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CONGRATULATIONS TO ALL THE 2012 NOMINEES : A MUSIC COMPANY FIR E S LEVEN T A RTER KS E INDICA AUSTRALIA KP RE M TRA C C U O R S DS MUSI IC ANT F LEF ACTICS INION MUSIC RED CAT RECORDS R KUNS THA OOTS T EMO SE OP TRIC PU B C E L L I C T ES O LLA UBLIC P E INION TROL E CON US L TOM OC GORI P M IO T PE P CTRIC E S N U L T P E U L B PR E O S L I R C T I O C R ROL N H REC P GS ORD W I INM N IA PE O ION G MUSIC OBESE R DE RDIN REC ERTA INERT MU ED C REC US OR E RKETIN C A S O R I OL CO GUE ENT RAH C R AT R ORD E M D DS EWM DAGGIES TWO BRIGHT E U O S E L C N RE LEA DER JAR SIC N A K GAW E S V E LO D CA OR RE Y MU USIC D OU DS IT ISH MUSIC SOULMATE U T L R R E ON CE M KINNYF COR AMIN DER RE S NE CO TI S JARRAH LEVEL TWO C D E R S M RE ERA OUR RDS ECORDS U SO ECO NT O SIC S B U R E L LI DS RECO GUE R I B ER RCE DS A A LE M OR .X T T I ON U AL IVY M DS
CHA PTE TUR R MU SI EO OUD F VIN C CR ER EA TA IC E ENTE GE G TE C RT LE O IG ETI FANT AIN PIG NTR ME LE NG T E U MUS RAC NT T NI K IC I SO FIED OB S O V UL M MU ES RE ATE SIC E CO R SIV RD EC S ES OU S N
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rock music news welcome to the frontline: what’s goin’ on around town... with Nathan Jolly
he said she said WITH
ALISTAR FROM THE CAIROS I can’t go past Paul McCartney – everything he did for such a long time was pure gold. The guitar solo on ‘Taxman’, the bass on ‘I Want You, She’s So Heavy’, the vocal on ‘Maybe I’m Amazed’, the beatboxing on ‘That Would Be Something’… Oh, and he wrote a few alright songs too. The first Beatles albums I heard were A Hard Day’s Night and Help, just because those were the movies we used to watch after school all the time. A lot else inspires all of us, from various authors and painters to ‘80s hair metal band haircuts. The three of us met in high school and started playing music together, pretty much from the age of 15. There’s definitely contrasting tastes amongst the lot of us, but we’re connected by a strong friendship and a desire to make the best music we can.
M
laying around, and sung all kinds of tunes to us regularly. Listening to all the sweetest melodies as a kid definitely defined the way I write songs. I wanted to be all four members of ABBA. Still do, really.
NORAH’S SECOND SHOW
PUBLISHERS: Adam Zammit & Rob Furst EDITOR IN CHIEF: Adam Zammit 9552 6333 adam@peergroupmedia.com EDITOR: Steph Harmon steph@thebrag.com 02 9552 6333 ACTING ARTS & ASSOCIATE EDITOR: Dijana Kumurdian dee@thebrag.com 02 9690 2731 STAFF WRITERS: Alasdair Duncan, Benjamin Cooper NEWS: Nathan Jolly, Chris Honnery ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: Nohmon Anwaryar, Katrina Clarke, Saskia Eisermann, Ashley Mar, Thomas Peachy, George Popov, Pedro Xavier COVER PHOTO: James Medina ADVERTISING: Ross Eldridge - 0422 659 425 / (02) 9690 0806 ross@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 8394 9027 les@thebrag.com GIG & CLUB GUIDE CO-ORDINATOR: Conrad Richters - gigguide@thebrag.com (rock) clubguide@thebrag.com (dance, hip hop & parties) INTERNS: Natalie Amat, Verity Cox, Siobhan Graham, Charis Lynn, Tanydd Jaquet REGULAR CONTRIBUTORS: Benjamin Cooper, Alasdair Duncan, Christie Eliezer, Murray Engleheart, Andrew Geeves, Chris Honnery, Nathan Jolly, Anna Kennedy, Sheridan Morley, Jenny Noyes, Hugh Robertson, Rebecca Saffir, Romi Scodellaro, Jonno Seidler, Rach Seneviratne, Roland K Smith, Laurence Rosier Staines, Luke Telford, Rick Warner, Alex Sol Watts, Krissi Weiss, Caitlin Welsh Please send mail NOT ACCOUNTS direct to this address 8a Marlborough Street, Surry Hills NSW 2010 ph - (02) 9552 6333 fax - (02) 9319 2227 EDITORIAL POLICY: The views and opinions expressed in this publication are not necessarily those of the publisher, editors or staff of The BRAG. ACCOUNTS RECEIVABLE: Stephen Forde : accounts@furstmedia.com.au ph - (03) 9428 3600 fax - (03) 9428 3611 Furst Media, 3 Newton Street Richmond Victoria 3121 DEADLINES: Editorial: Wednesday 12pm (no extensions) Artwork/ad bookings: Thursday 12pm (no extensions). Ad cancellations: Tuesday 4pm Published by Cartrage P/L ACN 104026388 All content copyrighted to Cartrage 2003 DISTRIBUTION: Wanna get The Brag? Email distribution@furstmedia. com.au or phone 03 9428 3600. PRINTED BY SPOTPRESS: www.spotpress.com.au 24 – 26 Lilian Fowler Place, Marrickville NSW 2204 Win a giveaway? Mail us a stamped and addressed envelope, and we’ll send your prize on over...
10 :: BRAG :: 481 :: 24:09:12
Sleigh Bells
BDO SIDESHOW DUMP
There should be some sort of regulatory body that monitors promoters so they can’t just dump a mess of amazing sideshow dates in the exact same morning and then sit back and watch the whole internet tizz up like a teenager. It’s irresponsible behaviour, so we offer fair warning: here are a bunch of great Big Day Out sideshows you’ll wanna get along to. The Killers, January 16 at The Metro; Bloody Beetroots, January 19 at The Enmore; Yeah Yeah Yeahs, January 22 at The Metro; Band Of Horses, January 22 at The Enmore; Alabama Shakes, January 17 at The Metro; Crystal Castles, January 17 at The Hi-Fi; Sleigh Bells, January 19 at The Metro; Jeff the Brotherhood, January 17 at The Standard; OFF!, January 17 at Annandale Hotel; and Animal Collective, January 16 at The Enmore. Tickets are on sale now.
We here at BRAG are loving the new openwound, fuck everyone, the-world-is-a-vampire Norah Jones on her latest album Little Broken Hearts – it’s much better than the G-rated, sorryI-have-piano-practice, jazz-with-Starbucks-andwithout-the-sass Norah Jones of previous times. Which is why we’re glad she has announced a second State Theatre show set for February 16, seeing the one scheduled for the day before sold out quicker than you could say, “Norah’s changed, but I kinda love it.” Tickets go on sale at 9am this Friday September 28.
THE BLACK KEYS
The Black Keys went from that moderately successful, gritty, bluesy two-piece that your friends kept telling you to check out to double Platinum-selling, Entertainment Centre-filling superstars, in the roughly two-and-a-half minutes
it took single ‘Lonely Boy’ to win everyone in the country over. That double Platinum-selling El Camino has spawned nine bonus live tracks and is being rereleased on October 12 as a special Australian tour edition; a perfect teaser for their October 23 show at Sydney Entertainment Centre which, somehow, is yet to sell out. Haven’t you guys heard the album yet? Watcha waitin’ for?
GYPSY AND THE CAT
When we heard that Gypsy And The Cat had a special announcement, we naturally thought, ‘Well, it has been around two years since their last album and these things go in two-year cycles – so surely they must be finally revealing which one is Gypsy and which one is The Cat?’ Turns out the announcement was just about the shimmering Melbourne duo’s second album The Late Blue (out October 19) and subsequent tour, which hits The Metro Theatre on November 8, with tickets on sale now. Dave Fridmann mixed the new record, too – and considering he mixed the MGMT, Flaming Lips and Tame Impala records, expect this album to be like taking all of the acid.
The Laurels
SOUNDWAVE TICKETS GO!
You know how, due to all the Blink 182s and the Metallicas and the Linkin Parks and Offsprings and Slayers, the Sydney Soundwave is completely sold out? Well, they have released a limited amount of extra tickets at soundwavefestival.com – and we strongly suggest you buy one pronto, because this is your very, very last chance. The festival also just dropped another bunch of names – including Killswitch Engage, The Vandals, Orange Goblin, The Sword, Chelsea Grin, Northlane and more – who will be spending their February 24 at Sydney Olympic Park. Go get!
KNIEVEL
Back in the ‘90s, Knievel ruled the Inner West, and recorded sparkling pop records which saw them nab support slots for the likes of Teenage Fanclub and Death Cab For Cutie – a couple of apt sonic touchstones for those unfamiliar with the band (Sonic Touchstones sounds like a great band name, right?). After a decade spent pottering around and pushing back band practice another week, the band are finally back in business, armed with a series of hilarious press releases and their new record Emerald City, which they will be launching on Wednesday October 3 at
HAPPY BIRTHDAY, GOODGOD!
If you happen to be wandering around the city this Saturday night looking for a two-yearold’s birthday party to crash, then maybe wander into a police station instead and tell them your life story: they’ll be very interested... If you’re simply looking for a load of great bands, get along to the two-night extravaganza that is Goodgod Small Club’s second birthday party. The first night, Saturday September 29, features the art-pop of My Disco, the woozy whoosh of The Laurels, the percussive and persuasive No Zu, the sultry psych of Songs, plus a bunch of other acts like The Fighting League, Bloods, DCM, Pop Singles, Client Liaison, Bart Willoughby and Selwyn Burns (from the legendary No Fixed Address), and Daniel Darling from Dolly Rocker Movement, who is performing a one-off organdriven dance project (yes!). The second night, the Sunday, is an all-DJ extravaganza, headlined, confusingly, by a band. It’s The Goodgod House Band, and it’ll be filled with special guests and led by Daniel Stricker from Midnight Juggernauts. Spinning will be representatives from all your favourite Goodgod nights, like Michael Ozone, Slowblow, Same Old Scene, Toni Toni Lee, Pelvis, Levins, Joey The Saint, Jimmy “I own this place” Sing, Jingle Jangle, Shantan Wantan Ichiban and more. The best part is you don’t have to call in sick on Monday – public holiday FTW!
Xxx
The Local Taphouse in Darlinghurst – which apparently has live music! Free entry, nice beers, and lots of bookcases, too.
With: Wax Witches, Bored Nothing, March Of The Real Fly, Driffs and more Where: MUM’s 5th Birthday @ The World Bar When: Friday September 28 More: Also playing at Bang! @ The Annandale with Underlights on Thursday October 11
Xxxx
y first childhood music memory involves listening to Björk’s ‘Come To Me’, and dancing with my sisters pretending to be Björk. Our family was very musical; dad always had the guitar
We are a rock band – two guitars, bass, drums – but we try to change things up. We love the sounds of bands like Starflyer 59, Raveonettes, Broken Social Scene and Yuck. We recorded our latest EP with Wayne Conolly at Albert Studios in Sydney. He has a great knack for quality guitar sounds and getting a lot out of a song. For our live show, we just try to give as much energy as we can. We tend to turn it up a little louder than normal, and try to be a little light-hearted as well.
The music industry is something that I don’t think anyone could get a whole handle on. It’s great having scenes within scenes – venues pop up, crazy bands come and go, you meet interesting people all the time. I think the greater the diversity, the better. The main obstacle a band needs to overcome is themselves. For a long time, we were unsure of ourselves – what we were doing, who we were trying to please – but as soon as we committed ourselves to do what came naturally, we had the confidence to really give it our all. The local scene is supportive and incestuous; it’s strong and competitive and pushes us all to greater heights. We’ve had a chance to tour with some pretty exciting bands recently, like Deep Sea Arcade and The Preatures, and we’ve learned a whole lot from what they do. When we first came to Sydney we played at The World Bar, and it’s always the place we end up after a long night.
2012
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rock music news
free stuff
welcome to the frontline: what’s goin’ on around town... with Nathan Jolly
FREESTUFF@THEBRAG.COM
five things WITH
PETER COMBE
BEC AND BEN but the songs didn’t resonate with us, so Bec learned to play drums standing up and Ben gave in to thrashing his guitar, and things seemed to fit. The Music You Make With just two of us we like to make it 4. count, so there’s big riffs, big beats, and a to-and-fro male/female viewpoint in a lot of the vocals. Because of our set-up we’re always likened to other male/female rock duos like The White Stripes and The Kills, which we’re fine with – we’re fans. Our show always feels like it’s on the verge of disaster, which is exciting for us and our audience. We’ve attempted to preserve that on our EP, while still giving it a sonic touchup and some unique packaging. Music, Right Here, Right Now Starting out we couldn’t get a gig 5. anywhere because we had no credentials,
1.
Growing Up [Bec]: A stage mum and a rugby dad that loved Midnight Oil and Bundy Rum. I was raised in a motel room above a pub that my parents ran, so Australian pub rock is in my blood. [Ben]: I got the Trainspotting soundtrack on cassette from a kid at school in year seven, and after that 100% Hits Vol. 6 and Bryan Adams didn’t get a look in. I started playing drums and guitar in the same year. Inspirations Great songwriting. It will always stand the 2. test of time. We’re generally inspired by artists whose work outlives the trends of their day, and who push the boundaries to create their own
unique sound: Tom Waits and Radiohead are two that jump to mind. We’re not protestors or agitators, but we write about social expectations, relationship clichés, feminist ideals and alternative perspectives about our existence. We are exploring life and notating this through our music.
3.
Your Band We met through an ad for a band that never happened, and ended up making music as a duo from bits and pieces of each other’s solo stuff. It’s common to find musicians that share similar interests, but finding someone committed, who you can collaborate with easily, is rare. We created some flimsy folk initially,
so we created our own music/arts festival, headlined it, and managed to get the ball rolling from there. My Sydney Riot have helped us immensely; we’ve been welcomed into Ray’s community and feel supported and inspired by the talented bands around us: The Chitticks, The Ruminaters, Sweet Teeth, Warchief and too many more. We don’t have to be polite – they are genuinely talented.
COCKATOO ISLAND LIFE
BLUESFEST 2013 LINEUP
Chris Isaak had a short-lived comedy series that ranks as one of the top ten most hilarious television shows to never last a season (email us for full list). But when he next visits Australia it won’t be part of a double stand-up bill with Frank Woodley; it’ll be as part of the 2013 Bluesfest lineup, which also features Wilco, Santana, Iggy And The Stooges, Ben Harper, Bonnie Raitt, Dropkick Murphys, Steve Miller Band, Glen Hansard with The Frames, Tedeschi Trucks Band, William Elliott Whitmore, Newton Faulkner, Frank Turner And The Sleeping Souls, Grace Potter, Playing For Change and Ben Caplan – and that’s just the first of four lineup announcements. Phew! Tickets are already on sale for the five-day festival, which takes over Byron’s Tyagarah Tea Tree Farm (definitely in our top three tea tree farms) between March 28 and April 1 next year.
SURRY HILLS FESTIVAL
We love Surry Hills. Our offices are in Surry Hills and every day we marvel at the mixed bag of characters that wander these streets. It’s a magical place full of spirulina and gallery openings and coconuts with straws, where everyone looks either healthy or hungover and regular milk is treated as the gross, inferior product it is. Surry Hills Festival celebrates the diversity of our ‘hood on Saturday October 27 by inviting a bunch of bands to play at Prince Alfred Park (finish the pool already!), including Tijuana Cartel, Canyons (DJ Set), Softwar, True Vibenation, Madhu, Alison Wonderland, Nantes, Steve Smyth, Fire! Santa Rosa, Fire!. Mojo Juju, The Tongue, The Liberators, Slow Blow and loads more.
HUNGRY KIDS SHOOT SHARP
Hungry Kids Of Hungary have just released ‘Sharp Shooter’, the first offering from their forthcoming second album, and, judging by this energetic new single, they look set to surpass their very-good-indeed debut record Escapades. It’s as if they have never heard the term “sophomore slump”, which totally messes up the Behind The
Music documentary we have already made about them (guess which member we killed off!). Hear this track and others when they play The Standard on November 1, with Brisbane’s skuzzy, surf-tastic Gung Ho in support/helping bring the drum kit in through those side-doors. Tickets via Moshtix.
STEP-PANTHER SHOW
“I’ve got external issues/boo-hoo where’s my tissues?” sing Sydney’s great, big, sloppy pop hope Step-Panther on their new single ‘Maybe Later’, which they are launching October 26 at Brighton Up Bar. They’re being supported by Bad Dreems and Bored Nothing, both of which sound like they could be the titles of Step-Panther songs. This will be a great night.
MOJO JUJU
Newcastle-based Mojo Juju’s self-titled debut album is a slinky, saxy, sexy, speakeasysoundtracking master-stroke, with arrangements that allow the songs to breathe, while promising that these tunes will totally wail in a live setting. November 9 at the Red Rattler, for example:
MUM TURNS FIVE
It’s no secret that your mum throws the best birthday parties around – the swimming pool, the cake, the swimming pool cake, the jumping castle, the fairy bread, the Sailor Jerry’s Rum and the teapot cocktails… Wait, where were we? MUM @ The World Bar is turning five years old, and have enlisted The Cairos, Black Zeros, Wax Witches, Royal Blood, March Of The Real Fly, Driffs and the MUM DJs to high five everyone (and probably play some tunes). It all happens at The World Bar on Friday September 28, and we’ve got two double passes up for grabsies. If you want one, tell us about the best night you’ve had at MUM. March Of The Real Fly
What: Butterknives To Razorblades EP is out now With: The Ruminaters, Samoan Punks Where: Brighton Up Bar, Darlinghurst When: Friday September 28
the venue’s Twin Peaks décor will be the perfect surroundings for such sweet jazz. Get along and order something on the rocks. Smoke a cigar indoors too, they like it. (They do not like it.)
Wilco
Superstar entertainer Peter Combe returns with a new album Quirky Beserky (The Turkey From Turkey) to celebrate his 30th year in music. Besides being a candidate for greatest album title ever, it features 27 tracks filled with important lessons, including how to pronounce the letter ‘Z’ and the meaning of a red traffic light. To celebrate, get ready to bellyflop into a pizza all over again at a special 18+ show for grown-up fans on Saturday September 29 at Oxford Art Factory. He promises a full live band performing all your favourite Combe classics, as well as special guests The Mountains and Driffs. To score a double pass tell us your favourite Peter Combe lyric.
There was this brief window between the old convict days of the heady 18th century and the alien-slave trading of the 2100s when Cockatoo Island was a location used for live music and the like, such as the pop-up Island Life and The Precinct Nightclub venues which ran between October 25-28 in 2012 (the year before human micro-tagging became a thing). October 25 saw Arrested Development play, while Bluejuice and Jinja Safari played October 26. Matt Corby played on the 27th of that month, while over at the Precinct Nightclub Halfway Crooks played October 25, Gossling and Future Classic DJs played October 26, and Saskwatch and DJ Huwston provided beats, October 27-style. Tickets available through Moshtix. Ahhh the good old days…
Club on October 4 to play it for you, with support from the awesome Palms.
IT’S A SABOTAGE
There’s a new night being run by Sabotage every Friday in the heart of Sydney, where instead of bar-fights they have bar-hugs and instead of vending machines they have art installations. It happens at Forbes Hotel (corner of York and King Streets) every Friday night, and this Friday September 28 sees The Accidents and Rooftop Profets play, while Sabotage DJs try hard not to scratch their vinyl collection. $10 entry, but infinite value!
