The Brag #467

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BOBDYLANNIGHT.COM BRAG :: 467 :: 18:06:12 :: 5

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

five minutes WITH

STEPHEN WADE AND ROB G FROM SELECT MUSIC

B

elles Will Ring, Bleeding Knees Club, Bluejuice, Grafton Primary, Boy & Bear, DZ Deathrays, Gin Wigmore, The John Steel Singers, Josh Pyke, Leader Cheetah, Old Man River, Pikelet, Tim Finn… Reads kind of like your iTunes library, huh? Actually, it’s just a tiny selection of the Select Music roster – it turns out they’re your favourite Australian booking, touring and events agency, and they have been for a while. To celebrate their seventh year of nailing it, Select Music have got some of our favourite acts together for a massive gig that’s taking over four venues this Thursday night, all raising money for beyondblue. We spoke to Rob G and Stephen Wade about the past, the present and the future of their agency – and what’s in store for the birthday party...

Select Music was launched back in 2005 – what’s kept your agency going?

[Stephen]: Continually searching for exciting artists; staying aware of what is connecting, whether it’s through radio, online or live.

[Rob]: Discovering and developing new artists and taking them to the next level keeps us going – always with a local and international mindset.

HYPNOTIC BRASS ENSEMBLE RETURN

PUBLISHERS: Adam Zammit & Rob Furst EDITOR IN CHIEF: Adam Zammit 9552 6333 adam@peergroupmedia.com EDITOR: Steph Harmon steph@thebrag.com 02 9698 9645 ARTS & ASSOCIATE EDITOR: Dee Jefferson dee@thebrag.com 02 9690 2731 STAFF WRITER: Caitlin Welsh NEWS: Nathan Jolly, Chris Honnery, Andrew Yorke ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry COVER PHOTO: Luke Stephenson SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Katrina Clarke, Rasa Juskeviciute, Ashley Mar, Daniel Munns, Thomas Peachy, Rosette Rouhana, Sam Whiteside ADVERTISING: Ross Eldridge - 0422 659 425 / (02) 9690 0806 ross@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 8394 9027 les@thebrag.com ADVERTISING: Meaghan Meredith - 0423 655 091 / (02) 8394 9168 meaghan@thebrag.com GIG & CLUB GUIDE CO-ORDINATOR: Conrad Richters - gigguide@thebrag.com (rock) clubguide@thebrag.com (dance, hip hop & parties) INTERNS: Verity Cox, Kendra Fox, Andrew Geeves

Imagine what it would be like to be one of eight brothers. Now imagine that you and your seven siblings were taught trumpet, tuba, drums, French horn, cornet and trombone by your father from the time you were three years old and played jazz, hip-hop, funk and soul together on the streets and subways around the South Side of Chicago. If you’re not having to use your imagination, you’re either a member of the Hypnotic Brass Ensemble or should go on Australian Story. Known for the dynamism of their performances, the prodigious ensemble – all offspring of Kelan Phil Cohran, who was once a member of Sun Ra’s cosmic Arkestra – will be livening up the Oxford Art Factory on Sunday July 29. If you saw them at last year’s Vivid LIVE, you won’t need any more convincing.

NIGHT TERRORS + KIRIN J CALLINAN

The Night Terrors make this lovely-yet-horrifying blend of prog synth, psychedelic wandering and dancey electronics; they’ve supported Hawkwind and Black Mountain, which should illustrate the kind of gauntlet these guys run.

They are launching the amazingly-titled double A-side Monster/Lasers For Eyes on July 6 at FBi Social, with Null Object and a DJ set from Kirin J Callinan – whose ‘Way To War’ video is responsible for oh so many night terrors. And if you haven’t already skipped ahead to the cover

REGULAR CONTRIBUTORS: Benjamin Cooper, Alasdair Duncan, Max Easton, Christie Eliezer, Murray Engleheart, Andrew Geeves, Chris Honnery, Nathan Jolly, Anna Kennedy, Sheridan Morley, Jenny Noyes, Hugh Robertson, Romi Scodellaro, Jonno Seidler, Rach Seneviratne, Roland K. Smith, Luke Telford, Rick Warner

And what’s been the most rewarding?

The list is long, and it’s hard to include everyone, but some of our biggest successes have been Boy & Bear, Midnight Juggernauts, Josh Pyke, Bluejuice, Ball Park Music, Hungry Kids Of Hungary, Lior, Something With Numbers, Gold Fields, San Cisco, Busby Marou, Emma Louise and Philadelphia Grand Jury. All of our artists are rewarding for different reasons, but watching an artist grow from tiny venues to selling out the biggest rooms in the country, and being able to go along for the ride, is the most gratifying part of all.

Tell us what you’ve got planned for Select Music’s 7th birthday party?

story, Callinan is launching the single at the Siberia Records-curated All Night Takeover By Force this Friday June 22, with DCM, Forces, Kangaroo Skull, HTRK DJs and Juggernaut DJs in support.

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Macy Gray

CAMILLE O’SULLIVAN

Half-French and half-Irish is pretty much the best mix of things since Vanilla Coke or Skittlebrau or those Twisties and mayonnaise sandwiches that never really took off as a thing. The loveliness of this blend of cultures is part of the reason Australia finds chanteuse Camille O’Sullivan so appealing. The other, bigger part of the reason is her stunning voice, which is mightily showcased on her new album Changeling, tracks from which she is performing at The Basement this Friday June 22. You can buy tickets from the venue – but prepare to get a crush, regardless of your orientation.

Of Monsters And Men

ACCOUNTS RECEIVABLE: Stephen Forde : accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121

Win a giveaway? Mail us a stamped and addressed envelope, and we’ll send your prize on over...

With: Bluejuice, Josh Pyke, Bob Evans, Emma Louise, The John Steel Singers, Hungry Kids Of Hungary, Midnight Juggernauts DJs, The Paper Scissors DJs, Spit Syndicate, The Preachers, Elizabeth Rose, Step-Panther and loads more Where: The Standard / Oxford Art Factory / Upstairs Beresford / Phoenix Bar When: Thursday June 21, from 7pm More: beyondblue.org.au

Say Anything must’ve hated it when they were lumped into that whole emo fad a few years ago, and still probably feel like screaming at their Wikipage, “No, NO! We are pop punk – listen to the melodies! And those bright guitars!” You can tell them that you know they’re not emo during their brilliantly-named Say Anarchy tour in support of their latest record Anarchy, My Dear, which hits the Hi-Fi on July 14 with Melbourne’s The Getaway Plan and the melodic/hardcore The Mission In Motion in support.

EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of The BRAG.

DISTRIBUTION: Wanna get The Brag? Email distribution@furstmedia. com.au or phone 03 9428 3600.

PRINTED BY SPOTPRESS: www.spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204

All the funds raised are going towards Beyond Blue. Why did you choose that charity specifically?

Depression and mental illness have such a huge impact on our society, and especially on those involved in the creative arts. It’s still not spoken about openly, and we wanted to change that and bring some attention to a great initiative. Talking about depression is a really positive thing for people who are suffering from it, or know someone who is.

SAY ANYTHING

Please send mail NOT ACCOUNTS direct to this address 8a Marlborough Street, Surry Hills NSW 2010 ph - (02) 9552 6333 fax - (02) 9319 2227

DEADLINES: Editorial: Wednesday 12pm (no extensions) Artwork, ad bookings: Thursday 12pm (no extensions).

Ad cancellations: Tuesday 4pm Published by Cartrage P/L ACN 104026388 All content copyrighted to Cartrage 2003

Plenty of great music, some cool giveaways, party, good times and fundraising for beyondblue. We have made sure there are plenty of our exciting new artists playing as well, so you can discover your new favourite act on the night.

MACY GRAY

Quick quiz – in the last line of the chorus of Macy Gray’s ‘I Try’ does she: wear goggles, walk backwards, cook waffles, blow bubbles or wear gumboots when her lover isn’t there? The answer, of course, is none of the above – “my world crumbles when you are not here” being the correct line – but the fact that Miss Gray’s lyrics have been misheard in so many different ways is a reminder of just how gargantuan her 1999 hit was. Far from a one-hit wonder, 13 years later the Boadicean, be-afroed beauty has sold over 25 million records, released six studio albums and won a swag of awards. Inspired by Erykah Badu and paving the soulful way for artists like Janelle Monáe, Gray will fill the Sydney Opera House Concert Hall on Sunday September 16 with her distinctive voice. Time to get your groove on.

OF MONSTERS AND MEN

There’s a behind-the-scenes Muppets book called Of Monsters And Men that was responsible for taking away most of the magic of my childhood; once you see bearded puppeteers elbow-deep in Bert and Ernie, and the strings of Kermit’s banjo, next comes no real Santa and Thomas J being stung by the bee, and suddenly all that is finite and crushing about life is hurtling towards you and – oh hey, on the other hand there’s also a great Icelandic indie six-piece called Of Monsters and Men, and they remind us of everything vital and delicate and beautiful in life. They sound like what Mumford And Sons would sound like if they were cool, well-dressed Icelandic folk, and you can check them out on July 22 at Oxford Art Factory. Also, buy their debut record My Head Is An Animal. Isn’t the accidental poetry of English-as-a-second-language wonderful? (Just ask The Tallest Man On Earth.)

HUNTING GROUNDS

Ballarat lads Hunting Grounds have taken a photo of Oprah Winfrey on the red carpet, shoddily photoshopped a copy of their album in her hands, and used “Oprah reveals album artwork” as the headline of the promo for their record/tour. That’s one of the many reasons why you should catch their In Hindsight album tour when it hits GoodGod on August 10 – another good reason is that Brisbane’s surfy two-piece Gung Ho will be supporting. Yes!

Xxxx

What’s been the most challenging moment

for the agency over the past seven years?

[Stephen]: Every day has its stresses and challenges – I think my grey hairs tell enough of the story. I encourage anyone coming along to 7th birthday to come up and ask me about it – I’m sure I will have a story I can rattle off for them.

[Rob]: Brian Jonestown Massacre’s first Australian tour, international artist Chris Whitley’s tour, and Bluejuice – every step of the way with them has a story!

PENNYWISE ALL OR NOTHING

MOTION CITY SOUNDTRACK GO

So-Cal’s kings of punk return with their best album in years!

Catch them live SATURDAY 25 AUGUST, UNSW ROUNDHOUSE – Lic A/A

Minneapolis’s finest release an album full of their signature melodic, keyboard driven rock.

“Hit after Pennywise hit” Blunt Magazine “Their best record since 1997’s Full Circle…Hot damn, the fire is back” 8/10- Triple J Mag bac

OUT NOW

““The best stuff from the band since Full Circle” – Rave Magazine

“With Go, Motion City Soundtrack has crafted an album full of wonderfully catchy and melodic songs. In doing so, they’ve also created one of the best releases so far this year and shown themselves to still be residing in the th upper echelon of the pop rock world.” - Kiel Hauck, PopMatters

OUT NOW

“Go “ is a definite winner” MX Magazine

MILLENCOLIN THE MELANCHOLY CONNECTION

THE GHOST INSIDE GET WHAT YOU GIVE

2 Brand new songs and 12 hard to find B-sides spanning from Pennybridge Pioneers until now!

An onslaught of blistering breakdowns and anthemic choruses. Produced by Jeremy McKinnon (A Day To Remember)

“The Melancholy Connection demonstrates that the ollieloving foursome have aged significantly better than their con contemporaries” BBlunt Magazine

“TGI 2012 – Get on board or get the f**k outta the way” – Blunt Magazine

OUT NOW

Plus a 90 Minute dvd celebrating the 10th anniversary of Pennybridge Pioneers.

Pe

“This is genuinely a contender for album of the year” – a No Heroes Mag

OUT JUNE 22

BRAG :: 467 :: 18:06:12 :: 7

rock music news

free stuff

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

FREESTUFF@THEBRAG.COM

LOVETONES

five things WITH

BEN FROM GLASS TOWERS Bombay Bicycle Club – their debut album was the soundtrack of my teenage years, and the soundtrack of many loud raucous drunken cab rides.

Releases We’re currently recording our debut album 3. with our producer JP Fung (Last Dinosaurs, Bluejuice). In my opinion he’s the best in Australia at what he does.

The Music You Make Brilliant, bursting, exuberant, desperate, 4. soaring indie pop.

5.

Growing Up Because of my parents, I grew up listening 1. to Neil Diamond and Roxy Music as opposed to Bob Dylan and The Beatles. I think it shaped me a lot in terms of songwriting; as cheesy as Neil Diamond and Roxy Music may be (and trust me, those two are the least cheesiest of the bunch I was brought up on), they are also very melodic – something which has translated into my own music. A defining moment was Franz Ferdinand’s debut album coming out when I was in year six; after

listening to that record I stopped listening to Led Zeppelin and started listening to Joy Division.

Inspirations Paul Banks from Interpol. I love his style, 2. and how he holds himself on stage. And I love Bloc Party, probably a bit too much actually.

Every single one of their albums is flawless to me. Silent Alarm is my favourite album of all time; the amount of desperation and intent nestled within that record is amazing. Also

SATURDAY CLASSICS

Santigold

Just when we thought we had the Beach Road Hotel in Bondi pegged as purveyors of everything fresh, young and indie-like, they go and launch Saturday Classics. It’s a series of events set to run once a month, kicking off with Sydney’s legendary punk rock heroes The Celibate Rifles this Saturday June 23. They are still dabbling in the young guards though: Step-Panther (whose Nerves-meets-Only Ones sound is what music should always be like) play Wednesday June 20, while the blockrocking Conics will be rocking blocks at Movement on Friday June 22.

RUM + MUM = NUMB

Sailor Jerry rum is the kind of drink that makes you feel like a swaggering, swashbuckling seastalker from the very first sip (Why don’t they get us to write their campaigns? ...Don?) – so the fact that MUM are teaming up with them for one hell heck of a party is good news indeed. The appropriately named Pirates Alive will be playing, as will the completely inappropriately named Doc Holliday Takes The Shotgun, plus The Red Paintings (!), The Chorus Girls, Samoan Punks, Bec and Ben and Warchief. Entry is a tenner before ten or $15 after, with free entry for students before ten, and $5 beers, tequilas and sangria all night – but you will be drinking all of the rum.

Music, Right Here, Right Now The music scene in Sydney is nothing like it used to be; it’s definitely not as tight knit as it once was. Also I think it’s a lot harder for new bands starting off these days – so many venues have closed down over the last few years, and the cull doesn’t seem like it’s going to be stopping any time soon. But the good thing is that there’s so much talent within Sydney; the sheer amount of musical genius that our city produces sets us apart from the rest of Australia. On a side note, we’ve just come off a tour with The Medics, and I can say without a doubt that they are the most exciting band in Australia at the moment – top guys as well!

With: Triforce, Lime Cordiale, Seek The Silence, MC Baskiat and Smaal Cats Where: Winterland @ Mona Vale Hotel When: Saturday June 23

read all about it on page 16. Check them both out at Sydney’s favourite cube-shaped venue, Oxford Art Factory, on Friday June 22 – Leader Cheetah’s playing in duo format, too!

PASSENGER

Mike Rosenberg AKA Passenger is the kind of folksy artist who can support Ed Sheeran in the UK this October and still busk and play impromptu gigs here and there, because why not? He plays the Hi-Fi on August 17, and unless he joins that Lynchian husband and wife/piano and guitar couple who busk in the tunnel at Central Station, this will be your only chance to catch him live on this tour… Tickets are on sale now.

TOBY MARTIN

Toby Martin is sick of you singing that ‘Forever Young’ song at him in various Newtown pubs, and asking him when he wrote it or what Marissa from The OC is really like, so he has left his band (the excellent Youth Group) on the couch watching that Futurama boxset all sharehouses have (all bands live in sharehouses, right?), and

Despite sounding like a piece of advice an uncle stuck in the ‘80s might proffer at an extended family gathering, the maxim ‘It’s not what you know but who you know’ seems a handy yardstick to use when attempting to gauge success. Having performed alongside and garnered praise from iconic bands including The Brian Jonestown Massacre and Hoodoo Gurus, Aussie heroes The Lovetones are, undoubtedly, successful.

Coinciding with the release of their sixth studio album – a best-of compilation entitled Provenance: Collected Works – the psychedelic-pop four-piece will be playing The Annandale Hotel on Friday June 22 supported by Immigrant Union and The Walking Who. To win a double pass, tell us the name of The Lovetones’ debut record.

WINTER WARMERS

Remember how rubbish you felt that time you woke up in Hyde Park/a doorway/a ute tray/the gutter after passing out on the way home from a big night out? Unpleasant when experienced inadvertently, sleeping rough can only be nightmarish for the 32 000 young Australians – the largest demographic of whom are between 12-18 years – forced to do so every night. On Saturday June 30, the Beach Road Hotel will play host to Winter Warmers, an extravaganza organised by the good people at Hoot & Howl that will raise money for Youth Off The Streets, 21Challenge and Open Family Australia – organisations assisting homeless youths at risk. The event features a fundraiser raffle, something called ‘blingo’, a dance competition, live graffiti, markets and a bunch of bands, including Belles Will Ring, The Walking Who, Iluka, Major Tom and the Atoms and The Dusty Duets – and DJs such as Frenzie and Rob Goodburn. We have a double pass to give away. Send us a picture of the coat you’ll be donating; the warmest-looking one will win! is touring his debut solo record, Love’s Shadow.

The album comes out on July 27, the very same day he is launching it at the Vanguard, which is a masterstroke of organisation. And we’ve had a sneak preview listen, and can guarantee its brilliance.

TBG10: FAREWELL, BEAUTIFUL GIRLS

It took us ten years to get over the immense anger we felt when we turned up to the first Beautiful Girls show in our best-pressed Parisian night suit with a dozen roses and a palm card’s worth of one-liners, only to find it was a bunch of guys singing rootsy folk – but we grew to love the Mat.McHugh-led trio all the same. The band have announced they are now splitting up, leaving us with an enormous void of sadness and angst, as only beautiful girls can do. Farewell them in style on August 31 at their Metro Theatre show, when they play two sets: an acoustic one you’re not allowed to talk over, and an electric set just to blow the roof off The Metro one last time.

After that there’ll be loads of drinks, hugs and high-fives of sorrow, we assume.

Muscles

THE BAMBOOS

HARVEST!

HELLO MORNING. HELLO BUSBY MAROU.

The Hello Morning are currently on their first ever national tour, and they figured the best way to it was to support two-piece folk explosion Busby Marou, and steal their fans and rider. If you’re yet to hear The Hello Morning’s debut record, then you have kinda wasted the last few months; it’s country-tinged travelling music, all Wilco-y and lovely. If you’re yet to hear Busby Marou, you can

THIS WEEK AT FBI SOCIAL

Muscles is a loose canon who publicly mouths off about his label, baits Ben Lee, mopes through interviews and grins through sets. We love him, and will be skipping out of work at 1pm on Wednesday June 20 to check out his live set at one of FBi Social’s lunchtime specials (if you can’t make it, his main launch happens at Cargo Bar on June 23). It’s the start of a great week at King’s Cross Hotel: Thursday June 21 sees musical terrorists Piano Is Drunk, Narrow Lands, Skullsquadron and Yes, I’m Leaving experiment with your faces; on Friday June 22 Melbourne’s proggiest bands Tehachapi and Planet Love Sound will be joining forces on stage and blow off your heads; and Saturday night is all about the epic Mosman Alder, and the babin’ and shimmying Fabergettes.

“One good thing about music, when it hits you feel no pain” – MARLEY 8 :: BRAG :: 467 :: 18:06:12

Xxxx

At last year’s Harvest, around the point when Wayne Coyne turned the entire festival into an acid trip, we wondered whether the first-time festival had peaked too early – like Orson Welles or The OC. Well, this year’s lineup manages to make a mockery of that prediction, with Beck, Sigur Rós, Ben Folds Five, Beirut, Grizzly Bear, Mondo Cane (one of Mike Patton’s fifty bands), Cake, Santigold, The Dandy Warhols, Fuck Buttons, Liars, The Black Angels, Chromotics, Ozomatli, The War On Drugs, Dark Dark Dark – and more to be announced.

Tickets go on sale (and will break the internet) on Thursday June 28, with the festival happening November 17 at Parramatta Park.

What do Tim Rogers, Megan Washington and Bobby Flynn have in common? If you just shouted out “GREAT HAIR!!” you are kinda correct in a way, but didn’t do enough research and we’re marking you down for that. (Also, why shout? You’re on a crowded bus and we can’t even hear you.) The actual answer is that they all feature on The Bamboos’ latest album Medicine Man, which you’ll be able to hear live on Friday June 22 at The Metro Theatre. The Lance Ferguson-driven funk/ soul/everything outfit have a huge reputation for epic good-time vibes, and this is their biggest tour yet – and five albums in there’s sure to be a lot of back-catalogue delving from the Melbourne group, too. All good reasons to get your ticket. Stat.

Vodafone’s new network is rolling through your area now Over the next few months in Sydney, we’ll be installing new equipment which is designed to bring you a better experience than ever before from Vodafone and to prepare for 4G. If you are a Vodafone customer there is likely to be some disruption to your service. However, we’ll mostly be working throughout the night between 11pm and 8am to minimise any inconvenience.

VBR R A00 A 013 A0 13/ 3//BR BRA RA //NS NS W

We apologise sincerely for any inconvenience. If you have any queries or experience any issues please visit vodafone.com.au/networknews or call us on 1300 650 410.

BRAG :: 467 :: 18:06:12 :: 9

The Music Network

themusicnetwork.com

Music Industry News with Christie Eliezer

THINGS WE HEAR * Will the Van Halen tour happen before or after they play Japan in November? * Wolfmother’s Andrew Stockdale has relocated to Byron Bay and is selling his two properties in Brisbane this week, one of which has a music studio. * Westlife’s Shane Filan has been declared bankrupt after his property business ran up debts of £18 million. * Singer Brian Johnson reckons AC/DC won’t do mammoth world tours any more, but prefer to do festivals. So will we see them at Big Day Out one year? * The Living End will reveal their top secret project on their website on July 2.

Meantime they’re asking fans to post their ideas on what the project is... * Simple Plan fans tend to be fanatical.

One came out from the USA to see the Canadian band play Australia. A Perth fan brought her mum to Queensland to catch

their three shows, scoring the gig of their official photographer. Another caught eight of their ten shows while they were here. * The Saudi Got Talent series will have no women or music. * A man in a German World War II helmet, bomber jacket and aviator glasses attacked a senior executive at the Adelaide offices of Triple M and SAFM. He’d gone to make a complaint, and then hung around outside. A shouting match erupted, and he was hit with a claw hammer on the head. * Kerry Katona, ex-wife of Brian McFadden, is smirking about Delta Goodrem’s laments about how she was unhappy with McFadden and didn’t know how to get out of their seven-year relationship. “That’s because he left his wife and kids for her!” Kerry sneered. “She was suffering from pure guilt.” * Dizzee Rascal revealed that he gave up weed to have laser surgery on his eyes.

EMI + WONDERLICK

GRAMMYS FLIP

EMI Music Publishing and Wonderlick – home to Grinspoon, Josh Pyke, Marvin Priest and Boy & Bear – have entered a joint venture agreement. They will co-publish songwriters on occasion. Wonderlick can use EMI’s worldwide administration services for its own direct signings like Jackson McLaren and Max & Bianca, whose management and publishing Wonderlick represents. The first signing is Melbourne’s The Paper Kites, who are recording an EP with producer Wayne Connolly. McLaren is cutting an EP with producer John Castle. Max Donovan (Melbourne) & Bianca Oechsle (Sydney) are writing their debut CD after a songwriting trip to the States.

After huge protests from names like Paul Simon and Herbie Hancock, and a failed lawsuit by Latin jazz players, the Grammys have done a flip. Last year they cut the number of categories from 109 to 78. Out went many niche sections, which meant artists working in those genres had to compete with broader high profile names. The 2013 Grammys will reinstate the Best Latin Jazz Album category.

It also introduces two categories: Best Urban Contemporary Album (to honour RnB albums that may include elements of pop and rock), and Best Classical Compendium for albums “involving a mixture of classical subgenres.”

UNFD SIGN HAND OF MERCY UNFD signed Sydney hardcore band Hand Of Mercy. The band’s Last Lights album is out on August 17. It was recorded in America with Shane Frisby and described by guitarist Adam McLean as “the heaviest album we have created and something we can see people throwing up their horns and banging their fucking head to.” UNFD A&R Luke Logemann says they have been fans since Hand formed in 2007 – they even got them support slots for their own acts. “They are one of the hardest working and talented bands playing that sound.”

