gaelic Theatre, Surry Hills Onyx (USA), WDBM $49 (+ bf) 8pm Vivid LIVE: Concert Hall, Sydney Opera House Cut Copy $55 9pm

Cut Copy

Hordern Pavilion Bliss n Eso, Horrorshow, Big B $49.50 (+ bf)– $95.10 (premium) 7pm Kato

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snap sn ap

last night 13:05:11

PICS :: MJ

spice afloat :: joris voorn

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up all night out all week . . .

14:05:11 :: Bella Vista Vessel, Star City Wharf

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

And one you definitely won’t: Skrillex.

Sell it to us: Somewhere to go after your Friday night out, to let yourself go after the hard working week. This is some thing listener of quality minimal techno/minimal house for the discerning . influenced dark and twisted underground vibe, A proper Europeanfor those who take their music seriously.

The bit we’ll remember in the AM: It will be the AM! Crowd specs: Avid listeners of quality minim al techno.

Wallet damage: Free.

Where: The Burdekin Hotel (Basement), 2 Oxford Street.

When: Saturday May 28, from 1am-10am (after hours)

halfway crooks

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It’s called: Minimal Sydney It sounds like: Strictly minimal techno.

DJs: Oblique Industries (M_NUS), Bump DJs (Melb), Shepz (Church of Techno), Tall Timba.

Three producers you’ll hear on the night : Gaiser, Matador, Boris Brejcha.

14:05:11 :: Phoenix Club :: 34 Oxford St, Darlinghurst 93311936

strike bowling

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party profile

Minimal Sydney

mum

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13:05:11 :: Strike Bowling Bar :: 22 The Promenade, King St Wharf 1300787453

13:05:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700 64 :: BRAG :: 413 :: 23:05:11

:: NIKI BODLE :: KATRINA CLARKE S : TIM LEVY (HEAD HONCHO) NS :: VICKY NGUYEN :: SARAH OUR LOVELY PHOTOGRAPHER MUN IEL DAN :: MAR AS :: ASHLEY :: BRANDON ELS :: BEN KALGOV ETTE ROUHANNA :: PATRICK STEVENSON :: ROS O'BRIEN :: THOMAS PEACHY ::

DISCOVER YOUR INNER CHILD. THEN FEED IT BOOZE. STRIKE CHATSWOOD STRIKE KING STREET WHARF, DARLING HARBOUR STRIKE ENTERTAINMENT QUARTER, MOORE PARK

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hot damn

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up all night out all week . . .

chinese laundry

PICS :: AM

12:05:11 :: Spectrum :: 34 Oxford St Darlinghurst 93316245

14:05:11 :: Chinese Laundry :: 111 Sussex Street Sydney 82959958

It’s called: United Colours Re-United It sounds like: One hand clapping Who’s spinning? Resident selectors Kato, Bad Sydney’s techno and house queen Gabby, NewcEzzy and CHUX alongside explorers TWENTY97 and Sydney man about astle-based future house town Rubio.

Three records you’ll hear on the night: Mode rn Amusement – ‘Cold As Ice (Louie Fresco remix)’; Julio Bashmore – ‘Fathe r Father’; Azari & III – ‘Hungry For The Power (Jamie Jones Remix)’.

And one you definitely won’t: Rednex – ‘Cotto n Eye Joe’.

Sell it to us: INCREDIBLE NEW HOUSE MUSI C for pocket change. Did I mention INCREDIBLE NEW HOUSE MUSI C? The bit we’ll remember in the AM: United Colours will be tattooed on your brain.

robopop

PICS :: AM

united colours re-united party profile

14:05:11 :: The Supper Club :: 134 Oxford St, Darlinghurst 93313467

Crowd specs: Legends and babes.

Wallet damage: $5 before midnight, $10 after Where: Goodgod Small Club

wham!

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propaganda 14:05:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700

66 :: BRAG :: 413 :: 23:05:11

PICS :: KC

When: Friday May 27, 10pm til late

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snap

12:05:11 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700 :: NIKI BODLE :: KATRINA CLARKE S : TIM LEVY (HEAD HONCHO) NS :: VICKY NGUYEN :: SARAH OUR LOVELY PHOTOGRAPHER MUN IEL DAN AS :: ASHLEY MAR :: :: BRANDON ELS :: BEN KALGOV ETTE ROUHANNA :: PATRICK STEVENSON :: ROS O'BRIEN :: THOMAS PEACHY ::

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