Cake
CHAPTER 20
Melbourne indie label Chapter Music have been putting out great records for 20 years, which is way longer than Bob Dylan ever did, or John Lennon ever did, or M2M ever did. To celebrate their 20th year of artists like Twerps, Pikelet, Fabulous Diamonds and Dick Diver, they are putting on 20 Big Ones, which sees Crayon Fields reunite and play their only Sydney show, alongside New Zealand band The Coolies, Standish/Carlyon and more acts yet to be announced. It’s at Goodgod Small Club on November 24 – and you can read an interview with label boss Guy Blackman on page 23.
TRIPLE THREAT
Argentina take the best bits from MGMT and M83 and blends them until it’s all new again. Tokyo Denmark Sweden dapple in diving synths, sweet melodies and breakaway instrumental sections. Them Swoops play jagged, jutting pop. The three bands play FBi Social on October 20, which is very good news indeed.
VELOCIRAPTOR
Velociraptor is a genus of dromaeosaurid theropod dinosaur that existed approximately 71–75 million years ago during the later part of the Cretaceous Period. But enough small talk. The dinosaur shares its name with a twelve-piece beat-pop beast from Brisbane who just released their debut mini-album The World Warriors and are touring it with gusto, as if mini-albums are actually a thing. They’re stopping into Goodgod Small
CAKE SIDESHOW
“Let them see Cake,” recommended music journalist Marie Antoinette, back in those pre-internet days when good reviews were paramount to building a fanbase – and since this high praise, American joke-band-butnot-a-joke-band Cake has been one of the most popular acts in the world (maybe). We were thrilled when they were announced for Harvest Festival on November 17, but we’ll probably talk through their entire set because we would already have seen them at their sideshow two nights earlier on November 15 at The Metro Theatre. Tickets are on sale now.
“Well I’ll be darned, shiver me timbers, yo head for the hills I picked a weeping willow, and a daffodil” - DAS EFX 12 :: BRAG :: 481 :: 24:09:12
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The Music Network
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Music Industry News with Christie Eliezer
Lifelines Born: Daughter Theodora Rose, to Robbie Williams and wife Ayda Field. Married: Black Keys’ drummer Patrick Carney and longterm girlfriend Emily Ward, in their garden in Nashville. The 350 guests included Keys’ Dan Auerbach and Olympic snowboarder Shaun White, who was later arrested for a boozefuelled pulling of a fire alarm, and injured his head when he ran into a fence when fleeing. The couple walked down the aisle to Tommy James & The Shondells’ ‘Crimson And Clover’, and were joined by their Irish wolfhound Charlotte in the ceremony. Married: Singer Emeli Sandé and long-term marine biologist boyfriend Adam Gouraguine, in a traditional ceremony in his native Montenegro. Married: Annie Lennox and AIDS charity chief Dr Mitch Besser. She vowed never to marry again after her first two marriages, to Hare Krishna monk Radha Raman and filmmaker Uri Fruchtmann, went kaputski. Injured: Vince Neil broke two bones in his foot after tripping onstage during a Mötley Crüe show in Ohio. Released: Sydney RnB producer Israel Cruz, after a six-week stint in jail. Early reports about his unspecified crime said that he faced the possibility of a year’s term. Jailed: US rapper Coolio’s 22-year-old son Grtis Ivey, for busting into a Las Vegas home and keeping its tenant hostage in the toilet while his prostitute ladyfriend ransacked the place. Sued: US hip hop producer Sean Garrett (Beyonce, Usher, Nicki Minaj) by American Express, for racking up over $100,000 in charges. He’s already been hit for back taxes of $732,553.57 by the state of Georgia. Sued: Raekwon of Wu Tang Clan, for allegedly sampling a 1971 song ‘I’ve Changed’ by The Magictones for the ‘New Wu’ track from his 2009 solo album. Died: Vikki Riley, 50, of Melbourne’s 1980s underground scene. She was a musician (singer and cellist with The Slub), a filmmaker and a critic. She moved to Darwin and became an outspoken asylum seeker advocate; she was cycling to visit detainees when she was knocked over.
INDIES ANGRY AS AUSTRALIA APPROVES UNIVERSAL/EMI
The indies sector reacted with anger when Australia became the fourth country – after Japan, Canada and New Zealand – to approve Universal’s £1.2 billion acquisition of EMI Music. After a six-month investigation, the Australian Competition and Consumer Commission okayed the buyout. The ACCC rejected concerns from the indie sector that the merger of the two record companies – which would give them a 50% market share – would squash out the indies, bully retailers for more shelf space, push CD prices up and put pressure on the newcomers in the digital music space. An angry Australian Independent Record Labels Association (AIR) expressed “extreme disappointment”, and rejected every one of the ACCC’s explanations. “The merger is bad for the health of the Australian independent music sector and will result in decreased musical diversity and consumer choice,” AIR stressed. London-based global indies group Merlin called the approval “incomprehensible”. Universal Music insisted, “Our investment in EMI will create more opportunities for new and established artists, expand music output and consumer choice, and support new digital services.”
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FLY TO TEXAS FOR BIG DAY OUT PREVIEW
A few of the acts playing Big Day Out are also on the bill for Austin City Limits, held in Texas from October 12-14: Red Hot Chili Peppers, Band Of Horses, Childish Gambino, Delta Spirit, Gary Clark Jr and Alabama Shakes. Big Day Out is giving two Aussies the chance to go to the sold-out Austin meet and catch the acts. Buy a BDO souvenir ticket at selected General Pants Co. stores to enter the draw; competition closes on October 4, details at bigdayout.com
ELECTRONIC MUSIC CONFERENCE FOR SYDNEY
Sydney will host the inaugural Electronic Music Conference on November 27 and 28, as part of the week-long activities leading up to the ARIA awards. The conference will see international and local artists, managers, promoters and label heads discussing the Australian dance music industry. Australian dance festivals draw 750,000 fans a year; see electronicmusicconference.com
AUSTRALIA: SIXTH HIGHEST FOR ILLEGAL DOWNLOADS
Australians were responsible for the sixth most amount of illegal downloads in the first six months of the year – the highest amount per capita. According to the inaugural Digital Music Index by Musicmetric, Rihanna’s Talk That Talk was the world’s most-pirated album. In terms of base figures, the US topped the list with 96.6 million downloads, followed by Britain with 43.2m, Italy at 32.1m, Canada at 28.9m, Brazil with 19.7m and Australia with 19.2m. That’s almost $1 billion that didn’t go back to record companies and artists. Most illegally downloaded in Australia are Hilltop Hoods. Ed Sheeran, whose + album was most pirated in the UK, wasn’t too perturbed that eight million of his nine million sales in the UK were illegal, saying it balanced out with healthy figures for his concerts.
ALL OVER FOR SANDO?
About 200 punters braved the elements when another Save The Sando rally was held last Tuesday, with Doc Neeson, Mark Gable and Mark Evans belting out toe-tappers ‘Long Way To The Top’ and ‘Am I Ever Gonna See Your Face’ from the back of a truck. But despite all of the support they’ve received from the local and music communities, Bankwest is going ahead and selling the joint. A new owner will be announced shortly.
INDENT PARTNERSHIP GRANTS OPEN
Applications are open for MusicNSW’s Indent project’s 2013 Partnership Grants. Funded by Arts NSW, the grants help young people stage all-ages drug- and alcoholfree events. They also offer young event promoters and emerging artists advice, workshops and resources. There are two categories: the $2500 Grassroots grants are for entry level events like band comps, open mic and local band nights; the $5000 Event Development grants are for those who received a Grassroots grant this year and want to expand by engaging the fuller music industry. See indent.net.au; applications close on Friday November 9.
BROWNOUT: CHRIS BROWN BACKLASH CONTINUES
The backlash against Chris Brown intensified after photos surfaced of his new tattoo, which seemingly depicted the bruised face of Rihanna after his 2009 assault (the singer has denied it’s her, but just look at the pictures. Ugh. – ed.). Copies of his new album at HMV stores in the UK were plastered with stickers telling shoppers not to buy the CD because he “beats women”. In the meantime, Canadian website AUX has created an app called Brownout, which removes all mention of his name from the internet. They previously invented Nickelblock, which did the same for Nickelback.
SBS BROADCASTING DEADLYS
This Sunday’s Deadlys are being broadcast from the Sydney Opera House on SBS (from 9.30pm on SBS One), the National Indigenous Radio Service, and Community Radio Network. The Deadlys celebrate the achievements of Aboriginal and Torres Strait Islanders in different fields. Hosted by Luke Carroll and Casey Donovan, performers include Jessica Mauboy singing a song from the $11 million grossing The Sapphires, opera singer Deborah Cheatham doing a Jimmy Little tribute, Yung Warriors, Dewayne Everettsmith, who’s on the Tourism Australia ad, and Indigenous members of Circus Oz.
THINGS WE HEAR
* Green Day expect to be in Oz in the first quarter of 2013. Meanwhile, when asked to nominate their best tour mates, Billie Joe Armstrong said The Hives were the best (“great live”), and Bon Jovi the worst. * Heading out on their first national tour since the departure of guitarist Imran Siddiqi, The Amity Affliction have brought in former Confession member Dan Brown, apparently on a temporary basis. Their LP Chasing Ghosts, which debuted at #1 on the ARIA chart, was the 153rd Australian album to top the charts, and the sixth to do so this year. * The X-Factor might be faring dismally in the UK and US, but it’s blitzing the ratings here: it drew 1.56 million metro viewers last week, while struggling series I Will Survive had a 27% rise in audience to 358,000. * US act Big Freedia & Her Divas’ Sydney show, on Friday October 19 at Goodgod Small Club, was cancelled. Blame Mr. Unforseen Circumstances. * Two reports on Australian radio created waves abroad. Slash, who told Triple M he’d walked in on his mum and her one-time boyfriend David Bowie naked, clarified his statements in a US interview: “I had no idea it was gonna get blown up. It became this big headline, and it was very awkward. I’m embarrassed ‘cause I’m sure David didn’t appreciate it. And my mom – rest in peace – probably wouldn’t
CHET FAKER LEADS INDIE MUSIC NOMINATIONS
Thanks to 260 judges, Chet Faker leads the nominations for the Jägermeister Independent Music Awards with five mentions, followed by 360 with four. Both are up against each other in the Best Independent Artist category alongside Ball Park Music, The Jezabels and Royal Headache. Faker is up for Breakthrough Artist against Husky, San Cisco (who last week scored a worldwide deal with Fat Possum/ RCA), Royal Headache and The Rubens. Best Independent Album will be by 360, DZ Deathrays, The Jezabels, Royal Headache or
have dug it either.” Meanwhile, Radar Radio’s suggestion that Soundgarden and Pearl Jam might tour together as they share drummer Matt Cameron (who doesn’t want to quit either band) had metal circles in America salivating at the prospect. * Lismore’s Southern Cross University hip hop band Mr Speaker & The People Party were unanimously chosen by the seven judges as NSW finalists in the National Campus Band Competition, and will represent this fine state at the grand final in Adelaide this Friday. * Bon Scott, already honoured with a statue in Fremantle, WA, is getting another one in his birthplace of Kirriemuir, Scotland. * Violent computer games will now be subject to R18+ ratings in NSW, after laws were passed last week; the games cannot be sold to under-18s. * The site of the old Wollongong music venue The Oxford Tavern, unused since its owner went into administration in 2010, is to be sold to become apartments. * Apple’s social music network Ping is to close from September 30. Seems Facebook and Twitter will now provide the social backbone for a newly revised iTunes (available in October), and all of Apple’s content services. * Adelaide attendees of Parklife on October 7 have been asked to check the reference numbers of their tickets, after 20 were stolen from a car. The Temper Trap. The awards take place October 16 at Revolt in Melbourne, with sets from Paul Kelly, The Bamboos, Hermitude, Loon Lake and House Vs Hurricane. For the full list of nominations, see air.org.au
[V] OZ ARTIST RETURNS
The [V] Oz Artist Award is back for its 16th year, pitting 50 homegrown acts against each other to find the favourite through a viewer vote, with one nominated via the Wild Card. The quest launched on the weekend at vmusic.com.au and continues until October 12. The Top 50 will be announced live on The Riff on October 13.
E HIFI 1300 THO M.AU THEHIFI.C
2 ND SH O W
SE LL IN G
FA ST
AD DE D
This Week
Fear Factory (USA)
Regurgitator
Thu 27 Sep
Sat 29 Sep SOLD OUT Mon 1 Oct
Coming Soon
Apollo the Party
(DEN/USA)
Russian Circles (USA) Tortoise (USA) Sat 6 Oct
Thu 11 Oct
Alt Rugby Commentary
Thurston Moore (USA)
Sat 20 Oct
Fri 26 Oct
SE LL IN G
FA ST
Sun 30 Sep
Nekromantix Fri 5 Oct
Gomez (UK)
Fri 12 Oct
Fri 19 Oct
Feat. Jed Thian
FR EE SH O W
Everclear (USA)
District 7 Fest Feat: The Getaway Plan Leb I Sol (MKD) Tuneboy, + More
Sat 27 Oct
Sun 28 Oct Only U18 Tickets left!
Sat 10 Nov O PE NE R AL NI BU G M HT
The Living End Wed 21 – Tue 27 Nov SELLING FAST White Noise Wed 21 Nov Roll On Sun 25 Nov
Mahalia Barnes & Prinnie Stevens
Sat 3 Nov
State of Emergency Thu 22 Nov The Living End Mon 26 Nov
Modern Artillery Fri 23 Nov The Living End Tue 27 Nov
The End Is Just The Beginning Repeating Sat 24 Nov
65daysofstatic (UK)
Crystal Castles(CAN) Kerser
Wed 2 Jan
Thu 17 Jan
Sat 2 Feb
Turbonegro (NOR) Thu 6 Dec
An Evening with The Hoff (USA) Fri 15 Feb
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launches at 7pm Friday 12th October
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TOTALLY ENORMOUS EXTINCT DINOSAURS
F
rom Pet Shop Boys through to Hot Chip, there’s a tradition of English musicians who blend cutting-edge electro pop with a certain sense of literate melancholy. Totally Enormous Extinct Dinosaurs, whose debut album Trouble came out earlier this year, is the newest entry in that particular canon. The album is full of scrappy melodies and heartsick lyrics about domestic disturbances and lovers who got away, grafted onto immaculate minimalistic techno and house. I ask Orlando Higginbottom, the producer behind the project, if he sees himself as part of a lineage with these particular artists, though he seems abashed and a little unsure. “I don’t know, I haven’t really thought about it like that,” he says. “I certainly feel like those bands gave me the confidence to make the kind of music I want to make, to start singing and writing the songs. It’s definitely very important to me that they existed and were able to be successful.”
the same harmonic ideas as those composers. We’ve had hundreds of years to explore their music, but it sticks around for a reason. I aspire to create something like that,” he continues. “We should look up to classical music more.” Higginbottom began listening to club music in his early teens, and from here, an infatuation blossomed pretty quickly. “That was the time I really started actively chasing electronic music,” he explains. “Around that age, I started getting into a bit of stuff from the Ninja Tune label – some Kruder & Dorfmeister, DJ Shadow, stuff like that. I quite like that, and I was interested in it, but then I heard jungle music and I was completely hooked.” He started splitting his time, spending half of it playing piano, and the other playing club records. His early electronic experiments found their way to Hot Chip’s Joe Goddard, who was impressed enough to sign his first three records to his label, Greco Roman, and to act as something of a mentor to Higginbottom. “I really admire Goddard, and it was really great to be able to hear his opinions of my early tracks. I’m on a different label now, but I’m still incredibly grateful for those early experiences.”
A lot of electronic musicians say that their songs start via experimenting with gear: a synth might do something unexpected, and that becomes the basis for a track. It certainly works this way for Higginbottom. The album’s stuttering beats and shimmering, ever-shifting synth loops are the result of an enduring love of studio gear. “I love that moment when things go wrong and you make something entirely new out of it,” he says. “I’ve bought new pieces of equipment specifically to get that moment.” Not knowing what sound you’re going to get, he says, can be really fun. “There are times I’ve switched on every bit of gear in the studio, hit record and then just run around playing all of it. After that, I can go back and listen to an hour of me just fiddling around, and often I can find some really exciting things coming out of that.” The gear itself doesn’t matter, Higginbottom is quick to stress. You can use the most expensive equipment out there, or the cheapest; there are interesting discoveries to be made with both. “On the album, there’s no one bit of gear that I relied on,” he says. “Everything comes through pretty evenly. If someone was starting up as a producer and wanted
to know if there was any particular keyboard or bit of software to buy, I’d tell them just to buy something, whatever, and not worry about it. I don’t believe that any one bit of gear is essential to making a good sound; you just have to find your own way. If you’re going to make good music, it will find a way out.” Moving to London is a rite of passage for many young musicians, but it’s never been that attractive to Higginbottom, who prefers to remain in his native Oxford. “London seems to be this epicentre of everything that’s cool, and I don’t like that,” he says. “I live an hour away, and I try consciously to steer clear of what’s happening and what the new trends are. I guess everyone’s just kind of into house music at the moment, that’s what’s happening, but I go out of my way not to get too caught up in that.” Oxford, he insists, has a thriving scene in its own right, from which he can get everything he needs. “There are loads of bands, loads of DJs, and everyone just kind of has their head down and is working,” he says. “Nobody’s competitive, and everyone is really supportive. There’s some great music here – I mean, Foals are based here. Everyone feels free to do their thing.”
“Why do I have to be either a singer-songwriter or someone that makes club music? I like both, and I make both, so that’s what it is.”
While reviews for Trouble have been overwhelmingly positive, critics are divided on whether Higginbottom is a singer-songwriter who uses the medium of club music, or the other way around. “I think that people have a real difficulty when they come across something that doesn’t fall evenly into one camp,” he says, when asked what he makes of the division. “I mean, why do I have to be either a singer-songwriter or someone that makes club music? I like both, and I make both, so that’s what it is.” He clearly doesn’t have a lot of time for hype or being cool – in fact his stage name, and his signature dinosaur outfit, came about as a direct result of this. “The first thing I came up with was the name Totally Enormous Extinct Dinosaurs, and when I had that I decided, well, obviously I’ve got to dress up. The name, like the costume, is all about just having fun. It’s about letting go of the idea of underground music and street cred and being cool and all that crap. I wanted to already be not cool, and just have fun with it and relax.” I ask Higginbottom if he feels bound to being a dinosaur forever, or if at some point his musical menagerie might expand to include other types of creatures? “For now, this is my project,” he says, “but I’d like to make music until I drop, so I’m sure I’ll do other things one day!” What: Trouble is out now With: A secret special guest and Future Classic DJs Where: Oxford Art Factory When: Thursday October 4 (sold out)
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The young producer hails from Oxford, where his father conducts a choir at the university – unsurprisingly, this means that he had a rigid training in classical technique. “Classical music was my first love,” he tells me. “That’s all I listened to growing up. I played piano and sang in a choir.” While the continuity between classical and club music isn’t necessarily obvious, Higginbottom insists that a lot of the music he makes now is the product of this early training, and his solid education in classical music. “I think Bach is my favourite composer of all time,” he says. “In electronic music or pop music or whatever you want to call it, we’re using a lot of the same ideas, the same theories,
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Muse Laying Down The Law By Lachlan Kanoniuk this feeling that we can do whatever we want,” he says. “Whether that’s right or wrong is a different thing. We definitely feel like we have this bizarre artistic freedom to do what we want and not really worry about it too much, or think about how it might be perceived. We’re essentially just doing what we like. And of course we’re pushing ourselves to discover new ways of playing and recording music, and I think this album certainly shows that. There are all sorts of different things on this album.” Indeed, The 2nd Law blends pretty much every musical element you can imagine: from Bowie-style funk to Eno-like soundscapes, with, of course, the sheer bombast of Queen. “We just went for it with this one,” Dominic says. “I personally love those kind of albums, the ones where you put it on and go, ‘What the fuck was that?’. The more you listen to it the more you discover new things. Every song and every corner you take feels like a completely different thing... The first two songs on the album couldn’t be more extreme in their difference from each other – the huge, massive rock riff of ‘Supremacy’ to the minimal electronic music of ‘Madness’. So there are the two extremes of the album with the first two songs. But somehow, to me, they sit together quite nicely.”