THE BASEMENT UP FOR SALE After 13 years of operating The Basement, Tim Read and Jane Burridge are putting the club on the market. They want “a change in our personal priorities. It’s time to hand the baton on to the next generation to take care of the legacy and be part of the future history of this wonderful club.” The venue celebrates its 40th anniversary in March 2013. Founded

by Bruce Viles, it was Sydney’s only permanent jazz club. In 1999, Read and Burridge joined Chris Richards as new owners, widening the music to include blues, RnB, world, soul and folk. The sale is through Adam Spencer-Carr of Spencer-Carr.

NME, MORRISSEY SETTLE New Musical Express (NME) reached a settlement with Morrissey over the libel case he filed in 2007. The magazine accused him of being a racist after an interview that occurred around the time he seemed to be courting rightwing supporters to his shows, where he draped himself with the English flag. NME apologised, but said they never called him one.

No money changed hands in the settlement.

ONE DIRECTION = $100 MILLION One Direction will represent a $100 million business over the next year, Sony Music UK’s chairman/CEO Nick Gatfield told a music industry function in London. The boy band is already generating $50 million with their album going #1 in 16 countries, and their new DVD has topped the charts in 25 territories. Their deal in the USA to star in their own TV series next year will generate even more money. One Direction employs 90 people on its team.

BE A PAID INTERN AT SYDNEY FESTIVAL Sydney Festival has a gig for a paid intern with an Aboriginal or Torres Strait Islander background to help develop and implement the 2013 music program. See sydneyfestival. org.au, and apply by 5pm on Friday June 22 with “Programming Intern” in the subject line to loretta.busby@sydneyfestival.org.au. For more info, email her or call 8248 6558.

MUSICNSW WORKSHOP: SYNC, PUBLISHING Music NSW’S workshop on Tuesday June 19 has Katie Brown (GaGa Music), Greg Carey (Umbrella Music) and Keith Welsh (Rough Cut) discussing sync and publishing deals and how to get them. It’s happening at 6.30pm at The Standard.

TIËSTO RICHEST DJ Tiësto is the world’s richest DJ at a net worth of US$65m, says Celebrity Net Worth’s 30 Richest DJs In the World list. Then comes Paul Oakenfold ($55m), Paul van Dyk ($50m), John Digweed ($45m) and Armin van Buuren ($40m).

COTTLE & JPY HONOURED APRA/AMCOS CEO Brett Cottle and singer John Paul Young were among those honoured in the Queen’s Honours List. Cottle became a Member of the Order of Australia (AM) for his contribution to songwriters and publishers as well as charities. Young got a Medal (OAM) as did Adelaide broadcaster Tony Pilkington and country music singers Johnny Mac and Mary Schneider.

2SER COST CUTTING Cost-cutting measures by 2SER management – by chopping back news and current affairs, and axing the role of its producer Mark Robinson – led to over 70 letters of protest, with academics and staff at UTS threatening industrial action.

VOICE JUDGES BACK? Nine Network confirmed that The Voice will return next year. But what of the judges? At a media conference last week, Joel Madden said that he, along with Seal, Keith Urban and Delta Goodrem were keen to return, “but we have no information”. Seal trotted out the line that with their touring and recording schedules, “there’s more to it” than simply re-signing.

In other words, everyone is holding out to double their pay. The Australian version’s use of mentors as well as judges kept the ratings around the 2 million mark. That format will now also be used by the UK version; UK ratings went south after the blind auditions.

BUCHANAN AND ECK LAUNCH PLUS1 Former DMG group programmer turned co-owner of TV Touring Dean Buchanan and managing director of publicity agency eckfactor Karen Eck have launched a new company called Plus1 (but will keep their regular gigs too). Plus1 will help talent get to the next level by bringing deals to the table, providing strategic advice and coaching, and handling media etc. Their first clients are The Voice host Darren McMullen and radio host Sami Lukis.

ARE TICKETING AGENCIES STIFFING US? Ticketing companies, including Ticketek and Ticketmaster, must justify their excessive and often hidden fees and charges, according to consumer magazine Choice. The magazine pointed out that fans of Ghostface Killah and DOOM had to pay an extra $11.25 for their tickets to be express-posted to them, even

though the post office would have charged just $3.65. Why did punters for Jack White’s Sydney show have to pay an extra $7.60 for an emailed ticket? Choice reckons these high fees are due to “outdated booking systems” and that some agencies can get away with it because of their large market share.

Lifelines Split: Bon Jovi guitarist Richie Sambora and actress Denise Richards, after a huge argument in their Nashville hotel room over her continuing friendship with ex-husband Charlie Sheen. They were both meant to present at a country music awards ceremony, but Sambora cancelled and flew back to LA. Hospitalised: Chris Brown left with a gash on his chin after a runin in a New York club with Drake, who’s dating his ex, Rihanna.

Reports say Brown sent him a bottle of champagne, and Drake sent it back with a note: “I’m fucking the love of your life, deal with it.” Brown confronted him and was hit by one of Drake’s posse.

Brown twittered, “How u party wit rich niggas that hate?”

Injured: US stand up comedian Bob Slayer broke his neck during a wheelie-bin crowd-surfing stunt at the Donington rock festival.

In Court: Russell Ian Payne, 41, who allegedly kidnapped a 21-yearold woman and her 16-year-old brother by claiming to be a council officer ensuring Port Fairy Folk Festival patrons got home safely.

He unsuccessfully tried to get bail at the Warrnambool Magistrates Court.

Died: US jazz guitarist Pete Cosey, 68, complications from surgery. He started in the ‘60s in the house band for Chess Records, playing for Etta James, Howlin’ Wolf and Muddy Waters.

Miles Davis then drafted him into his band during his experimental period in the ‘70s, excited by the way he fused funk, blues and rock, and used distortion and wah-wah effects.

Died: Australian jazz pianist, bandleader and composer legend Graeme Bell, 97, after suffering a stroke. He is proclaimed to have put Australian jazz on the world map, touring Europe in the late 1940s and recording with American blues legend Big Bill Broonzy. In 1997 he was inducted into the ARIA Hall of Fame, and the Australian jazz awards are called The Bells in his honour.

“Them belly full, but we hungry; A hungry mob is a angry mob.” – MARLEY

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Kirin J Callinan photo by Luke Stephenson

KIRIN J CALLINAN The Way To War By Luke Telford

K

irin J Callinan seems a born performer.

Not the kind that holds you in thrall with witty banter and pitch-perfect performances, though. He’s an unsettling presence on stage – whippet-thin, ashen-faced, standing shirtless in a trenchcoat or bedecked in a lace nightie and suspenders.

Often, shows start with little more than him glowering through bright lights to silently meet the gaze of individuals in the crowd. Sometimes, he balances his guitar precariously on the tip of one of his boots, and strikes a stilted, one-sided conversation, voice booming from the safety of an expanse of guitar pedals that surround him like some crescent-shaped occult marking.

As an audience member, it’s tough to watch.

His attention feels inviting and invasive at the same time. If it happens to settle on you, it makes you feel vulnerable, singled out, as though his disquieting tangents seek weird rapport not from the room, but from you, personally. This discomfort shatters when he starts playing. His performances are chaotic and the setlists improvised, careening from harrowing balladry through pummelling distorted pedal techno to elating, clear-eyed pop, replete with shimmering guitar delay and impassioned baritone. The vulnerability you felt at the outset becomes the rapport he seemed to be seeking – struck by the brutal beauty of the music, you begin to feel afraid for the precariousness of this wraith-like figure before

you, who seems so in thrall to the demons issuing from his throat and amplifier.

“It is a character, live,” he reassures me.

“Although that concerns me: when people see me [perform] and they think that that’s just me, they consider me, maybe, perverted. It’s confusing, especially when I get off stage and someone will want to have a chat straight away, and I’m still in that mode. Or I’ll start working with someone in the studio who will know me through my music, and my reaction, always, is to just be really down to earth. And then, all of a sudden, you’ve lost any myth, and they don’t seem to respect you as much.”

Callinan first came to prominence playing with Sydney quartet Mercy Arms in the mid 2000s. His bristling presence and pointillist guitar work posed a crucial counterpoint to that group’s fairly standard indie fare. Despite early promise – signing to Capitol in the US – the band disintegrated following label troubles and internal tension. Callinan wishes the breakup had happened sooner. “I think the band went a bit stale. When we were good, we were a great guitar band. We were pretty weird as well, and we took a lot of left turns,” he says. “The singer Thom [Moore] was the catalyst, really. We were on tour – doing the Big Day Out – and other bands kept coming up to us saying, ‘I heard these are your last shows. I’ll make sure I come to every show.’ Every time, we said, ‘That’s the

“It’s a character, live. Although that concerns me: when people see me perform and they think that that’s just me, they consider me, maybe, perverted.”

first we’ve heard of it. We don’t know that.’ I think Thom had been going around saying it, but he hadn’t told us.”

On tour with Mercy Arms in the UK, Callinan was handed a pre-release promo copy of Scott Walker’s 2006 album The Drift. Walker’s rich, tremulous baritone and starkly disquieting songs cast new light on ideas he’d been having outside of the band. “I wasn’t really singing then, I wasn’t doing solo shows, but I was writing at home, and trying to write for Mercy Arms. But my voice was always so distinct – it stood out so much, compared to Thom’s,” he says. “Anyway, when I first heard The Drift it made me feel like it’s OK to sing like this. I was like, ‘This sounds like me!’ I didn’t realise it was this 60-year-old dude. It validated my home recordings. Not to say that my home recordings sounded anything like The Drift – they weren’t half as good – but it just validated the way I sang.”

In addition to a new focus on his solo work, the end of Mercy Arms meant Callinan was free to play in other bands. He has stood in as a member of Jarrod Quarrell’s Lost Animal, but his presence has been most notable in Jack Ladder’s band, the Dreamlanders. Hurtsville, Ladder’s most recent release, owes a significant part of its immersive retro character to Callinan’s icily fulgent licks. But following a fortuitous signing with Terrible Records, a small indie label run by Chris Taylor of Grizzly Bear, it’s now finally time for a Kirin J Callinan solo record.

“For a long time, playing solo was just an outlet,” he says. “But I’ve built up all these songs that I can’t seem to move past now. I can’t seem to finish new ones until I let go of these old ones. It’s a therapeutic process. Finish these songs, get ‘em out, reflect upon them, and then forget about it, really.” The songs

Callinan refers to are the 13 that he’s currently tracking with ex-Wolfmother keyboardist Chris Ross and The Presets’ Kim Moyes. Following the completion of these sessions, Callinan will set out on tour – his first with a full band – in support of the record’s first single ‘W II W’ (Way To War) and its striking, GIF-addled video, shot

by Kris Moyes. “Yeah, it’s incredible… if I can say that. It sounds like nothing else,” he says excitedly, of the recordings. “That was the goal.

It’s been really traumatic, because there are no reference points for a lot of it. It doesn’t sound like anything. So I don’t know what it’s meant to sound like, necessarily, other than just trust my own instinct and ear. I’ve made so much. I must have made the equivalent of four solo albums in the past however-many years.”

It’s disarming to hear Callinan talk about his new music, and refreshing to find such a frail and intimidating performer so invested in what he does. “I have nothing else. I love music. So much so that it’s really upsetting,” he says. “I find terrible music, of which there is plenty, really, really painful and traumatic on a fundamental, deep level. So I guess I try to stay really true, and make music that I like.

That’s why I’ve put out so little, because I’ve recorded a lot. If it doesn’t tick all of the boxes for whatever reason, if it’s not honest… I don’t mind if there’s a mistake, or a part’s really embarrassing or something. If it’s honest, then I’d like to release that into the world.”

What: ‘W II W’ (Way To War) is out on Tuesday June 19 through Siberia Records and Terrible Records (USA) With: DCM, Forces, Kangaroo Skull, HTRK DJs, Juggernaut DJs and more Where: GoodGod Small Club When: Friday June 22

“Johnny’s in the basement mixing up the medicine. I’m on the pavement thinking about the government” - BOB DYLAN 12 :: BRAG :: 467 :: 18:06:12

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The Lovetones The Sound And The Fury By Michael Hartt had already been deleted. I would love to do a Drop City Best Of, because you just can’t get a hold of those albums anymore.” But as he explains, it’s not that easy: the band doesn’t own the rights for their recordings. “They’re all in some Universal vault somewhere just being ignored. It wouldn’t take much for those guys to put that stuff out on iTunes; it costs nothing to put something out in a digital form now. It’s just laziness on their part. I think if there’s a need or a want for it, eventually it will happen.”

T

en years doing the same job is nearly unheard of in this day and age, but this is where Matt Tow finds himself with his band The Lovetones. To celebrate their decennial, The Lovetones have released Provenance – Collected Works; a compilation of tracks from the band’s five studio albums which the songwriter and frontman hopes offers a good introduction to their work.

“I think we have a really good back-catalogue to promote, and I thought a great way to introduce people to our sound was to highlight the songs that people might have missed along the way, and to have it all together in one package so young kids can come through and just hear the music,” Tow says. “If they like what they hear, they can re-discover the old records… I think a lot of the album tracks are more tracks for people that know where we’re coming from and know what we do live. I think what we decided

to do with the Best Of was introduce people to what we do with the songs that would be perhaps catchiest or more immediate for people, rather than the slow burners that are on a lot of [our] albums.”

Tow formed The Lovetones in 2002 following the disillusion of Drop City, a group that also made five studio albums. Much of the ideology behind The Lovetones came from Tow’s experience in Drop City – in particular, the experience of having his music put out through a major label.

“The problem with Drop City was that we got caught up in the whole Universal takeover of Polydor Records. By the end of Drop City, all our records were sort of mixed up in that world, where they were out there but they weren’t really being promoted because Polydor had got consumed by Universal and Universal were moving on to other things. By the time that 2000 came around, a lot of those records

Tow and his new band turned that experience into a lesson: “We pretty quickly learned that the best way to go was releasing independently or through an independent label, because you have more say in what goes on and you can also do things the way you want to do them, rather than the company stepping in and saying they want you to go in a certain direction. That’s what happened at the end of Drop City; Universal started telling me that I had to make commercial records. I was a young guy and I told them to fuck off, because I didn’t want that to happen. I wanted to go on my own path and make the music I wanted to make – music that was relevant to me and important to me and not to be compromised in any way. I felt like [Drop City] had started to be compromised.”

Following shows in Australia and the United States in support of their most recent studio album, 2010’s Lost, The Lovetones took an 18 month break from any band activity. Tow says the impetus for their return came when they were invited by the Hoodoo Gurus to perform at the Sydney and Melbourne legs of the Dig It Up festival. “We were at the point in The Lovetones where we were just thinking about what to do next; we had thought about the Best Of, but hadn’t really considered doing too much. Being asked by Brad [Shepherd] from the Hoodoo Gurus to do the show was a no-brainer – and to be part of such a great lineup was just incredible. It was an amazing day, and being recognised, I guess, for our part in music – the Sydney music scene or Australian music scene or whatever – was a real buzz. It was just a privilege to be a part of it.”

“We pretty quickly learned that the best way to go for Lovetones was releasing independently...

I felt like Drop City had started to be compromised.”

After a string of launch shows in support of Provenance, Tow is set to spend the rest of 2012 concentrating on being a solo artist. He’s recorded a solo album with Colin Hegna from The Brian Jonestown Massacre and Ryan Van Kriedt from the Dead Skeletons/Asteroid No.4, which has just been mixed – and it was recently announced that Xemu Records, the label of Dead Meadow bassist Steve Kille, will be releasing it. But Tow stresses that while the release of a career-spanning compilation and a move to solo mode might seem like the winding-up of The Lovetones, the band will continue. “I’m never going to stop doing Lovetones records. I just think that for now, after this release, I’ll sort of concentrate on my solo music for a little while. [I’ll] always come back to Lovetones.

“It’s such a great band, especially with Matt Sigley and Chris Cobb,” he continues. “Those guys are two of the greatest musicians I’ve ever played with in my life. I don’t really see myself not making music with them, because they’re just wonderful guys.”

What: Provenance – Collected Works is out now on Yep! Records, through MGM With: Immigrant Union, The Walking Who Where: The Annandale Hotel When: Friday June 22

Motion City Soundtrack Pressing Go By Benjamin Cooper

The band’s long association with Epitaph has paid dividends, with the punk hub showing early interest in the album. “We totally lucked out with Epitaph. Truth be told we really don’t know how to do anything, which is why we put together our own label, to have some fun. But once we started making the album we did have quite a lot of labels sniffing around. Thankfully one of those labels was Epitaph, so when they made us an offer it made total sense for us to get back with them. We get great support from them, which frees us up to shoot for our own goals with our label. We want to have creative and business license to run a label that isn’t geared towards being a money-spinner,” Pierre says. “What we really want is to be able to help a few other bands who we really believe in.

What could be better?”

The warmer months are the perfect time for the band to release their fifth album, Go. The sunny punksters released singles ‘True

Romance’ and ‘Timelines’ months ago, but have finally dropped the full record – their first self-release on their own label, The Boombox Generation (a co-release with Epitaph). Pierre is cautious, though, about the label business.

“Our label is very much in its early stages,” he says. “We basically started it to put out a series of 7-inches by acts that we really like, that people may not necessarily have heard of yet. The thinking is that if people like our band then we can use that coverage to maybe show them some other stuff they could dig. The difficulty with running any business venture, of course, is that there’s a much greater degree of responsibility – you have no-one to answer to except yourselves. And even though we had a lot of freedom when we were with Columbia and Epitaph, it felt like this was something personally important for all of us.”

Given the fastidious involvement of the band in every element of the album’s creation, is Pierre worried about how it will translate in a live setting? “Oh shit man,” he laughs, “first up we have to learn all the songs again!

Seriously though, touring for us is awesome because there’s no relying on any producer or [added] fanciness. It’s completely about how well we are playing, and we’re responsible for everything. I know that Tony [Thaxton, drums] is really pumped to get out on the road, because he broke his arm when we were recording our last album [My Dinosaur Life, 2010], which held him back from touring and playing hard a bit.”

The lyrical content is skewed in a slightly different direction too, with Pierre admitting the band have probably grown up a touch. “I guess I’ve always been quite a tongue-in-cheek writer, but this album is a lot less funny than we’ve been in the past. I think we’ve retained that fun spirit, but have taken it to a darker place. In the past we’ve always had a kind of catchy aesthetic, with some catchy lyrics, but now it’s a bit more complex. I don’t want to sound too much like a know-it-all asshole, but the tracks on this album have more of a vibe where the feeling and thrust of the song is dominant. We’re not trying to pull out any bullshit, or be smart for its own sake. We’re just making the best damn tracks we can.”

What: Go is out now through Epitaph

“Once upon a time you dressed so fine. You threw the bums a dime in your prime, didn’t you ? ”-BOB DYLAN 14 :: BRAG :: 467 :: 18:06:12

Motion City Soundtrack photo by Anthony Saint James

J

ustin Pierre is taunting me from the other side of the world. The lead singer, guitarist and songwriter of Motion City Soundtrack is enjoying the sunshine in his hometown, and he’s not afraid to gloat about it. “It’s a beautiful day here in sunny Minneapolis,” he enthuses down the line, “which is awesome because I’m not such a fan of the cold. It gets damn cold here, and it seems to be getting worse ever winter.

Must be climate change – or I’m getting old – because every year it seems to kill me more. But then again, I’m a guy who needs a pretty good reason to walk more than five steps: there had better be donuts and coffee if you expect me to put in any real physical effort.”

The band have been playing some of the songs from the new album at live shows for a while now, but stepping into the studio afforded them some opportunities that just aren’t available on the road. “When we first played these songs it was just five instruments doing their thing, having some fun. When we recorded we were really able to build on that by adding some huge string section parts, and big-ass synth parts that just sound incredible.

The process for this album was very different as well, because we really collaborated within the studio a lot more than in the past. On our first record [I Am The Movie, 2002] we had been playing all of the tracks live before recording, but as time has gone on we’ve written more and more in the studio. So now we’ve got a dynamic where we are recording by physically piecing together each guitar part from scratch. It sounds kind of boring, but it’s meant we’re much more complete in how we do things.”

“I don’t want to sound too much like a knowit-all asshole. We’re not trying to pull out any bullshit, or be smart for its own sake. We’re just making the best damn tracks we can.”

Set Sail With Synths & Samples By Benjamin Cooper

T

he tumultuous tale of Set Sail had its unlikely beginning on the mean streets of the Pitt Street Mall. The three amigos who comprise the band pulled in to entertain the masses on a busy intersection a couple of years back, and have been growing exponentially in profile and ambition ever since. They’ve recently toured the world, for instance, making a fairly hilarious tour diary via YouTube in the process – which includes such highlights as shows underneath the Eiffel Tower, and in the kitchen of a jumbo jet.

When I speak with the band’s violinist Josiah Willows, he is quick to extol the creative benefits of embarking on such an epic journey. “We started out as a busking-on-the-corner band, so it seemed natural that we should take that gig around the world,” he explains. “It was, without a doubt, the most intense adventure possible.

We went the whole time flying by the seat of our pants, because we didn’t have much money and we covered a lot of ground in the time available.

I remember arriving in Germany and thinking, ‘Wow, Berlin is really beautiful – such a shame we only have six Euros between us.’ But then something would always present itself, and suddenly we’re playing at a big festival in the heart of the city.”

re-invigorated his bandmates: “Just to not be living with the constant threat of deportation is a good place to be!” Willows laughs. “All the fuss started shortly after we got back from the big world trip, and it was obviously a very hectic time for us. First we had to confront the reality that our band had been ended by circumstances that were completely out of our control, and then we’re dealing with all the excitement that comes from Brandon coming back...

“The one constant, though, has been the fans.

People have always been so encouraging to us, and I think it really forces us to up our game.

Now we’ve got a new EP and a whole bunch of crazy loop pedal action going down, I think people are really going to enjoy themselves.

And that’s what it’s always been about for us: making sure people can dance and have a good time. What’s the point in playing if people aren’t having a good time?”

What: Hey! EP is out on Friday June 22 Where: Oxford Art Factory When: Saturday June 30

The band’s devout fanbase has expanded far beyond their Sydney origins – and Willows and his cohorts made the most of it on tour. “We pretty much stayed with fans wherever we went,” Josiah says. “We never used the official couchcrashing site, but we did get hooked up through people writing to us on Facebook. It was a really great way to travel, because it meant we got to meet new people and hang out with them. We’d all eat together and then play a gig and stay out all night together. It was pretty magic.”

“I remember arriving in Germany and thinking, ‘Wow, Berlin is really beautiful – such a shame we only have six Euros between us’ ...And suddenly we’re playing at a big festival in the heart of the city.”

The band’s new EP is called Hey!, and features more involved instrumentation than they’ve attempted previously. “We’re really taking things up a level with the live show now that we’ve got a lot more going on musically. We’ve got one guy playing synth-bass, which is always good fun, plus we’ve got a heap of loop stations. So at one point we might be sampling the drum kits through a loop station, and at the same time we could drop in a whole bunch of heavy riffs,” Josiah explains. “The reason we’ve got all this complex stuff going on is because the other two thirds of my band went to the USA for a month. I ended up spending nine hours a day for a month playing on a loop station, so it was really only natural that our live show would end up affected by that period. The real difficulty now is that we’ve had to rehearse our arses off to be able to pull off the new songs live – but who can really complain when it’s so much fun?”

Xxxx

This shift towards a more electronicallyaugmented sound makes more sense when Willows admits to a long-standing weakness for an unexpected genre. “I’m obviously a huge fan of folk music,” he says, “but I also really love dance music. The thing I’m realising about combining the two is that it involves a lot of gear! We’ve honestly got to have so much equipment on stage now to play the new stuff.

There are some pretty huge moments in the show too, with massive sections of dance music and rhythmic lines that chop and change. I’ve also managed to figure out a bunch of new violin parts to play underneath some live percussion sampling that we do.”

The upcoming national tour will allow the Set Sail gang to perform their tunes in hitherto unexplored parts of the country. “We’re going to Western Australia and Tasmania on this tour, which we’re so excited about. To get the opportunity to go to these new places and perform is amazing.

We really believe strongly in our live show, and it seems fitting that we can unite new songs with new audiences. It’s also pretty sweet to be doing the tour with Brandon [Hoogenboom, Set Sail’s deported singer].” The keenness of the band’s supporters was proven earlier this year, when they successfully lobbied the government to allow Hoogenboom to stay in Australia. The American-born performer’s return to the fold has BRAG :: 467 :: 18:06:12 :: 15

Busby Marou Moving On Up By Coral Huckstep

F

ollowing their stints at South by Southwest and Canadian Music Week earlier this year, Busby Marou are about to commence a huge Australian tour – but they’ve been in the spotlight for more than just music this month. Anybody watching ABC’s Q&A a few weeks back would have seen frontman Jeremy Marou looking flabbergasted when an audience member asked him the “weirdest question ever” about same sex marriage and polygamy.

“I was obviously extremely nervous,” Marou says. “I knew there was going to be a topic that I wasn’t familiar with. I’m just used to talking about music and football.” So what motivated him to plunge into the unknown on live national television? “I was in the public service for about five years after I finished uni,” Marou answers.

“I actually became a bit of a nerd and used to watch Q&A all the time!”

Despite feeling overwhelmed with nausea the day before, Marou said his “lovely” fellow panelists put him at ease backstage. “Barnaby Joyce hung out in our dressing room before and after the show, and I think I talked to [Greens leader] Christine Milne more in the make-up room than I actually did onstage,” Marou says. The show focused on native titles, regional development and mining – something the Torres Strait Islander is familiar with, having grown up in Queensland’s Rockhampton. “If I wasn’t working [as a musician], I’d be in mining. I’d be crazy not to!”

But it’s unlikely Marou would ever be without music. “I don’t think you’ll find a Torres Strait Islander man who doesn’t play guitar,” he says.

“I was always going to be a musician one way or another, whether I was working in the mines or being a full-time muso. It wasn’t until probably a year and a half ago when I thought to myself, ‘Hang on, maybe I can be a full-time musician and play guitar for a living and still be able to earn the same amount of money as those miners do anyway!’”

Busby Marou released their self-titled debut album a year ago, which is filled with soothing harmonies, rough strings, and a poetic outlook on their country backgrounds – and they recently launched a deluxe double disc version, with covers of Cyndi Lauper and The Lemonheads.

The band’s blend of country, folk, blues and roots has led them to be branded as uniquely Australian, which Marou says is unintentional: “I don’t think we try to sound Australian. I think it comes from what we are singing about. Most of the songs are about places in Central Queensland, and so we’re actually singing about home.”

Their first single ‘Biding My Time’ clearly resonated with the nation – they just won an APRA for it, in the blues and roots category.

“We had absolutely no idea that we were even half a shoo-in for winning the award.

I didn’t even go down for it,” Marou says. It was definitely a morale boost for the band before they kick off their national tour. And Marou says audiences are in for a treat.

“You’ll get songs from the album and new stuff we’re working on,” he says. “We’ll do an acoustic set where we might pull a double bass out, and then we’ll obviously rock it out and do our more upbeat songs.” And as for Marou’s famed finger-picking skills? “I’ll

try and do as many guitar tricks as possible,” he promises.

What: Busby Marou deluxe version is out now through Warner Music With: Leader Cheetah (duo), The Hello Morning Where: Oxford Art Factory When: Friday June 22

Carus Thompson The Storyteller By Benjamin Cooper strapping our infant son on board a long-haul flight!” he laughs. “It is really lovely to be living in Melbourne now though, and it’s even nicer to be able to do some proper touring and cover a bit of ground. Before, I was just fitting in gigs on my short trips over from London.”

Once he returns from the wilds of the North West, Thompson will undertake an East Coast jaunt in support of his latest release, Acoustic At The Norfolk: Volume II. “Volume I was released nine years ago, and based on its success I decided to gather together the same musicians at the same venue in Freo.

We got together a small group of people, around a hundred or so, and played a whole bunch of new stuff plus some oldies too. The venue was quite important because what I do is all about the setting of the experience, and once the stories start flowing and everyone’s got a few beers under their belt, the ballads really start rousing the emotions. And then BAM! I change the mood, hit ‘em with some tunes that get the room going off, and we all have a good dance.”

It’s the stories, along with Thompson’s ability to work a room, that have cemented his reputation as one of the hardest-working and favourite troubadours on the Australian live circuit. “I’ve never had a break-through pop single, and I’m quite alright with that,” he says. “If you don’t want to sell your soul to the devil by going on The Voice, then your only other option is to take it to the people. And the more ground you cover, the more people you meet and learn from. arus Thompson is a hard man to interview. He’s a friendly bloke, and highly lucid to boot, but our attempts at communication are beset more than once by his current tour – more specifically, the lack of mobile phone reception in the middle of the desert at Mining Camp 29A. “I’m up in the Pilbara in far north Western Australia, touring the mining camps, and it’s absolutely stunning out here,” he says. “It’s a very different way of touring compared to what I’ve been doing recently, but in some ways it’s very much the same. Music has always been a communal thing; I reckon it’s probably one of our oldest and most important rituals.

Its importance for community is very clear out here.”

“I feel that there’s a certain responsibility to this whole ‘travelling bard’ thing I’ve got going on,” he continues, “and that is that when I get up on the stage, the songs have to be good enough. They have to be good enough to make people think, and open enough that people can see their own stories in there. One of the things that’s been so great about this tour to the mining camps is that the crowds really make you work for it, every night. Some of my first tours were travelling overland from Perth to Darwin playing through the outback, and it taught me how to work a crowd. You’ll never get a harder audience than some of these blokes.

But at the same time, we’re all building the community and the passion. If we weren’t... well, we’d probably go mad!”

Thompson’s present schedule does sit in contrast to the audiences and venues he became accustomed to while living in Europe for the last few years. It was during a visit home to Fremantle last summer that he and his wife realised they couldn’t go back to the UK. “We couldn’t bear the thought of

What: Acoustic At The Norfolk Volume II is out now Where: Brass Monkey / Lizottes, Central Coast / Lizottes, Dee Why When: June 22 / June 23 / June 24

C

Lil’ Band O’ Gold Chewing The Fats By Nils Hay

I

t’s hard to talk about music in Louisiana, or even rock’n’roll more generally, without mentioning Fats Domino. With most of their lineup hailing from his home state, swamp pop supergroup Lil’ Band O’ Gold don’t understate the influence Domino has had on their music. With the release of their star-studded record of covers, The Lil’ Band O’ Gold Plays Fats, singer and guitarist C.C. Adcock opens up about The Fat Man. “The music that we play is called swamp pop,” Adcock begins, “and swamp pop is really just Fats Domino’s music. Before the world found out about Fats, just like Elvis Presley he was playing clubs and high school dances and drivein theatres here in the Deep South, especially Louisiana. People like [drummer] Warren Storm grew up listening to Fats long before the world did, in the early ‘50s. [Saxophonist] Dickie Landry grew up here listening to Fats at this little club out the back of his family farm; of course it was a black joint and he was 12, but he’d sneak out at night and go and hang out and listen to it.”

Even though Fats was already in his early 40s when Adcock was born, his sense of melody and the loping feel of his music have well and truly rubbed off. “Early on I realised that Fats is a great equaliser; you could listen to him with your grandmother and your parents – even if it was some Cheap Trick version of Fats Domino, everyone would know it’s a great tune, and everyone in the car would be like, ‘Turn that up!’” Testament to his legacy is the varied guest list on the new Lil’ Band O’ Gold record, with Lucinda Williams, Ani DiFranco and Robert Plant all making contributions.

“He’s an amazing cat,” says Adock of the Led Zep frontman. “He’s got such wonderment about music and discovering new forms of

music, new collaborations – he’ll try anything.

It’s amazing. Given his stage [in life] and the cannon he was shot out of, it’s hard to believe he could still be so wide-eyed about trying new things and making new music.” Jimmy Barnes and Tim Rogers also make appearances, and while Adcock is coy about confirming anything, the invitation is certainly wide open for both to join the octet’s forthcoming Australian shows.

“And when Cold Chisel plays the Lafayette, we’ll make a big gumbo and give it out at the show,” he jokes. “Cold Chisel. Hot Gumbo.”

As famous as the South might be for the blues, the biggest lesson Adcock took from playing with The Fat Man himself was the smile. “For a kid that grew up in my generation, rock’n’roll music had evolved from the ‘50s. Elvis set everybody down a small path, which was cool, but I never saw Kurt Cobain smile,” he says. “Maybe that ain’t what his music was about, but I tell you what, it might’ve helped the old boy. It would have – it not only makes you sing better when you smile, but it makes everybody around you feel good.”

The band are planning to record some more original material and to keep on touring, but as much as it’s not all about Domino, it still very much is – Adcock reveals plans to continue expanding their Fats catalogue and working on a few more collaborations in the process. “I don’t think Fats is going to do it any more; I can’t see him doing any more shows,” he says, “but we’d be happy to be a substitute so that people can get their fix.”

What: Lil’ Band O’ Gold Plays Fats is out now through EMI Where: The Basement When: Sunday June 24

“My feet is my only carriage And so I’ve got to push on through.” – MARLEY 16 :: BRAG :: 467 :: 18:06:12

School Of Seven Bells SVIIB By Krissi Weiss

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chool Of Seven Bells have slowly refined their wistful, electro-pop sound across the course of three albums, culminating years of sonic reworking with their latest record, Ghostory. It’s a refinement that’s gone on behind the scenes as well, with Ben Curtis and Alejandra Deheza modifying the live lineup to a four-piece after the departure of Claudia Deheza in 2010.

Reproducing the intricate layers that SVIIB drench their recorded music in must be harder with just the pair on stage – but according to Curtis, the live show’s always been the most challenging part. “I’m still multi-tasking for sure,” Curtis says of the new format, and bringing Ghostory to life. “I have always done that and I probably always will... When you have more people up there producing the energy, you can be a little more nuanced. The thing with School Of Seven Bells is that it’s always so hard to bring it to the stage because there is so much detail and so many layers to the sound. We spend so much time in the studio that when we are thrown onto the stage and we have to play the songs, well – it never occurs to us when we write them that we are going to play these songs live eventually.”

ever has and the studio is no different, so really the photo has just changed… But I don’t blame them,” he continues. “For better or worse, there was something that was really attractive about twins.” It’s an innocent comment, but one which compels me to ask Curtis whether that attraction has resulted in any misogynistic misconceptions – like that he must be having some sort of twin threeway backstage after every gig. “There is this whole old man contingency that really freaks us out,” he answers. “How ridiculous is that idea – when men are dismissive of women in a band, thinking their only function is sex and being pretty and all of that? I remember the tour where Claudia left – we got off stage and this creepy old guy came up to Alley and in this really deep voice said, ‘I was expectin’ sisters.’ It’s like, gross! Don’t come, please!

Don’t ever come to our show!”

What: Ghostory is out now on Vagrant Records through Inertia With: Little Scout, Melodie Nelson Where: The Hi-Fi When: Friday June 22

Curtis is softly spoken and thoughtful; he seems genuinely excited to be playing music, and respectful of the opportunities his band is being given. There is gentleness to his personality, and you can feel how the dreamy melodies of SVIIB are an extension of his nature. He speaks about his relationship with Alejandra “Alley” Deheza with utter respect.

“I think that it’s really interesting that we’ve had these chances – at various points in our relationship, we have really disagreed,” he says. “But the one thing that has mattered the most is that we have always loved the sound of the music we make together. We like the way music sounds when we have written it!” he says, laughing at the conceit of that comment – and in doing so conveying his humbleness. “I think the most important part for us [became clear] a couple of years back; I remember telling her how much I love making music with her, we tell each other all the time.

The collaboration gets better because we can lay anything in each other’s lap and know it will be treated with respect.”

“There is this whole old man contingency that really freaks us out...

I remember the tour where Claudia left – we got off stage and this creepy old guy came up to Alley and in this really deep voice said,‘I was expectin’ sisters.’”

School Of Seven Bells by Justin Hollar

Ghostory offers a complete representation of the band’s diverse and evolving sound, and Curtis stresses his sincerity when explaining how happy he is with it. “I hate the cliché of people saying the newest album is their best ever,” he laughs. “You have to say that, you’re selling it – and that’s not to be dismissive of people who have their favourite record. There are some fans who only ever want to hear the first record of every band they have ever loved, and that’s cool too. But for me, as far as the process went of making art, of having an idea and manifesting it, [Ghostory] was the most satisfying ever. That felt so great.”

The public focus on the band for the past few years has been saturated in the departure of Claudia Deheza, in part thanks to both sides withholding the reasons why. Curtis speaks of the comfort that he and Alejandra have as a songwriting unit – and perhaps there simply wasn’t room for three. “That circle where we create is really delicate, and it takes a lot of trust to share that,” he says. “I can’t say what the system will be for the next record. There are a lot of issues at play here. Simultaneously there are two control freaks, but then also a lot of freshness to that and excitement, so it works out to be a happy medium.”

Is Curtis a little tired of people being so curious about the relationship between himself and the Deheza sisters, and the reasons for Claudia’s exit? “Absolutely it’s weird,” he laughs. “I wonder what the fans were listening to in the first place. Was the appeal the music? Because live it sounds better than it BRAG :: 467 :: 18:06:12 :: 17

arts frontline

free stuff email: freestuff@thebrag.com

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

five minutes RACHEL PARK

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achel is one of 16 local and interstate artists taking part in this year’s SafARI – the fringe component of the Biennale Of Sydney. A long-time champion of abandoned materials, she’ll be continuing her obsession with cheap toilet tissue by creating a ‘waterfall’.

You say that when you were a kid, you always had compassion for abandoned materials and you used to collect them; where do you think this impulse and compassion came from? Who else is going to have compassion for them if I don’t? My dad owns a factory and manufactures many things, including cases and car parts with aluminum.

He’d started working in this industry even before I was born. I guess I saw my father’s relationship with his material, aluminum, and sort of mimicked that with my own, abandoned materials. They were whatever I could find around home, for example fruit wrappers and toilet paper tubes. My mum is also a very compassionate person. I think I got my sense of compassion from her. But in my case it is towards overlooked materials.

What is your background/training as an artist? I graduated from Sydney College of the Arts with a bachelor’s degree (Honours) in Visual Arts (majoring in painting) in 2009.

However I never really painted when I was at university!

When did you start working with toilet paper? My first encounter with jumbo-roll toilet paper was in 2006 while I was working at a gallery as an intern staff. However I started working with toilet paper since 2009.

For my very first work I used my gesture, hands and arms mainly, to create curved patterns with toilet paper.

What attracts you to toilet paper as a material? I only use jumbo-roll toilet paper, recycled, 1 ply, non-perforated. It’s more than 500m long and has translucent quality.

It’s grayish in colour and has rough texture.

No one wants to find it in the toilet but I love it! I think it is beautiful.

Critically acclaimed, boundary-pushing choreographer Matthew Day (Thousands; Cannibal) presents the third instalment in his trilogy of solo dance works exploring the potential of the body, at PACT this week. Inspired by the tension between the ideas of potential and predestination in how we perceive and experience our bodies, Intermission features a live minimal score

by James Brown, and promises to push the frontiers of dance and performance…

Intermission runs from June 19 – 30 at PACT (107 Railway Parade, Erskineville).

We have three double passes up for grabs to see the show this Friday June 22; to get your hands on one, tell us what snacks you’d buy during intermisson. If there was one – which there probably isn’t! DANCE! pact.net.au

What happens to the paper after you un-install your artworks? I play with it further. I water it or dance with it. However it eventually goes to the bin.

What else is on the cards for 2012? I’m going to the US to do an internship in visual arts.

What: Check out the waterfall installation from June 22 at 75 1/2 George Street, The Rocks.

More: For the rest of the SafARI program, head to safari.org.au Xxxx

WITH

INTERMISSION

YINKA SHONIBARE

age, respectively. Then starting in October, the House will host three events featuring the photographers and storytellers behind some of National Geographic’s most amazing footage and photographs: Brian Skerry does the oceans, Annie Griffiths talks kids and cameras, and Mattias Klum does Wild Places.

Tickets for all the above just went on sale, so hop along to sydneyoperahouse.com

TIME MACHINE

MCA ARTBAR #2 HIJACKED 3

The third edition of PICA’s national mash-up exhibition series Hijacked lands in Sydney this month; with previous instalments matching Australians against Germans and then Americans, this upcoming exhibition will see a fresh contingent of Aussies go toe-to-toe with their British counterparts. What does this all really mean? A goodie-bag of 26 of the most exciting talent, new and established, including local stars Christian Thompson, Bindi Cole, Petrina Hicks (who is also conducting a masterclass) and Tracey Moffatt, and UK heroes Helen Sear, Laura Pannack and Luke Stephenson. Hijacked 3 runs June 30 –August 19 at the Australian Centre for Photography. acp.org.au/future

JAPAN CINEMA WEEK

If you like your cinema free and Japanese, you’re in luck; the Japan Foundation are bringing back their week-long mini-fest of free screenings this July, featuring old and new documentaries, comedies dramas and animations. Highlights include Studio Ghibli’s Grimms-esque fairytale The Cat Returns; the critically acclaimed documentary Fukushima Hula Girls, which looks at the impact of the Japan earthquake last March through the fascinating microcosm of the 'Spa Resort Hawaiians', in Fukushima Prefecture; and Seijun Suzuki’s seminal Nikkatsu gangster flick Tokyo Drifter (1966); For the full lineup and to reserve your places at screenings, head to jpf.org.au/jcinema 18 :: BRAG :: 467 :: 18:06:12

TIM & ERIC: AWESOME

If you enjoy jokes involving poop, puke and paedophiles, and like your humour extremely uncomfortable, you’re probably already a fan of Tim Heidecker and Eric Wareheim’s Tim and Eric Awesome Show, Great Job! – a five-season-strong Adult Swim series that has been described as "Eugene Ionesco doing a Sacha Baron Cohen prank, if Ionesco was a big Flight of the Conchords fan… and on crystal meth." Anyway, imagine that shit LIVE – and then get onto ticketek.com.au at 9am this Friday June 22, and buy tickets. It will probably be the best $70 you ever spent.

And you have until October 2 (at the Metro Theatre) to pay it off (figuratively speaking, because in fact Ticketek don’t do lay-bys.)

ARTBAR is the MCA’s new monthly musicperformance-art-design-booze mash-up, held on the last Friday of every month, over the entire new wing and one exhibition space.

The second instalment will be curated by local troublemaker Eddie Sharp (Imperial Panda/ Erotic Fan Fiction/Mad Max Remix) – which suggests a night fuelled by performance, laffs and video mash-ups. They’ve also promised “art live-streaming from Los Angeles, pianos with pinballs, inflatable nightmares, and '60s 3D cinema.” The final nail in the entertainment coffin is the promise of after-hours access to the Biennale Of Sydney’s exhibition spaces on Levels 1 and 3 – waaaah! Friday June 29 from 7-11pm, all the deets (and tickets) at mca.com.au/series/artbar

LIFE @ OPERA HOUSE

The Opera House is bringing Real Life into its midst, with a little help from National Geographic and the Sundance Channel, and Alain De Botton’s London-based School Of Life initiative. First up: on Sunday July 15 you can take a crash-course in life skills over just one afternoon, when presenter Gretel Killeen, activist Anna Rose, financial expert John Armstrong and columnist and author Tom Chatfield take you through mini-presentations on communication, climate change, combating financial insecurity, and thriving in the digital

BELVOIR ON SALE

Single tickets and mini-subscriptions for the remainder of Belvoir’s 2012 season go on sale this week, including: Private Lives (Belvoir’s Artistic Director Ralph Meyers directs Noël Coward’s classic comedy of bad-manners, starring Toby Schmitz), Conversation Piece (Lucy Guerin choreographs a project where three actors and three dancers take to the stage each night and improvise!), Beautiful One Day (a co-production with Ilbijerri Theatre Company and version 1.0, starring Rachel Maza), and Downstairs shows Medea (kids do Greek tragedy in this adaptation written by Kate Mulvaney and Hayloft Project director Anne-Louise Sarks) and Don’t Take Your Love to Town (a one-woman show directed by and starring Leah Purcell and inspired by the colourful life of Ruby Langford Ginibi). You can now also buy four-play packages that include Death Of A Salesman (June 23-August 19) and the three remaining Upstairs shows. belvoir.com.au/subscribe2012/ subscribe_2012

Image © Petrina Hicks Emily the Strange 2011. Courtesy of the artist and Stills Gallery, Sydney

Another thing for your Leunig calendar: Time Machine, a new festival of timebased experimental arts, taking over Serial Space and selected pop-up venues in Chippendale from July 18-29 with a lineup of 45 local, interstate and international artists, presenting a slew of durational performance art, audiovisual installations, on-site experimentation, talks, debates – and gigs!

And a bar! All the good things, basically. It’s from the peeps behind the Anode festival, and the lineup includes Ella Barclay, Cubist Effects, Brian Fuata, Keith Fullerton Whitman, Megan Garrett-Jones, Daniel Green, Nathan Harrison, Tyson Koh, Gail Priest, Sarah Rodigari, Melita Rowston, Diana Smith, Alex White... Start getting excited. decodemedia.com.au

Private Lives – Toby Schmitz by Michael Corridore

Fans of his 2008/09 retrospective at the Museum Of Contemporary Art – or those who missed it – will be happy to hear that Turner Prize-nominated British-Nigerian artist Yinka Shonibare (MBE) is back in Sydney this month, with an exhibition of sculptures, paintings and drawings enticingly titled Invasion, Escape; Aliens do it right!

Shonibare’s post-colonial focus manifests in mashups of British nostalgia, period costume and artifacts with the colours and fabrics of Africa, and a large dose of the fantastical.

Expect colour, flying machines, aliens, and a 19m-long installation featuring Lego men, and Star Wars figurines. ART! Catch it from June 27 – August 11 at Anna Schwartz Gallery (245 Wilson Street, Darlington).

SHOWING AT DENDY NEWTOWN & PALACE CHAUVEL

SHANGRI-LA ENTERTAINMENT PRESENTS A TUFF GONG PICTURES PRODUCTION IN ASSOCIATION WITH COWBOY FILMS A FILM BY KEVIN MACDONALD “MARLEY” DIRECTORS OF PHOTOGRAPHY ALWIN KÜCHLER BSC MIKE ELEY BSC FILM EDITOR DAN GLENDENNING LINE PRODUCER GERALDINE HAWKINS CO-PRODUCER ZACH SCHWARTZ EXECUTIVE PRODUCERS ZIGGY MARLEY CHRIS BLACKWELL PRODUCED BY STEVE BING CHARLES STEEL DIRECTED BY KEVIN MACDONALD

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Mature themes and drug use

IN CINEMAS JUNE 21 BRAG :: 467 :: 18:06:12 :: 19

Stardust Memories Robert Weide makes the definitive documentary about Woody Allen

By Alasdair Duncan

already gotten to that point in our emails, and that really helped, because when I finally sat him down in front of the camera, I wasn’t terribly nervous and he wasn’t terribly uncomfortable!”

The documentary touches on every phase of Allen’s career, from the early, funny films through to the introspection of the Stardust Memories period and his latter-day love of England and the continent.

People from all eras come forward to talk about their experiences working with him – with one notable exception: his ex-wife Mia Farrow.

Her absence is understandable, given that their divorce, even by Hollywood standards, was a brutal one. “I actually did approach her,” says Weide. “The truth is, I thought it highly unlikely that she would agree to do the interview, but I wanted that to be her decision and not mine; I wanted to give her the benefit of the doubt. I wrote to her and got a very kind response from her manager, saying that she had considered the offer but was going to pass.”

Woody Allen as robot and director in Sleeper

T

here are very few comedy writers or directors who could say that, at some point in their career, they haven’t been inspired by Woody Allen. His body of work, stretching over the last four decades and beyond, includes some of modern cinema’s most enduring classics; more importantly, he single-handedly took weedy, neurotic guys and made them seem sexy. His influence cannot be underestimated, and for

filmmaker Robert Weide (Curb Your Enthusiasm, How To Lose Friends & Alienate People), chronicling Allen’s career has been a life-long passion.

“I’ve loved Woody since I was a kid,” Weide tells me, “but the defining moment came in 1977, when I was just out of high school and I happened to be in Los Angeles for the premiere of Annie Hall. There was no press about it, and nobody knew what to expect. I just remember

the magic of that night, because that film knocked everybody’s socks off, including my own. Since then, I’ve continued to see all his movies, watching him grow and change with each one…. Woody is the artist whose work is the most important to me, and who has inspired me the most,” the writer-director explains.

Woody Allen: A Documentary, has been a long time coming – largely because Allen himself proved such an elusive figure to pin down.

“I’d wanted to tell his story in a documentary for many years, but he was always the most important holdout,” says Weide. “He appeared in my first film, which was a documentary about the Marx Brothers, and I approached him again about once per decade to see if he would agree, and I guess I finally wore him down.”