T
he sun is shining over a lush English garden. It’s a few hours since the last firework lit up London’s Olympic Stadium, and a selection of the closing ceremony’s stars – three of the Spice Girls, a Gallagher, and Muse drummer Dominic Howard – are huddled together pulling shapes for the camera, all with good reason to celebrate. That’s the scene set by Emma Bunton, aka Baby Spice, in a photo posted on Twitter the day before my interview with Dominic. Muse, of course, performed the official London Olympics theme ‘Survival’ at the ceremony – a track that features on The 2nd Law, the band’s sixth studio album. Still picking up the pieces from the day before, Dominic discusses the album’s fusion of the electronic and organic, and issues a challenge to laptopbased musicians.
“It’s fading. It’s still there slightly, but it’s definitely fading. Yesterday it was pretty bad. It was a bit of a late night,” Dominic says, assessing his hangover with coy understatement. “It was a bizarre night. It got more and more surreal as the night went on. Then the morning turned up.” With The 2nd Law, Muse have once again pushed themselves into uncharted musical territories. With an omnivorous approach to genre, the triumvirate have blended disparate elements with an aplomb that suggests near-infallibility. But as Dominic explains, at this stage of their career the band are emboldened by fearlessness more than invulnerability. “Everyone makes mistakes in whatever they do, but I think we certainly have
With each transgressive step forward, as with their falsetto-laden ‘Supermassive Black Hole’ from 2006’s Black Holes And Revelations, Muse manage to instigate a fervent and divisive reaction. In a provocative move, the first taste of The 2nd Law came in the form of the heavily dubstep-influenced single ‘Unsustainable’. “I think it is good to provoke opinions,” Dominic says. “Our band has always managed to weirdly split and divide opinions. Anything we do, people seem to love it or completely hate it and think it’s the worst thing ever. I love that. Whether it’s good or bad, it’s provoking something and inspiring a reaction. I think that we’ve been lucky that it’s what we’ve always managed to do with the music we’ve made. It’s important to get a reaction out of someone and not be in the middle of the bloody road, because that’s dull, let’s face it.”
“Our band has always managed to weirdly split opinions. Anything we do, people seem to love it or completely hate it and think it’s the worst thing ever. I love that.” With dubstep (particularly the modern US-style heard on ‘Unsustainable’) still possessing something of a stigma with some music fans, Muse boldly explore the genre – not so much to revere it, but to challenge its exclusively digital production. “We’ve always been inspired by loads of music, from extremely current things to music that is a hundred, two hundred years old. We’ve always been inspired by electronic music as well as rock, orchestral music, film music. We just get inspired by a lot of different things all the time. With ‘Unsustainable’, it was kind of like a challenge to modern day electronic music in some way. We’re playing our instruments in a really electronic way, but it’s all with real instruments – a real orchestra, real choir, real drums, bass and guitar. We just wanted to do something that was inspired by electronic music, but was still very organic. It’s kind of a challenge to the man on his laptop.” As for when Australia will get to witness The 2nd Law in the live setting? “I think it’s just gonna be next year sometime. Well to be honest, rather than saying we’re gonna be there soon, it’s gonna be towards the end of next year. Coming up to your summer,” he says. “We’ll be looking forward to coming back and doing some nice big shows.” What: The 2nd Law is out on September 28 through Warner Music
King Gizzard And The Lizard Wizard Simple Aussie Fun By Lachlan Kanoniuk
“It’s probably an album that will polarise people. So many people will be like, ‘This is dumb, what is this shit?’, then there will be people that will get it straight away. I guess we’ll see how it goes.”
T
he two young blokes sitting across from me by the fireplace at The Tote in Melbourne are as unassuming as they get. King Gizzard And The Lizard Wizard vocalist Stu Mackenzie and thereminist Eric Moore are enjoying a quiet pot or two on a lowly Wednesday arvo – a delightful contrast to a few weeks from now, when they will no doubt be annihilating the bandroom of the same venue. But contrast is what the seven-strong collective does well: they exude a slacker mentality, yet are relentless with recording and touring; they delve into the depths of ockerism while professing brazen wit. All this is encapsulated within 12 Bar Bruise, a full-length debut that follows on from their EP of late last year, Willoughby’s Beach. On the eve of the album’s release, Stu and Eric run us through the eventful journey between records. “It’s definitely different to Willoughby’s,” Stu explains. “Willoughby’s was just us going into the studio and smashing it all out as quickly
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as possible. Which was perfect. But this was a bit more of us going into the studio for a little bit, then mostly doing heaps of stuff at home.” It wouldn’t have been too much of a stretch to label the EP an LP: Willoughby’s Beach was certainly meaty enough to bear the status of a long-player. “I think we were a bit more hesitant [with the EP]. There were nine songs and we were really happy with how it turned out – we didn’t think it could be any better or the songs could be any better. But I guess we didn’t want to call it our first album. The songs were so short that it felt like an EP, even though there were nine tracks. If you called it an album on a 10-inch with nine songs lasting 20 minutes, you’d kind of feel like you’d been cut a bit fuckin’ short,” Eric laughs. With a body of work containing track titles like ‘Dustbin Fletcher’, ‘Garage Liddiard’ and ‘Footy Footy’, there’s a discernable affection for wordplay and Australiana present in the
Gizzard canon. But Stu maintains it’s not too thought-out. “It is what it is,” he shrugs, and Eric backs him up: “With ‘Garage Liddiard’ we just needed a title, and Joe [Walker, guitar] was saying all this funny stuff, then came up with that. It’s a garage-y song and we all love The Drones. But at the same time, it’s kind of what Gizzard is – that simple Aussie fun,” he says. “It’s probably an album that will polarise people. So many people will be like, ‘This is dumb, what is this shit?’, then there will be people that will get it straight away. I guess we’ll see how it goes.” King Gizzard are certainly keeping themselves busy – even on the week of their album’s release, they’re plugging away at recording a follow-up. “We’ve been recording all week. We’ve pretty much done our next record,” Stu reveals. “We’re three-quarters finished a Spaghetti Western-themed record, a lot like [album track] ‘Sam Cherry’s Last Shot’. A big kind of version of that. We’re doing that completely at home – we’ve worked out a good set-up with our shitty home equipment.” There’s a palpable movement happening around the Geelong region, with plenty of
shit-hot garage outfits germinating from the area – many of which share members with King Gizzard. “Being a little bit away from the city and not having much to do breeds that need to play music,” Stu says. “There’s not a lot of places outside of Geelong for a band like us to play music.” As Eric explains, Geelong tends to end up a bit of a hub for the surrounding smaller towns as a result. “Obviously we’re all really good mates with Frase,” he says, referring to rising singersongwriter Fraser A Gorman. “He played a few gigs with Gizzard real early on, Stu drums with him. There are a heap of others: Ambrose plays with The Murlocs, then there’s also Frowning Clouds and The Living Eyes on a similar vibe from the same area.” The sense of being part of a new generation of Australian garage rock rings true, with titans Eddy Current Suppression Ring currently in an indeterminable hiatus. “We all absolutely love Eddy Current and all those bands, and they’ve obviously inspired a lot of young bands that are coming up now. There are a lot of bands our age who we’re all friends with that are all putting out really great music,” Eric says. And it’s a well of talent King Gizzard are interested in fostering: 12 Bar Bruise has been released through Flightless Records, the band’s own imprint. “I guess that’s my thing in a way,” Eric explains. “It was always a goal of the band to be independent and release our own stuff, and I’ve always wanted to be involved in working with labels, so it made sense to do it ourselves. I think we’re gonna release stuff by lots of friends’ bands… Just keeping it under the one roof is nice. I feel like we’re the younger kids playing music around town; hopefully by the time we’re a bit older it will be in a similar vein to Chapter Music, one of those local labels that are highly revered and well-respected. I guess you have to start from somewhere.” With: 12 Bar Bruise is out now on Flightless Records, through Fuse Where: Oxford Art Factory When: Friday September 28
THE NEW ALBUM OUT NOW
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Wax Witches Diablo Música By Krissi Weiss
I
f rock’n’roll is where you can hide, according to Mr Dave Graney, then punk is where you can completely reinvent yourself – even if only for an hour on stage, or packaged in an album and press shot. Alex Wall’s other band, Bleeding Knees Club, have been spiralling comfortably upward in the indie rock scene, but everyone needs an alter-ego, an anarchist space where you do what you want, when you want, regardless of consequences and without plans. For Wall, that space is his solo project Wax Witches. “In Bleeding Knees I have to listen to a manager and other band members and a record label before I do anything,” Wall explains. “So Wax Witches was kinda my way to fuck everything and do what I wanted whenever I wanted, and not have to listen to anyone. I also got way more into punk, and the songs I was writing didn’t suit BKC, so I just recorded and released them as Wax Witches.”
every day and be all spooky and cool,” he says. “I like writing songs about vampires and stuff, and because I don’t have people writing reviews on my songs, I don’t have to cop people trying to write me off. So it’s all just fun.”
With Wax Witches ostensibly as much about theatrics as it is about music, I dare to ask Wall what he has planned for the Sydney show. “This will be our first show playing it all live,” he says. “It’s going to be me on guitar and vocals and Brett [Janschand, BKC drummer] on drums, so it should be pretty fun. We will probably play most of the songs from both EPs and we have some tricks up our sleeves, I think. We might bring some strippers and pay them with cocaine to breakdance while we play.”
With a new single, ‘Nightmares!’, available on SoundCloud, Wall takes his laissez faire attitude even further with regard to releasing his music. “I give all my songs away for free ‘cause no one buys music anyway,” he shrugs. Wax Witches is still firmly a sideproject. “It’s just something I do for fun if I get bored. Bleeding Knees Club is kinda my job and Wax Witches is just a name to release whatever I feel like making. I mean, I hope one day heaps of people listen to Wax Witches and I get to play real fun shows and people know the songs. But for now, it’s just fun.”
Ultimately Wall is just having fun, and while some may criticise his carefree attitude towards his craft, he personifies exactly what this style of music has been and always will be about: freedom, and laughing in the face of a seriously tattered world. While labels, PR folk and even music media get all tied up in their po-faced approach to music and art, someone like Wall slips under the radar and has a blast. “I get to act like its Halloween
What: MUM’s 5th Birthday Who: Wax Witches, The Cairos, Bored Nothing, Black Zeros, Mannequins, Driffs, March Of The Real Fly, Push/Pull and more Where: MUM @ The World Bar When: Friday September 28 Xxx
Wax Witches allows Wall both creative and personal expression, and while it’s hard to determine where the jokes end and the truth of his personality begin, the characterisation of Wax Witches and all of its punk attitude is still thoroughly entertaining. On the matter of alter egos, Wall descends into an amusing
rabbit hole of explanation. “In real life I’m super shy and pretty much keep to myself,” he says. “But when I’m in Wax Witches I get to be this badass Goth witch who skateboards around eating pizza and killing hoes with guns and laser beams that shoot out of my fingers.”
Drawn From Bees The Making Of The May King By Benjamin Cooper
S
ingers of art rock bands are usually quite effusive about the conceptual framework behind their latest opus, but can become withdrawn when pressed on the personal. But Dan James, the vocalist and guitarist of Brisbane’s Drawn From Bees, is happy to wax lyrical on both opposing aspects of the artist’s process. “For me, writing music comes in waves, and so you have to be ready at any time,” he says. “I’m pretty much always walking around with a phone or a recording device of some sort, and taping ideas and lyrics. At the end of each month I sit down and listen back; some of it is pretty hilarious if I can’t remember the context. Some of it’s the good stuff, though – that makes it worth it.”
High On Fire Gallows Humour By Mitch Alexander
H
igh On Fire are not a band of half measures. Guitarist Matt Pike, bassist Jeff Matz and drummer Des Kensel are not the kind of guys to be satisfied with retreading past efforts and labelling it as something new. With everything they do, it has to dig deeper, go darker, play faster and harder. Think Motörhead with more bile; think Mastodon but more primal. Of course, such commitment to the live fast, die young rock’n’roll ethos often comes with a price. Bandleader Matt Pike (from cultish stoner doom metal band Sleep) was for a long time known for his boozy hedonism; his riffs weren’t the only thing chugging, if you catch my drift. Earlier this year the band pulled out of the 2012 Mayhem Festival while Pike attended alcohol-related rehabilitation. Pike is now a free and sober man, and from Jeff Matz’ reports, it looks like he’s applying the same arse kicking style to alcoholic demons as he does to most other things. “For as long as I’ve known the guy, he’s had a pretty serious drinking problem!” Matz says with a laugh, suggesting the band is in high enough spirits to joke about it now. “Matt is awesome right now, he’s doing better than, really, since I met the guy. “It’s something that a lot of people that aren’t in a touring band don’t understand,” Matz continues. “Your average fan wants to come to a show, have a bunch of drinks and throw down, right? That’s all well and good, and it’s really easy to fall into this thing of getting plastered every night. The bottle of whisky is right there! That’s okay when you’re in your 20s, but it takes its toll on you.” Now don’t get to thinking that High On Fire, after a decade and seven albums, has
softened with age. Evidence in the form of their latest album, De Vermis Mysteriis, suggests otherwise. Would a ‘soft’ band write a concept album where the brother of Jesus Christ dies at birth but is given the power to travel through time and inhabit other people? Doubt it. Sure, that description – think Quantum Leap crossed with Neil Gaiman at his most theologically out-there – doesn’t sound too tempting (nor does it do the album justice), but sometimes the best metal bands out there are the ones that fuse the ludicrous with their brutality. Which is probably why Devin Townsend can get away with writing a space opera about invading alien hordes on the search for the universe’s greatest cup of coffee, or why a cartoon like Metalocalypse has proven so popular with metal fans. “Matt’s actually been a voice on Metalocalypse – he went and recorded some stuff while we were doing Snakes For The Divine,” Matz says excitedly. “I’m not sure which season or episode, but he was the voice of one the henchmen. I mean, that stuff is so well-written. If you’re involved in the metal world on any level, there’s so many funny things about that show.”
The Brisbane foursome don’t readily discuss it these days, but years ago they led different lives as a metal band called Glasshouse. A decade of routine gigging and making friends in the local scene has translated into a staunch group of fans, who have themselves stood tall since the group abandoned the dark moves for a new name, epic instrumentals, twin vocals and discernible melodies. Since then the band has released four EPs, one mini-album and two fulllengths; this year’s sophomore, The May King & His Paper Crown, picked up early critical buzz, and high rotation on triple j for lead single ‘The Ballad Of Running Bear’. James admits to the influence of his local scene on the group’s substantial recording output and longevity. “I think Brisbane is quite unique, in that [the scene] feels like a big family,” he says. “There are a lot of bands up here, and many of them are all playing a lot of different styles, but no one is really vying with or competing against anyone else. They’re all just making music and doing their thing. It’s really great, because there’s no sense of if-someone-else-makes-it-we’restuffed’. There’s a lot more realism to the scene in Brisbane... They call it The Stress Of Leisure,
because there’s all these middle-aged musicians still making tunes and loving what they’re doing. And they’re still pushing the envelope, and doing things in weird ways.” The flip side of the coin is that there’s little support coming from above. “We’ve got an ultra conservative government in place who are just tearing through the public sector. But at the same time that can breed more opportunity for art, because the artistic people clump together in communities in response.” In addition to the support of the wider Brisbane music community, the band’s latest album owes some thanks to James’ employer. “I’m very lucky in that all day, every day I get to work in the studio. Basically for the last six years I’ve been the guitar teacher at a private college, and so I’ve been able to record all our stuff here. I’ve also been able to help the school out by recording a bunch of stuff for them – and I’ve just finished working with Tim Steward on the latest We All Want To record.” There was an initial teething period when it came to working with a childhood hero and titan of the local underground scene, of course: “The music is so epic – [a song] will often go for seven minutes, and goes everywhere. Plus I’ve got to help Tim, who was in Screamfeeder and is Brisbane music royalty, with this incredibly tight arrangement!” After such a long period in the studio, Drawn From Bees are champing at the bit for the imminent tour. “Honestly, it’ll be nice to get out of a confined space onto a stage and hit a guitar with the amp next to me, not in the next room,” James says. “Partying and playing music to people who seem to enjoy it always makes me happy. It’s just a fucking great time.” What: The May King & His Paper Crown is out now Where: Oxford Art Factory, Gallery Bar When: Saturday October 6
“We take what we do really seriously, but you’ve got to have a fucking sense of humour about it,” Matz explains. “Matt, he writes the bulk of the words, and he’s always a little bit tongue in cheek about his lyrics. We laugh about this shit.” With: De Vermis Mysteriis is out now With: Summonus Where: Manning Bar, Sydney University When: Saturday September 29
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Scissor Sisters Care To Dance By Thomas Bailey
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t was the tail-end of 2010, and this lucky scribe was watching New York glam-queens Scissor Sisters tour their third album, the fabulous Night Work, in Oakland, California. Just before they launched into ‘Something Like This’, outspoken and lovely vocalist Ana Matronic took the opportunity to air some dirty laundry. “I don’t usually read our reviews,” she began, “but we read our review in Chicago. And that fucking bitch called us ‘shallow’!” Ana Matronic was pissed, and she proceeded to read the reviewer the riot act. “So maybe she thinks real life only happens from nine-to-five, but let me tell you, honey: it’s going to clubs that allow people to let their hair down and be themselves. It’s where love happens, it’s where dreams are born and magic is created. So let me tell you, bitch: it’s not fucking shallow!”
Two years later, Scissor Sisters have released their fourth LP, the gloriously rambunctious Magic Hour, and are about to hit our shores for a tour – giving Australia another chance after their show at last year’s Pyramid Rock Festival, where they “got bottled by a bunch of Aussie rednecks”. Chock-full of their trademark humour, gaudy disco beats, snappy indie guitars and
impossibly catchy pop confectionery, Magic Hour is quite possibly the Sisters’ best album to date. Matronic cackles over the phone when I remind her of her epic outburst in Oakland, and when I suggest that the magic of going out seems to be a running theme in the Sisters’ oeuvre, she agrees wholeheartedly. “In the scene I come from, which is the drag scene, dressing up is about personal transformation, and it’s about letting the person you want to be out, even if it’s only for an evening, or a few minutes. So engaging in that transformation and becoming somebody else for a night is anything but shallow. It’s a really useful therapeutic tool, and it’s a way of getting to know yourself that I think is better than paying somebody a hundred dollars to listen to you talk for an hour! So that’s really what I mean when I talk about the depth of a good time. “Places like gay nightclubs have traditionally been the only place that a certain group of people can go to truly be themselves,” she continues. “They’re limited in their expression at their jobs and on the street, and in society and institutions. So a lot of people look at going out and dancing as something that is frivolous and shallow, [but] in my experience, those times of the night are really good times for me and my friends, where we can escape and truly be free!”