G IV EA W AY S

The aim of the documentary, Weide tells me, was to tell Allen’s story, but also get to the core of what he himself loves about Allen, as a filmmaker. “I’m not a super-fan,” he explains, “there are as many of his films that I love as ones I don’t necessarily like or want to see again, but the core of the film is just about me wanting to express my appreciation.”

In many of the interviews I’ve seen and read with Allen, he seems reserved, even shy, but in Weide’s film, he opens right up, talking about his development as a comedian, and even showing off the typewriter on which he drafts all his scripts.

“The hard part was convincing him to do it at all,” Weide says with a laugh. “Once I’d done that, he was very forthcoming. I think part of him understood that the film was definitely being made, so he had the option to stand back and not cooperate, meaning that the film wouldn’t be all it could be. I think he decided in the end to cooperate with me and give me what I needed because he knew the film would come out better.”

It helped that Weide and Allen had been buddies – or at least pen pals – for a long time before the documentary was made. “We had been corresponding with oneanother for about six months before I started making the film,” he tells me, “and I think that in that six months, the ice was really broken and we were able to get to know each other, to develop a comfortable rapport.

The emails tended to take on that sarcastic quality, those insults that guys throw at each other – we’d

MARLEY! TICKETS! WINNING! I

t’s time to wrap your brain and ears around Bob Marley – because if this brand-new, definitive documentary tells us anything, it’s that Marley was far more than a reggae superstar: besides being one of the most prolifically talented musicians of the 20th century, he was a spiritual leader, a tirelessly driven activist, and a fearsomely charismatic performer who channeled all the rejection of his youth into his career. He was often referred to in the ‘70s as a ‘third world superstar’.

Academy Award-winning director Kevin Macdonald (One Day In September, Touching The Void) interweaves stills photography, concert footage and rare interviews with Marley with contemporary interviews with his friends and family (including original ‘Wailer’ Neville ‘Bunny’ Livingston, long-time collaborator Neville Garrick, children Cedella and Ziggy, Bob’s widow Rita, and even a girlfriend or two). The result explains his popularity and ongoing appeal, but is also a portrait of who he was, as a man.

And it has some bangin’ tunes.

Marley opens June 21 at the Chauvel Cinema (Paddington) and Dendy Newtown

WIN! 20 :: BRAG :: 467 :: 18:06:12

To get your hands on one of FIVE in-season double passes, email us with the name of one song by Bob Marley.

“Mia signed a release allowing me to show footage of the films she’d made with Woody,” he says, “and for that, I was incredibly grateful. I think it would have been very difficult to interview her, though. I talk about their break-up in the movie, because I know it’s a big part of the Woody Allen narrative and people want to hear about it – but I really didn’t want it to hijack the film. I wanted to make the movie about his work, and if I delved too much into that, I worried that it would become too much of a courtroom drama. What I do find really interesting is Woody’s ability to compartmentalise, to keep working while all this was going on. When the custody battle was going on, he was writing Bullets Over Broadway, which to me is one of his greatest films. I wanted to touch on it as much as was necessary to tell the story, then move on.”

As a fellow Woody fan, I can’t let Weide go without asking which film is his favourite. “My default answer is Annie Hall, because of the fact that I was at the premiere that night and how magic that was,” he says.

“There’s that sense of nostalgia coupled with it being a great film.

Crimes And Misdemeanours is another – that’s something of a masterpiece – along with Hanna And Her Sisters, Zelig, Broadway Danny Rose, Bullets Over Broadway. I have maybe ten favourites, and then a lot of mid-level ones under that, and then I have a few that I don’t care for.

But I would say there are ten of his films that I could watch over and over again.”

What: Woody Allen: A Documentary is out June 27 on DVD and Blu-ray through Transmission

Queen Street Studio

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TUESDAY 2 OCTOBER METRO THEATRE BOOK AT TICKETEK 132 849 TICKETEK.COM.AU OR METRO THEATRE BOX OFFICE 9550 3666

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10–14 Kensington Street, Chippendale

1st–30th June: 30 days & 30 nights to celebrate FraserStudios …before we pull down the roller doors for good after almost 4 amazing years

What’s on:

Monday 4 June | 6pm

FREE Jamaican Dancehall & Reggae Class Get energetic, sensual & fierce with Caroline Garcia

Tuesday 5 June | 6pm

Saturday 9 June | 7pm | $10

Platform 5

International Bodyweather performers

Thurs 14 June | 7pm | FREE

POST

FREE Konga Class

Wild mix of dance & boxing with Yin Chuah

Wednesday 6 June | 6pm

FREE Stage Combat Class With Sydney Stage Combat

Thursday 7 June | 6pm

FREE Bollywood Class With Ramona Lobo, Siren Dance Company

Sydney’s favourite performance trio on theatre, the absurd & the classics

Friday 15 June | 7pm | $10

Tin Shed Camping Tours Ghost stories, tents, cider and possibly bears...

Saturday 16 June | 7pm | $10

Double Trouble

Martin del Amo & Julie-Anne Long explore duets and double acts

PLUS:

Open daily 2–6pm & during performances...

“Our House” Visual Arts Residents Exhibition “100” FraserStudios Archival Photography Exhibition

More info: queenstreetstudio.com/30days30nights FraserStudios is an initiative by Frasers Property and Sekisui House to creatively activate heritage warehouses within the Central Park development site.

Managed by Queen Street Studio, FraserStudios has provided free studio and development space to 200 Visual Arts and Performing Arts Residents since late 2008.

queenstreetstudio.com.au | centralparksydney.com BRAG :: 467 :: 18:06:12 :: 21

The Histrionic [THEATRE] Straddling The Existential and The Hilarious By Justin Wolfers

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ff the back of a successful run at Melbourne’s Malthouse Theatre, Daniel Schlusser’s production of Thomas Bernhard’s grandiose, paradoxical play The Histrionic comes to Sydney Theatre Company this week, starring Bille Brown

[PERFORMANCE] Yunyu’s Musical Obsessions By Zenobia Frost

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ou wouldn’t know it to listen to her now, but former triple j Unearthed winner Yunyu, who grew up in Singapore, describes a formal education in music that almost beat the tunes out of her. “Singapore’s definition of music was really limited at the time,” says the songwriter and creatrix, who is now based in New South Wales. “They were strict with their punishments – the teachers could get quite physical. It was like they wanted to kill your love of music.”

Booted for her inability to sight-read, Yunyu branched out on her own – with a very limited repertoire. “Even though I was allowed to watch really full-on horror movies, I wasn’t allowed to listen to pop music,” she says.

“Pop music was bad for you.” Yunyu was only allowed to listen to the music of dead people: “Medieval was most appropriate,” she says, half-joking. “Any more recent than that was dangerous.”

With her creativity thus curtailed, Yunyu instead took inspiration from fairytales. Every night, her father would read to her aloud from the pages of a Brothers Grimm collection – but he would always change the ending.

Years on, the result is Twisted Tales: an explosion of musical rebellion unfolding via all the Grimm characters stashed inside of Yunyu’s head.

“The show is half theatre and half concert,” she explains. “For me, I want to see more than just a band – even a very good band. I want to see another layer.” Twisted Tales brings together Yunyu’s storytelling (inherited from Dad) and musical talents (she plays the ‘guzheng’ – a 36-stringed instrument – amongst others), along with a six-piece band and a VJ.

Tales via a video-animation backdrop, created

by New York Times best-selling manga artist Queenie Chan. “[The show] generates so much visual material,” says Yunyu. “A lot of it will be interaction between the characters and me – kind of like Roger Rabbit on stage.”

Goldilocks appears as a serial monogamist, with a whacked concept of 'happily ever after' and an attendant entitlement complex. The Pied Piper is a land-dwelling brother of the Greek sirens, whose songs lured sailors onto the rocks; despite immortality, he’s got to make a living – and he steals children as retribution for an unpaid gig.

“But my very favourite,” Yunyu says, “is Mr Midnight. He’s an overzealous plastic surgeon.”

Traditionally, Cinderella leaves the ball before the stroke of midnight, but in Yunyu’s version, Cinders leaves by permission of Midnight – or perhaps by the stroke of his scalpel. “Mr Midnight watches the girls dancing at the ball, and takes the ones he thinks are getting old and frumpy, and goes to work on them. When they’re perfect, he’ll return them to the dance floor – and they’ll dance until they can’t be fixed.” Mr Midnight fascinates Yunyu, for whom plastic surgery is a pet topic. “What happens to your personality when you spend all day trying to perfect women?” she asks.

With her characters possessing such presence, Yunyu admits, “You don’t go and watch Twisted Tales. You go into that world, and the characters come out to play.”

A host of fairy-tale folk also inhabits Twisted

What: Yunyu’s Twisted Tales Where: Carriageworks / 245 Wilson St, Eveleigh When: Saturday June 30 More: yunyu.com.au

When Schlusser read The Histrionic, he let it sit for a while, knowing he would need to find the perfect actor to tackle it. “It’s a huge role, and requires the presence of a grand Shakespearian actor, with the flexibility and the ‘black clown’ aspect that I saw when I worked with Bille in Queensland,” says Schlusser. “He’s also got that weight behind him, touring with the [Royal Shakespeare Company] and being the last in that lineage of English actors who are our equivalent of what Bruscon is for Austria… and it also gives him understanding of how a diva really behaves.”

In some ways, Bruscon’s self-obsession is a comment on contemporary celebrity culture; Bruscon sees himself as part of an old school clique of superior 'high' artists, and bemoans the the ease of new celebrity. But even as he condemns the nouveau culture, Bruscon “holds the limelight in the most shameless way, and demands our attention the way a Lady Gaga does. A complete domination of the ego,” Schlusser explains.

The production is based on an adaptation by Sydney Theatre Company’s Associate Director and resident dramaturg, Tom Wright, who has expanded on the speech patterns, repetitions and wordplay cycles of what is basically one long monologue, in which Bruscon “embellishes and embellishes until the original proposition becomes completely ludicrous…” In this respect, The Histrionic is quite different from the realist

Bille Brown in The Histrionic – photograph by Ellis Parrinder

Twisted Sister

Written in 1984, The Histrionic (originally called Der Theatermacher, an untranslatable Austrian word that more accurately represents the dual meaning Bernhard intended: a drama queen and someone who makes theatre) is a product of the playwright’s ongoing frustration with theatre as a form of storytelling – but specifically actors. It’s in this context that he created the character of Bruscon: the selfmythologising, megalomaniac theatrical superstar, who proclaims himself the intellectual peer of both Goethe and Shakespeare.

plays Schlusser has previously directed – which was part of the appeal of the project, he says.

“If you’re a director who is playing with the tropes of theatre quite self-consciously, [this play] is really intriguing, because you can’t meta the meta. [Bernhard] is already aware that theatre is the best metaphor that you can find for how we perform in our own lives. Bruscon is a wonderful avatar for all theatre-makers, in a way. He’s got all the monstrosities and comedies of that dilemma. He’s performing himself and then exploring himself. The heart of it, too, is that Austrian flavour of being very dark, or grotesque, but always with a kind of humour at the end.”

What: The Histrionic – Dir. Daniel Schlusser When: June 20 – July 28 Where: Wharf 1, Sydney Theatre Company / Pier 4/5 Hickson Rd, Walsh Bay More: sydneytheatre.com.au

Chronicle

[FILM/DVD] Taking Flight By Alasdair Duncan to fly around strapped into harnesses while doing so!” he says with a laugh. “There’s a real element of wish fulfilment about it: I feel like when I was 10 and thinking I wanted to be an actor for the first time, this is exactly the kind of thing I would have imagined I would be doing.”

Russell and his co-stars Dane DeHaan and Michael B. Jordan share a tremendous rapport in the film, coming across like actual teenage buddies. Their scenes together have a loose, improvised feel. “That’s partly down to the strength of the script and partly the atmosphere on set,” Russell tells me.

“Everything you see is from the page, word for word and comma for comma. [And] one of the ways we achieved that naturalistic feel is that we improvised a lot in rehearsal. We did so much improvising together that we developed a real trust, we had these organic relationships that meant we felt very free together, even when we were shooting the scripted dialogue… everything we were saying felt like it was truly coming from our own mouths.”

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or young Aussie actor Alex Russell – who, when we speak, is about to commence shooting alongside Julianne Moore on a Carrie remake directed by Kimberly 'Boys Don't Cry' Peirce – Chronicle represents more than just his big Hollywood break. The film’s story follows a group of average suburban teens who suddenly and

unexpectedly develop superpowers, and Russell’s character, Matt, is the kind of role he’s always dreamed of playing. “When I read the script, I knew I was looking at something exciting,” says Russell. “The film has this trio of wonderful characters, young guys with really complex relationships, and not only did we get to explore those relationships, we got

As the trio learn about their powers, they take to the skies; for the actors, this meant being strapped into harnesses for long periods of time. “There was an amazing stunt team on the film,” says Russell. “They were funny guys, but were really precise and focused on making sure everyone was safe at all times.” There were times, however, when the young actor

paused to consider his own mortality. “There was a really funny moment where they slid a mat under me and started lifting me up, and as they lifted me higher and higher, it dawned on me that the mat was actually completely superfluous. I just thought, wow, they’re really going out of their way to put me at ease, psychologically, because if I fall, there’s no way that mat makes a difference!”

Chronicle was a tremendous box office success in Australia and overseas, and I ask Russell why, in his mind, it resonated so strongly with young people. “Well, firstly, it’s thrilling to watch something that’s impossible, like flying,” he says. “It gives you this feeling that nothing can hold you back. Secondly – and I think this is more important – high school can be one of the toughest times of your life.

For me, it was probably the toughest time.

You can feel like your situation is helpless, you can feel like you have no sense of selfworth – so the idea of characters who develop extraordinary abilities is quite a thrilling thing.

There’s a powerful sense of escapism in a movie like Chronicle. Movies were my escape in high school, superhero ones especially, so I hope they never go away.”

What: Chronicle is out now on Blu-Ray and DVD via Twentieth Century Fox Home Entertainment

“Once upon a time you dressed so fine. You threw the bums a dime in your prime, didn’t you ? ”-BOB DYLAN 22 :: BRAG :: 467 :: 18:06:12

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Arts Snap

Film & Theatre Reviews

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

rage: celebrating 25 years

PICS :: KC

Hits and misses on the silver screen and the bareboards around town.

06:06:12 :: CarriageWorks :: 245 Wilson St Eveleigh 85719099

Alec Baldwin and Tom Cruise star in Rock Of Ages ■ Film

ROCK OF AGES Released June 14

redbull curates

PICS :: GP

I perked up in the first scene of Rock Of Ages because I spotted a Lita Ford record in the heroine’s record bag, as she flicks through it on the bus from Tulsa to LA, because she’s going to become a singer, you see. I perked up because Lita Ford, formerly of The Runaways, is not Journey, or Poison, or Extreme, or a dude, and I thought they might go for some of the less obvious choices. And then she starts singing, and the whole bus starts singing, and everyone in the cinema starts laughing.

09:06:12 :: Opera Bar :: Lower Concourse lvl Sydney 92471666

Every single obvious choice that could possibly be made is made. Gotta make the audience relate to the characters – so cast aggressively generic young leads and have them duet on ‘More Than Words’ when they’re falling in love, and ‘Every Rose Has Its Thorn’ when they break up! Need a rock journalist? Stick Malin Akerman in dorky glasses and an uptight blazer and make her a shit-stirring harpy who just needs to be fucked right! (By “fucked right”, they mean sticking her tongue in Tom Cruise’s ear while they dry-hump on a pool table singing ‘I Wanna Know What Love Is’.) Venal manager? Paul Giamatti in a ponytail!

ghostpatrol x miso

PICS :: AM

And sure, all the women are hot, but give them depth, you know? You can have a) very talented exotic dancers for whom stripping is empowering, b) one wholesome girl-next-door with a dream for whom stripping is basically prostitution, c) funsucking hypocrites in pastel skirt-suits d) random groupies and e) Mary J Blige! All women literally swoon whenever Cruise’s washed-up rock star walks past, but whether draped in hangers-on, strapped into chaps and a jewelled codpiece or requesting intensely that you pour some sugar on him, he just looks like a dressed-up movie star.

07:06:12 :: Chalk Horse Gallery :: 8 Lacey St Surry Hills

Arts Exposed What's in our diary...

SafARI 2012: the Biennale Fringe Sydney CBD / The Rocks / Kings Cross Friday June 22 – July 15 (Wed – Fri from 2-7pm / weekends from 12-5pm) This year SafARI is expanding its scope to include new venue partners and a lineup of 16 local and interstate artists creating 23 works – from site-specific installations and photographic interventions (see left), to sound art, performance, sculpture and video art. Head to Alaska Projects’ Kings Cross carpark for video works by Drew Pettifer and Chris Bennie, and Dara Gill’s medieval-inspired sound installation Instruments Of Darkness. Head to 13 Cambridge Street and 75½ George Street in The Rocks for photography, installations, sculpture Drew Pettifer: Untitled (Billboard #1) 2012 and performance works by Clark Beaumont, Julie Henderson, Julia Holden, Daniel McKewen, Kurt Sorensen, Tega Brain, Rachel Park, and heaps more. And find the BUS Projects ‘ARI on wheels’ at Campbell’s Cove (Sat Jun 30 from 1-6pm) and Taylor Square (Sun Jul 1 from 1-6pm), presenting performance, sound and temporary works by Julian Day, Huw Lewis, Jodie Whalen and Adele Varcoe. For all the details, see safari.org.au 24 :: BRAG :: 467 :: 18:06:12

It feels like the filmmakers were going for the affectionate camp of Hairspray, but there is no self-awareness whatsoever here. I love ‘Don’t Stop Believing’ as much as the next person with two ears, a heart and better records than that in my collection, but you can’t have a baboon punch out Giamatti for saying rock’n’roll is dead and then close your movie by having two pretty young things who are about as rock’n’roll as All-Bran duet on the cheesiest song of the era that killed rock’n’roll so hard only Kurt Cobain could save it.

If this all sounds like a hilarious so-badit’s-good jape, heed my words: don’t do it to yourself. If you absolutely must, then gather some trusted friends, get out of your minds on something fun, download it, and see how long you last. Do not give these people your money. Do not reward them for this. I fully expected Rock Of Ages to be a sweaty, shiny, dick-swinging leatherand-spandex nightmare of hacky bollocks nimbly sidestepping any fatal interrogations of its artistic merits by classifying itself as Entertainment. But I also expected to be at least a little bit entertained.

Caitlin Welsh ■ Film

MARLEY Opens June 21 Bob Marley has been held up as a symbol representing a plethora of altruistic goals,

so it is only natural that a film about him offers very few moments for catharsis.

The man born Robert Nesta Marley possessed a fiery passion and will to succeed comparable in magnitude only to his famous charisma. Scottish director Kevin Macdonald (Touching The Void, One Day In September) has spent many years labouring over the documentary, with thorough consultation and approval from Marley’s family. So it's surprising the extent to which this film questions the sanctified myth of the man, particularly in relation to personal aspects of his life such as his role as a husband and father.

Moving chronologically through Marley’s life, Macdonald first explores his difficult childhood in rural Jamaica, as the product of a mixed-race union. It is when he relocates during adolescence to the capital, Kingston, that the creative urges begin to manifest alongside Marley’s unwavering determination to achieve musically. The cameras dip under sheets of corrugated iron as they track through the slums of Trenchtown, affording a sense of immediacy and intimacy to the community that bore and inspired Marley.

There are some truly exceptional pieces of footage, including (but not limited to) Marley’s live performances. In a moment of Goons Show-like absurdity, Prince Charles is shown swearing in new President Robert Mugabe at Zimbabwe’s independence in 1980, followed by a truly electrifying show from The Wailers. Similarly surreal is the footage of Marley performing at the One Love Peace Concert in Kingston two years earlier. The film reaches its zenith as Marley unites the hands of two political enemies during an extended version of ‘Jammin’, in a symbolic show of opposition to the violent civil war taking place in Jamaica’s streets.

The most engrossing part of this exploration has little to do with big gestures.

Marley as a symbol for peace and tolerance is a known quantity, so it’s fascinating to hear of his fame and failings via interviews with his daughter Cedella and son Ziggy.

Finally, his frailty during his last, cancerstricken months makes it heartbreakingly clear that we lost a true soldier when he was all too young.

Benjamin Cooper ■ Theatre

TINY STADIUMS PRESENTS: SWEET CHILD OF MINE + IMPOSSIBLE PLAYS May 31 – June 9 / PACT, Erskineville There’s a man who wanders the streets of Newtown selling his typewritten poetry for a dollar a sheet. I’ve never bought any, but often wondered about him, his life, what compels him to minstrel to the largely disinterested crowds of King Street.

Lucky for me, he was one of the subjects of Impossible Plays, theatre-maker Alice Williams’ attempt to explore and represent the imaginary lives of four strangers on stage. It’s a compelling concept – which of us hasn’t stared at a stranger on a train and fantasised about what gets them out of bed in the morning?

Unfortunately the execution in this project falls short. There’s a surfeit of narration and fussy attempts at simultaneous re-enactment and commentary on the fantasies of the subjects. Their dreams are fascinating

See www.thebrag.com for more arts reviews

Film & Theatre Reviews Hits and misses on the silver screen and the bareboards around town.

enough all by themselves, but Williams’ arrangement lacks both faith in the inherent interest of her interviewees and the tenacity to clearly state the political implications she draws from their circumstances. The result is a meandering hour with a couple of gloriously fun moments. I’ve seen the King Street poet twice since, but I still haven’t bought any of his poetry.

wondering just how much magic was left in the kingdom). And while sequels to Toy Story and Cars seemed to scream of the meddling hands of the house of mouse, Pixar’s new addition to the ever-growing princesses franchise might be the first reaction to that earlier acquisition. It takes between 5-7 years to make a Pixar flick... and, well, here we are.

The lives of artists often seem equally impenetrable to those who practice more financially sustainable professions, as Bron Batten examines in her work Sweet Child of Mine. Composed of stand-up bits from Batten, filmed interviews with her parents and, most hilariously, live appearances from her dad, the work explores a conundrum familiar to many: how do I actually explain to my parents what I do for a living? It’s a funny and honest work that left many in the audience gasping and whooping with self-recognition. Batten pokes just the right amount of fun at the pretensions of artists while never demeaning or dismissing art. It doesn’t really “solve art”, as Batten promises in her introduction, but it does a great job of reminding us that you don’t need to understand something – or someone – in order to love them.

Brave tells the story of Merida, princess of the scattered clans of Scotland and on the brink of marrying age. Her father’s daughter, she prefers the picturesque Highlands to the higher ideals of etiquette and tapestry on which her mother instructs. The marketing for Brave has done an amazing job of only setting up the first act of the film, and I won’t reveal the rest. Breathe easy knowing that Pixar’s impeccable design is in place, its aversion to pop-culture sass intact, and its heart-warming messages all arrive in a row.

Rebecca Saffir Film

BRAVE Opens June 21 In 2006 the Walt Disney corporation took the anglepoised Pixar under its fusty, dusty, white-gloved arm. Disney had previously released and marketed the tiny CG studio’s output, starting with Toy Story and, after an almost unprecedented string of hits (including Monsters Inc., Finding Nemo and The Incredibles) its future films would come via the corporate OK from the wonderful world of Walt (when many were

But the very ticking of those boxes reveals just how formulaic Brave is. The shaggy nature and odd pacing may make it feel a little fresher than your average fairytale adventure, but the fact that you’re watching a straightforward kids flick is a little saddening. Besides this, it’s covering very familiar territory – princesses, witches, royal kingdoms and especially families of this dynamic (bumbling dad, pouting daughter and mum running the show).

If each Pixar film before opened up a new world, or showed an old one from a new perspective, this one simply polishes the window you’ve been looking through since childhood. We love a mother-daughter tale, and thank goodness a Pixar film finally has a female lead, but did it have to be this hoary old yarn? And while Merida and Brave gain points in proactive attitude, I kind of wish the filmmakers had let their locks fly a little freer.

Matt Roden

Street Level With Anna Fur Laxis K Burlesque superstar Anna Fur Laxis is Down Under this month for the Australian Burlesque Festival, heading up a bevy of beauties that includes American tassel-twirling virtuoso Peekaboo Pointe, Canadian cutie Coco Framboise, Finnish ice-princess Loulou D’Vil, and local royalty Imogen Kelly, Tasia, Danica Lee, and Vesper White. An inspiration to many of her peers, Anna took five to tell us how she does that thing she does…

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Anna Fur Laxis – photo by Emily Byrom

What's your background and training in performance? I’ve always been a performer in the sense that I’ve always enjoyed swishing around the house in flamboyant attire – but my career as a performer came much later.