“A lot of people look at going out and dancing as frivolous and shallow, but in my experience those times of the night are where me and my friends can escape and truly be free.”
‘THE INTENSE, BEAT-BRUISING SLEIGH BELLS LIVE SHOW IS NOT TO BE MISSED.’ – PITCHFORK
Magic Hour takes the concept of the freedom of the night as its starting point, and expands on it with aplomb. Classic tracks such as ‘Only The Horses’, ‘San Luis Obispo’ and the gay anthem of the year, ‘Let’s Have A Kiki’, burn with a maniacal sense of fun and adventure. “Jake [Shears, lead vocalist and songwriter] was particularly inspired by people in his group of friends, and going out with them until the sun comes up,” Matronic explains. “You know, that great feeling of being tired but exhilarated, and loving the coming of the day which is coming on the heels of having had a great night out. That was really the inspiration of Magic Hour. It’s the inspiration that comes differently for different songs: some of them could be inspired by a conversation, or something could be inspired by what’s happened in the news – but all of them are pretty personal. You know, you put a little bit of yourself in everything that you do.” For the recording of Magic Hour, the Sisters brought on a whole slew of new collaborators, names like Calvin Harris, Diplo, Azealia Banks and Pharrell Williams. What did these folks bring to the proceedings? “Collaborating with people is always fun, and we live for it!” Matronic exclaims. “We’ve done it on every album. We always try to work with different people and producers and what-have-you. It’s always great to work with somebody, and seeing them work – how they approach what you do in new and different ways. Azealia was an absolute force of nature, and a lot like Jake – she is a very instinctual songwriter – and it’s always great to be around that level of raw talent. Like on ‘Shady Love’ – I absolutely love that song!”
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“REIGN OF TERROR” OUT NOW
What: Magic Hour is out now through Universal Where: Concert Hall, Sydney Opera House When: Thursday September 27
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It would have been remiss of me to not take the opportunity to ask Matronic for her opinion about the seemingly never-ending struggle for marriage equality for homosexuals. So I do. “Well, I think it’s never easy and it never comes as soon as we want it to,” she says. “But the tide is really turning, I believe, and I’m very hopeful now that [President Obama] has spoken out in favour of gay marriage that it will start the tide of popular opinion. I think history always gets there – progress will be made! – and these rights that are currently being held back will be achieved. Gay marriage has been passed in New York, and I think that it will eventually get to where we want it to be. And I think it’s great. Slowly but surely we’ll get there, but it’s going to take some time.” She laughs, and her voice takes on a mischievous edge. “And I know all about it – I’m a woman!”
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Out Of The Garage By Greg Carey
OVERVIEW
HOME BLITZ WEIRD MUSIC IN WEIRD PLACES By Steph Harmon
Sound Summit has spent the last 12 years bringing to Newcastle some of the most interesting and innovative independent music and sound ideas from Australia and beyond. This year, the four-day conference coincides with This Is Not Art, and is packed with showcases, panels and parties – or, as festival co-director Daniel Gottlieb puts it, “weird music by weird people in weird places.” If Gottlieb’s name is familiar to you, you’ve probably read one of his articles, gone to one of the gigs he’s put on, or listened to his radio show, Spiral Sounds, on 2SER. This is his first year in the director’s chair of Sound Summit, a seat he’s sharing with co-directors Nic Warnock and Brooke Olsen. “I’ve always loved the possibilities that a festival like this can provide: always slightly different, but held together by a common thread of daringness and unpredictability,” Gottlieb says. “This unpredictability was capped off last year when I ended up sleeping in the alcove of an ANZ Bank in the biblical rain. After that, I knew I had to apply to direct it.” He’s in good company. Nic Warnock is back at Sound Summit after his staunchly DIY label, R.I.P Society (Royal Headache, Straight Arrows, Bed Wettin’ Bad Boys, Circle Pit et al.), curated a showcase for 2011’s festival. This year’s Sound Summit marks the first time that R.I.P Society has ventured into the world of tour promoting. “Being able to bring Blues Control and Home Blitz to Australia is a dream come true for me,” Warnock says. “In my mind they’re two of the best groups of the last ten years.” He’s also looking forward to sets from Love Chants and Constant Mongrel. “I feel those four bands really embody the spirit of Sound Summit.” Gottlieb also name checks Blues Control as ones to watch – along with other internationals Mist and Outer Space. “All those artists have such an incredible technical proficiency, and an uncompromising, almost libertine approach to music. And yet it never comes across as academic or too clever – it’s filled with such purpose, passion and dynamism,” he says. And don’t miss Melbourne’s Oren Ambarchi – “a master and legend of Australian experimentation” – or Brisbane’s Mad Nanna: “Watch them as they slowly and humbly go about deconstructing the pop song, and then use the pieces to reassemble the template in exciting, challenging ways.” Brooke Olsen, the third co-director, is in her second year at the helm of Sound Summit. In between putting the festival together, she’s been working a day job at AMRAP, co-directing the Dirty Shirlows warehouse space in Marrickville, and presenting an experimental/ DIY radio show on FBi Radio: Ears Have Ears. “It’s an incredible festival – totally unique, and connecting different parts of Australia’s independent music community so successfully,” she says of Sound Summit. “There’s no other event that I can think of in Australia which consolidates all of these different communities into one full schedule.” Olsen is excited about a 2012 program that builds upon the success of previous years, adding the DIY screenings of Sound Summit Cinema, showcasing more noise and experimental music (“I feel it is still very underrepresented in Australia”), and providing more space for musicians, industry people and festival goers to network. “We’ve asked our headliners this year to hang in Newcastle for the duration of the festival, and we’ve put them on panels and given them access to social events, so that Australian folk can make connections with international music communities, and find new ways to develop their craft.” What: Sound Summit 2012 With: Home Blitz (USA), Blues Control (USA), High Wolf (FR), Lasse Marhaug (Norway), Straight Arrows, Mad Nanna, Twerps, Rites Wild, Oren Ambarchi, Royal Headache, The Nugs and more Where: Various spots around Newcastle When: September 27 – September 30
New Jersey ramshackle-rock quartet Home Blitz is the seven-year-old brainchild of New York City dweller Daniel DiMaggio. What originated as Daniel’s solo non-performative project has migrated from the confines of his parents’ garage and emerged as a four-piece live band, who are now no strangers to the gigging circuit. Chatting with the man himself, I’m curious to know if there was ever an epiphanous moment that inspired him to take to the stage. “There wasn’t really any major turning point,” explains a hesitant DiMaggio. “My friend just offered to play drums, and then people started asking us to play shows.” Despite often falling under the ubiquitous ‘garage’ umbrella, Home Blitz offers a far more interesting and unique approach to music than a mere lo-fi crackle and fuzzed-out bar chords. Jagged tempos, high-pitched vocals spat out venomously, and spontaneous noise combustions form the nucleus of the inimitable Home Blitz formula. With songs fuelled largely by personal feelings of anger and frustration, the frontman also cites his surroundings and the experiences of his hometown as major influences on his composition. “I feel like a sense of space or environment is inherently tied to the music. The places I spent time in in New Jersey constitute some of the most important and formative influences on the music,” DiMaggio explains. “When I write a song, I generally imagine it being performed in a location or environment,” he continues. “Not intentionally, but this kind of spatial assignment is part of the way the song is
20 Odd Years By Krissi Weiss
formed in my brain.” But while the songs are written with a particular situation or scenario in mind, they can be based on either fantasy or reality. “For some songs, these environments have been specific places, mostly in Princeton. For others, it’s based on a visual and spatial sense of atmosphere, like imaginary environments in some cases.” Home Blitz’s earlier recordings were firmly rooted in a cacophony of crashing cymbals, manic rhythms and impulsive vocal outbursts, but DiMaggio concedes that things have become a little more considered and refined in recent times. “I guess the later results show how much more concentrated my approach has become. I definitely try and think about the way I write music a lot more now, whereas earlier it was really whatever just came to me – it’d always be a riff that I made up while doing other stuff.” Perhaps it was this mindless, unstructured approach that initially had DiMaggio brimming with fervor. “In the early days, I felt pretty enthusiastic about things – it was like a joyous sense of
me,” Daniel says. “I felt really enthusiastic about being able to record songs. Now, that initial excitement has probably worn off a bit, and I’ve realised how certain records sound different to how I’d wanted them to. It’s much more painstaking these days.” Having played with a plethora of Aussie acts in America, Home Blitz are no strangers to the powerful force of Australia’s underground scene. “I’m really excited for [the tour] – I’m looking forward to playing with all of the bands we know, and also the ones that we haven’t necessarily heard of. I’m excited to see what the Australian venues look like and have to offer.” What: Frozen Track EP is out now through Mexican Summer With: Royal Headache, Straight Arrows, Constant Mongrel, The Nugs When: Sunday September 30, from 8pm Where: The Croatian Club More: Tuesday October 9 at The Square, Haymarket with Raw Prawn and Drum Drum
Label heads Guy Blackman and Ben O’Connor
CHAPTER MUSIC It’s hard to avoid romanticising the life of Guy Blackman’s independent record label Chapter Music, but with this year marking the label’s 20th anniversary, and Blackman about to play a prominent role at the upcoming Sound Summit, at least a small amount of nostalgia seems in order. In 1992, the then 17-year-old released a compilation of Perth bands via a cassette called Bright Lights, Small City. It was meant to accompany the fourth issue of his fanzine, Chapter 24, that launched two years earlier, but issue four never appeared. 20 years later, Chapter Music – managed by Blackman and his partner Ben O’Connor – has established itself as one of Australia’s longest running independent record labels, with a penchant for offbeat and unique musical discoveries. Geoffrey O’Connor, Dick Diver and Twerps are just a few notable names on the Chapter roster at the moment, and Blackman assures me that 2013 will be the year for even more exciting musical finds – although he’s not giving up any names just yet. Apart from getting ready for Sound Summit, Blackman is immersed in Chapter’s birthday celebrations, which will include the release of a limited edition vinyl compilation. “It’s 20 songs for 20 years on a double vinyl album,” he says. “There’ll only be a couple of hundred copies and it won’t be available on iTunes or anything, only on vinyl. There’s the very first song from the very first cassette that Chapter ever put out in 1992, and a bunch of new stuff. Everything on it is either unreleased or music from the dawn of time, from cassettes that nobody has heard in 20 years.” With so many other independent labels appearing and then disappearing over the past two decades, some with business plans that look like an honours year economics project, Blackman explains why he thinks his labour of love has survived. “We’ve always treated the label as an expensive hobby. In more recent years I’ve realised that with the way the
world is going, we need to make more careful decisions and at least break even as opposed to running at a loss. For the first 15 years I worked in jobs to pay for what was coming out on Chapter, and did things to enable it so that money wasn’t the bottom line.” If money isn’t the bottom line, then what is? “I just enjoy it,” he says honestly. “I run the label with my partner Ben [O’Connor]. I battle with my own ego sometimes. I play music and I put out my own records occasionally, and I realise that the label’s taken over and I wonder why I don’t throw it all away and focus on my own stuff – but it’s a nice feeling. I’ve always loved record labels. I love that thing where you see a
record in a record store, notice the label on there and know that it’s something worth checking out, even if you have no idea what it is or who it is. I’ve always been and will always be a record label nerd.” Gigs: Twerps – with High Wolf, Radio People and more on Friday Sept 28, from 7pm; The Cannanes – with Lower Plenty, Ray Davies and more on Sat Sept 29, from 2pm; Primitive Calculators – with Blues Control, MIST, Mad Nanna and more on Sat Sept 29, from 9.30pm, at The Croatian Club. Panel: 20 Years Of Chapter Music at Terrace Bar, 1-2pm on Saturday September 29 More: Chapter Music’s 20th birthday party is set for November 24 at Goodgod, featuring Crayon Fields, Coolies (NZ), Standish/Carlyon and more.
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Lost In Loops By Benjamin Cooper
HIGH WOLF Despite my best efforts, French experimental artist High Wolf (real name Max, surname unknown) refuses to be drawn into a battle for musical domination with American tourmate Benoît Pioulard, who he’s playing with in Sydney following Sound Summit. “I’m very excited to see him perform, because I’ve never seen him live before,” says the mysterious Frenchman. “Usually I try not to turn a bill into a competition, into a ‘who has the biggest’ kind of nonsense.... But if he’s playing incredibly I’ll try to perform before him, rather than after him!” Although he has always paid due respect to his older and wiser musical peers, Max explains that recent experiences have reinforced his awareness of his position within the psychedelic and experimental scenes. “There are a few bands I’d never want to perform after: Gnod or Flower Corsano Duo, for example. I saw Bombino when I played recently at the Austin Psych Fest, and I was like, ‘Thank god I’m not programmed right after them’ – I would have totally refused to play! That’s nothing, though, compared to last year, when a festival stage manager came to me and said, ‘So you’re going to play at 11pm, right after [Japanese psych legends] Acid Mothers Temple,’” Max says. “It was a big challenge, but it went well.” High Wolf’s rhythmically dense loops cut and fade throughout his live show, elevating sticky floors and their malcontent punters to an oddly joyous space. It’s powerful stuff, and none of it would be possible without Max’s strict adherence to his status as a truly independent artist. He moves with total freedom between a host of underground and experimental rosters, having previously released albums through Californian tastemaker Not Not Fun and Portland’s Holy Mountain Records. Know Thyself, his latest LP, has been released
Sound Summit Cinema For the first year, Sound Summit have put together DIY film screenings, with a program including a Chapter Music retrospective, a film by The UV Race, new work from Sydney filmmaker Angela Garrick, Josh Watson’s Brisbane DIY doco and more. Where/When: Various times @ Terrace Bar / 529 Hunter Street
through Cameron Stallones’ (aka Sun Araw) Sun Ark label: “I’ve known Cameron for a little while, and I really like his music and his label, so it was really an obvious collaboration,” Max says. “This album wasn’t really recorded as a proper album; it was more like we were following ideas, and assembling later. It was more of an afterwards process, which is fine because being independent is that idea of controlling what’s going on with your output,” he says. “But sometimes, you have to learn to trust people. I’ll give you an example: I’ve recently started to work with a booker for my European shows, because at some point, after a few years of self-booking, it was important to try something else. At the same time, you have to be aware of never making an option impossible, because being independent is about not being creatively restrained by anyone.” Are there any other advantages to being independent? “Well, normally I insist on having three days off after I play Moscow,” he says with a laugh.
THURSDAY SEPTEMBER 27
Gig: Opening Night Party! With: Lenin Lennon, Teen Ax, Ghastly Spats, Gooch Palms DJs When/Where: 7-11pm @ Emma Soup / 523 Hunter Street, Newcastle How much? Free!
FRIDAY SEPTEMBER 28
Panel: Music Industry 101 With: Stephen Goodhew (FBi Radio), Meg Williams (Association of Artist Managers/Editor of X Festival; DIY Gigs), Barney Langford (The Loft, Newcastle), Greg Morrow (APRA/AMCOS), Greg Clennar (Music NSW/Sunset People); moderated by Kirsty Brown (MusicNSW, ex-The Brag) Useful advice from seasoned experts on the often impenetrable Australian music industry – including how to get radio play and street press plugs, how to self-manage, and how to get a grant. When/Where: 1.30-3pm @ Emma Soup
Sound Summit audiences can expect to be stunned and then systematically destroyed by a wall of drone from a focused High Wolf. Taking particular pride in his live show, the loop popster argues its success is based on equal measures of experimental daring and fan-pleasing. “There is a fine line between the need for you to always make new things and explore new territories, and also not straying too far from what people know,” he explains. “There’s a certain context to a live show – it has a special energy that makes some things sound amazing. The most important thing for me is to continually evolve my show so that it is both solid and fun.” With: Radio People (USA), Twerps, Gooch Palms, Rites Wild and more Where: Sound Summit & Ad Hoc showcase @ The Croatian Club When: Friday September 28, from 7pm More: Playing with Benoît Pioulard, Secret Birds and Thomas William @ The Square in Haymarket on Friday October 5
Sound Summit Friday Showcases What: Nihilistic Orbs presents Asps, Repairs, Nuns When/Where: 6pm-9pm @ Croatian Club / Albert Street, Wickham What: Ad Hoc & Sound Summit present High Wolf (France), Radio People (USA), Secret Birds, Twerps, Gooch Palms, Rites Wild When/Where: 8.30pm-12am @ Croatian Club How much? $15 for both, all-ages (under 18s must be accompanied by a responsible adult)
SATURDAY SEPTEMBER 29
Friendly Violence By Benjamin Cooper
GOOCH PALMS
When I call the occasionally nude and always entertaining Roy, one half of Newcastle garage punk brats Gooch Palms, he’s tearing down the Hume Highway to Geelong. The southern odyssey from the band’s hometown is by now a familiar one, and he’s enjoying an afternoon spent cruising down the wide open road, talking with bubbling enthusiasm. He explains that his high spirits are partly due to the kindness of his bandmate, Kat, who’s taking the first driving shift; but mostly, he’s just happy to have some breathing space. “Our house is completely full, packed to the rafters because of all the art festivals going down in town at the moment,” he says. “More and more people have been asking to stay at our house, which is great ‘cause it’s nice to see people, but at the same time there’s no room to move or do anything.” After a number of weeks being used as an artistic halfway house, presumably the band’s residence is by now a massive drug den? “I wish!” Roy laughs. “I don’t think we’ll have much luck [in finding any of that] at our house. What I’m hoping,” he whispers, conspiratorially, “is to find Xzibit on the way to Geelong. I’ve got to find some hookers and some blow first, and then steal a bus and get Xzibit to pimp my bus, bitch! Seriously, though, I’m gonna give the man a challenge. I’m going to find the most rat-shit bus imaginable, and challenge him to pimp it out. I wanna see what Xzibit’s got.” Challenging (and occasionally downright offending) people is part
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BEST OF THE REST
SOUNDSUMMIT
of the game for the Hunter twosome. When Roy and I last spoke, he had just cleaved open the twin sides of his posterior to an unsuspecting room of punters at the Hoodoo Gurus invitational Dig It Up! show. Tellingly, the dominant discussion point at the bar after the set was not Roy’s crack, but the tightness of the set. “Well, before that show I’d been playing a lot with [Sydney indie-pop supergroup] Palms,” Roy explains, “so I think that improved us a lot. I think just being around bands like Straight Arrows makes you work harder and play better, purely because those people are setting such a high standard.” Since relocating back to their hometown, Gooch Palms have been surprised to discover that they’re in hotter demand than ever before. At the same time, they’ve found new reasons to admire their industrial city. “It’s really weird, but since we’ve moved back from Sydney we’ve played more shows than ever before. Whereas before we were just doing a show occasionally, now we are getting some awesome supports and opportunities... And Newie is really different, too. Since Terrace Bar has opened there’s been all these little bands spawning other bands, because there’s this great space for that now. You can go to the wine bar downstairs, or check out the gig space up the back. That space can get kind of violent at some gigs, though,” he warns, before reassuring: “I’m safe – I’m a friendly, violent kind of guy. Nothing to worry about here.” With: High Wolf (France), Radio People (USA), Twerps and more Where: Sound Summit & Ad Hoc showcase @The Croatian Club When: Friday September 28, from 7pm More: DJing at Sound Summit’s Festival Launch, with live sets from Lenin Lennon, Teen Ax and Ghastly Spats, from 7pm on Thursday September 27 @ Emma Soup
Panel: The Ethical And Personal Conflicts Of Writing In Big Media With: Max Easton (Mess And Noise), Luke Telford (The Brag, Cyclic Defrost, Crawlspace), Nicola Harvey (ABC Arts Gateway); Barnaby Smith (Rolling Stone/The Quietus, appearing on behalf of NYWF); facilitated by Kirsty Brown (Music NSW) Has the rise of the internet impacted the authority of traditional music journalism and larger media outlets? What is the role of the individual writers and voices within those outlets? How much freedom do they get to speak out to their own tastes? When/Where: 11am-12pm @ Emma Soup Sound Summit Saturday Showcases What: Radiant presents Cannanes, Day Ravies, Lower Plenty, Eastlink When/Where: 2-5.30pm @ Main Room, The Croatian Club What: Altered States presents xNo BBQx, Orinokoflo, Oranj Punjabi, Chronox When/Where: 5.30-8.30pm @ Boardroom, Croatian Club What: Sound Summit presents Blues Control (USA), Mist (USA), Primitive Calculators, Mad Nanna, Stitched Vision When/Where: 8.30pm-12am @ Mainroom, Croatian Club How Much? $20 for all, all-ages
SUNDAY SEPTEMBER 30 Panel: The Changing Face Of Radio With: Jason Sigal (WFMU/Free Music Archive/ Home Blitz), Tim Scott (3RRR, The Gasometer), Rowena McGeogh (FBi Radio), Andrew McLennan (4ZZZ/Disembraining Machine); Moderated by Paul Gough (Radio National/FBi Radio/Pimmon) Community, public and freeform radio stalwarts track the history of broadcast innovation, from pirate radio to streaming and beyond. When/Where: 11am-12pm @ Emma Soup Panel: Making Space For Marginal Music With: Chris Hearn (Terrace Bar), Mark Groves (Sabbatical), Joel Stern (Disembraining Machine), Kimberly Galceran (Octopus Pi); facilitated by Brooke Olsen (Sound Summit/Dirty Shirlows) There are musically uncompromising collectives, curators and labels popping up in the most unexpected nooks and crannies. How do you keep an experimental space alive? How do you sustain a forum for non-commercial music? When/Where: 12-1.15pm @ Terrace Bar Sound Summit Sunday Showcases What: Sound Summit Presents Lasse Marhaug (Norway), Outer Space (USA), Oren Ambarchi, Pimmon, Half High When/Where: 2pm-7pm @ Croatian Club What: Disembraining Machine Presents Brainbeau, Soft Power, Pink Mouse, Amateur Childbirth When/Where: 2.30pm-5.30pm @ Croatian Club What: Sound Summit Presents Home Blitz (USA), Royal Headache, Straight Arrows, Constant Mongrel, The Nugs When/Where: 8pm-12am @ Croatian Club How much? $20 for all, all-ages
arts frontline
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arts, theatre and film news... what's goin' on around town and more...