I have no formal theatre or performance training, my background is in the legal, medical and cosmetological fields – all of which contribute a surprisingly useful amount to my work! My current performance career began when I was asked to model for a photographic exhibition and loved the experience, which led to additional modeling work and then into live performance.

What are your signature routines? And which are you bringing to the upcoming shows? I have a Bettie Page tribute number (which I have with me this trip) in which I explore Bettie’s life and work, and tell her story through my own eyes. My other love is weaponry. I absolutely adore to throw knives, and I have an act which I believe to be the world’s first axe-throwing striptease. Sadly I wasn’t able to bring it to Australia (maybe next time?!). I’m working hard at the moment expanding my arsenal, and recently spent time in Shanghai, training in a modern version of a traditional Chinese Shaolin weapon. It’s SUPER fun, I’m smitten, and I’m hoping to debut it towards the end of the year.

Where do you primarily draw your costume and routine inspirations from?

That’s an interesting question. My inspirations come from everywhere and anywhere.

They can come from music, fabrics, nature, forms of dance – from people and things I’m passionate about. I find the costuming process during the genesis of an act to be

particularly enjoyable – I love to figure out how I want the pieces to look and how I want them to work, and I often make and re-make a piece several times before I’m happy. It’s very absorbing and satisfying.

What has been the most nerve-racking performance of your career so far? Without a doubt, my performance of ‘The Prestige” during the Miss Exotic World pageant in Las Vegas last summer. The performance was the culmination of two years of intense work, and the act was designed specifically for that event. It’s pretty extreme to live out two full years of work on stage, in four minutes!

Who are your performance inspirations?

Bettie Page, Bruce Lee, Miss Piggy and Norma Desmond. Between them, I think they have the answers to all of life’s questions.

What: The Australian Burlesque Festival presents The Big Tease – Glamorous Classic Burlesque *Early Show* and Empress Erotique – Seductive, Dark Burlesque *Late Show* Where: 99 on York / 95-99 York Street, Sydney CBD When: Saturday June 23 More: australianburlesquefest.com

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Album Reviews

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

ALBUM OF THE WEEK A PLACE TO BURY STRANGERS Worship Dead Oceans

On their third full-length, New York’s A Place To Bury Strangers have done the exceedingly unlikely: they’ve managed to create a propulsive pop album imbued with enough drone and feedback to slay a warehouse stacked with pale and attractive art school graduates.

As if being the loudest wasn’t good enough, APTBS have to poke out their distortion-fried tongue and prove that they’re the cleverest, too.

Early single ‘You Are The One’ sets the scene with an evil bassline that hammers unceasingly at the listener. The constant bass is a deliberate move

by Oliver Ackermann et al: the band are allowed to dip into the psychotic lashings that pepper the album, but only if they remain anchored somehow.

During the album’s strongest track ‘Dissolved’, the drum loops swerve about with a sense of abandon

HOT CHIP

THE HIVES

In Our Heads Domino In pop music, to laud a band for its consistency can often seem like a backhanded compliment. The word brushes a little too close for comfort against notions of stagnancy, even staleness. On the other hand, there really is something sublimely comforting about a band that can deliver (over and over) records that are consistently solid – and do so without succumbing to stodgy repetitions.

In Our Heads sees Hot Chip further exploring, strengthening, and playing with the undeniable signature they’ve cultivated over the years, achieving (as always) a sound that’s at once familiar and fresh. “Everything spins on my head/on my compact disc”, we’re reminded in the blissfully dizzy opener ‘Motion Sickness’. The track signifies the start of a temporal musical journey – one on which we’ll be travelling with one foot in ‘80s yacht rock, one in ‘90s new jack swing, an eye on the disco ball and both hands on a set of decks.

From the techno-coloured celebratory synth-pop of ‘How Do You Do?’ and ‘Don’t Deny Your Heart’ to the more RnB-flavoured slow jams ‘Look At Where We Are’ and ‘These Chains’, and from the dancefloor-shredding, meme-friendly ‘Night And Day’ (yes, there’s already a Tumblr dedicated to the line “Do I look like a rapper?”) to the optimistic chillwave of ‘Let Me Be Him’ (complete with chirping birds) that closes it off, the record is a (mostly) irony-free musical celebration that nonetheless maintains its sense of humour.

In Our Heads is everything you have come to expect and want from Hot Chip. Crisp, golden, warm, fun, fresh (I’m still talking about the band) – and as ever striking the perfect balance between party and chill; earnest optimism and sardonic wit.

That’s not to say Lex Hives is bad – The Hives have too much swagger, style and enthusiasm to ever release a bad album – but here it becomes apparent that the high highs of 2004 may never be reached again.

The formula hasn’t changed much: guitars and drums propel the up-tempo numbers, songs average two minutes, Howlin’ Pele does his Howlin’ Pele shtick, the Swenglish lyrics are equal parts hilarious and confusing, and the choruses are still the best destination.

There are some decent songs here, too. ‘These Spectacles Reveal The Nostalgics’ is a fun Ramones ditty, ‘Take Back The Toys’ is super catchy, ‘Without The Money’ breaks the pace with an organ-led hymn to the mighty dollar, and ‘My Time Is Coming’ excites with its Nick Caveesque opening, before reverting back to The Hives’ trusted rock‘n’roll. But unfortunately, many of the best new songs feel like recycled ideas from more inspired times.

Perhaps the most telling sign that The Hives are out of form is lead single ‘Go Right Ahead’ – a blatant rip-off of ELO’s ‘Don’t Let Me Down’, but it’s still the best song on the album.

Lex Hives is a solid record – but that’s hardly a compliment for a once-great band.

Roland Kay-Smith

Jenny Noyes

The band have the somewhat fearsome reputation of being both the loudest band in New York, and one of the city’s most independent; they’ve produced and tweaked every sound on this record themselves, which is all the more incredible given Ackermann’s infamous attention to detail. But perhaps lauding the

GLEN HANSARD

Lex Hives Dew Process

Along with Queens Of The Stone Age’s Songs For The Deaf, The Strokes’ Room On Fire and White Stripes’ Elephant, I thought The Hives’ 2004 breakthrough LP Tyrannosaurus Hives was one of the best rock‘n’roll albums of the last decade. But their 2007 follow-up The Black & White Album was underwhelming – and as a fan, it pains me to say that their new album is as well.

made possible purely thanks to the rhythmic surety of the bass. And when the song shifts to almost straight beachpop for its second half, it is unexpected and rewarding. Ackermann creates and loops guitar lines that threaten to diverge into territory more likely to be ruled by The Kinks; it’s almost frightening how frequently the album seems to move towards unlistenable-odd-noise territory, before quickly changing tack and flourishing amidst a tappable melody.

This contrast between the suffering in his lyrics and the strength in his vocal is thrown into even sharper relief when Hansard fronts The Frames, a ferocious rock'n'roll band capable of breaking your heart and your eardrums at the same time. But Rhythm & Repose has very little to counter-balance Hansard's honesty and, like the two Swell Season records, occasionally it gets bogged down in earnestness and melancholy.

It doesn’t help that many of the tracks occupy the same sparse musical landscapes. Ghostly strings, intermittently-plucked guitars and hushed vocals dominate, and although they are mostly exquisite, they do blend into one continuous noise after a while. Departures from the formula are welcome, and tracks like ‘Talking With The Wolves’ and single ‘Love Don’t Leave Me Waiting’ are the high points chiefly because they are different.

It’s not fair to call this dull; Hansard’s writing and voice are powerful weapons, and he’s one of those singers who could make the phone book a hugely emotional text. But the glimpses we get of more interesting instrumentation only serve to frustrate, highlighting a more general lack of light and shade.

Good. Probably quite good. But I’ll stick to my Frames records.

Hugh Robertson

Kingfisha Uppercut/Vitamin According to a recent economic study that I just made up, reggae and roots music currently accounts for 56.2% of New Zealand’s GDP. And with exports like The Black Seeds, Salmonella Dub and Fat Freddy’s Drop, our antipodean brethren have reason to be proud of the contributions they are making to the iPods of dreadlocked lads and ladies the world over.

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It’s taken some time, but at last Australia has produced a band that equals the aforementioned reggae roof-raisers. Kingfisha have been kicking around for half a decade now, but this self-titled effort is their debut album. Right from the get-go, Kingfisha (the album) demonstrates that Kingfisha (the band) have produced a body of work that was well worth the wait. Produced by Pauli B (The Beautiful Girls, George), Kingfisha’s debut is a swirling sea of synths, head-nodding bass and beats, and rock-steady guitar that underpins soulful vocals across the album’s ten tracks.

It’s not as bad as it could be, it’s certainly a lot better than it should be, and despite Mike ‘don’t fuck with the formula’ Love’s fingerprints being regrettably smeared all over it, the first studio album from The Beach Boys in over twenty years is pretty good.

A beautiful wordless vocal a la SMiLE’s ‘The Prayer’ opens the record, before fading into a mournful piano line, which is quickly woken by the vintage waltzing sunshine of the title track, a slight-ofsorts on Guglielmo Marconi. There’s a lot to like about this album, sure, but first let’s discuss the lyrics. Oh, Christ, the lyrics! Brian Wilson was 23 years old when he tired of the Beach Boys’ formula, correctly believing it to be both disingenuous (drummer Dennis Wilson was the only actual surfer in the group) and horribly limiting (surf, T-birds, honeys, summer, etc.). But it seems those ancient fears are non-existent here, and while I certainly welcome a Beach Boys album which features Brian in any form whatsoever, are we to truly believe that these 70-yearolds are “cruisin’ around, diggin’ the scene”? Take the chorus of ‘Spring Vacation’, for instance: “Spring vacation/ good vibration/summer weather/we’re back together.” It’s like someone pulled random lines from a Beach Boys lyrics generator and slapped them on a page.

I could go track-by-track and describe the various nuances, the immaculate harmonies, those Wilson arrangements – but instead I will list some of the song titles: ‘Daybreak Over The Ocean’, ‘Beaches In Mind’, ‘Pacific Coast Highway’, ‘Summer’s Gone’. To say they've stuck to their formula is like calling Hitler a bit of a rascal.

All the songs sound superb, there are hooks aplenty, and those Beach Boys vocals are undeniable as always. Just don’t listen too carefully.

We Keep The Beat, Found The Sound, See The Need...

Modular From the opening, insistent burst of drums in ‘You’re A Animal’, Jonathan Boulet’s second album declares immediacy and energy as its central concerns. It’s instantly galvanising, and after throwing in some pulses of discordance and some simple, thoroughly anthemic vocals with disconnected lyrics you have a basic blueprint for the rest of the record, where the wistful dreaminess of his debut has been replaced by a blustery, sometimes-idealistic world-weariness.

It’s loud, bold, and clanky, rarely subtle but effortlessly good.

Residual summeriness is everywhere, with marimbas, flutes and chiming guitars on the edge of distortion, riding on clattering rhythms. Lyrically, Boulet is still going for the thrownover-his-shoulder approach, but this time it’s focused on frustration and the unsatisfactory, a la ‘Keep Away You Feral Son Of A Bitch’’s “You’re a fake, I’m the same,” or the litany of sarcastic self-hate that is ‘Trounce’. But solace is found through the unassailable melodic energy with which the negativity is delivered, with massed vocals taking on the quality of group catharsis.

While it’s impossible to deny the catchiness of tracks like ‘This Song Is Called Ragged’ and ‘FM AM CB TV’, some tracks seem like chants linked together by unrelated melodic passages. It’s occasionally disjointed but this never really matters because it’s still exciting – and just when cynicism threatens to sneak in, you get the awesome spy-rock riff of ‘Hallowed Hag’ or the excellent ‘Boneyard Home’, with the most complete-sounding verse melody on the album. Very refreshing.

High-energy pop with enough ideas to keep it interesting. Also contains all the high, wordless indie vocals you'll be singing at festivals for the rest of the year.

Nathan Jolly

Lead single and opening track ‘Looking Glass’ is a dubby dancefloor filler with a mean vocal hook. ‘Let You Know’ flows over a chilled out groove, ‘Wise Up’ displays Kingfisha’s quieter, more ambient side, and if ‘Digging For Fire’ doesn’t start getting some serious spins in a slew of Thai backpacker bars packed with Aussies and Kiwis in the coming months, then I’ll sell both my kidneys and my liver.

Kingfisha is a gorgeously produced album that will put a smile on your lips and a groove in your hips. A great reggae band – and they aren’t from New Zealand.

Josh Donellan

JONATHAN BOULET

That’s Why God Made The Radio EMI

INDIE ALBUM OF THE WEEK KINGFISHA

By Benjamin Cooper

THE BEACH BOYS

Rhythm & Repose Spunk Records

The reason Once was such a phenomenally successful film (made for $160,000; worldwide gross $20 million) and is now a phenomenally successful Broadway musical (eight Tony wins, from eleven nominations) has a lot to do with Glen Hansard’s ability to write relatable songs devoid of pretension or pessimism. Maybe it’s the Irish accent or that lion's roar of a voice, but when he’s pouring his heart out through his music he comes across as disarmingly open and honest.

intensely detailed work that led to Worship misses the point: this is a triumph not only of its genre, but also as a testament to the rewards of inventive sound modulation.

Laurence Rosier Staines

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

BECK - Sea Change SIGUR ROS - Takk...

BEN FOLDS FIVE - ...Reinhold Messner

CAKE - Prolonging The Magic FUCK BUTTONS - Tarot Sport

Remedy

More Than The Cure Since 1989 with Murray Engleheart

BREAKDOWN(LOAD)

While Metallica and Black Sabbath were the headliners at the Download festival in the UK, apparently the record for the most simultaneous circle pits was set during Machine Head’s set: they had 29 human spin-dryers going at one point.

UNCLE FRANK

Frank Zappa freaks, brace thyselves: the Uncle Frank Family Trust are about to reissue 60 of the great man’s records, which merge such things as du-wop, free jazz, blues and general weirdness, through Universal. On July 31 they kick off in primo style with Freak Out! (1966), Absolutely Free (1967), Lumpy Gravy (1968), We’re Only In It For The Money (1968), Cruising With Ruben & The Jets (1968), the stunning Uncle Meat (1969), Hot Rats With Captain Beefheart (1969), Burnt Weeny Sandwich (1970), Weasels Ripped My Flesh (1970), Chunga’s Revenge (1970), Fillmore East (1971) and the more comedic Just Another Band From L.A. (1972). A stunning body of work in such a compressed time frame.

And who else could title a song ‘The Eric Dolphy Memorial BBQ’?

REAL BIG STAR

The making of that documentary on pop-masters Big Star, titled Big Star: Nothing Can Hurt Me, is nearly complete.

The Memphis outfit have a legacy of just three records, but some liken the impact of that trilogy to that of The Velvet Underground. At the recent 2012 SXSW Film Festival, the filmmakers screened a ‘work-in-progress’ rough cut. But there is still plenty of work to be done to get the film properly onto the big screen, looking and sounding as it should and with all song copyrights and such cleared. So if you’re a fan (or just like the idea of truly magical music and a priceless moment in time being canonised in cinemas and maybe later DVD), maybe drop a few bucks to: kickstarter.com/projects/ bigstarstory/big-star-nothing-can-hurt-me

CBGBS NYC

An upcoming movie about legendary New York City punk hole CBGBs has some interesting casting, with manic Foo Fighters striker Taylor Hawkins to play Iggy Pop (even though the Ig wasn’t exactly a regular at the venue – only when The Stooges were in town).

Others involved are Rupert Grint (as

permanently demented-looking Dead Boys guitarist and Keith Richards bud Cheetah Chrome), Malin Akerman (as Debbie Harry), Alan Rickman (CBGB’s owner Hilly Kristal), and Mickey Sumner (Patti Smith). But it’s Big Bang Theory star Johnny Galecki’s role that’s the most telling: he doesn’t play anyone as significant to that scene as, say, Lenny Kaye, Allan Vega or Dee Dee Ramone; nope – of all people, he plays Terry Ork, who handled Television’s affairs. We don’t like the feel of this already.

BLACK SABOTAGE

Black Sabbath’s Sabotage was the last decent hurrah for the original Ozzy lineup, but the cover shot of the band – with Ozzy in some sort of sumo dressing gown and (far, far worse) Bill Ward in red tights that someone really should have had a quite word with him about beforehand – has made the list of the 50 Worst Album Covers. But as fast and bulbous as the Ward shot is, we reckon Carcass committed far greater cover art sins.

ND MUSIC GREAT FOOD A Y

YDNE LIZOTTE’SReS ” staurant in Sydney

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02 9984 9933

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JUN JUN sel – Into The 22 23 Die

Speaking of Sabbaff, it’s been reported that no one in the band has actually spoken to Bill Ward about his involvement or lack thereof in their reunion dates. But Tony Iommi said recently that “We’ve tried everything with Bill… and it’s just not happening. We haven’t actually heard from Bill. It’s all been through his lawyers.”

COTTON CONDOLENCES

We were very sorry to hear that Darryl Cotton of Zoot fame has been diagnosed with liver cancer. We cold-called Cotton a year or so back, to do some fact checking for a book project we were working on – and although he didn’t know us from shit, he couldn’t have been more gracious and helpful. You remember stuff like that.

Some folks really are as genuinely nice as they seem – get well soon, Cotton!

On the Remedy turntable is avant-garde jazz pianist Cecil Taylor’s monstrous ten-disc box, 2 Ts For A Lovely T. Recorded by Taylor’s Feel Trio – just the man himself plus bass and drums – it captures them in London in 1990 over five nights.

While not quite the challenging listen that his earlier work like Conquistador! or Unit Structures, 2 Ts For A Lovely T is still very much spirit music, and unarguable proof that the reason so few ever wanted to go anywhere near a stage Taylor was commanding on jam nights was simply because it was impossible to keep up with the man, or predict what he was going to do next. For the listener, however, that spells magic.

TOUR AND INDUSTRY NEWS

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COAS17T L A R T N E C ’S E T 02 4368 20 LIZOT and Local e’s presents Live tt zo Li 20 coustic Sessions Rose Carleo – Aer JUN s 21 with Mark Trav JUN zzie Smith 22 Ju JUN Carus Thompson 23 esents launch Rascals Music pr Vol 1 CD JUN 26 of Nextdoor Raw ndraiser – JUN Variety Club Fuun 27 The Boys of Co try JUN Diesel – JUN 28 29 Into The Light Tour JUN The Audreys JUN

30

Freedman 1 Tim

JUL

02 4956 2066

The Lovetones

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JUN sday Night 20 Wedne

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JUN tal As Anythin 22 Men JUN zzie Smith 23 Ju

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Musical

27

This Friday June 22, The Lovetones are playing the Annandale Hotel to launch their Provenance – Collected Works album, and Solid Gold Hell is hosting the official after-party at the Sly Fox in Enmore. The Lovetones’ Matt Tow will be DJing, as well as Rusty (You Am I), and others yet to be announced. The Solid Gold go-go dancers will be doing their thing, and drink specials will be happening as well, all set against a swirling visual backdrop of psychedelic and ‘60s drug films. 10pm – 4am. Free entry.

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

Pics to art@thebrag.com www.facebook.com/remedy4rock

Light Tour

JUN ompson 24 Carus Th

GOD SAVE THE QUEEN

John ‘Rotten’ Lydon is keen to bury Sex Pistols and concentrate on PiL – so will no doubt be glowering in his brightly coloured pyjama jumpsuit at the news that a promo acetate of Sex Pistols’ ‘God Save The Queen’ single recently sold for $19,672 on eBay. It was on the L.T.S. record label, and is one of two copies that are known to exist. The other copy sold in 2006, for a mere $16,000.

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ts Live and Loca

e’s presen 20 Lizott JUN Juzzie Smith JUN

BILL WARD

ON THE TURNTABLE

Lucy Desoto’s excellent documentary on Rose Tattoo, Rock n’ Roll Outlaw, will be shown on July 19 at The Bald Faced Stag in Leichhardt. It’s a mix of exclusive interviews and live footage, with the priceless tired and emotional interview with Ian Rilen reason alone to make it essential viewing. The film will commence at 8pm and will finish at 9.40pm. Be early to get a seat. Everyone’s welcome.

RES EATEST PLEASU O OF LIFE’S GR MARRYING TW

Calling ts all artisand e iv L r fo Locals!

Contact: es. ott events@liz com.au

JUN e Audreys 28 Th

JUN Freedman 29 Tim

JUN l – Into The 30 Diese

Light Tour

s Thompson 1 Caru

JUL

Lizotte’s Sydney 629 Pittwater Rd Dee Why

Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber

Lizotte’s Newcastle 31 Morehead St Lambton

W W W. L I ZOT T E S.CO M.AU BRAG :: 467 :: 18:06:12 :: 27

snap sn ap

up all night out all week . . .

mum

the jezabels

It sounds like: Good times!

Who’s playing? Doc Holliday Takes The Shotgun, Pirates Alive, Samoan Punks, The Chorus Girls, The Red Lights, Bec & Ben, Warchief and MUM DJs. Sell it to us: MUM delivers Australia’s best new bands to Sydney, plus this week you can grab not only the usual $1 chili-dogs, $5 beers, tequila and sangria, but we also have $5 Sailor Jerry’s! I know, right? Crazy!

The bit we’ll remember in the AM: “I was in the Cross, which sucked, but then I wandered into some huge terrace that had been turned into a massive house party, with garage bands all over the place, babes smoking in the front yard, these delicious chili-dogs and the DJs were just playing hip hop, ‘60s garage and then some Cloud Nothings and stuff like that; it was weird, but it worked!”

Crowd specs: Non-pretentious people ready for good times.

Wallet damage: $15 Where: The World Bar / 24 Bayswater Rd, Kings Cross When: Friday June 22, 9pm

PICS :: KC

party profile

It’s called: MUM

elizabeth rose

PICS :: RJ

09:06:12 :: Hordern Pavilion :: 122 Lang Rd Moore Park 8117 6700

ska weekender festival

PICS :: KC

08:06:12 :: The Standard:: Level 3/383 Bourke St Surry Hills 9331 3100

mum

PICS :: TP

10:06:12 :: Annandale Hotel :: 17 Paramatta Rd Annandale 9550 1078

34b burlesque: island exotica PICS :: KC

wolf & cub

08:06:12 :: The Exchange Hotel :: 34 Oxford St Darlinghurst 9360 1375

09:06:12 :: The Standard:: Level 3/383 Bourke St Surry Hills 9331 3100 28 :: BRAG :: 467: 18:06:12

:: KATRINA CLARKE :: RASA S : TIM LEVY (HEAD HONCHO) CHY :: GEORGE POPOV :: OUR LOVELY PHOTOGRAPHER PEA MAS THO :: NS MUN :: DANIEL JUSKEVICIUTE :: ASHLEY MAR Y TNE WHI TIM :: ERS WEIJ ROSETTE ROUHANNA :: ROCKET

PICS :: RJ

08:06:12 :: World Bar :: 24 Bayswater Rd Kings Cross 9357 7700

snap sn ap

heavenly sounds feat. lisa mitchell

winter people

PICS :: RR

07:06:12 :: St Stephens Church Hall :: 197 Macquarie St Sydney 9221 1688

PICS :: AM

up all night out all week . . .

07:06:12 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 93323711

Fri 22 June Annandale Hotel Sydney + IMMIGRANT UNION & THE WALKING WHO

the delta riggs

PICS :: KC

TIX: ANNANDALEHOTEL.COM OR 02 9550 1078

Sat 23 June The Workers Club Melbourne + IMMIGRANT UNION & FIELD TRIP

TIX: CORNER BOX OFFICE (57 SWAN ST, RICHMOND) OR 03 9486 1677

08:06:12 :: FBi Social :: Kings Cross Hotel 248 William St 9331 9900 :: KATRINA CLARKE :: RASA S : TIM LEVY (HEAD HONCHO) CHY :: GEORGE POPOV :: OUR LOVELY PHOTOGRAPHER PEA MAS THO :: NS MUN :: DANIEL JUSKEVICIUTE :: ASHLEY MAR Y TNE WHI TIM :: ERS WEIJ ROSETTE ROUHANNA :: ROCKET

‘PROVENANCE ~ COLLECTED WORKS’ (YEP014) CD & DIGITAL DOWNLOAD OUT NOW ON YEP! RECORDS UNDERCOVERMUSIC.COM.AU | SELECTMUSIC.COM.AU

BRAG :: 467 :: 18:06:12 :: 29

g g guide gig g

send your listings to : gigguide@thebrag.com

Elizabeth Rose

ROCK & POP

Broadway Unplugged The Vanguard, Newtown free 7pm Dan Lawrence The Observer Hotel, The Rocks free 8.30pm Open Mic Night Hard Rock Cafe, Darling Harbour free 8pm

JAZZ

Bernie McGann, John Harkins Trio 505 Club, Surry Hills $10 (conc)–$15 8.30pm Monday Jam: Danny G Felix The Lansdowne, Broadway free free 9pm Sonic Mayhem Orchestra Blue Beat Bar & Grill, Double Bay 8pm

THURSDAY JUNE 21

Upstairs Beresford / The Standard / Oxford Art Factory / Phoenix Bar

Select Music 7th Birthday: Bluejuice,

Josh Pyke, Bob Evans,

Emma Louise, The John Steel Singers, Hungry Kids Of Hungary, Elizabeth Rose, Ball Park Music, Step-Panther, The Preachers, Andy Bull, The Jungle Giants, Nantes, The Mission In Motion, Pluto Jonze, Spit Syndicate, Argentina, Toucan, Millions,

The Paper Scissors DJs, Midnight Juggernauts DJs and more $20 (+ bf) 7pm all funds raised go to beyondblue

ACOUSTIC & FOLK

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

TUESDAY JUNE 19 ROCK & POP

Adam Pringle and Friends Downstairs, Sandringham Hotel free 8pm Dan Spillane Maloney’s Hotel, Sydney free 8.30pm OMG Scruffy Murphy’s Hotel, Sydney free 10pm Rasta Thomas State Theatre, Sydney $98.90 8pm all-ages Righteous Voodoo, Femme Da Funk The Basement, Circular Quay $15 (+ bf)–$69.80 (dinner & show) 7.30pm Rob Henry The Observer Hotel, The Rocks free 8.30pm Robbie Nicholson State Theatre, Sydney $79.90 6pm all-ages Shane Flew Dee Why Hotel free 6.30pm Songwriters Special Sandringham Hotel, Newtown free 8pm

JAZZ

Jazzgroove: Mike Nock Trio Plus, Andy Fiddes Livewire 505 Club, Surry Hills $8 (conc)–$15 8.30pm

ACOUSTIC & FOLK

Carolyn Woodorth, Betti Laila Taverners Hill Hotel, Leichhardt free 7pm Russell Neal, Renee Jonas, Matt Dewar, Henry Fraser, Warren Munce, Paul B Wilde Harbourview Hotel, The Rocks free 7pm

WEDNESDAY JUNE 20 ROCK & POP

Andy Mammers Duo Maloney’s Hotel, Sydney free 9pm Dan Spillane Coogee Bay Hotel free 9pm Don Hopkins Cosmopolitan Cafe, Double Bay free 7pm

Flyte The Orient Hotel, The Rocks free 9pm Gimme Shelter: An Evening With Sam Cutler Brass Monkey, Cronulla $17.85 7pm Jagermeister Presents: The Net of Being, Resonators, Xhemper Phi, Paper Crane Annandale Hotel $8 7.30pm JC Ronikal Valve Bar, Tempe free 7pm Josh McIvor Mean Fiddler, Rouse Hill free 6pm Katrina Burgoyne Novotel Homebush, Homebush Bay free 4.30pm Lady Gaga (USA) Allphones Arena, Sydney Olympic Park $179.90–$300 8pm Lily Dior The Basement, Circular Quay $25 (+ bf) 8pm Matt Price Summer Hill Hotel free Maux Faux, Ashes, Simon Day Sandringham Hotel, Newtown $10 8pm Mike Bennett The Observer Hotel, The Rocks free 9.30pm Muscles FBi Social @ Kings Cross Hotel free 1pm Musos Club Jam Night Bald Faced Stag Hotel, Leichhardt free 8pm SCREAM Band Competition: Tiger & The Rogues, The Wooden, Avaine, City of Erebus, Reunion, Fox & the Hound Forest Inn, Bexley $15 7pm The Shouties Downstairs, Sandringham Hotel free 8pm The Silver Dollars, Rita Fontaine, Twilight Rhythm Boys, DJ Brian Rock Lily, The Star, Pyrmont free 6pm The Smith Artichoke Gallery Cafe, Manly free 7.30pm Step-Panther, Mother & Son Beach Road Hotel, Bondi free 8pm Vulgargrad, Fanny Lumsden The Vanguard, Newtown $28.80 (+ bf)–$63.80 (dinner & show) 8pm West Tigers Homeground Heroes Band Competition Valve Bar, Tempe 7pm

JAZZ

Eamon Dilworth, Elly Holt 505 Club, Surry Hills $10 (conc)–$15 8pm Peter Head The Harbour View Hotel, The Rocks free 8pm

ACOUSTIC & FOLK

Daniel Hopkins, Raoul Graf, Danica Beutler Taren Point Hotel free 7pm Darren Bennett, Black Diamond, Senani, Jasmine Beth Cookies Lounge and Bar, North Strathfield free 6.30pm Greg Sita, Tim Bray, Lyndsay Harper Cat and fiddle Hotel, Balmain free 6.30pm Live and Local: Dan Hopkins, Taylor and the Makers, Son of the East Lizotte’s Restaurant, Dee Why $15 8pm Mal’s Open Mic Night: Mal Ward, Mathieu, Ned End, Zelda Smyth Royal Hotel, Bondi free 8pm Russell Neal, George & Ted Evening Star Hotel, Surry Hills free 7pm TAOS, John Chesher, Gavin Fitzgerald Coach & Horses Hotel, Randwick free 7pm

World Music Wednesdays: The Hi-Tops Brass Band Macquarie Hotel, Sydney free 8pm

THURSDAY JUNE 21 ROCK & POP

2 Way Split The Orient Hotel, The Rocks free 9pm Ashleigh Mannix, Georgia & Becca Brass Monkey, Cronulla 7pm The Bedlams, Faith & Gasoline, Arkadian, Tiff & the Kids Bald Faced Stag, Leichhardt $10 7pm licensed all-ages Catcall Rock Lily, The Star, Pyrmont free 7pm Colonel Bizzare, Modern Daze, Bell & Her Ghetto Rockers Valve Bar, Tempe 7pm Fortune Fails, Thrashed, Hard As Nails, Lycanthrope Annandale Hotel $10 8pm The French Revue The Basement, Circular Quay $20 (+ bf)–$74.80 (dinner & show) 8pm Halfwaits, I’m No Thief, The Last Calvary, Death By Dance Lansdowne Hotel, Chippendale free 8pm Hot Damn!: Thick As Blood, Taken By Force, Aftermath, Outsider, Final Frontier Spectrum, Darlinghurst $15 (guestlist)–$20 8pm Joanna Melas Bankstown Sports Club free 8pm Lady Gaga (USA) Allphones Arena, Sydney Olympic Park sold out 8pm Live Thursdays: After Dark Hard Rock Cafe, Darling Harbour free8.30pm Mal’s Open Mic Night: Mal Ward, Bill Neil, Shady, 2nd, Rowan Ash Bexley North Hotel free 8pm Mark Hopper Artichoke Gallery Cafe, Manly free 7.30pm Marty From Reckless Coogee Bay Hotel free 10pm Musos Club Jam Night Carousel Hotel, Rooty Hill free 8pm Open Mic Excelsior Hotel, Glebe free 7pm Piano Is Drunk, Narrow Lands, Skull Squadron, Yes I’m Leaving FBi Social @ Kings Cross Hotel $10 8pm Rafael Bonachela Riverside Theatres, Parramatta $30 8pm all-ages Select Music 7th Birthday: Andy Bull, Argentina, Bluejuice, Bob Evans, Ball Park Music, Elizabeth Rose, Emma Louise, The John Steel Singers, Josh Pyke, Hungry Kids Of Hungary, The Jungle Giants, Lior, Midnight Juggernaut DJs, Millions, The Mission In Motion, Nantes, The Paper Scissors DJs, The Preachers, Pluto Jonze, Purple Sneakers DJs, Rufus, Spit Syndicate, StepPanther, Strangers, Tokyo Denmark Sweden, Toucan, The Walking Who Upstairs Beresford / The Standard / Oxford Art Factory / Phoenix Bar, Darlinghurst $20 (+ bf) 7pm Sydney Sound Big Band Rockdale RSL Club free 8pm Tigertown Hibernian House, Surry Hills 8pm Tom T Trio Paragon Hotel, Sydney free

“They’re selling postcards of the hanging. They’re painting the passports brown. The beauty parlour is filled with sailors. The circus is in town” - BOB DYLAN 30 :: BRAG :: 467 : 18:06:12

Xxx

pick of the week

MONDAY JUNE 18

g g guide gig g

send your listings to : gigguide@thebrag.com Vulgargrad, Mr Fibby The Vanguard, Newtown $28.80 (+ bf)–$63.80 (dinner & show) 8pm Vultures: Halfwait, I’m No Thief, The Last Cavalry, Death By Bance, DJ Skar The Lansdowne, Broadway free 8pm Wildcatz Scruffy Murphy’s Hotel, Sydney free 10pm

JAZZ

The Cellar Jazz Jam: Phil Stack Trio The Spice Cellar, Sydney free 9pm Emma Pask 505 Club, Surry Hills $18 (+ bf) 8.30pm Freyja Blue Beat Bar & Grill, Double Bay 7pm Lionel Robinson Dee Why Hotel free 6.30pm Peter Head The Harbour View Hotel, The Rocks free 8pm Rocksteady Roots and Reggae 505 Club, Surry Hills $10 (conc)–$15 8.30pm

COUNTRY

Juzzie Smith Lizotte’s Restaurant, Dee Why $25 8pm

ACOUSTIC & FOLK

Daniel Hopkins, Magnolia, Moa Eknander, Men With Day Jobs Narrabean Sands free 7pm Russell Neal, Massimo Presti, Nick Domenicos, Spencer McCullum Kogarah Hotel free 7pm Up Close & Personal Acoustic Artists Marlborough Hotel, Newtown free 8pm

FRIDAY JUNE 22 ROCK & POP

Art of Sleeping, All The Colours, Anabelle Kay, PhDJ Upstairs Beresford, Surry Hills free 6pm The Bamboos, Axolotl, DJ Mr Glass Metro Theatre, Sydney $35 (+ bf) 9pm Barry Morgan Notes Live, Enmore $23.50 7pm Benn Gunn Chatswood RSL Club free 5pm Black Anchor Sydney Livehouse @ Lewisham Hotel $10 8pm Bno Rockshow Marlborough Hotel, Newtown free 10.30pm Busby Marou, Leader Cheetah Duo, The Hello Morning Oxford Art Factory, Darlinghurst $20 (+ bf) 8pm Camille O’Sullivan (IRE) The Basement, Circular Quay $45 (+ bf)–$99.80 (dinner & show) 8pm Carus Thompson, Joel Leffler, Tyran Hall Brass Monkey, Cronulla $18.90 7pm Conics Beach Road Hotel, Bondi Beach free 8pm Dan Spillane The Orient Hotel, The Rocks free 5pm David Agius Trio Eastern Suburbs Leagues Club, Bondi Junction free 8.30pm Double Barrel Coogee Bay Hotel free 10pm Dynamic Rock Rockdale RSL Club $25 8pm Edward Guglielmino, Charles Buddy Daaboul

Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Excellent Robot, BMXicans Pretend Eye Roxbury Hotel, Glebe $10 8pm Fuji Collective, Slimey Things, La Tarantella, DJ Alley Cats Lansdowne Hotel, Chippendale free 8pm The Green Day Show Scruffy Murphy’s Hotel, Sydney free 10.30pm The Grunge Safari: Tehachapi, Planet Love Sound, Batterie, Luchi FBi Social @ Kings Cross Hotel $10 8pm Harbour Master Collingwood Hotel, Liverpool free 4.30pm The Headliners Westmead Tavern free 4pm Hip Not Hop Customs House Bar, Sydney free 7pm Hotel California – A Tribute To The Eagles Terrey Hills Tavern $10 (+ bf) 9.30pm Hugh Munroe The Oxford Hotel, Darlinghurst free 8pm The Intercontinental Playboys, The Dunhill Blues, DJ Nic Dalton The Green Room Lounge, Enmore free 9pm Ipanema Bankstown Sports Club free 9pm Kirin J. Callinan, Kangaroo Skull, Forces, DCM, HTRK Djs, Juggernaut DJs, Forces DJs GoodGod Small Club, Sydney $15 (+ bf) 8pm Kunvuk, Myraeth, Hybrid Nightmares, Rise of Avernus Bald Faced Stag, Leichhardt $15 8pm Kurt Williams Panthers North Richmond free 8pm Lachlan Bryan, Caitlin Harnett, Melody Pool The Factory Floor, The Factory Theatre, Enmore $15 (+ bf) 8pm La Vista Petersham RSL Club free 8.30pm Last Stand Cold Chisel Show Engadine Tavern free 9.30pm The Lovetones, Immigrant Union, The Walking Who Annandale Hotel $18 (+ bf) 8pm MA, Anikiko The Vanguard, Newtown $31.80 (+ bf)–$66.80 (dinner & show) 8pm Mahalia Barnes Rock Lily, The Star, Pyrmont free 6.30pm Mal’s Open Mic Night: Mal Ward, Lisa Gourlay, Sean & Miss Bow Band, Tunnel Vision Hero’s Hill, Revesby Heights free 8pm Marketown, Disparo, Jesus Christ Posse Town Hall Hotel, Newtown free 9pm MUM: Pirates Alive, Doc Holliday Takes The Shotgun, The Red Paintings, The Chorus Girls, Samoan Punks, Bec & Ben, Warchief, Wolfden DJs, Swim Team DJs, Wet Lungs, Cam Anthony, Cries Wolf DJs, DJ Boy, 10th Avenue The World Bar, Kings Cross free $10-$15 8pm Original Sin INXS Show Kingswood Sports Club 8pm Reckless The Orient Hotel, The Rocks free 9.30pm Rev. Kriss Hades Art And Music Showcase, Black Sabbath Tribute Sandringham Hotel, Newtown $22 (+ bf) 8pm Roots: Hivemind, Yo Put That Bag Back On, Burning Sounds Spectrum $20 8pm

School Of Seven Bells (USA), Little Scout, Melodie Nelson The Hi-Fi, Moore Park $38.50 (+ bf) 8pm Solo & Incredible: Diesel Lizotte’s Restaurant, Dee Why $54–$124 (dinner & show) 7pm The Sphinxes Vineyard Hotel free 9.30pm Streams Of Whiskey Paragon Hotel, Sydney free 6pm Superheavyweights, Gang of Brothers Macquarie Hotel, Sydney free 8pm The Swinging Sixties Manly Fishos $10 8pm Thick As Blood, Taken By Force Alpha Park Hall, Blacktown 8pm Time Machine Dooleys Lidcombe Catholic Club free 8.30pm Toucan Ryde Eastwood Leagues Club, West Ryde free 7.30pm Tribute to Black Sabbath: Reverend Kriss Hades Sandringham Hotel, Newtown 8pm Unforgettable Ramsgate RSL, Ramsgate Beach free 8pm Upside Down Miss Jane, Here Is The Milfs, Lab 64, Hounds Of Hiroshima, Red Bee Valve Bar, Tempe 7pm

JAZZ

The Catholics 505 Club, Surry Hills $15 (conc)–$20 8.30pm Grabowsky/McGann Quartet The Sound Lounge, Seymour Centre, Chippendale $15-$30 8.30pm

Rising, Nick Stenmark Manly Fishos $10 8pm Dr Don’s Double Dose, Don Hopkins The Vault, Windsor free 8.30pm Dynamic Duo Brighton RSL Club, BrightonLe-Sands free 8pm Edo Santoni The Basement, Circular Quay $25 (+ bf)–$79.80 (dinner & show) 7.30pm Elevate Kingswood Sports Club free 8.30pm Epics, Lenin Lennon, Gutters, Disparo Blackwire Records, Annandale $5 7pm all-ages Eric Lewis The Orient Hotel, The Rocks free 4.30pm The Flaming Stars Rockdale RSL Club free 7.30pm Gilbert Whyte Artichoke Gallery Cafe, Manly free 7.30pm Grey Ghost, Iron Bar Hotel, 1929 Indian, F.R.I.E.N.D/s Upstairs Beresford, Surry Hills free 6pm Group Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Harbour Masters Engadine Tavern free 9.30pm The Headliners Putney Bowling Club free 8.30pm The J Connexion Carousel Inn Hotel, Rooty Hill free 8.30pm Kirk Burgess Manly Leagues Club, Brookvale free 8pm Kittens: Jenny Broke The Window, The Nectars Spectrum, Darlinghurst $10 8pm

Lady Gaga (USA) Allphones Arena, Sydney Olympic Park $179.90–$300 8pm Lil’ Band O’ Gold, Pat Capocci’s Two Timin’ Playboys The Factory Theatre, Enmore $49.50 (+ bf) 7.30pm Macson Coogee Bay Hotel free 10pm Mal’s Open Mic Night: Mal Ward, Raj, Tunnel Vision Panania Hotel free 8pm Mark Da Costa & The Blacklist, DJ Urby Rock Lily, The Star, Pyrmont free 7.30pm Mick Aquilina Regents Park Sporting & Community Club free 6.30pm Midnight Drifters Eastern Suburbs Leagues Club, Bondi Junction free 8.30pm Millennium Bug Scruffy Murphy’s Hotel, Sydney free 10.30pm Mosman Alder, The Fabergettes, Valar FBi Social @ Kings Cross Hotel, Darlinghurst $10 8pm Mr James Bankstown Sports Club free 9pm Muscles, A Game, Kristy Lee, Pat Ward Cargo Bar, Darling Harbour $25-$35 (+ bf) 6pm Musica De Fuego III: The Tearaways, Handsome Young Strangers, Unknown To God, Sweat & Shame, Everything I Own Is Broken, Billy Demos, DJ Mick The Red Rattler, Marrickville $15 5.45pm Pete McWhirter Coogee Diggers 8pm Ray Beadle, Richard Calabro’s Alpha Omega Guitar Trio

Brass Monkey, Cronulla $23.50 7pm Robin Lee Sinclair Band Ramsgate RSL, Ramsgate Beach free 8pm Singled Out The Orient Hotel, The Rocks free 9pm Solo & Incredible: Diesel Lizotte’s Restaurant, Dee Why $54–$124 (dinner & show) 7pm Souled Out Paragon Hotel, Sydney free 6pm Stormcellar Royal Hotel, Bondi free 8pm Terry Batu Petersham RSL Club free 8.30pm Tony Cini’s Blues Explosion: The Mason Rack Band, Marisa Quigley, Isaiah B Brunt The Vanguard, Newtown $26.30 (+ bf)–$61.30 (dinner & show) 8pm True Radical Miracle, Whores, Housewives, Oily Boys The Square, Haymarket $10 Twin Set Dooleys Lidcombe Catholic Club free 8.30pm Whoretopsy, Roadside Burial, Festering Drippage, New Blood, Exekute, Wratch Valve Bar, Tempe 7pm Winterland 2012: Glass Towers, Triforce, Lime Cordiale, Seek The Silence, Baskiat, Smaal Cats Mona Vale Hotel $12 (+ bf) 8pm

JAZZ

Blue Moon Quartet Fairfield RSL free 7pm Craig Calhoun Blue Beat Bar & Grill, Double Bay $20 (+ bf) 7pm

ACOUSTIC & FOLK Jane Rutter City Recital Hall, Sydney $59 7.30pm all-ages Lachlan Bryan, Caitlin Harnett, Melody Pool The Other Room, The Factory Theatre, Enmore $15 (+ bf) 8pm

SATURDAY JUNE 23 ROCK & POP

2 Of Hearts Revesby Workers Club free 9.30pm Absolute Power: Swine, Elephant, Plight of the Mystical Dugongs, The Berkshire Hunting Club Lansdowne Hotel, Chippendale free 8pm Andy & the Cruisers Campbelltown RSL free 8.30pm Ash Grunwald, Fingers Malone Ensemble Metro Theatre, Sydney $25 (+ bf) 8pm Ate His Rock Excelsior Hotel, Glebe free 7.30pm Because They Can, We Saved The Party The Factory Floor, The Factory Floor, Enmore $18.50 (+ bf) 2.30pm allages Benn Gunn Panthers North Richmond free 7.30pm Callithump, Common Grounds, Founded In 1908, Jamo & Kitch, Kade & The Karneez Annandale Hotel $10 7.30pm Collarbones, Fishing, Swimwear Pablo & Rusty’s, Epping $12 (+ bf) 7.30pm all-ages Cover Notes Duo Riverwood Inn free 8pm The Desert Sea, Mayfair

wed

20 June

(9:00PM - 12:00AM)

thu

21 June

(9:00PM - 12:00AM)

fri

22 June (5:00PM - 8:00PM)

(9:30PM - 1:30AM)

SATURDAY AFTERNOON

sat

23 June

(4:30PM - 7:30PM)

SATURDAY NIGHT

(9:00PM - 1:30AM)

SUNDAY AFTERNOON

sun

24 June

(4:30PM - 7:30PM)

SUNDAY NIGHT

(8:30PM - 12:00AM)

BRAG :: 467 :: 18:06:12 :: 31

gig picks

g g guide gig g

up all night out all week...

send your listings to : gigguide@thebrag.com

ACOUSTIC & FOLK

Nathan Cole, Second Sun, Inamity, Emily Harrison, James wohlfiel & Alison Murphy, Emma Waugh Terrey Hills Tavern free 7.30pm Russell Neal Earlwood Hotel free 7pm

SUNDAY JUNE 24 ROCK & POP

Ace Brighton RSL Club, BrightonLe-Sands free 7pm Annandale Music Markets: Patrick James, Cameron Potts, Bity Booker, Thieves, Excellent Robot, Jay Katz, Conrad Greenleaf Annandale Hotel free 11am Blues Sunday: Mark Hopper Artichoke Gallery Cafe, Manly free 7.30pm

Carus Thompson Lizotte’s Restaurant, Dee Why $20 8pm Cash Only Marrickville Bowling Club free 4.30pm Collarbones, Bon Chat Bon Rat, Letters to Lions Brass Monkey, Cronulla 8pm Elevation U2 Show The Orient Hotel, The Rocks free 4.30pm Franky Valentyn Dooleys Lidcombe Catholic Club free 4pm Grindparty!: Michael Crafter, Laeirs, Vile Specimen, Spoonfed, Fat Guy Wears Mystic Wolf Shirt Black Wire Records, Annandale $10 7pm all-ages Helpful Kitchen Gods, White Knuckle Fever, Men From U.N.C.L.E., Krista Pav Gladstone Hotel, Chippendale free 5pm John Vella Bayview Tavern, Gladesville free 7pm Lady Gaga (USA) Allphones Arena, Sydney Olympic Park $179.90–$300 8pm Lil’ Band O’ Gold The Basement, Circular Quay $49.50 (+ bf)–$104.30 (dinner & show) 8pm LJ Waverley Bowling Club free 3pm Michael Peter Coogee Bay Hotel free 7.30pm Mick Aquilina Ramsgate RSL, Ramsgate Beach free 2pm Outsane, Lycanthrope Valve Bar, Tempe 4pm Riverside Markets: Kickstar, Band Of Brothers

Jets Sports Club, Tempe free 12pm Salsa Night Hard Rock Cafe, Darling Harbour free 8.30pm School Of Rock Showcase Valve Bar, Tempe 12pm Spooky Men’s Chorale Notes Live, Enmore $33.70 6pm Steve Lucas & The Empty Horses Downstairs, Sandringham Hotel free 4pm Sydney Blues Society Botany View Hotel, Newtown free 7pm Suite Az Rock Lily, The Star, Pyrmont free 7.30pm Tina Harrod Sings The Blues, Rob Woolf Solo Rock Lily, The Star, Pyrmont free 2pm True Radical Miracle, Making, Low Life, Model Citizen Blackwire Records, Annnadale $10 7pm Van the Man Paragon Hotel, Sydney free 6pm The White Bros The Orient Hotel, The Rocks free 8.30pm

JAZZ

The Peter Head Trio & Friends The Harbour View Hotel, The Rocks free 4pm

ACOUSTIC & FOLK Russell Neal, Tasman Formosa Corrimal Hotel free 3pm Shoot The Moon Salisbury Hotel, Stanmore free 2pm

WEDNESDAY JUNE 20

The World Bar, Kings Cross free $10-$15 8pm School Of Seven Bells (USA), Little Scout, Melodie Nelson The Hi-Fi, Moore Park $38.50 (+ bf) 8pm

Lady Gaga (USA) Allphones Arena, Sydney Olympic Park $79.90–$450 8pm Step-Panther, Mother & Son Beach Road Hotel, Bondi free 8pm

The Bamboos

THURSDAY JUNE 21

Carus Thompson, Joel Leffler, Tyran Hall Brass Monkey, Cronulla $18.90 7pm

Catcall Rock Lily, The Star, Pyrmont free 7pm

The Grunge Safari: Tehachapi, Planet Love Sound, Batterie, Luchi FBi Social @ Kings Cross Hotel $10 8pm

Piano Is Drunk, Narrow Lands, Skull Squadron, Yes I’m Leaving FBi Social @ Kings Cross Hotel $10 8pm Tigertown Hibernian House, Surry Hills 7pm

FRIDAY JUNE 22 The Bamboos, Axolotl, DJ Mr Glass Metro Theatre, Sydney $35 (+ bf) 9pm Busby Marou, Leader Cheetah Duo, The Hello Morning Oxford Art Factory, Darlinghurst $20 (+ bf) 8pm

Kirin J. Callinan, Kangaroo Skull, Forces, DCM, HTRK Djs, Juggernaut DJs, Forces DJs GoodGod Small Club, Sydney $15 (+ bf) 8pm The Lovetones, Immigrant Union, The Walking Who Annandale Hotel $18 (+ bf) 8pm MUM: Pirates Alive, Doc Holliday Takes The Shotgun, The Red Paintings, The Chorus Girls, Samoan Punks, Bec & Ben, Warchief, Wolfden DJs, Swim Team DJs, Wet Lungs, Cam Anthony, Cries Wolf DJs, DJ Boy, 10th Avenue

SATURDAY JUNE 23 Ash Grunwald, Fingers Malone Ensemble Metro Theatre, Sydney $25 (+ bf) 8pm Collarbones, Fishing, Swimwear Pablo & Rusty’s, Epping $12 (+ bf) 8pm all-ages Grey Ghost, Iron Bar Hotel, 1929 Indian, F.R.I.E.N.D/s Upstairs Beresford, Surry Hills free 6pm Lil’ Band O’ Gold, Pat Capocci’s Two Timin’ Playboys The Factory Theatre, Enmore $49.50 (+ bf) 7.30pm Mosman Alder, The Fabergettes, Valar FBi Social @ Kings Cross Hotel, Darlinghurst $10 8pm Winterland 2012: Glass Towers, Triforce, Lime Cordiale, Seek The Silence, Baskiat, Smaal Cats Mona Vale Hotel $12 (+ bf) 8pm Xxxx

Grabowsky/McGann Quartet The Sound Lounge, Seymour Centre, Chippendale $15-$30 8.30pm Kristin Berardi Band 505 Club, Surry Hills $15 (conc)–$20 8.30pm Lachlan Doley Macquarie Hotel, Sydney free 8pm Peter Head The Harbour View Hotel, The Rocks free 5pm Sydney French Choir, C’Est Si Bon Notes, Enmore $28.60 7pm Yuki Kumagai, John Mackie Well Co. Café / Wine Bar, Leichhardt free 7.30pm

www.fbisocial.com

L2 Kings Cross Hotel

Wednesday June 20

Thursday June 21

Friday June 22

LUNCH BREAK presented by Alberts

PIANO IS DRUNK, NARROW LANDS, SKULL SQUADRON & YES I’M LEAVING

THE GRUNGE SAFARI TEHACHAPI + PLANET LOVE SOUND + BATTERIE + LUCHI

8pm // $10 at the door

8pm // $10 at the door

featuring...