five minutes WITH SARAH
BARNS
How did the idea for Last Drinks come about? It started as a sound project. I was researching actuality sound recordings of Sydney’s history to create historical soundscapes of an environment. I found a great ABC recording of the auction of the hotel in 1970, then I went to visit the location and fell in love with all the large blank concrete walls. I was thinking they provided a great canvas for a work that would reinscribe the history of the precinct.
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What’s going to be involved? The exhibition is very much a multi-platform experience with a number of installations featured in and around Martin Place, Rowe Street and King Street. There will be four installations of large-scale video projections, which will project images and films of the a slew of indigenous works (This Heaven by newcomer Nakkah Lui; Corranderrk from the team who brought us Uncle Jack Charles vs. The Crown and The Cake Man). Rounding it out are their blockbusters: Eamon Flack takes on possibly the most epic play of contemporary stateside theatre, Angels In America, starring Robyn Nevin, and Simon Stone trips south for Cat On A Hot Tin Roof with Jacqueline Mackenzie and Ewen Leslie. Oh, and he also directs Toby Schmitz in a little play you might have heard of called Hamlet. Bring. It. On. belvoir.com.au
WE LOVE TEES
Hannibal Buress
JUST FOR LAUGHS
We got pretty excited when we found out Aziz Ansari is doing this year’s Just For Laughs festival (and when I say excited, I mean immediately jumped on the interwebs to get tickets). The comedy spectacular is taking over the Sydney Opera House from October 12–22 and they’ve just announced yet more additions to the already formidable lineup, including local heroes Charlie Pickering and Judith Lucy joining Drew Carey’s all-star gala, and Spicks And Specks’ Adam Hills rounding up his favourite comics – like godfather of stand up Dom Irrera, trash-talker Mike Wilmot and Irish observationist Ed Byrne – for his own International stage. Rich Fulcher (aka Bob Fossil from The Mighty Boosh) and hyped up-andcomer Hannibal Buress will take the stage alongside Noel Fielding, as well as performing their own intimate solo sets. The lineup’s so good, we couldn’t even cram it all in! So hit up sydneyoperahouse.com for tickets and the full details.
Are you a fan of T-shirts? Of course you are! There’s probably like an 87 per cent chance you’re wearing one right now! So, all you T-shirt fiends, get excited because aMBUSH Gallery have gotten together with The Galeries and T-world journal founder Eddie Zammit to present a celebration of all things shirty. Old mate Eddie’s so keen on the printed, cotton numbers that he owns over 4,000. There’ll be a large-scale globe made entirely of tees hanging in the atrium (120kgs worth), and the Lane Four space will host the exhibition I Love Ts, featuring portraits by ten international t-shirt movers and shakers, including Ross Zietz of Threadless, Greg Rivera of street wear giant Mishka, and Something Else designer Natalie Wood. The installation is running until November 26 at The Galeries. Check out thegaleries.com for more deets.
Rounding out the main stage theatre launches for 2013, Belvoir has dropped a program we feel confident in declaring all killer, no filler. There’s a bevvy of new plays – nine if you count the new adaptation of Miss Julie (Simon Stone writes, Leticia Cáerces directs, Brendan Cowell stars), and the stage adaptation of Ingmar Bergmann’s Persona (directed by Adena Jacobs and her Fraught Outfit team from Melbourne). There's
What else are you looking forward to at Art & About? Taking our kids to the raining house, I Wish You Hadn’t Asked! And seeing Craig Walsh’s work. It will be amazing, I’m sure. What: Last Drinks: One More Round At The Hotel Australia Where: Martin Place and the surrounds When: For the duration of Art & About (until October 21)
All Australians Are Racists, All Women Hate Each Other, China Hearts America: A CNN Live Event, and the ambitious closing event, How To Solve All The World’s Problems In An Hour. Have an opinion? No?! Well get one! And while you’re at it, get tickets to the festival, which goes from September 28–30 at the Sydney Opera House. sydneyoperahouse.com/fodi
STRANGE AND BEAUTIFUL
In true pop-up, blink-and-you’ll-miss-it art scene style, Darlinghurst will be the temporary location of art bar Beautiful Strange for a fleeting and bittersweet two weeks only. With interior design and façade décor by students of Randwick and Enmore TAFEs, patrons can enjoy their surrounds while sipping libations from an original cocktail list, in an indoor light forest surrounded by snow and penguins (animal suit dress-ups are optional). There will be live entertainment by local contemporary performance artists Christopher Hawkins, Matte Rochford and Bella Louche, with a mix of circus acts, demonstration art and burlesque. Brought together by art and booze connoisseur Jac Taylor, the concept is as original as the cocktail list, with the Alhambra Sour believed to be the only cocktail using delicious
SEX WITH STRANGERS You’ve probably gotten into an argument or two about one night stands before, right? You defend them for their usefulness and harmless fun, and your friend accuses you of being a heartless creep (or, y’know, the other way around). Maybe you’re more highbrow, preferring to debate about art and whether it’s able to survive in our seemingly vapid, increasingly fast-paced technological age. Or maybe you’re just a cautious optimist who enjoys a good romance. Either way, Laura Eason’s play Sex With Strangers (first staged last year at Chicago’s Steppenwolf Theatre) will provoke you. Sydney Theatre Company has just opened their run of the show, which lasts until November 24, stars Packed To The Rafters’ Ryan Corr and Jacqueline McKenzie (Romper Stomper), and is the theatrical debut of How To Make An American Quilt director Jocelyn Moorhouse. If you'd like to take a friend to see it at 6pm on Monday October 1, tell us the name of your favourite play. Arabian za’atar spices. Beautiful Strange will be open Thursday through Sunday nights until September 30; see the Facebook page for more details.
THIS IS NOT BART
Renowned Newcastle arts festival This Is Not Art isn’t all writer panels, performances, workshops and poetry jams. To prove it, ARThive is bringing back This Is Not Bart: Money's 2 Tight For Steak, their second annual The Simpsons-themed group art show (annoyed grunt, they’re in reruns already). There’s a huge list of contributing artists, who’ve probably produced angry cubist letters to the editor, nudes of Mr. Burns, or adoring portraits of Ringo Starr. Someone might even snorkel the animals, steal all the doormats and flood Newcastle as a tribute to the Christo homage in ‘Mom And Pop Art’. Okay okay, Simpsons references aside, TiNB will include a screening of the complete stomach-turning Hommer Simpson series by HUTZ, feature work by Bongo Comics artist Dean Rankine, and include an exhibition of works submitted by Simpsons fans from all over Australia. Head to the opening party from 7pm on September 27, or just embiggen yourself with a visit before the show closes on October 27.
LET’S MAKE OUT
The words “drive” and “Sydney” are usually a terrifying combination for this Melburnian (okay, so I’m not used to all the one-way streets yet), but this time it’s different. The classic drive-in movie theatre is being brought back to Sydney with a contemporary and innovative twist this November at the Downtown Drive-In. The secret location is said to be within three kilometres of the CBD and will run for three consecutive themed nights, screening a new release, a sentimental old favourite and a “lost cinephile’s treat”. If you don’t have a set of wheels, never fear, because standard seating will also be available. And if the prospect of an old-timey make-out session didn’t get you excited (as if it didn’t), there’ll also be a themed food and drinks menu paying tribute to the film of the night. Sign up to the mailing list at downtowndrive.in for updates.
FODI: THIS WEEKEND! BELVOIR 2013
What are your favourite stories about the hotel? When Alfred Hitchcock stayed there he was introduced to someone in the lift by then manager Lex Rentoul, and he replied somewhat caustically, “You see, I even have my fans in the colonies”. (Dad joke alert! There was a fan blowing on his face.) Sarah Bernhardt was the first guest to stay, and she allegedly brought with her a “bewildering array of animals: a St. Bernard, possums, birds and so forth.” Mark Twain visited in 1895, and got chatting to a journalist at the bar. They spent the following hours doing a long “interview” about town, presumably getting quite sauced. I think the Twain story is my favourite.
If you’re kicking yourself like I am because you missed out last year (I could’ve seen Slavoj Žižek, damn it), don’t fret! The Festival of Dangerous Ideas is back this weekend for its 2012 installation, with provocative talks about tricky issues like free will, Israel, genital cutting, racism and the economy by thinkers such as everyone’s favourite feminist Germaine Greer, free will-ponderer Sam Harris, Julian Porteous, economist Tim Harford, and many, many more. There are plenty of panels to look forward to like
Madeleine Cruise, Nightmare On Sugar
FOOD PORN
I admit it: my eyes are bigger than my stomach. But when it comes to gastronomic delights, it would appear I’m not the only one. To coincide with the SMH Crave International Food Festival, the NG Art Gallery is going to delight our eyes and tempt our bellies with its latest group exhibition, GastroPorn. The show explores the epidemic of obesity, the celebrity chef industry and our Western-style lack of moderation, through vibrant images of juicy steaks, colourful cupcakes, an overindulgence of cheeseburgers, and a heap of miscellaneous body parts, figured in varying mediums. Featuring the works of experimental artist Justin Cooper, Madeleine Cruise, sculpturist Rosie Deacon, Mosman Art Prize finalist Oliver Watts and director Eden Diebel among others, the visual orgy begins September 25 and runs until October 13, open from 6–8pm at the NG Art Gallery, Chippendale.
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he Australia Hotel was closed in 1971 to make way for what would become a 35-storey skyscraper, the MLC Centre. Sarah Barns wondered how this Sydney icon – which was so grand that Sarah Bernhardt performed at its opening night in 1891 – could be spared by the cultural elite, and what it was like in its heyday. Why would they tear down a city’s paragon of culture and taste, a place that was a beacon for the finest artists and glitterati of its day? She teamed up with Michael Killalea to start the Last Drinks project, a historical throwback incorporating art, audiovisual installations and Sydney architecture, which has just launched as part of this year’s Art & About festival.
Do you have a connection to the romantic ideals of turn-of-the-century life? No, not at all! I just find it intriguing that this hotel, with all its grandness and finery, and so loved by the Sydney elite, was demolished! And that it was replaced by the MLC Centre, an icon of Sydney modernism. I know it probably comes across as nostalgia, but it’s more about how we can engage with invisible stories that have shaped Sydney.
Australia Hotel and the wider precinct back onto the buildings in and around Martin Place. There are also accompanying sound installations: you’ll be able to listen to original recordings captured at the Hotel, as well as some stories, music and certain seminal moments in time.
ON THE ROAD A Friendship For The Ages By Alasdair Duncan
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ack Kerouac’s On The Road is a classic novel of two friends taking a road trip across 1940s America. A thinly veiled work of autobiography, it chronicles Kerouac’s meetings with counterculture figures, like William S Burroughs, and his adventures with sex and mind-altering substances. When young British actor Sam Riley (Control) was approached to play Kerouac stand-in Sal in Walter Salles’ film adaptation of the novel, he was nervous – mostly because he had never actually read it before. “I think it was ruined for me,” admits Riley. “I had friends who read it at the appropriate age, in their late teens, but I had never tried. I could see the attraction of the story and the characters, but at the same time, I was thinking, ‘Oh fuck, how am I going to do this?’ It kind of spoiled it.” Before he began shooting, Walter Salles made sure that he completely immersed his cast in the culture of the ‘40s, gathering them together in what he called a “Beatnik Bootcamp”. Riley attended, along with his costars Garrett Hedlund and Kristen Stewart, and while he admits to being a little apprehensive at first, he quickly found himself caught up in the experience. “It was an educational process; it was a school where we learned everything about the time, and met a lot of people from the era,” he says. “We had biographers come along, and heard interviews that had never been heard before with some of the reallife people involved. We listened to bebop and learned to dance to it, watched movies from the era … in between dialogue lessons, typewriting lessons and French Canadian lessons. It was an insane program, really!” For Riley, the language proved to be one of the most challenging aspects
Sam Riley and Garrett Hedlund in On The Road
of the film. The character Sal, much like Kerouac himself, is of French Canadian background, whereas Riley is a native of Yorkshire, and has the thick accent to prove it. Playing Sal meant that not only
Riley as Kerouac’s alter ego Sal Paradise
did he have to learn an accent alien to him, he also had to sound convincing in a completely foreign language. “Walter wanted me to be able to improvise,” he explains. “So it’s one thing learning a line verbatim in another accent, but if someone says something to you and you have to spontaneously come up with something, you have to be as up on the dialect as you can. We had an expert with us all the time to help with certain aspects of the dialogue. At one point, I said ‘hey man’ to someone, and she said that people didn’t actually say ‘hey’ until 1950 or something. It was bizarre.” On The Road was a document of Jack Kerouac’s travels across America, and in making the film and travelling to various locations, Riley found himself caught up in a similar journey. “Walter calculated how many thousand miles we travelled over the course of the film – I can’t remember how many exactly, but it was a lot,” he says. “We started in Montreal, and then we flew to the southernmost tip of Argentina to shoot some stuff in real snow, then we went to
We has internets!
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Louisiana, Arizona, Mexico, back up to the east coast and Canada, then back to Montreal, and finished in San Francisco. It was great because I’d never really seen America, outside of the big cities when I’d been doing press tours for films. My character was seeing America for the first time, and I was seeing it for the first time, and that was a real help. It was fascinating and fun.” Many of the film’s key road scenes take place in a classic Hudson automobile, one of two such cars that Salles procured for the film. “Garrett did most of the driving, but he actually bought his own Hudson before we started, so he was great with vintage cars,” Riley says. “I only had a couple of chances to drive it, in Mexico, which I enjoyed very much. My character was meant to be driving drunk and there were no stunt drivers [there], so I was fishtailing this car down the street with a little kid in the back.” Needless to say, the film’s insurers may not have been particularly thrilled with some of these on-set antics. “I remember at one point, one of the stunt drivers told us we’d never get a wheel-spin
out of a Hudson,” Riley says. “So Garrett stepped in and fucking did one immediately himself! He was fantastic.” Riley speaks glowingly of his costar Hedlund, and it seems the two developed a very close friendship on set. “They had him locked in for the part of Dean, and tested a lot of other actors to play Sal, but I think one of the reasons I got the part was that we got on very well the first time we met,” he says. “We had rapport with one another, which was lucky, really, because we came from such different places – he’s a Minnesota farm boy, I’m a lanky Yorkshireman. It could have been a disaster because, you know, young actors can be egocentric and competitive and try to push themselves forward at everyone else’s expense, but he’s not like that at all. We got on quite well, and I’d love to work with him again. We used to joke that we’d make good partners in a buddy cop movie, but I think we’ll be mates forever.” What: On The Road is in cinemas Thursday September 27
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EB Games Expo [GAMING] Unplug And Play By Patch Kolan games publishers, like Nintendo, Sony, Microsoft, Ubisoft and Activision. While core gamers will line up in droves to get their hands on games like Assassin’s Creed III, Halo 4 and Call of Duty: Black Ops II, according to Lock, the other major drawcard will be the live presentations from industry veterans like Ed Boon, creator of the immensely popular Mortal Kombat franchise. “You’ll be hard pressed to find a publisher missing from the lineup,” says Lock. “They’re the leaders in the gaming entertainment that we all love and drool over. They’re our friends, and we want to introduce them to gamers across Australia.”
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he stereotype that gamers are couchdwellers – headphones on and hunched over an XBox controller – is an antiquated fallacy propagated by years of media spin. Events like Supanova, ComicCon and the recently announced Penny Arcade Expo (PAX AUS) have shown us that gamers are actually everywhere, and they like to party. Chances are, you might even be one – and if you are, you probably dig mingling with other like-minded fans of this, the world’s most popular pastime. Originally a Gold Coast event, 2012’s EB Games Expo (EBX) is bringing its costumed, multimedia spectacular to the Sydney Showgrounds for the first time this October. “The event is set to be double the size, easily claiming the title of Australia’s biggest gaming event of all time,” says organiser Ryan Lock. “Moving to Sydney has been a liberating experience. We’ll see between 22,000 and 30,000 people through the doors this year.”
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This year, Sydney gamers will have access to upcoming titles from the world’s biggest
[COMEDY] Home, Baked By Benjamin Cooper
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im Minchin sounds understandably croaky on a cold London morning: he has just stepped off the plane from Los Angeles, after playing out-of-control rocker Atticus Fetch in David Duchovny’s paean to amoral excess, Californication. But the plot thickens – the Western Australian artist insists that the sorry state of his health isn’t completely his own fault. “My co-star from Californication, Maggie Grace (Taken, Lost), was in town, and I may have taken things bit a harder than my body can handle these days,” he says. “She came along to see the musical I’m in at the moment, and then we went out ‘for some drinks’. The next thing you know it’s the light of day. I’d love to be able to blame Maggie, but I think I made myself do it. I mean, she’s lived in LA since she was a teenager and is that real LA girl, and I don’t know how to relate to those girls, so I drink and party and do the whole thing. Still,” he says, rising with noticeable cheer, “I am feeling quite rock'n'roll at this moment.”