MUSCLES 1pm // FREE // Broadcast on FBi

Saturday June 23

MOSMAN ALDER, THE FABERGETTES & VALAR 8pm // $10 at the door

LATE NIGHT SOCIAL MOONCHILD, PRESIDENT BIRD & JAMES CRIPPS Midnight // FREE

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Tuesday June 25

A RATIONAL FEAR LIVE COMEDY 8pm // $10 on the door

brag beats

BRAG’s guide to dance, hip hop and club culture

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

five things WITH

Hernan Cattaneo

DEADBEAT AND HAZY

Growing Up [Hazy]: My first music memory was 1. meeting Jamiroquai at Town Hall Studio in London. I was living at the studios with my dad who was mixing Pulp’s album – I remember watching him work in some of the best studios in the world on some amazing records.

[Deadbeat]: I remember being 14 and sucking at guitar but still wanting to be in a band, so I tried my hand at singing. This would have been a failure if I had to actually sing, but luckily we started off doing covers of Rage Against The Machine, Green Jelly and Regurgitator.

Inspirations [Hazy]: I was 13 and living in Ireland when 2.

I made a tech-house album with a couple of mates, and DJed it at the local discos. My dad has played me extremely loud music since I was born, and my mum bought me Dr Dre’s 2001 for my 10th birthday. Getting high to Snoop and Warren G for the first time was killa!

3.

Your Crew [Hazy]: Been perfecting the art with my right hand man Peace – we’ve been DJing together from the moment we met. Dubstep and hip hop is our main thing, but house, DnB and trippy ass beats are cool too! We both know what sound we want, so we’ve been working hard in the studio to make our own style of music, which has been a lot of fun.

[Deadbeat]: What I enjoy most about working with Hazy is that he’s on the quest for his own sound, and he sees me as being a part of it. I think we’ve been fortunate to have jammed with so many talented people since we’ve been in the scene. Have to shout out to Maya, Chow Cracker, Peace and DCZ.

BOOM BOOM FT LIL LOUIS

With the dust having only just settled from its rollicking Jamie 3:26 warehouse bash, Boom Boom has announced that its next party will be headlined by none other than Chicago luminary Lil Louis on Saturday July 21, at a secret “sky rise CBD venue” that is apparently being used for the first time in over five years.

The Music You Make [Deadbeat]: Hip hop, beers and buds 4. brought us together and seem to be a staple theme for a lot of our music. After our second EP Hungry And Lazy I tried to veer away from using chronic for song topics, as it’s a bit of a crutch – similar to writing songs about how much of a talented MC I am and how other MCs are an inferior by-product.

dubstep whenever we can.

[Deadbeat]: The Australian hip hop scene is blowing up. I like the emphasis on narrative and lyricism rather than image. I’m a big fan of Australia’s battle scene too, and how every state represents. The biggest obstacle for me is finding the time to accomplish grand ambitions.

Where: Baked Not Fried is out now

5.

Music, Right Here, Right Now [Hazy]: It’s amazing to watch bands you know work the underground scene and see them grow as artists. There’s a mad local scene, and there’s a bit out there for everyone. We check out hip hop gigs and wobble to crazy

Despite having been around since well before our clubbing lifetime, this will be Lil Louis’ first tour of Australia – better late than never, as the saying goes! Louis will probably always be best known for his cut ‘French Kiss’, which has been a major feature sets from the likes of Laurent Garnier and Ricardo Villalobos over the years.

In addition to that classic, Lil Louis also struck

With: DCZ (Dead City Zens), Old Men Of Moss Mountain, Big Dumb Kid, Subsketch Where: Bel-Air launch @ 1 Bayswater Road, Kings Cross When: Wednesday June 27

gold with the release of cuts like ‘Blackout’, ‘I Called You’ and ‘Club Lonely’, while collaborating with names like Larry Heard and Lil Louis Vega (no relation). Lil Louis is currently working night and day to edit his documentary on the history and development of house music and his role in it; entitled Get Down, the film is due to be premiered at the Amsterdam Dance Event in October. Support is unsurprisingly headed by the most suitable chap for the job: Simon Caldwell.

Jamie xx

AGWA YACHT CLUB 014: SUBB-AN & MIGUEL CAMPBELL

Finely Tuned have revealed the details of their first boat party of the summer, which will feature twin headliners Subb-an and Miguel Campbell aboard the Starship on Saturday November 17. Ashique ‘Subb-an’ Subhan is a 24-year-old who arrives in Australia fresh from being named as DJ Magazine’s Best Breakthrough DJ for 2011. With an accomplished production CV for someone still so young, which includes that essential EP on Crosstown Rebels (an apparent passport to the club echelon) which I rate as highly as anything the label has put out over the past eighteen months, Subb-an will arrive Down Under touted as one of the ‘next big thing’ DJs of the next generation. Meanwhile, co-headliner Miguel Campbell is the founder of Outcross Records, but has gained more exposure since being signed to Jamie Jones and Lee Foss’ Hot Creations stable back in 2010. Support will comprise locals Brohn, Co-op, Le Brond, Sam Roberts and T-Boy, with tickets scheduled to go on sale on July 9.

JAMIE XX

Following the announcement of The xx’s hugely anticipated new album Coexist and their upcoming Australian tour, which sold out in minutes, it has emerged that Jamie xx will perform a DJ set at GoodGod Small Club in Sydney on Thursday July 19. Jamie xx has established himself as a formidable solo producer in his own right over the past few years, crafting the underground hit ‘Far Nearer’ in 2011, and collaborating with Gil ScottHeron on the album We’re New Here, a re-envisioned version of the I’m New Here LP. Jamie xx has also remixed the likes of Radiohead and Adele and produced Coexist, which is due out in early September. Presale tickets are currently available online.

PET SHOP BOYS ANNOUNCE ELYSIUM

One of the most endearing songwriting pairings of modern times, Neil Tennant and Chris Lowe – collectively Pet Shop Boys – have announced they will release a new album, Elysium, in September. The LP will be the follow-up to 2009’s Yes, and was apparently recorded in Los Angeles with producer Andrew Dawson, who has previously worked with the man Barack Obama labelled a “[talented]

HERNAN CATTANEO & FRITZ KALKBRENNER @ IVY POOL CLUB

Chinese Laundry has secured the imposing international headliners of Argentina’s Hernan Cattaneo and Germany’s Fritz Kalkbrenner for its first ever pool party, an afternoon romp at Ivy Pool Club running from 1pm – 7.30pm on Saturday September 22. Kalkbrenner, who will be performing prior to Cattaneo’s three-hour set, is arguably best known for laying down the vocals on his brother Paul’s hit track ‘Sky And Sand’ from the Berlin Calling soundtrack, and has also collaborated with the likes of Sascha Funke, Alexander Kowalski and Chopstick & Johnjon over the years. Kalkbrenner recently released his first commercial mix CD on the Suol label, a compilation which showcased his love of all things soulful (see Owusu And Hannibal) as well as his appreciation of hip-hop – evinced by cuts from RJD2 and Dilla – apposite to some quality deep minimal courtesy of Lawrence. One can expect a similarly eclectic selection from him on this coming occasion. Meantime, Cattaneo is a prog veteran who has done the business many times before in Sydney – though never in a setting to match the opulent confines of Pool Club. First release $35 tickets go on sale from Thursday June 21 through Resident Advisor.

jackass”, Kanye West. A new Pet Shop Boys track, ‘Invisible’ (which is presumably lifted off Elysium), is available to stream on YouTube, and offers a mellow-verging-on-melancholic change of pace for the often upbeat ‘Boys. That’s not to say it’s a disappointment though – rather, it comes across as a personal reflection of where the PSB are at themselves, and almost feels like self-reflexive commentary on their own gradual recession out of the pop limelight.

RENNIE PILGREM

Breakbeat proponent Rennie Pilgrem will headline Cakes @ The World Bar on Saturday July 14. Pilgrem is credited as a pioneering force behind ‘future jungle’, a genre that bridges the gap between dubstep, DnB and breakbeat, and he has recently released a new single, ‘Defy’ – an anthemic cut replete with the vocals of Francesca Guarino. ‘Defy’ is taken from the forthcoming Best Of Rennie Pilgrem album, which collates material from Pilgrem that spans two decades and features collaborations with Uberzone, Arthur Baker, BLIM, MC Chickaboo and Sarah WhittakerGilby from Mara. For anyone unfamiliar with Pilgrem’s output, or for newly-converted fans post his World Bar set, the Best Of release should be an ideal introduction to the man.

BRAG :: 467 :: 18:06:12 :: 33

dance music news

free stuff

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

FREESTUFF@THEBRAG.COM

five things WITH

SURKIN @ CHINESE LAUNDRY

DREAMCATCHER FROM SLOWBLOW Growing Up We both grew up with some 1. pretty forward-thinking parents – their music choice was damn fresh in retrospect. As young ‘uns our ears were blessed with everything from Dr Octogon and Coldcut to A Tribe Called Quest and Prince. Our paths were set from an early age.

Inspirations We are down with so many 2. different sounds. We are definitely Prince fans; Junglesnake saw him when he was like 9, and again just recently on his tour. I’m listening to heaps of Miles Davis at the moment – we’re all over the shop. Dance music-wise, I guess our boats are kept afloat by Visionquest, W+L, FXHE Records, Cómeme and so much more...

Your Crew SLOWBLOW is 3.

Dreamcatcher and Jungle Snake.

Good friends from high school, like to party (a lot), didn’t hear enough of the music we liked, decided to throw our own party – the rest is history. We like playing together, and with our sexy friends Softwar. We have quite different tastes in dance music,

but there are enough similarities to make our DJ sets so damn fun and exciting you melt into a puddle of goo.

The Music You Make We don’t really make any 4. music at the moment – we’re just working on a few edits to play out and about. You can expect nothing less than a musical rollercoaster of emotion and desire when you come to our party. Plus smoke and lasers.

Music, Right Here, Right Now 5.

The dance music scene in Sydney right now is getting much better. I think it got stuck in a bit of a ditch for a while, but now lots of different people are doing lots of different parties. It’s great! The mighty GoodGod Small club is always fresh as a daisy, Spice is great for your heavier stuff, and the Flinders is always good for a bit of fun.

With: Canyons, Softwar, Debonair

Where: Slow Blow Presents Club Tropicana @ GoodGod Small Club When: Friday June 29

TRINITY & BEYOND

Sydney duo Trinity & Beyond have just dropped a new release on their Pink Silver label, the Reign EP, which includes a remix from dub techno maestro XDB. The release straddles acid-infused atmospheric techno together with a more down-tempo and deeper rework from XDB. Anyone curious to see Trinity play a solo live show can catch her performing at the Golden Cage party at One22 this Saturday, where Melbourne’s Text Book Music will also be playing along with Edoardo Perlo, an underrated local with fine taste in club tunes.

Visit pinksilver.net for more info about Pink Silver releases.

He’s rocketed to stardom since his first tour Down Under in 2007, so it’s understandable Chinese Laundry wanted to have him back: acclaimed producer/DJ Surkin is bringing his unique style of customised NYC freestyle, early house and seriously impressive Miami bass back to Sussex Street on Saturday June 23. Instinctively beat-driven, Surkin transitioned into the French house fold after an illustrious foray into all things rap. His movement through a multitude of genres is illustrated on his debut record, USA, which comes out this October through his own label, Marble. To get your hands on one of three double passes to his set this weekend, let us know the name of his Marble Records’ co-manager...

Surkin

INTERNATIONAL SPACE TIME CONCERTO COMPETITION

Dr Octogon

The International Space Time Concerto Competition is open for entries until the end of the month, with DJs, remixers, sound designers, experimental artists, digital artists and visual artists all being invited to submit their ‘showreel’ and offer up what they would do if they were able to perform live with an orchestra in the Newcastle Conservatorium of Music Concert Hall later in the year.

The selected finalists will perform live with an internet-linked ensemble spanning five countries – head to spacetimeconcerto.com for further details, including more information about prizes and, of course, how to enter.

Peret Mako Big Dumb KId

PERET MAKO @ SPICE CELLAR

Sydney veteran Peret Mako will headline the Spice Cellar on Saturday July 7. Having produced for Alphatown Collective and Little Beasties and remixed Swag over the course of his distinguished career, Mako has always been highly respected amongst Sydney’s music cognoscenti. Mako was responsible for one of the finest local electronic releases of the past decade with The Devil’s In The Detail, an LP that finally saw the light of day in 2008 through a release on Future Classic. (Seek that one out if you haven’t heard it already.) An extremely talented and versatile musician, he has supported everyone from Optimo, Charles Webster and Theo Parrish to DJ Krush and Blackalicious, as well as played saxophone for Jamie Lidell’s live show in Sydney. As a DJ, you can expect Mako to traverse hip hop, techno, jazz and deep house influences in his set.

34 :: BRAG :: 467 :: 18:06:12

BIG DUMB KID DR OCTAGON

Having resurrected his Dr Octagon persona earlier this year with Return Of Dr. Octagon, hip hop luminary Keith Thornton will perform at Oxford Art Factory on Thursday July 12. Breaking out with Ultramagnetic MCs in the ‘80s, Thornton later hooked up with Dan “The Automator” Nakamura under the Dr. Octagon guise, which led to a DreamWorks signing and 1999’s intergalactic gem, Black Elvis/Lost in Space (under simply Kool Keith). Thorton has released dozens of records as Kool Keith, Dr. Dooom, Mr. Nogatco (Octagon spelled backward) and Analog Brothers (with Ice-T). On this occasion, he’ll be supported by True Vibenation, Roleo, Frenzie and Preacha. Presale tickets are available for $35.

NIC FANCIULLI TOUR

Saved Records main man Nic Fanciulli, who has also released under the monikers of Skylark and Buick Project throughout his career, will spin at Goldfish on Saturday July 14 as part of a tour supporting his recently released Balance 021 compilation. The

mix featured two contrasting discs, the first traversing a broad range of tracks from the likes of Anonym, Omar-S and Berlin fashion icon Oscar Offerman, while the second disc comprises material exclusive to the Saved catalogue, featuring cuts from Philip Bader, Robert Dietz and Fanciulli himself.

“[It] is my handshake to the world, an introduction to who I am and what I want to achieve, not only with my music but with life,” explains Brogan Galceran, aka Big Dumb Kid, when speaking about his entirely selfproduced debut album, Chocolate.

“I wanted to tell a story and push some boundaries within myself on this record. I’ve never worked on anything like this before, so I kind of turned off the gate in my brain and let my imagination run wild.” Big Dumb Kid will himself be running wild when he performs at GoodGod Small Club on Thursday July 5, while his debut record Chocolate is available to download from big-dumb-kid.bandcamp.com

BRAG :: 467 :: 18:06:12 :: 35

World’s End Press The Next Step By Benjamin Cooper EP in 2010. They’ve supported acts like Primal Scream and !!! and played to massive festival audiences, all the while working on their debut full-length album. “The first time we played a big stage was at Falls Festival a few years ago, and it was quite shocking,” Parkinson says. “We had only ever really played smaller rooms where you have the opportunity to connect with anyone, and then all of a sudden we’re looking out at tens of thousands of people. We’re acutely aware that there is very little room for error in that kind of an environment.

T

o those who think World’s End Press started out with those sexed-up pop beats, frontman John Parkinson reveals a little secret: it wasn’t always this way. “When we started out we were a five-piece making fairly esoteric tunes that were this weird mix of post-punk and bizarre pop,” he tells me. “It was a lot of fun, and because it was so low key I

was able to do individual artwork for all of the releases. The trade-off now is that we get to use really cool equipment. It’s not bad, not bad at all.”

The Melbournians have enjoyed a stellar touring career since announcing their arrival on the dance music scene with the Faithful

Manhood ...Is Gonna Save The Day By Alasdair Duncan

36 :: BRAG :: 467 :: 18:06:12

What: ‘Second Day Uptown’ is out now Where: GoodGod Small Club When: Friday July 6

Addicted To Bass By RK

I

A

Way more of a studio nerd than most people would realise, Copulos frets about his tracks down to the most minute details. “I don’t like listening to bands where the influences are too obvious,” he tells me. “When it comes

But don’t worry: although there may be more adventurous, moodier sounds on the debut LP, they won’t be going back to the more experimental incarnation of the band: “We want our music to be heard by as many people as possible,” Parkinson says. “That’s not to say we’ll bastardise our sound or sacrifice art or anything like that. We just love pop, and the classicism of singable melodies. We want to continue that time-honoured tradition of making pop that people can keep on loving.”

You’ll be able to hear material from the band’s imminent debut album on their upcoming mini-tour, before they decamp to work with a mystery British producer in Wales, where they’ll be bringing even more energy to their

f you’re a fan of breaks, you will without doubt know Kid Kenobi; the DJ and producer absolutely smashed it in the early noughties, snapping up awards and making a name for himself in the growing breaks community in Australia. These days, Jesse Desenberg – the lad behind the moniker – is a family man, but he still manages to maintain a fine balance between touring, managing his label Klub Kids, and helping to keep the scene alive.

nyone who has witnessed a live show

by Muscles knows just how crazy they can get – the diminutive electro-pop dude is a manic presence on stage, bouncing up and down and giving the crowd’s energy back to them many times over. If it looks exhausting, that’s because it is. “Yeah, it was a learning experience when I first started performing,” Chris Copulos tells me. “I used to shout a lot as opposed to singing, and I realised how much truth there is to that old saying that you have to take care of your voice or you’ll ruin it. Having played hundreds of live shows now, I’ve come to realise that.

When I play, I put this crazy, over-the-top energy into the performance, and it takes a lot out of me. When I go backstage, I’m feeling… not so much depressed, but deflated. Making such energetic music takes a lot of energy out of you, and I’ve learned not to overdo it.”

‘1823’ is his favourite track on the album – not only for the subject matter, but because of the shift it represents in his songwriting. “The first couple of songs on Manhood are reminiscent of Guns Babes Lemonade,” he tells me, “because I didn’t want to go too far out for fans who liked the first album. The opening bit of the album is very pop, but then it really detours with ‘Brainfreeze’, and I guess after that you don’t really know what the rest of the album is going to be, and each new track gets darker and stranger… I wanted to break away from some of the rules I’d set for myself, and to play with structures that were more unconventional.”

Their first single ‘Second Day Uptown’ indicates a continuation of their dance-centric rhythmic hustle – but Parkinson warns that it’s not indicative of the whole record. “We have continued with some of the bright and snappy grooves of the EP,” he says, “but things also get a bit darker on the album. We’ve started to take things in quite a deep and spacey kind of groove, so while the single sits on the brighter side of the aesthetics of the album, everything else has quite a cosmic character going on.”

Kid Kenobi

Muscles

The idea of growing up and getting wiser has been on Muscles’ mind a lot of late – the title of his newest album, Manhood, being a bit of a giveaway in that respect. “I really think it’s an album you listen to from start to finish, and it’s an overall story,” he says. “I feel like it’s a really sexy album as well. It has very personal lyrics, it’s very multi-layered, and you have to listen to the songs a few times to try and understand half of the madness that is Manhood – and Muscles in general, I guess.” The album’s centrepiece is a lengthy, strange track called ‘1823’, which serves as a reflection on the great distance between your teens and your twenties. “It’s about all the ways that a person can change in five years, and really about the difference between me when I was putting out my first album and me now. It’s about wondering where you’re going in the future.”

“Luckily, we played Golden Plains Festival shortly after as a wild card entry,” he continues. “[British psych act] Hawkwind had played just before us and were quite divisive, so we pretty much just walked on at 2am in all our pop glory and blew the munters away. After that, we knew we could play any stage.” World’s End Press’ fanbase extends far beyond just festival goers; they’ve also found a place with fans of British act Pet Shop Boys, for instance, a cover of whose 1984 single ‘West End Girls’ features on the band’s EP and is a frequent live highlight. “We were playing with Primal Scream in Coogee, and were completely inundated

by Pet Shop Boys fans during that track and after the show. There were middle-aged, gay English men dancing everywhere that night!”

already bristling tunes. “We’ve actually written most of the album already, so what we’re going to do is travel to a really remote location and give ourselves cabin fever,” Parkinson enthuses. “We’re going to jam on the songs for ages and then just smash them out in the studio once we’ve all gone insane.”

“Spare time? What spare time?” Desenberg laughs, when we talk about his family/work balance. “It’s an art form in itself; it needs constant upkeep as it keeps on changing. I’m such a softy – it’s really hard travelling on the weekend, I miss my family so much! I don’t know how some DJs travel for weeks on end and not see their kids; I’m happy to be just touring Australia on weekends right now. I am, however, planning more international touring

to my songs, I try and have each part of the song be from a different decade.” In practical terms, this means that if he falls in love with a particular drum sound from the early ‘80s, he’ll look to another time – the disco era of the ‘70s, say – in order to find a complementary synth sound. “That’s a big part of the Muscles thing for me.”

Of course, a new album would be nothing without a new live show, and Muscles promises me that his Manhood tour will be a doozy. “I’ve just started testing the new live show, with this giant structure we’re calling the Manhood Diamond, as well as customised Muscles sunglasses – and we’ve got the Muscles Party Brain, which is a giant helmet that lights up different colours to different notes I play on the synthesisers. I love playing festivals, and when I’m playing live on stage it’s a strange experience … I feel like maybe I’m possessed by some force of the universe, I’m not sure. You get on stage and do your set and come off thinking, ‘Wow, what did I just do?’”