Minchin can add rock star to the varied labels that have already been applied to him throughout a meteoric last decade. After early beginnings as a theatre buff and classically trained musician at the Western Australian Academy of Performing Arts (WAAPA) in Perth in the late ‘90s, he shifted across the country to Melbourne in 2002. He spent a number of years honing the particulars of his craft – a kind of wonderfully messy mélange of showy musicianship, caustic wit and poetic absurdities – before he and his wife Sarah relocated to London in 2006. For now, though, the defender of the redhaired is still soaking up the unexpected experience of headlining Homebake, Australia’s biggest celebration of local (and this year international) musical talent. “I find it amusing that we get away with this shit, you know?” he asks. “I can’t believe that being a musician has allowed me to do comedy as well, and on top of that I get to appear at Homebake? It’s just crazy. I’ve never had a record deal, but yet there’s thousands of people I’ll get to perform for, and I get to be on the lineup with real bands.” Minchin is quick to clarify that he’s got the musical chops to have earned his spot on the rock-dominated bill. “I’ve spent a bit of time watching and studying the crowds, seeing what gets them pumped. I’ve also got awesome musos in my band, so that more than ever the show is sitting on the line between being perceived as comedy and serious, real music.” But he is somewhat lacking in summer festival experience. “As a man of pale skin, and as a musician, I have never been a fan of standing in the boiling hot sun,” he says, flatly. “But I know that The Domain’s a bit different, and I’m trying not to be totally out of touch with the other acts. My brother Dan is the President of WAM [Western Australian Music Industry Association] and he’s been sending me links to the best Australian stuff at the moment. Amazingly a lot of those bands have turned up on the bill, so even though I’m not a connoisseur I’ll still get to enjoy the best in the land!”
This broadening of what it means to be a gamer has also changed how EBX has approached what kind of games and brands they’re showing. Lock sees new opportunities emerging for iOS and Android: “First and foremost, the EB Games Expo is a showcase of the best in gaming, no matter what form that takes,” Lock says. “We have dedicated a massive space at the Expo to the latest and greatest in gaming technology, as well as Australian games development which, more often than not, is very iOS/Android game focused.” In an age where digital distribution is pounding the retail scene, companies like these are playing catch up in many ways. But Lock maintains that EB Games’ move into the event space is about giving Australian audiences access to world-class entertainment. “We’re not in it for the PR, we’re in it for the games,” he says.
The expatriate’s Homebake appearance will coincide nicely with the beginning of summer, the significance of which is not lost on Minchin. “At the moment I’m flying back and forth between LA and London once a week, and I couldn’t feel further away from home and family. But at the same time I know I’m so lucky, so I remain focused on the present.”
For players, of course, it comes down to value. The event may well offer the kind of access most Australian gamers simply haven’t experienced before. At the same time, it’s a worthwhile reminder of the whole point of why we play games in the first place: to have fun and lose yourself in the moment.
With: Blondie, Hilltop Hoods, Kimbra, Birds Of Tokyo, The Saints, Jinja Safari, Tim Rogers, Sonicanimation, The Bamboos and more Where: Homebake 2012 @ The Domain When: Saturday December 8
What: EB Games Expo runs from October 5–7 at Sydney Showgrounds More: Tickets from ebexpo.com.au
Sex With Strangers I Hope They Serve Beer In Hell By Dijana Kumurdian
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eople like to write about writers, and read about writers, and watch things about writers. I guess there’s something that seems wounded or damaged about creative types that makes us want to sluice into their neurosis-addled heads and revel in their brilliant madness for a couple of hours. Laura Eason took two such writer-types (fictional, of course) and isolated them in rural Michigan: they argued about sex and relationships and books and the internet – and the result was Sex With Strangers. Her play, which treats literary merit as seriously as it does romantic interaction, premiered at Chicago’s Steppenwolf Theatre in 2011, and is now being adapted by the Sydney Theatre Company. It marks the theatrical debut of director Jocelyn Moorhouse (How To Make An American Quilt) and stars Jacqueline McKenzie (Romper Stomper) and Packed To The Rafters’ Ryan Corr. Corr plays Ethan Kane (pen name: Ethan Strange), a brash 20-something author and self-confessed arsehole, famous for a blogto-book adaptation that chronicled drunken nights spent bedding women he picked up in bars. His character – loosely based on controversial author Tucker Max – is offset by Olivia (McKenzie), an older woman who’s written a brilliant but unsuccessful novel. She’s now finished her second, and this overconfident stranger is pushing her to do something with it. “He wrote the book and he called it an Internet Memoir Based On The Intoxicated
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Recollections Of A Certifiable Asshole – there’s something to be said for someone who can view their work like that,” says Corr. “There’s a certain amount of bravado and centre-of-attention, egobased stuff in his character that I found it difficult to engage with. I have to be quite imposing, in the first act at least, so when things happen later it’s more of a surprise. And then there have been other parts that I can relate to, like being driven and having big aspirations and talking about them in quite an impassioned way.”
The play has been praised for its accurate, conflicted figuring of contemporary relationships, and the anonymity that often comes with them. “One night stands are a real thing, the characters discuss that,” says Corr. “I know Olivia says sex with strangers can be good because there are no hopes and no expectations. And Ethan’s argument is, ‘Well, what if you like someone and you have trouble getting them back again?’ Of course I understand both of those perspectives. Ultimately he is here for that meaningful relationship with a woman whose writing shook him to his core and showed him parts of himself that he didn’t really know existed.” Eason’s script was intended to be spare and bold, a quality enhanced by Moorhouse’s use of a sparsely furnished thrust stage,
Jacqueline McKenzie and Ryan Corr
where the platform protrudes into the audience. “It’s very much the audience surrounding you,” says Corr, going on to explain that their acting is intended to be just as confronting. “The play adopts hyperrealism, so it’s not cutting off at the end of lines or trailing off at the end of a thought. It’s about getting to the end of that line: it’s very clean and sharp. So, once we had an idea of what the story was about and what each scene means, it was a case of standing up with a book in hand and acting off impulse. It’s exploration.” Sex With Strangers deals with the push-pull between artistic integrity and self-promotion, the friction between the classic and the contemporary, and Corr thinks Ethan and Olivia serve as perfect archetypes. “Ethan’s like, ‘Look, I’ve written this and I’ve had this success. Now I want to put something of meaning into the world and you’ve written something of meaning and had no success. Let me share with you what I can do.’ Something at the core of Olivia’s writing has stirred something inside him and he wants to meet her. He speaks about all these women that he’s met until now not being fully-formed. In the end, you want them to fall in love – you want them to balance each other out.” What: Sex With Strangers Where: Sydney Theatre Company, Walsh Bay When: Until Saturday November 24 More: Tickets from sydneytheatre.com.au
Tim Minchin photo by James Pendilis
That the Expo is going to outdo last year’s Gold Coast grandeur is a pretty huge statement. In 2K11, the Gold Coast Exhibition Centre was filled with countless stalls of gaming consoles, with previews of all the blockbusters, as well as smaller games like Street Fighter x Tekken, ready to play. Apart from the game sampling itself, an enormous stage was constructed for the main events, and reportedly it felt more like an arena spectacular than an ordinary expo. Notable moments were the opening and closing shows, where motocross bikes jumped across the stage, and EA kingpin Peter Moore’s presentation, with its impressive display of pyrotechnics and fireworks.
Lock emphasises that games are usually a communal experience (I mean, we’ve all heard about people hooking up and getting married after a courtship involving extended hours on World Of Warcraft), and expos like EBX celebrate this community aspect as much as the games themselves. Lock says, “Whether you’re into Cosplay, eSports, or just want to listen in on what the developers have to say about their games, there’s something that’ll appeal to everyone.”
Tim Minchin
Film & Theatre Reviews Hits and misses on the silver screen and the bareboards around town.
In the days of yore, art was inextricably tied to religion. Obviously, the contemporary artist’s relationship with God has been complicated by hundreds of years worth of scientific and philosophical progress. However, at its most earnest, great art can still be an attempt to commune with some kind of higher power. This all sounds very lofty and exaggerated, and it’s rare to find work that evinces such a sense of sublimity, but En Atendant, choreographed by Anne Teresa de Keersmaeker for her Rosas ensemble, achieves just that. In the impossibly cavernous Bay 17 space at Carriageworks (probably the closest thing to a secular cathedral for its sense of the immense), the enormous stage space is harshly lit by a bar of fluorescent lights (set design, Michel Francois). A lone flautist walks to the front of the stage. He takes a good minute to raise the flute to his lips. He blows into it, creating strange and atonal sounds, for a further five. He does not breathe. Our desire to do so is also suspended. It sets the tone perfectly for the 90-minute work, much of which takes place in absolute silence, or against a trio of medieval voice and instruments. With no amplification, the three musicians and eight dancers fill the space easily. De Keersmaeker’s choreography splices together motifs of reliance and resistance, a push-pull of imagery which is at once brutal and vulnerable. Her dancers are of the first class, technically faultless (watch how they remain in perfect unison despite the absence of a discernable beat) and absolutely honest in their presentation of themselves before an audience. So precise is their depiction of longing, loss and desperation for absolution, that as the light slowly fades and the figures retreat to the shadows, one longs to beg them to stay, to stave off the coming dark, to push back the coming storm. Rebecca Saffir ■ Theatre
THE LUNCH HOUR Darlinghurst Theatre Company Reviewed September 12 If I had a dollar for every creatively-inclined friend who makes ends meet in a souldestroyingly uncreative job, I would have enough money to fund every single one of their new artistic ventures. Apparently, though, this isn’t how money works, so on and on they trudge, working in cafés, jeans stores and call centres, waiting for their fairy godmother (or fairy godagent) to lift them out of relative obscurity. Chris Aronsten, playwright, is obviously familiar with this mileu, which is why it’s the setting for his new comedy, The Lunch Hour. In a theatre company box office, five aspiring thespians earn a crust by selling tickets to other people’s shows. Their boss, Martin (Gerry Sont), unites them in resentment and frustration with his demands that they spend more time answering calls and less time gossiping. What he doesn’t know is that they’re also trying to write the script (specifically, a play about him) for a major playwriting prize that closes the same day. When their secret explodes (literally, in one of the funniest episodes in the piece), Martin turns on those who have turned on him.
But if you’ve ever sacrificed a dream for a living, ever doubted your ability to make it out the other end with something to show for yourself, The Lunch Hour will hit home – maybe painfully so. Aronsten offers no absolution for his characters: to paraphrase Shakespeare’s Richard II, they have wasted time and now time wastes them. In a small but certain provocation to his audience, Aronsten warns us not to make the same mistake.
dara gill: non-sense
12:09:12 :: Gallery Barry Keldoulis :: 285 Young St Waterloo
Veronique Valerio ■ Film
ON THE ROAD In cinemas September 27 On The Road has the awkward task of being an adaptation of a novel that's both seminal and heavily literary. But Walter Salles’ figuring provides entertainment, sympathetic characters, and actually manages to be more compelling than I found Jack Kerouac’s 1957 novel. The film has that up-and-at‘em pace that defines the beat generation, with many a jazz interlude and no real discernable three-act structure. Narrator Sal Paradise (Sam Riley) sparks momentum each time he moves onto a new destination (“Are you goin’ some place, or just goin’?”), and the young Brit’s performance as the Kerouac character is simply outstanding. The quiet-spoken vicariousness with which he both experiences and watches the action of the story, a voyeur to the troupe’s lifestyle, is perfect, and notably different in presence from his previous (also excellent) star billing as Ian Curtis in Anton Corbijn’s Control. Kristen Stewart defies the wispy expectations surrounding her, in a rather steamy and affecting turn as Mary-Lou, but unfortunately Kirsten Dunst is either playing a flat character convincingly, or genuinely is just a bit flat. The centre piece of the film, of course, is Dean Moriarty: the film is continually energised by relative unknown Garrett Hedlund’s compelling performance and versatility in the role. True to the character, he is ravishing, unpredictable and broken, essentially melting the loins of all the men and women he comes into contact with. We’re treated to lots of on-location shots of California, Louisiana, and Mexico (to name a few gorgeous destinations), and the neverlagging pace is to be commended. Viggo Mortensen steals the show with his cameo as the fictionalised William S. Burroughs, cradling babies, shooting pistols and drinking martinis in reverent style. All in all it’s fun, and doesn’t take itself too seriously, which is more than I can say for the novel (which, admittedly, I found plodding. Can I say that?). Salles manages to give a deft touch to an epic adventure with huge literary boots, which is a pretty great feat. Justin Wolfers
On The Road
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34b good girls gone bad
PICS :: TL
Carriageworks Reviewed September 11
Aronsten’s script shifts moods and voices quickly, and this is adeptly handled by the cast (Angela Bauer, Branden Christine, Briallen Clarke, Bali Padda, Shaun Rennie, and Sonny Vrebac) and Kate Gaul’s sharp and to-the-point direction. Occasionally, however, the more parodic moments are lost, and the action never quite matches the hysterical heights of ridiculousness indicated by the script. The second act, which swerves between some truly heart-breaking moments and a final scene – which is equal parts hilarious and terrifying – seemed to sail over the heads of some audience members.
14:09:12 :: QBar :: 34 Oxford St Darlinghurst
artcore guerilla art fair
PICS :: TL
EN ATENDANT
At the heart of the arts Where you went last week...
PICS :: TL
■ Theatre
Arts Snap
12:09:12 :: The Imperial Hotel :: 35 Erskineville Rd Erskineville
Arts Exposed What's in our diary...
REIGN OF ERROR Firstdraft Gallery, Surry Hills Wednesday September 26, 6pm Combining installations, artworks, performance and projections, Firstdraft Gallery’s new collaborative show is undoubtedly going to be an exercise in cool. Reign Of Error examines real or imagined constructions of self and the world, and opening night will have all participating artists perform an installation called The Curator Wears Margiela And Sits In The Gallery. We don’t really know what this will involve, but it sounds pretty awesome – even if it’s literal. We’re definitely going to head down for Thursday September 27’s sound and projection special, featuring the intoxicating performances of darkwave Melbourne outfit Digital art by Tim Dwyer ASPS, Rites Wild from Adelaide, Horse MacGyver and Soft Power. If you want to hear about what the artists have to say, drag your hungover arse to the gallery from 2pm on Saturday September 29, because Jack Mannix is making a special appearance to talk about his brutally honest new zine, Cocksucker Bruise. Hit up firstdraftgallery.com for the full artist lineup. BRAG :: 481 :: 24:09:12 :: 29
Album Reviews What's been crossing our ears this week...
ALBUM OF THE WEEK SWANS
The Seer Young God/Remote Control If you saw Swans play in 2011, much of The Seer will feel strangely familiar. In truth, most of these pieces don’t properly belong on a record. The longer suites are really exercises in music as elevation – they aim to pique the awareness of the listener to a point of rapture by way of prolonged intensity. Recording that kind of catharsis always risks gelding it a little bit, and as a document The Seer effectively fails at replicating the extraordinary mood of the live show. The Seer is meant to be a culmination of all that Swans have done to date, but its vitality and vibrancy suggest the band’s best work has only just begun.
Regardless, it works particularly well as an album. The lengthier tracks, while falling short of transcendence, proffer complex thickets of textural rock to lose yourself in. The title track opens to an immense chorus of droning bagpipes, zither and
TZU
DIVINE FITS
Millions Of Moments Liberation Because they space out their records far more than their contemporaries, and because they go for complete stylistic makeovers with every release, it’s sometimes hard to keep up with TZU. When we last heard from the Melbourne foursome, on 2008’s Computer Love, they were channelling ‘80s retro vibes. This time around, they’ve gone for the Elliott School aesthetic, marrying the enviable flow of Joelistics and Seed MC with the smooth bleeps, bloops and drops of the post-dub generation. Not that these stylistic shifts matter – TZU can obviously do anything. Armed with live bass and drums that they evidently know how to use, the band come as close to old and new school synchronicity on this outing than they have since they broke with 2005's Smiling At Strangers. There’s less braggadocio than previously, but there’s some bloody gorgeous composition to make up for it. ‘Breakthrough’ marries the languid pulse of The xx with some old soul crooning, while ‘Criminals And Murderers’ drives a Talking Heads bass figure over disco hi-hats before bottoming out into more halftime wonky stuff. There’s a lot more singing than rapping in the first half of the record, and in a way it suits them better. With so much to love sonically, it’s hard to have time to analyse what else is going on. By the time they roll into ‘Nowhere Home’, a Miike-Snowlost-in-the-forest floor tom jam, TZU have firmly redefined their sound, and it’s hard to remember what they were like before. This is what successful reinvention looks like. Lil Wayne should be taking notes. A wonderful return from Aussie hip hop’s most intelligent left-fielders. Jonno Seidler
A Thing Called Divine Fits is what you would expect from this merging of musical minds, which is by no means a bad thing when considering the output of their regular bands. Daniel brings the soulful snarl and heavy grooves of Spoon (‘Flaggin’ A Ride’, ‘Would That Not Be Nice’), and Boeckner gets slightly weird with brooding, detached keyboards (opener ‘My Love Is Real’, ‘Baby Get Worse’) – and while there is some sense of collaboration, at times it can feel like an album split down the middle. For his part, Boeckner seems more willing to try new things, and it’s refreshing to hear him plaintively singing as a counterpoint to his Wolf Parade wail. For Daniel, it sounds more like a placekeeper between Spoon albums – but then perhaps we’re expecting too much from our modern day supergroups. look no further than Mick Jagger’s awkward mish-mash band with Joss Stone, Damian Marley and Dave Stewart to see just how bad it could have been. Like Spoon? Like Wolf Parade? Like Handsome Furs? You’ll probably be liking Divine Fits. Mitch Alexander
What makes The Seer so engrossing is the range its guest appearances bring to Swans’ sixpiece arsenal. Karen O sounds unrecognisably tender on the gentle country ballad ‘Song For A Warrior’, even in spite of the song’s violent invocation. Ben Frost’s synthetic fire at the opening of ‘A Piece Of The Sky’ contrasts beautifully with the muted despair of the vocal collage that follows. Most extraordinary
FLYING LOTUS
A Thing Called Divine Fits EMI Australia
Oh, the woes of being the other guy in a supergroup – and yes, we’ll get it out of the way early, Divine Fits is an indierock supergroup featuring Spoon’s Britt Daniel and Wolf Parade’s Dan Boeckner. Much like the member of Monsters Of Folk that wasn’t Jim James, Conor Oberst or M. Ward, it doesn’t matter if you’re highly competent and/or well respected within certain circles: if you’re not on notoriety par with the rest of the band, you’ll always be the other guy. So spare a thought for Divine Fits’ Sam Brown, the drummer for Ohio punk rock band New Bomb Turks for over a decade and current skin thumper for this latest trio. But only spare a single thought, because, well, we’ve gone into this.
unsettling church bells. It lulls and builds to a pulverising drone that recalls the frenetic effect of hearing this music in the flesh. ‘Avatar’ is a similar exercise in tension without release – tuned percussion and snarling rock percolate into the desolating resignation of Michael Gira’s final wordless vocal.
Take the warped waltz of the title track – strewn with twisted vox humana and tempered with contrapuntal bass runs, its heady sci-fi vocal musings bring to mind the outer reaches of jazz abstraction, before a strident fluoro hip hop strut lifts us out of the cerebral haze. The keys that follow on ‘The Nightcaller’ sound lifted directly from a half-melted copy of Herbie Hancock’s Thrust, draped delicately over Madlib’s turntable like one of Dali’s clocks. Despite the intoxicating effect of its lurid fusion leanings, the album is best when Ellison whittles his work to its very essence. The triumphant lope and Atari squiggles of ‘Sultan’s Request’ make the most sense when it resolves to a tumbling groove and invasively abrasive bass. ‘Tiny Tortures’ is little more than a gentle, pragmatic gait and elegiac melody, but it manages more simple beauty in its two and a half minutes than most hip hop heads could ever hope for. Shorn of the tense intent of Los Angeles and the sweeping ostentation of Cosmogramma, Ellison has finally found the equilibrium that allows his vision the space to breathe. Until The Quiet Comes is the most fullyrealised Flying Lotus album yet. Luke Telford
Summertime Heavy Permanent Records Summertime Heavy marks the return of brooding, simmering fuzz heroes Sugar Army – Summertime Heavy being just about the only two words that could so seamlessly describe this enigmatic batch of tunes. The West Oz outfit pricked ears nationwide after their first release, The Parallels Amongst Ourselves – singles were heavily rotated, shows were sold out and festival main stages graced. But as the lads were demoing tunes for album number two, their bass player received a call from Birds Of Tokyo. “Hey
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man, wanna play bass in an ARIA winning, Platinum selling, established rock’n’roll band?” So exit the bass player, and so enter the first album hurdle. Rather than recruit a session musician, the three remaining members took care of the bass themselves. While slightly rudimentary in places, it means there is a bit more space for the tortured guitars, the building drums and, most importantly, Patrick McLaughlin’s awesome vocals. ‘Future Spark’ is a great start to the album, introduced with a riff that could only be Sugar Army – all angles and angst, with just enough pop to keep their listenership nice and broad. Their
MUMFORD & SONS
Battle Born Island Records/ Universal
The four-year wait between Killers albums has ended, with the release of the Las Vegas sextet's fourth studio record, Battle Born. Named after the phrase emblazoned on the corner of their home state Nevada’s flag, and their very own recording studio, the band sought to play to their strengths while still striving for a departure from previous releases – so the title is very fitting. The stadia-quaking electro-rock sound of ‘Flesh And Bone’ offers a mature opening, and it's really the most pop-influenced track on the album, with a bright, fun intro that sounds somewhat akin to an ‘80s video game. It's followed by the album’s first single, ‘Runaways’, which is as rootsy and American as Springsteen himself, with powerful vocals and guitar riffs that hark back to 2006’s ‘When You Were Young’ – but whether or not it’s an innovative track for the band is debatable. The album houses a solid selection of rock’n’roll country numbers and big power ballads, including ‘Here With Me’, featuring a heartstring-tugging cinematic ballad with a Tom Petty/ Depeche Mode feel, and the multilayered gigantic chorus and vocal climax of ‘Miss Atomic Bomb’ – a titular ode to the links it shares with their classic, ‘Mr. Brightside’. The closing title track cranks things back up to another epic stadium number with another of those banging choruses that they do so well – a climatic end, with Queen-esque harmonies. Battle Born sees The Killers complete their transition from electro synth-pop to Springsteen stadium anthems – so if you’re a fan of their earlier sound, you may find yourself disappointed. Carla Pavez
INDIE ALBUM OF THE WEEK SUGAR ARMY
Luke Telford
THE KILLERS
Until The Quiet Comes Warp/Inertia
Until The Quiet Comes finds Steven Ellison refining the panicked excitement of Cosmogramma into a muted, fluid mix, with a mood that recalls the mutant flow of 2008’s Los Angeles. Those fond of his signature head-nodding wonk – the hip hop equivalent of the infamous dubstep LFO wobble – may be slightly disappointed: this record is slick and simple on the surface, offering little in the way of instant gratification. Instead, the focus is on the intricate and immersive moods, etched into the air by an endless array of minute articulations that burble constantly beneath the surface.
is the familiar timbres of Alan Sparhawk and Mimi Parker of Low, harmonising “your childhood is over” in repeated unison on ‘Lunacy’.
songs have a tendency to start building the second they begin, and ‘Will You Follow’ is testament to this – it’s stressful and perfectly cluttered. ‘Hooks For Hands’ is the stand-out track and the obvious choice for first single, and ‘In Comes Light’ is my pick for its follow-up: “We spent so long running away from danger”, begins the frenetic and bittersweet pop song, crafted in a similar vein to 'No Need For Lovers', the stand out track from their debut. Summertime Heavy is a strong followup from Sugar Army. It’s bold, fun and a little creepy; rock’n’roll for the pondering man. Jack Parsons
Babel Dew Process
Mumford & Sons’ debut, Sigh No More, was one of my favourite records of 2009. The whole thing was done with so much joy, and the harmonies were so great – even the predictable ‘build and release’ structure of the songs was overcome by sheer force of personality. These boys can play, too; anyone who saw their impromptu on-stage jam at Oxford Art Factory can testify to the foursome’s innate chemistry. But it was always going to be tough to follow the phenomenal success of their first album, and Babel comes across as heavy-handed and contrived in ways that the original never did. Marcus Mumford’s voice is still engaging and personable, and the warmth of the band’s sound as a whole still draws you in like a cosy fire on a winter’s night. ‘I Will Wait’ and ‘Whispers In The Dark’ are perfect examples of what this band does best, even adding electric guitars to the mix – a welcome addition to a sonic palette that for the most part hasn’t changed from the first record, and is subsequently a little dull. That’s a conscious choice by the band, who worked with the same producer so as to keep to the formula; the problem is that formula, now familiar, seems almost exploitative, as though written for a prescribed audience response. It’s interesting to contrast this band with Marcus’ ex-partner, Laura Marling. Thematically and sonically she has been able to evolve as a musician in really exciting ways, exploring different genres and styles while remaining firmly rooted in the ‘folk singer’ milieu. M&S haven’t shown much of that on Babel, or indeed much development at all. Many will love it for precisely that reason, but I was hoping for something a bit more adventurous. Their formula may have run its course, but it can still be great fun. Hugh Robertson
OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... KURT VILE - Childish Prodigy SOMETHING FOR KATE - Beautiful Sharks GRIZZLY BEAR - Shields
RYAN ADAMS - Heartbreaker STEVE BUG - Noir
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yardvark
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up all night out all week . . .
mum
PICS :: TP
14:09:12 :: FBi Social :: Kings Cross Hotel 248 William Street Kings Cross 9331 9900
tone defeat
PICS :: RW
14:09:12 :: World Bar :: 24 Bayswater Rd Kings Cross 9357 7700
sola rosa
PICS :: KC
15:09:12 :: Annandale Hotel :: 17 Paramatta Rd Annandale 9550 1078
13:09:12 :: The Standard :: 3/383 Bourke St Darlinghurst 9660 7953
mum turns five It sounds like: The loosest fifth birthday party that you’ll probably ever go to, with a series of the best and upcoming indie and punk bands around, plus DJs spinning house-party jams. Who’s playing? The Cairos, Wax Witches, Bored Nothing, March Of The Real Fly, Driffs, Black Zeros, Mannequins and MUM DJs. Sell it to us: MUM is Sydney’s institution for breaking new live bands, and on her 5th birthday you’re invited ‘round to check out the next lot of killer acts we’re most excited about. Also, you can get your hands on $1 chili dogs, $6 Sailor Jerry’s, and $5 beer and sangria. The bit we’ll remember in the AM: You’ll be all like, “I think I was at someone’s birthday in a giant terrace house. There was heaps of Sailor Jerry’s and punk bands, but then the DJ was playing ‘60s garage, ‘80s dancefloor tunes, hip hop and indie stuf f... It was weird. But awesome!” Crowd specs: Open house. Wallet damage: $15 Where: The World Bar / 24 Bayswater Road, Kings Cross When: Friday September 28
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oaf 5th b'day
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party profile
It’s called: MUM’s 5th Birthday
15:09:12 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711 :: NOHMON ANWARYAR :: S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER MAS PEACHY :: PEDRO XAVIER THO :: MAR LEY ASH :: NN RMA KATRINA CLARKE :: SASKIA EISE
live reviews What we've been to see...
HANSON
The Enmore Sunday September 16 It’s so easy to forget that some people never lost that summer-of-'97 passion. I didn’t, but I did go through a long period of pretending to be over Hanson, before learning that being a music writer means that you can like whatever you damn please because you have the critical lingo to back it up. I had thought that most of the crowd at the second of two sold-out Hanson shows in Sydney in 2012 would be girls my age whose parents wouldn’t let them catch the 1999 tour and/or who wanted to revel in sweet nostalgia – I expected a mildly sheepish but gleeful vibe. I did not expect all the hallmarks of classic pop fandom: homemade signs and t-shirts, 1D-worthy screaming, and hundreds of girls who knew every word of the latest album (2010’s Shout It Out, just released digitally here). The Hanson brothers have been playing together for 20 years and working musicians for 15, and they perform with the polish and confidence of a band twice their age. Ike, in suit and skinny tie, mugs knowingly at the audience and often approaches the edge of the stage for some mild solo-ing; Taylor, in hoodie and neckerchief, is mostly tied to his baby grand but occasionally bounces forward to demand volume or sing-alongs, a hypeman you could take home to mum; Zac’s pre-teen exuberance, like his voice, has mellowed into a laconic competence that emanates from the drum riser. Instead of reinventing or progressing their sound, they’ve kept making the same squeaky-clean Midwestern RnB-tinted pop
MACY GRAY
Sydney Opera House, Concert Hall Sunday September 16 “In Sydney live the most wonderful, perkybreasted women in the world,” declared an appliqué daisy-clad Macy Gray. Gray was something of a force to be reckoned with last Sunday, playing a hefty 16-song set at Sydney’s iconic Opera House. The Grammy Award-winning singer-songwriter, producer and actress released a covers album earlier this year, recorded at Frank Zappa’s studio, from which she derived a considerable amount of her setlist. As much of an institution as the Opera House is, the venue was a curious choice for Gray’s style of music (neo soul, disco and synth rock amongst others) – music which invariably cajoles the audience to get up and shake some. For such a stark margin between audience and performer interaction, Gray’s command of the stage was sure; this 43-year-old had behemoth conviction, backing a nearly two-hour-long set. The band itself was a motley match, all assuming the appearance of Haight Ashbury beatnikscum-happy
rock that made them famous before Zac even had pubes. Perhaps they’re trapped forever in the mindset of their peak, when they and their fans alike were just kids. The classic rock and RnB they claim to be inspired by often sounded sweet and innocent, but was still sung by adults and so never completely ignored sex as an idea or a possibility; but Hanson still do just that – apart from a promising, sly flash near the end, where they drop a verse of ‘Let’s Get It On’ into the wistful ‘If Only’, settling instantly into a deep, plush groove as Ike shimmies off his tie and flings it aside, before switching back into their own stuff as if to say, ‘You didn’t think we were going to be grown-ups for more than half a minute, did you?’ The crucial question is, of course, whether Middle Of Nowhere holds up 15 years later. Secret highlight ‘Madeleine’ is well-served by an acoustic version that highlights its pretty harmonies and tidy structure; ‘With You In Your Dreams’ is turgid, and an odd choice over the superior gospel balladry of ‘I Will Come To You’; and fuck all y’all and your opinions, ‘MmmBop’ is a classic. It never quite kicks up into the effervescent mania required to pull off a chorus consisting entirely of gibberish, but everyone – from the security crew to the bemused boyfriends – finds themselves air-drumming and mouthing the right syllables through massive grins. Think of it as 1997’s ‘Call Me Maybe’ – good-natured instant-gratification pop, with its irresistible catchiness weighed against its oppressive ubiquity – and spare a thought for Hanson, who will probably still be doing this in 50 years and have never written a bigger, better pop song.
Gray pulled out a chamber-soul rendition of Metallica’s ‘Nothing Else Matters’, and inhabited Radiohead’s ‘Creep’ beautifully. Her smoke-outside-the-church rasp presented itself to an innovative re-imagined version of the Eurythmics’ ‘Here Comes The Rain Again’. But in-between songs, her banter had an air of contrivance about it; she often came out with anachronistic, liberated-libido maxims that simply held no bearing to her buttoned-down, post-civil rights audience. Still, the whole concert was markedly feel-good and high-spirited. Gray’s choice of genres and styles was kaleidoscopic, and left one believing that they had entered into a rich reservoir of imagination, bereft of limitations.
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hardcore ravers, a clashing of styles that grated a little throughout the performance; there was a lack of harmony between the band members (although the segues were tight as a tourniquet). Notably, her backing vocalist had an epic vocal range, providing scope and curvature where Gray lacked in pitch acrobatics. But it was still Gray who carried the gravity of the show, preaching to all corners of the stage.
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Lizotte’s Sydney 629 Pittwater Rd Dee Why PHOTOGRAPHER :: ASHLEY MAR
Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber
Lizotte’s Newcastle 31 Morehead St Lambton
WWW. LIZOT TES.COM.AU BRAG :: 481:: 24:09:12 :: 33
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ingrid michaelson
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up all night out all week . . .
14:09:12 :: Metro Theatre :: 624 George St Sydney 9550 3666
Sell it to us: The quintessential Latin salsa orchestra. It’s the first time we’ll have the real deal in this country: a full 14 piece salsa orchestra with three vocalists, a full brass section, percussionists, a heavy rhythm section, a legendary MC, and all the smooth dance moves you can imagine by the guys who put salsa on the map. The bit we’ll remember in the AM: How you connected to your inner Latino, and how your body seemed to be taken over by the music – you weren’t able to stop yourself from grooving all night.
jonathan wilson
PICS :: SE
It sounds like: The best Latin salsa sound you’ve ever heard. It’ll make you feel like you're on holiday on a tropical island in the Caribbean. Who’s playing? El Gran Combo de Puerto Rico
15:09:12 :: The Standard:: Level 3/383 Bourke St Darlinghurst 9331 3100
Crowd specs: Movers and shakers. Wallet damage: From $99 Where: The Roundhouse at UNSW Campus, Kensington When: Saturday September 29 and Sunday September 30
fbi social
01:09:12 :: FBi Social :: Kings Cross Hotel 248 William Street Kings Cross 9331 9900 PICS :: PX
the red paintings
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party profile
el gran combo de puerto rico
:: NOHMON ANWARYAR :: S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER MAS PEACHY :: PEDRO XAVIER THO :: MAR LEY ASH :: NN RMA KATRINA CLARKE :: SASKIA EISE
OCTOBER
SATURDAY 6TH @ THE HI FI W/ I EXIST & LO! DOORS: 8:00PM
TICKETS WWW.MOSHTIX.COM.AU
INFORMATION AT WWW.HEATHERNSKULLS.COM BRAG :: 481 :: 24:09:12 :: 35
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send your listings to : gigguide@thebrag.com
My Disco
Jazzgroove: Baz & the Ookas, Daryl Pratt Sextet 505 Club, Surry Hills $8 (conc)–$15 8.30pm
ACOUSTIC & FOLK
Carolyn Woodorth, Peter Williams Harbour View Hotel, The Rocks free 7pm Darren Bennett, Simon Marrable George IV Inn, Picton free 7.30pm Russell Neal, Steven Barnard, Vanessa Heinitz, James Seymour, Cathryn Dorahy, Brian Manning, Paul McGowan Merton Hotel, Rozelle free 7.30pm The Songwriter Sessions Sandringham Hotel, Newtown free 7.30pm