What: Manhood is out now through Modular Where: FBi Social / Cargo Bar When: Wednesday June 20 (at 1pm) / Saturday June 23

for next year, but I’ll be taking the family with me. I think I’d go crazy without them.”

And it’s not just the family, touring and studio work that’s keeping Kid Kenobi busy. He’s recently started a blog concerned with his history in the Electronic Dance Music (EDM) scene, and the culture that surrounds it all.

“We wanted to give context to our Klub Kids event, A Warehouse Jam,” he says. “The party [which happened in May] was intended to be a point of difference in the current EDM climate. To me, there is so much that has been lost and forgotten or buried in the culture of EDM and I felt there needed to be a point of change. I want to bring back some of the values I think we’ve lost. The blog links my history in with the party, and [with] what parts of my history inspired me to set this party up.”

Klub Kids houses acts like Kenobi, Two Fresh, Spenda C, Surecut Kids, Doctor Werewolf, J Trick and more. “I always have and always will believe in the music first and foremost,” Kenobi says. “I never want this to be a label that sets out to make money. I want it to have a soul. I think the family vibe reinforces that – gives it the feeling of a ‘movement’. That’s starting to happen now. There are so many talented artists on the label that I am so proud and honoured to be associated with.”

When we speak, Desenberg is hard at work in the studio, working on a new remix for Klub Kids and an artist called TJR. He has also just unleashed a mix for Ministry Of Sound’s Addicted To Bass compilation series alongside Perth bad boys Bombs Away – which both acts will be launching at Oxford Art Factory early next month. “I was stoked to be asked to mix the comp because the compilation brief was right up my alley: it was all about bass music and wasn’t restricted by genre,” Kenobi says. “The Bombs Away guys are pretty crazy – it’ll be interesting to see what happens on tour!”

As for original productions to come out this year, there are plenty in the works so far. “I’ve tried to cut back on remix work as I want to focus on releasing more original music,” he says. “But before I do that I have remixes for TJR and Doctor Werewolf to complete. Then I’m onto a new KK single and EP, a free KK EP, and also a Too Fresh single and EP. Hectic!”

What: Bombs Away & Kid Kenobi – Addicted To Bass is out now through Ministry Of Sound With: Bombs Away Where: Addicted To Bass @ Oxford Art Factory When: Saturday July 7

Deep Impressions Underground Dance And Electronica with Chris Honnery

LOOKING DEEPER SATURDAY JUNE 23 Strange Fruit The Abercrombie

SATURDAY JULY 7 Basic Soul Unit Marrickville Bowling Club

SATURDAY JULY 28 Vakula Marrickville Bowling Club

SATURDAY OCTOBER 13 Âme The Spice Cellar Axel Willner

S

wedish techno producer Axel Willner, best known for his work as The Field, will release a remix EP before the end of the month through the esteemed Cologne-based Kompakt records. The so-called “mini-release” will feature reworks drawn from The Field’s third album, Looping State Of Mind, by acts such as the Junior Boys, Canadian duo Brooklyn’s Blondes, and Mohn, the latest project from German veteran Wolfgang Voigt. While waiting for the release of Looping State Of Mind Remixe [and no, that’s not a typo smartass], you could do much worse than working your way through Willner’s own catalogue of remixes, which includes reworkings of tastemakers like Battles and Thom Yorke.

The hugely underrated Berlin Areal label, which was founded by Metope, Basteroid and Konfekt back at the turn of the millennium, will release a compilation next month, 100 Years Of Areal, featuring cuts from the likes of Fairmont, Hrdvsion and Falko Brocksieper in addition to the label co-founders. Areal has carved out a niche by releasing melodic tech-house dubbed by certain factions of the music media as “emotech”. And while I’m loathe to adopt the term due to the pejorative connotations evoked by all things ‘emo’, I understand why the phrase is used – releases on Areal are often fairly brooding, mournful and evocative when compared to other electronic cuts. (Anyone familiar with Ada should think of her ‘signature sound’ as very much encapsulating the Areal mandate.) While the songs on the soon-tobe-released compilation are unreleased, intriguingly they’re ‘hybrid tracks’ – each cut is composed from old Areal tracks.

Forgive me father, for I have sinned. I rarely write about releases on this page without having heard them first. Unfortunately I did precisely that with the Solomun Watergate compilation, and would consequently now like to distance myself from endorsing the release, which is an attempt at a party mix and a bit of a fizzer, cheapening a compilation series that began so strongly.

Sure, you could say it’s a fun release, but there’s far too much quality music to be discovered to waste your time listening to dross like this. Wrap your ears around the new Tom Ellis LP on Archipel or the Levon Vincent fabric mix instead, rather than wasting your time with Solomun’s selfindulgent antics.

Nick Höppner The next instalment in the Panorama Bar compilation series, due out early next month, should not disappoint a la the aforementioned ‘unpleasantness’. Ostgut Ton chief Nick Höppner, who has released a number of EPs through the label as a solo producer, has compressed 20 tracks from dance music deity such as Matthew ‘The Goat’ Styles, Chateau Flight, The Mole, DJ Gregory and Carsten Jost into a mere 75 minutes. While the bar has been set high courtesy of previous Panorama Bar mixes from the likes of Prosumer (who recently performed in Sydney at One22 for Co-Op) and Cassy (who I hope will perform in Australia one day – promoters, are you listening?), Panorama Bar 04 seemingly has all the right elements in place to maintain the high standard.

The HaHa crew have fleshed out the details of their Basic Soul Unit-headlined party, which is now confirmed for Marrickville Bowling Club on Saturday July 7. Furthermore, an elaborate support cast has been locked in, comprising Mad Racket’s Simon Caldwell, Alphatown (who will be playing live), Canada’s Eric Downer, and residents D&D. Basic Soul Unit (aka Canada-based Stuart Li) will be touring Australia as he prepares to release his first Basic Soul Unit long player on Chicago’s Still Music imprint, as well as an EP on Boddika’s Nonplus+ label. In terms of Li’s sonic sensibility, the man divulges that he considers most of his music to be “soulful, but I also think I have some variety of deep as well as jacking songs. Likewise with my DJing, I like to play a spectrum of music.” Presale tickets are on sale now for $20 from thisiswhitelabel.com

Basic Soul Unit

Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com BRAG :: 467 :: 18:06:12 :: 37

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

club pick of the week Surkin

SATURDAY JUNE 23

Q Bar, Darlinghurst Hot Damn Hot Damn DJs $15-$20 8pm Sapphire Lounge, Kings Cross Rack City DJ Tikelz, DJ Lenno, DJ Ziggy, DJ Lyrikz, DJ Rkays, Mista Cee 8pm Trademark Hotel, Kings Cross Swag Thursdays Resident DJs 9pm The World Bar, Kings Cross Propaganda Tom Ballard, Urby, Conrad Greenleaf, Dan bombings free 9pm

FRIDAY JUNE 22

Chinese Laundry, Sydney

Surkin (FRA), Kraymer, A-Tonez, Cheap Lettus, Whitecat, Murray Lake, Morgan, Brothers Grimm, Joe Barrs, Cassette, DJ Eko $15-$25 9pm MONDAY JUNE 18 Scruffy Murphys, Sydney Mother Of A Monday DJ Smokin Joe free 8pm The Sugar Mill, Kings Cross Makeout Mondays DJs free 8pm The World Bar, Kings Cross Monday Jazz & Latin Jam DJs free 7pm

TUESDAY JUNE 19 Empire Hotel, Kings Cross Tight Resident DJs free 9pm Establishment, Sydney Rumba Motel Salsa DJ Willie Sabor free 8pm Scruffy Murphys, Sydney I Love Goon Tuesdays DJ Smokin Joe free 8pm Trademark Hotel, Kings Cross Coyote Tuesday – We Love Brazil Resident DJs, Forro Band $10 7pm The World Bar, Kings Cross Jam Jam DJs free 8pm

WEDNESDAY JUNE 20 The Bank Hotel – Velvet Room, Newtown Lady L, Resident DJs free 9pm The Bank Nightclub, Kings Cross Money Talks DJs free 10pm Epping Hotel DTF Resident DJs free FBi Social @ Kings Cross Hotel Muscles free 1pm Flinders Hotel, Surry Hills Hip Hop Resident DJs free 8pm Harbord Beach Hotel, Freshwater DJ Jason Bettinger Lansdowne Hotel, Chippendale Frat House DJ Alley Cats free 8pm Valve B ar, Tempe Ronikal 7pm The World Bar, Kings Cross The Wall Glovecats, Kombat & Who Am I, Swissdub, E-Cats, Pablo Calamari, Axton Frick, Pixl & Favright $5 9pm

THURSDAY JUNE 21 Beach Road Hotel, Bondi Champion Sound DJ Frenzie free 7.30pm The Burdekin, Darlinghurst Tremor Billy Green, Luke Warren, Jnr, Lewba, Oscar The Badman free 9pm Civic Underground, Sydney Fashawn & Exile (USA), Dialectrix, Tuka, Morgs, DJ Ology, Frenzie $25 (+ bf) 9pm The Cool Room, Australian Hotel & Brewery, Rouse Hill We Love Thursdays Troy T, Anthony K, Big Will 9pm GoodGod Front Bar, Sydney Girls Gone Mild Eliza & Hannah Reilly free 9pm The Greenwood Hotel, North Sydney The Greenwood Thursday Nights Resident DJs free 8pm Gypsy Lounge, Darlinghurst Naked Resident DJs 9pm Kit & Kaboodle, Kings Cross Resident DJs free 8pm

Abercrombie Hotel, Broadway Totally Barry Bad Barry DJs free 9pm Beach Road Hotel, Bondi Movement Conics free 8pm Candys Apartment, Kings Cross Liquid Sky Diskoriot, Digital T, M9, Bass Ventura, Crysist $10-$15 9pm Cargo Lounge, King St Wharf Kick On Fridays Resident DJs free 4pm Chinese Laundry, Sydney Boss Bass J-Trick, Hydraulix, Pop The Hatch, Kombat, Autoclaws, Bruxism, Masaki, Phaseone $15-$25 Epping Hotel Flirt Flirt DJs free Hugo’s Lounge, Kings Cross Hugo’s Fridays Resident DJs 8pm Kit & Kaboodle, Kings Cross KK Fridays Falcona Agency DJs 8pm Metro Theatre The Bamboos, Axolotl, DJ Mr Glass $35 (+bf) 9pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm Omega Lounge, City Tattersalls Club, Sydney Unwind Fridays DJ Greg Summerfield free 5.30pm Pontoon, Darling Harbour Perfect Resident DJs free Ruby Rabbit, Darlinghurst Meet At The Rabbit Illya, Dave 54, Phil Hudson, Hustle DJs 9pm Sapphire Lounge, Kings Cross My Studio Nacho Pop, Dim Slm, Digital Mouthm Mike Ruckus 8pm Scruffy Murphy’s, Sydney Frisky Friday DJs free 6pm Secret Warehouse, Sydney Mark De Clive Lowe (NZ/US), Inkswel, Edseven, Huwston $25 9pm The Shark Hotel, Sydney Puls8 DJ Jono, Guest DJs free 9pm The Spice Cellar, Sydney Das Moth (JPN), Disco Punx, James Taylor, Morgan $10 10pm Trademark Hotel, Kings Cross Das Moth

Eve Resident DJs 9pm The World Bar, Kings Cross MUM Pirates Alive, Doc Holliday Takes The Shotgun, The Red Paintings, The Chorus Girls, Samoan Punks, Bec & Ben, Warchief, Wolfden DJs, Swim Team DJs, Wet Lungs, Cam Anthony, Cries Wolf DJs, DJ Boy, 10th Avenue $10-$15 9pm Zink Bar, Cronulla Far Out Friday Derek Turner 7pm

SATURDAY JUNE 23 Abercrombie Hotel, Broadway Strange Fruit Strange Fruit DJs free 9pm The Argyle, The Rocks Open House Dante Rivera, Eddie Coulter, Jay Kay, Oscar De Lima (USA) free 9pm BJs Nightclub, Bondi Junction DJ Shane Taylor 10pm Candys Apartment, Kings Cross Ritual Pretty Young Things, Intheory, Donald Crump, Zomg Kittens, Hypa, Matty Bixx, Kid Nip, Scotty P, Academy $20 9pm Cargo Bar, Kings St Wharf Muscles, A Game, Kristy Lee, Pat Ward $25-$35 (+ bf) 6pm Chinese Laundry, Sydney Surkin (FRA), Kraymer, A-Tonez, Cheap Lettus, Whitecat, Murray Lake, Morgan, Cassette, Brothers Grimm, DJ Eko $15-$25 9pm Club 77, Darlinghurst Starfuckers Starfuckers DJs, DJ Oh Boy, Trelz 10pm Establishment, Sydney Sienna The Faders, Def Rok, G-Wizard, Lilo, Troy-T 8pm FBi Social @ Kings Cross Hotel Late Night Social Moonchild, President Bird, Jame Cripps free 11.59pm Gladstone Hotel, Chippendale Swindle (UK), Juzlo, Max Gosford, Teefreqs, Basslines, Highly Dubious, Inna Riddim Sound, Sp3ktre, Farj, Fraksha, Swarmy, Brinks, Rapaport $15 (+ bf) 9pm GoodGod Small Club, Sydney Audego, Kilter, Saiko $5 8pm GoodGod Small Club, Sydney Player Haters Ball Alphamama, Joyride, Levdawg, Shantan Wantan Ichiban $10 11pm Hollywood Hotel, Surry Hills Motion Northern Soul Poster Boy, Dave Fernandes, BurnHard, Dean Dixon $5 8pm Ivy, Sydney Pure Ivy Foniko $20 6pm La Cita, King St Wharf Miami Saturdays Resident DJs free 9pm Manning Bar, Sydney University, Camperdown Jamrock Reggae Club

JamRock DJs 9pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm One22, Sydney Text Book Music, Trinity, Edoardo Perlo & Pash Mann, Garth Linton $15 9pm Oxford Art Factory, Darlinghurst Girlthing Goes Jumanji Nina Las Vegas, Girlthing DJs, Cunningpants, Ben Lucid, Nat Noiz $10-$15 9pm Q Bar, Darlinghurst Wasted Years Wasted Years DJs $10 8pm Sapphire Lounge, Kings Cross The Suite Charlie Brown, Big Will, Dim Dlm, Discokid, Troy T, Jo Funk, Steve S, Adamo, J Smoove 8pm Selina’s, Coogee Bay Hotel Party By The Sea DJ York, DJ Dimitri Velen, DJ Tom Hyper 9pm The Sly Fox, Enmore Coochies King Lee, Tom Yum, Ze Rod 9pm The Spice Cellar, Sydney Monkey Tennis DJs, Robbie Lowe, Nic Scali, Ricky Mocean, Matt Weir, Steven Sullivan $20 10pm The Standard, Surry Hills Pilerats Launch Party Canyons, Flume, Sosume DJs, What So Not, Inthemix DJs, Indian Summer DJs, Metric DJs $10 (+ bf) 8pm Sun Studios, Alexandria High Flyers Little Secret #5 Warehouse Party Graeme Park (UK), Tom Middleton (UK), Eric Powell, Mr Thing, Nicc Johnson, DJ Hudge, Simon Caldwell, Robbie Lowe, Kerry Wallace, Mr Glass, Karl Prinzen, Digital Love DJs, Russtee, DJ Koolade $69 (+ bf) 8pm Trademark Hotel, Kings Cross Trademark Saturdays Daniel Berti, G-Wizard, Cadell, Albie Smiles, Troy T, MC Deekay 9pm Tunnel Nightclub, Kings Cross ONE Saturdays Resident DJs $10-$20 10pm The World Bar, Kings Cross Cakes Blaze, Kraymer, Chris Arnott, Brendan Fing, Zwelli, Pipemix, Nate Perry, Frenzie, Kato, Tigerlily, Shivers, Grunt, Illya, Hannah $15-$20 8pm

SUNDAY JUNE 24

SUNDAY JUNE 24

The Abercrombie Hotel, Broadway S.A.S.H. Sundays S.A.S.H. DJs $10 2pm The Beresford Hotel, Surry Hills Beresford Sundays Resident DJs free 5pm Goldfish, Kings Cross Martini Club Sundays Martini Club, Tom Kelly, Straight Up Steve free 6pm Hugo’s Lounge, Kings Cross Sneaky Sundays Sneaky Sound System, Resident DJs 8pm Kit & Kaboodle, Kings Cross Easy Sundays Resident DJs 8pm The Lansdowne, Broadway The Hed Ubd & Fortay At Large, Spiral Conspiracy, B-Don & MiZi, B Wise, Empress MC, Prozacc free Q Bar, Darlinghurst Daydream DJs 4.30am The Spice Cellar, Sydney Spice Robbie Lowe $20 4am The World Bar, Kings Cross Dust James Taylor, Morgan free 9pm

“Hate is your reward for our love, telling us of your God above.. We’re gonna chase those crazy baldheads out of town!” – MARLEY 38 :: BRAG :: 467 :: 18:06:12

club picks up all night out all week...

Glovecats

LV L 3 , 3 8 3 B O U R K E S T S U R R Y H I L L S

L I V E M U S I C , V I S U A L A R T, T H E AT R E , CO M E DY, B U R L E S Q U E & B O O Z E

FRI 22 JUN WEDNESDAY JUNE 20 The World Bar, Kings Cross The Wall Glovecats, Kombat & Who Am I, Swissdub, E-Cats, Pablo Calamari, Axton Frick, Pixl & Favright $5 9pm

THURSDAY JUNE 21 Civic Underground, Sydney Fashawn & Exile (USA), Dialectrix, Tuka, Morgs, DJ Ology, Frenzie $25 (+ bf) 9pm The World Bar, Kings Cross Propaganda Tom Ballard, Urby, Conrad Greenleaf, Dan bombings free 9pm

FRIDAY JUNE 22 Beach Road Hotel, Bondi Movement Conics free 8pm Chinese Laundry, Sydney Boss Bass J-Trick, Hydraulix, Pop The Hatch, Kombat, Autoclaws, Bruxism, Masaki, Phaseone $15-$25 10pm Secret Warehouse, Sydney Mark De Clive Lowe (NZ/US), Inkswel, Edseven, Huwston $25 9pm The Spice Cellar, Sydney Das Moth (JPN), James Taylor, Morgan $10 10pm

Graeme Park

SATURDAY JUNE 23 Abercrombie Hotel, Broadway Strange Fruit Strange Fruit DJs free 9pm Cargo Bar, Kings St Wharf Muscles, A Game, Kristy Lee, Pat Ward $25-$35 (+ bf) 6pm GoodGod Small Club, Sydney Audego, Kilter, Saiko $5 8pm GoodGod Small Club, Sydney Player Haters Ball Alphamama, Joyride, Levdawg, Shantan Wantan Ichiban $10 11pm The Spice Cellar, Sydney Monkey Tennis DJs, Robbie Lowe, Nic Scali, DJ Tricky, Matt Weir, Steven Sullivan $20 10pm The Standard, Surry Hills Pilerats Launch Party Canyons, Flume, Sosoume DJs, What So Not, Inthemix DJs, Indian Summer DJs, Metric DJs $10 (+ bf) 8pm

DOORS AT 8PM $

10

COME VISIT US AT FACEBOOK.COM/THESTANDARDSYDNEY

TICKETS ON SALE NOW AT WWW.WEARETHESTANDARD.COM.AU

Sun Studios, Alexandria High Flyers Little Secret #5 Warehouse Party Graeme Park (UK), Tom Middleton (UK), Eric Powell (UK), Mr Thing (UK), Nicc Johnson, DJ Hudge, Simon Caldwell, Robbie Lowe, Kerry Wallace, Mr Glass, Karl Prinzen, Digital Love DJs, Russtee, DJ Koolade $69 (+ bf) 8pm The World Bar, Kings Cross Cakes Blaze, Kraymer, Chris Arnott, Brendan Fing, Zwelli, Pipemix, Nate Perry, Frenzie, Kato, Tigerlily, Shivers, Grunt, Illya, Hannah $15-$20 8pm

ALBUM LAUNCH GOOD GOD WITH SMALL CLUB KILTER & SAIKO SAT JUNE 23 BRAG :: 467 :: 18:06:12 :: 39

snap up all night out all week . . .

propaganda

deepchild

PICS :: RJ

party profile

It’s called: Propaganda It sounds like: Sweet eargasms.

Who’s spinning? DJs Tom Ballard (triple j), Urby and Conrad Greenleaf.

Three songs you’ll hear on the night: Djang o Django – ‘Default’; Rapids – ‘Shoppe Sorry’; The Black Keys – ‘Gold On The Ceiling’.

And one you definitely won’t: Anything by Jesus…’Cause he doesn’t sing.

Sell it to us: Finished your exams? Need to drown your sorrows/celebrate? Tom Ballard (that guy off the radio) is back makin g people laugh from behind the Propaganda decks, joined by Urby and Conra d Greenleaf with an audio-visual mix of the best new and classic indie. You’ve studie d hard, now let’s party hard!

The bit we’ll remember in the AM: A freaki ng PANDA. We're not joking – it’ll all make sense later. Shhh...

Crowd specs: People with pants on. Most of the time.

Wallet damage: Free with student ID, otherw ise $5.

Where: The World Bar / 24 Bayswater Road, Kings Cross When: Thursday June 21, from 8pm

yung warriors

PICS ::RR

08:06:12 :: GoodGod Small Club :: 53-55 Liverpool St Sydney 8084 0587

the cool room

PICS :: TW

07:06:12 :: FBi Social :: Kings Cross Hotel 248 William St 9331 9900

08:06:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 :: KATRINA CLARKE :: RASA S : TIM LEVY (HEAD HONCHO) CHY :: GEORGE POPOV :: OUR LOVELY PHOTOGRAPHER PEA MAS THO :: NS MUN :: DANIEL WHITESIDE JUSKEVICIUTE :: ASHLEY MAR SAM :: Y TNE WHI TIM :: ERS WEIJ ROSETTE ROUHANNA :: ROCKEY

40 :: BRAG :: 467 :: 18:06:12

propaganda

PICS :: DM

meat katie

PICS :: AM

07:06:12 :: Australian Brewery :: 350 Annangrove Rd Rouse Hill 9679 4555

07:06:12 :: World Bar :: 24 Bayswater Rd Kings Cross 9357 7700

BRAG :: 467 :: 18:06:12 :: 41

snap up all night out all week . . .

movement

come together

PICS :: AM

party profile

It’s called: Niche presents Movement It sounds like: The future of electronic music , beats, indie disco and hip hop.

Who’s playing? Conics (live), with special guests and DJs. Three songs you’ll hear on the night: Conic s – ‘Illuminate’ and ‘Habitats’; LCD Soundsystem – ‘Dance Yourself Clean’ And one you definitely won’t: Roxette – 'Listen To Your Heart'.

Sell it to us: Conics are on the up! On the verge of releasing new material, they’re going to take the indie dance scene by storm this year. This is their second spot at Movement, and the last one was so ram-jam we had to have them back. Chandelier swinging and bell rockin g is guaranteed.

The bit we’ll remember in the AM: The bass, the beats and the beers.

Crowd specs: Hipsters, rock’n’rollers, beat freaks and general Friday-night party people.

Wallet damage: Free!

Where: Beach Road Hotel, Bondi When: Friday June 22, from 8pm

jamie 3:26

PICS ::KC

09:06:12 :: Big Top Luna Park :: 1 Olympic Drive Milsons Point 9033 7676

chris liebing

PICS :: AM

09:06:12 :: Tatlers :: 169 Darlinghurst Rd Kings Cross 9326 0222

09:06:12 :: One22 :: 122 Pitt St Sydney

:: KATRINA CLARKE :: RASA S : TIM LEVY (HEAD HONCHO) CHY :: GEORGE POPOV :: OUR LOVELY PHOTOGRAPHER PEA MAS THO :: :: DANIEL MUNNS WHITESIDE JUSKEVICIUTE :: ASHLEY MAR SAM :: Y TNE WHI WEIJERS :: TIM ROSETTE ROUHANNA :: ROCKEY

42 :: BRAG :: 467 :: 18:06:12

carlos zarate

PICS :: AM

kaiserdisco

PICS :: AM

09:06:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999

09:06:12 :: The Spice Cellar :: 58 Elizabeth St Sydney

O

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