SATURDAY SEPTEMBER 29
WEDNESDAY SEPTEMBER 26
Goodgod Front Bar & Small Club, Sydney
Goodgod Birthday Smash Hits: My Disco, The Laurels, Bart Willoughby & Selwyn Burns (No Fixed Address), Songs, No Zu, Client Liaison, The Fighting League, David Darling & Vital Organ Damage, Bloods, Yo Grito DJs and more, hosted by Kirin J Callinan $18 (+ bf) 7pm MONDAY SEPTEMBER 24 ROCK & POP
Broadway Unplugged The Vanguard, Newtown $10 7pm Monday Jam Lansdowne Hotel, Chippendale free 8pm
JAZZ
Brian Campeau Trio 505 Club, Surry Hills $10 8.30pm Ian Blakeney Dee Why RSL Club free 6.30pm
ACOUSTIC & FOLK
Russell Neal, Sue Cunningham, 2 Picks, No Sticks, Midstrip, Adam Kiss, Ivona Budys, John Chesher Kellys On King, Newtown free 7pm
TUESDAY SEPTEMBER 25 ROCK & POP
Adam Pringle and Friends Downstairs, Sandringham Hotel free 8pm James Morrison (UK), Gin Wigmore (NZ), Ashleigh Mannix
Enmore Theatre sold out 7.30pm Jurassic Lounge: Tokyo Denmark Sweden, Fishing, Spod (DJ set), Astral People DJs, Ariane Australian Museum, Sydney $14 5.30pm Shane Flew Dee Why RSL Club free 6.30pm Songwriters Association Open Mic Bald Faced Stag, Leichhardt free 7pm World In The Basement: The Rogue Gene feat. Belle Hendrik, Alchemy, State Advanced (CAN) The Basement, Circular Quay $15 (+ bf) 7.30pm
ROCK & POP
Aimee Francis and Friends Downstairs, Sandringham Hotel, Newtown free 8pm Andy Mammers Duo Maloney’s Hotel, Sydney free 9pm Ball Park Music, Elizabeth Rose, Castlecomer UNSW Roundhouse, Kensington $23.50 (+ bf) 7pm Black Lakes, The Chorus Girls Hotel Hollywood, Surry Hills free 8.30pm Brackets FBi Social @ Kings Cross Hotel free 1pm The Carl Stewart Band, Recall, Griffith Goat Boy The Vanguard, Newtown $13.80 8pm Dune Rats, Drunk Mums, Food Court Beach Road Hotel, Bondi Beach free 8pm Finer Feelings: Post Paint, Love Parade, Katie Whyte & The Pales, Belle & The Bone People Annandale Hotel $10 (+ bf) 8pm The Fray (USA) The Basement, Circular Quay $55 (+ bf) 7.30pm Gemma The Observer Hotel, The Rocks free 9.30pm James Walsh (UK) Brass Monkey, Cronulla $17.85 7pm Josh McIvor Mean Fiddler, Rouse Hill free 6pm Lazybones, Ivory Drops, Tonie Christian Band Valve Bar, Tempe free 7pm Live and Local: David Knight, Justine Martin, Matt Schlam Band, Groovsta Lizotte’s Restaurant, Dee Why $15 7pm Marianas Trench (CAN), Sound Of Seasons, The Sunny Side Up Metro Theatre, Sydney $45 (+ bf) 7.30pm all-ages Matt Jones Summer Hill Hotel free 7.30pm Musos Jam Night Bald Faced Stag, Leichhardt free 8pm Nick Kingswell Northies, Cronulla free 7.30pm Pat Capocci Combo, Coop De Ville, DJ Sinead Rock Lily, The Star, Pyrmont free 7pm Sam & Jamie Show The Orient Hotel, The Rocks free 9pm Sambosa Macquarie Hotel, Sydney free 8pm
Steve Tonge Duo O’Malley’s Hotel, Darlinghurst free 9.30pm Trivia Vineyard Hotel free 8pm Ziggy – The Songs of David Bowie: Jeff Duff, Steve Balbi, Brydon Stace The Studio, Sydney Opera House $69 (+ bf) 8pm
JAZZ
Extempore: James Morrison & Mark Isaacs Blue Beat, Double Bay $25 (+ bf) 7pm Jay Parrino Dee Why RSL Club free 6.30pm Joseph Tawadros Trio The Red Rattler, Marrickville $20 (conc)-$25 8pm Mike Nock Trio 505 Club, Surry Hills $15 (conc)–$20 8.30pm Peter Head The Space, Manly free 7.30pm
COUNTRY
Joe Nichols (USA), Jasmine Rae Penrith Panthers, Evans Theatre $69 (+ bf) 8pm
ACOUSTIC & FOLK
Adrian O’Shea, Gavin Fitzgerald Coach & Horses Hotel, Randwick free 7pm Greg Sita Cookies Lounge and Bar, North Strathfield free 6.30pm Helmut Uhlmann, Eva-Maria Hess, James Stewart Keene, Janise & the Cripps The Loft, UTS, Ultimo free 6pm Russell Neal Cat and Fiddle Hotel, Balmain free 7pm
THURSDAY SEPTEMBER 27 ROCK & POP
Alisa Fedele & The King Bees, Hannah & Josh Matysek Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Back To The Ba Futuru Sandringham Hotel, Newtown $10-$15 7pm Clare Bowditch Lizotte’s Restaurant, Dee Why $39–$81 (dinner & show) 8pm Double XX, Prita, Bridie O’Brien Sydney Livehouse @ Lewisham Hotel $10 8pm Fear Factory (USA), Thy Art is Murder, Truth Corroded The Hi-Fi, Moore Park $56.10 (+ bf) 8pm Hot Damn!: The Duane Grem & Anthony Show, Never See Tomorrow, Divide & Conquer, Your Weight In Gold Spectrum, Darlinghurst $15 (guestlist)–$20 8pm Kelly Clarkson (USA), The Fray (USA), Sarah De Bono Sydney Entertainment Centre, Darling Harbour $89–$119 7pm King Colour, Thunderthiefs, Colonies Annandale Hotel $5 7pm Lionheir, Laneway Brass Monkey, Cronulla $16.35 7pm Martika, Kate Alexa Metro Theatre, Sydney $60 (+ bf) 8pm Nicky Kurta Harbord Beach Hotel free 8pm Nun, Mob The Square, Haymarket 8pm Otis Redding Birthday Concert: Johnny G & the E-Types The Basement, Circular Quay $25 (+ bf)–$79.80 (dinner & show) 7.30pm
Outsouled The Orient Hotel, The Rocks free 9pm Roller One, Kodachrome Hibernian House, Surry Hills $10 8pm Sarah McLeod, James Walsh (UK) Rock Lily, The Star, Pyrmont free 7pm Scissor Sisters (USA) Concert Hall, Sydney Opera House $83 (+ bf) 8pm Snow Patrol (IRE) The Standard, Darlinghurst 8pm Steve Clisby Macquarie Hotel, Sydney free 8pm Stonka, Dreamers Crime, Sylvain, Pleasure Overload Valve Bar, Tempe free 7pm Ungus Ungus Ungus Downstairs, Sandringham Hotel, Newtown free 7.30pm Winter People, Founds Old Manly Boatshed 8pm Ziggy – The Songs of David Bowie: Jeff Duff, Steve Balbi, Brydon Stace The Studio, Sydney Opera House $69 (+ bf) 8pm
JAZZ
A.C.R.O.N.Y.M Orchestra The Sound Lounge, Seymour Centre, Chippendale $10–$20 8.30pm The Catholics 505 Club, Surry Hills $15 (conc)–$20 8.30pm George Washingmachine Dome, Surry Hills free 6pm Lionel Robinson Dee Why RSL Club free 6.30pm Marianna Ensemble The Vanguard, Newtown $23.80 8pm Peter Head Harbour View Hotel free 8pm Soiree: The Idea of North Blue Beat, Double Bay $30 (conc)-$35 (+ bf) 7pm
ACOUSTIC & FOLK
Andrew Denniston, Spencer McCullum, Nick Domenicos Kogarah Hotel free 7pm Carolyn Woodorth, Anna Forbes Forest Lodge Hotel, Glebe free 7.30pm Daniel Hopkins Horse & Jockey Hotel, Homebush free 7.30pm Helmut Uhlmann, Eva-Maria Hess, Simon Marrable, Sue Cunningham Mars Hill Café, Parramatta 7.30pm Joanne Hills, Laura Beasant Corrimal Hotel free 7.30pm Rokeby Venus The Lansdowne Hotel, Chippendale free 8pm SongsOnStage: Russell Neal, Lynette Smith, Moa Eknander, 2 Picks No Sticks, Col Waters, George & Ted Live at the Brewhouse, Darling Harbour $15 8pm TaikOz and Kodo City Recital Hall, Sydney $50 7pm all-ages
FRIDAY SEPTEMBER 28 ROCK & POP
Alphamama Macquarie Hotel, Sydney free 8pm Ashes, Paper Wolves, Maux Faux Fitzroy Hotel, Windsor free 8pm Barnestorming - The Chisel / Barnes Show Rockdale RSL Club free 8.30pm Barry Leefs Lizotte’s Restaurant, Dee Why $32 8pm
“I never had a spliff to make me choke I never had a pocket that was broke” - BLACK SHEEP 36 :: BRAG :: 481 :: 24:09:12
Xxx
pick of the week
JAZZ
g g guide gig g send your listings to : gigguide@thebrag.com
Jebediah Bec and Ben, The Ruminaters, Samoan Punks, Girl and Boy, DJ Skarlett Brighton Up Bar, Darlinghurst $10 8pm Ben And The Sea, Letters to Home, Chico Seeds, Wisemans Circus Sydney Livehouse @ Lewisham Hotel $12 8pm Brett Winterford, Sam Joole Band, Simon-Kinney Lewis Band The Manly Fig $12 (student)–$15 7.30pm Bring On The Night - A Tribute to Sting & The Police: Bernie Segedin, Floyd Vincent The Basement, Circular Quay $25 (+ bf)–$79.80 (dinner & show) 7.30pm The Cactus Channel, DJ Oblivious, Frenzie, JC, Thomas Crown Goodgod Small Club, Sydney $15 (+ bf) 9pm Caroline Nin (FRA) The Vanguard, Newtown $33.80–$68.80 (dinner & show) 8pm Clare Bowditch The Factory Theatre, Enmore $40 7pm The Crofts Bambu, Western Suburbs Leagues Club Campbelltown, Leumeah free 9pm Demons to Diamonds, Tales In Space Candys Apartment, Kings Cross $10 8pm Desi Musicfest 2012: PBN feat. Sanji (UK), Jassi Sidhu (UK), Dr. Zeus feat. Shortie & Zora (UK), Platinum Dholis, Tantra Nights DJ UNSW Roundhouse, Kensington $45 (+ bf) 7pm all-ages Devine Electric, Deadstar Renegade, Aimee Francis, Midnight Express The Lansdowne Hotel, Chippendale free 8pm Gary Clark Jr (USA), Jackson Firebird, Doc Holiday Takes The Shotgun Annandale Hotel sold out 8pm In Measures Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm James Walsh (UK), Phebe Starr, Goldsmith, Kristy Lee Upstairs Beresford, Surry Hills free 6pm Jebediah, Sculptures, Conrad Greenleaf Rock Lily, The Star, Pyrmont free 6.30pm King Gizzard & The Lizard Wizard Oxford Art Factory, Darlinghurst $10 (+ bf) 8pm Lourdes, Gold Bloom, Charles Buddy Daaboul FBi Social @ Kings Cross Hotel $10 8pm Luke Escombe & the Corporation, John Maddox Notes Live, Enmore $7.85 (conc)-$20.95 7pm MUM’s 5th Birthday: The Cairos, Black Zeros, Wax Witches, Bored Nothing, Mannequins, Driffs, March of the Real Fly, Push/Pull, MUM DJs The World Bar, Kings Cross $10-$15 8pm Papa Pilko & The Bin Rats Coogee Diggers 8pm
Peter Combe Riverside Theatres, Parramatta $15 11am all-ages Renae Stone Harbord Beach Hotel free 8pm Roots Spectrum, Darlinghurst $10 8pm Scandalgate, Winter’s End, Taking Berlin, Joe Dabron Roxbury Room, The Roxbury Hotel, Glebe $12 8pm Shawn Lidster Beach Palace Hotel, Coogee free 7.30pm Splatterheads, The Berkshire Hunting Club, Bloody Kids Sandringham Hotel, Newtown $17 (+ bf) 8pm Velopus, The Relative Madness, Eye On You, Fiend Valve Bar, Tempe free 7pm The Velvet Cave: The Bonniwells, Living Eyes, Andre Calman, Velvet Gallagher, Ken Blements 77 Yurong Lane, Darlinghurst $10 8pm Ziggy – The Songs of David Bowie: Jeff Duff, Steve Balbi, Brydon Stace The Studio, Sydney Opera House $69 (+ bf) 8pm
JAZZ
Elana Stone Band The Sound Lounge, Seymour Centre, Chippendale $10 (student)–$20 8.30pm The Hipstones, Virna Sanzone Blue Beat, Double Bay $15 (conc)-$18 (+ bf) 7pm Mucho Mambo Camelot Lounge, Marrickville $17 (conc)-$22 7.30pm Stu Hunter 505 Club, Surry Hills $20 (conc)–$25 8.30pm
ACOUSTIC & FOLK
Sanitys Collision Emu Sports Club, Leonay 8pm TaikOz and Kodo City Recital Hall, Sydney $50 7pm all-ages
SATURDAY SEPTEMBER 29 ROCK & POP
2 Of Hearts Brighton RSL Club, BrightonLe-Sands free 8pm Afro Moses O’Jah, The Djembellas The Basement, Circular Quay $25 (+ bf)–$79.80 (dinner & show) 7.30pm The Amity Affliction, The Ghost Inside (USA), Architects (UK), Buried in Verona The Big Top at Luna Park, Milsons Point sold out 6.30pm Ashleigh Grace Lizotte’s Restaurant, Dee Why $25 8pm The Australian Fleetwood Mac Tribute Show Brass Monkey, Cronulla 8pm Baby Grand, Stellar Addiction, The Wire Hermann’s Bar, University of Sydney, Darlington $12.75-$15 (+ bf) 8pm Brackets, She Rex, Roboter Haus, Master of Ribongia
FBi Social @ Kings Cross Hotel $10 8pm Caroline Nin (FRA) The Vanguard, Newtown $33.80–$68.80 (dinner & show) 8pm Dave Tice and Mark Evans Downstairs, Sandringham Hotel, Newtown free 4pm Defeater (USA), Blacklisted (USA), Perspectives Annandale Hotel $35 (+ bf) 12pm all-ages Defeater (USA), Blacklisted (USA), Perspectives Annandale Hotel $35 (+ bf) 8pm Fallon Bros Harbord Beach Hotel free 8pm Garth Taylor (South Africa), Jo Elms Trio, DJ Carl Alley Live at The Brewhouse, King St Wharf, Darling Harbour $45 (+ bf) 7pm Goodgod Birthday Smash Hits: My Disco, The Laurels, Bart Willoughby & Selwyn Burns, The Fighting League, NO ZU, Songs, Client Liaison, Absolute Boys, David Darling & Vital Organ Damage, Bloods, Yo Grito DJs, Kirin J Callinan Goodgod Front Bar & Small Club, Sydney $18 (+ bf) 8pm The Harmonicas Bambu, Western Suburbs Leagues Club Campbelltown, Leumeah free 9pm High On Fire (USA) Manning Bar, Sydney University, Camperdown $37.40-$44 (+ bf) 8pm Jay Park (USA) Enmore Theatre $72.10-$82.10 6.30pm Kittens Spectrum, Darlinghurst $10 8pm Los Skeletone Blues Mosman RSL Club free 7pm all-ages Low Fidelity Macquarie Hotel, Sydney free 8pm Mark Da Costa & The Blacklist, DJ Urby Rock Lily, The Star, Pyrmont free 7.30pm The Official Sydney Fringe Closing Party: Solid Gold Hell, Doc Holliday Takes The Shotgun, Jack Shit, Dampvamp DJs The Factory Theatre, Enmore $15 (+ bf) 10pm Oh Mercy, Millions The Standard, Darlinghurst $20 (+ bf) 8pm Panda Face, Generation Crash, The Hummers, Tiger & The Rogues Peakhurst Bowling Club, Beverly Hills $5 4.30pm allages Peter Combe with the Quirky Berserky Bellyflop In A Pizza Band, The Mountains, Driffs Oxford Art Factory, Darlinghurst $20 (+ bf) 8pm Phil Monsour Notes Live, Enmore $20 (conc)–$49 (with dinner) 7pm Regurgitator, Senyawa (IDN) The Hi-Fi, Moore Park sold out 8pm Rumours – A Tribute to Fleetwood Mac Brass Monkey, Cronulla $28.60 7pm Sarki Avon Camden Valley Inn, Camden Park free 8pm Scaramouche, Dirty Dezire, All MY Alien Sex Friends Valve Bar, Tempe free 12pm Scatterfly, Oslow, Red Remedy, The Escapades Roxbury Room, The Roxbury Hotel, Glebe $15 8pm Sick Circuit, Noveaux, Viral Millenium, Witchgrinder Sydney Livehouse @ Lewisham Hotel 8pm The Slips. Young Romantics, Belle And The Bone People, Bert & Bernie Upstairs Beresford, Surry Hills free 6pm Ulcerate (NZ), Odiusembowel, Daemon
Architects (UK), Buried in Verona The Big Top at Luna Park, Milsons Point $49 6.30pm allages Black Diamond Hearts, DJ Urby Rock Lily, The Star, Pyrmont free 2pm The Convicts Bells Hotel, Woolloomooloo free 6pm all-ages Cumbiamuffin, Kriola Collective The Basement, Circular Quay $25 (+ bf)–$79.80 (dinner & show) 7.30pm Feick’s Device, Go Away Everyone, The Belle Havens, The Gilbert Gantry Union Valve Bar, Tempe free 12pm Jonny Rock Harbord Beach Hotel free 7.30pm Matt Walker, Lucie Thorne Notes Live, Enmore $14.30 6pm The Pinks, Kevin Bennett Rock Lily, The Star, Pyrmont free 8.3pm Professor Groove and The Booty Affair Brass Monkey, Cronulla $19.90 7pm The Re-Mains, Den Hanrahan and The Roadsiders, The King Hits, The Professor MC Sandringham Hotel, Newtown $15 7pm Renate Nguyen, Jonno Read, Tim Weedon, Moorea Vittiglio The Vanguard, Newtown $15.80 8pm Robin Lee Sinclair Band Marrickville Bowling Club free 4.30pm The Shouties Downstairs, Sandringham Hotel, Newtown free 4pm Spy Vs Spy feat. Paul Greene
Foetal Harvest, Departe Valve Bar, Tempe free 7pm Wedding Cake Island Board Riders Club Coogee Diggers 8pm
JAZZ
Afro Kings Camelot Lounge, Marrickville $20 7.30pm Damian Wright Quintet The Sound Lounge, Seymour Centre, Chippendale $10 (student)–$20 8.30pm El Gran Combo de Puerto Rico (Puerto Rico) UNSW Roundhouse, Kensington $99 (+ bf) 8pm Greg Poppleton’s Bakelite Broadcasters Penrith RSL free 2pm Peter Head Harbour View Hotel free 5pm Stu Hunter 505 Club, Surry Hills $20 (conc)–$25 8.30pm
COUNTRY
The McClymonts, Buffalo Penrith Panthers, Evans Theatre 8pm
ACOUSTIC & FOLK
Dane and Aaron Cookies Lounge and Bar, North Strathfield free 8pm Russell Neal, Kim O’Connor Crown on McCredie Hotel Motel, Guildford free 8.30pm
SUNDAY SEPTEMBER 30 ROCK & POP
The Amity Affliction, The Ghost Inside (USA),
Lizotte’s Restaurant, Dee Why $29–$71 (dinner & show) 8pm Stamping Grounds Festival 2012: Over Reactor, Gay Paris, Cash Savage & The Last Drinks, Melody Black, Black Devil Yard Boss, The Lazys, Casino Rumblers, Graveyard Rockstars, Particles, Fait Accompli, Spirit Valley, Little Bastard, Doc Holiday Takes The Shotgun, Fouulhawk, B Massive, Reckless Vagina, Berkshire Hunting Club, She Rex, The Hollow Bones, The Heavies Manning Bar, Sydney University, Camperdown $21.25-$25 (+ bf) 12pm Sunday Blues Jam: Mark Hopper Artichoke Gallery Cafe, Manly free 8pm We Come Out At Night: Horsell Common, Atlantis Awaits, The Sunny Side Up, Harbourer, MC Lars (USA), The Ghost Inside DJs, Hot Damn DJs Q Bar & Spectrum, Darlinghurst $15-$25 8pm
JAZZ
El Gran Combo de Puerto Rico (Puerto Rico) UNSW Roundhouse, Kensington $99 (+ bf) 8pm Peter Head Trio & Friends Harbour View Hotel free 4pm
ACOUSTIC & FOLK Shoot The Moon Salisbury Hotel, Stanmore free 2pm SongsOnStage: Jonno Read, Lincoln Davis, Tim Weedon, Moorea Vittiglio The Vanguard, Newtown $15.80 7.30pm
26 SAM & JAMES DUO 27 Sep thu
wed Sep
(9:00PM - 12:00AM)
(9:00PM - 12:00AM)
fri
28 Sep
(5:00PM - 8:00PM)
SATURDAY AFTERNOON
(9:30PM - 1:30AM)
AFL GRANDFINAL
SATURDAY NIGHT
sat
29 Sep
PARTY DJS
GROUND FLOOR - AFTER BANDS
SUNDAY AFTERNOON
sun
30 Sep
(9:00PM - 12:00AM)
(4:30PM - 7:30PM)
every saturday night
NRL GRANDFINAL
(2:00PM - 5:00PM)
CLUB DJS
LEVEL 2 (10:00PM - LATE)
SUNDAY NIGHT
(8:15PM - 12:00AM)
NRL GRANDFINAL (9:00PM DJ UPSTAIRS (5:00PM - 8:15PM) - 12:00AM) DJ DOWNSTAIRS
(12.00AM TILL CLOSE)
LONGWEEKEND mon
01 Oct
(2:00PM - 5:30PM)
(7:00PM - 10:30PM)
BRAG :: 481 :: 24:09:12 :: 37
gig picks
up all night out all week...
Bowie: Jeff Duff, Steve Balbi, Brydon Stace The Studio, Sydney Opera House $69 (+ bf) 8pm
Ball Park Music
King Gizzard & The Lizard Wizard
THURSDAY SEPTEMBER 27 Clare Bowditch Lizotte’s Restaurant, Dee Why $39–$81 (dinner & show) 8pm Fear Factory (USA), Thy Art Is Murder, Truth Corroded The Hi-Fi, Moore Park $56.10 (+ bf) 8pm Scissor Sisters (USA) Concert Hall, Sydney Opera House $83 (+ bf) 8pm
Clare Bowditch
WEDNESDAY SEPTEMBER 26 Ball Park Music, Elizabeth Rose, Castlecomer UNSW Roundhouse, Kensington $23.50 (+ bf) 7pm Dune Rats, Drunk Mums, Food Court Beach Road Hotel, Bondi Beach free 8pm Finer Feelings: Post Paint, Love Parade, Katie Whyte & The Pales, Belle & The Bone People Annandale Hotel $10 (+ bf) 8pm Marianas Trench (CAN), Sound Of Seasons, The Sunny Side Up Metro Theatre, Sydney $45 (+ bf) 7.30pm all-ages
FRIDAY SEPTEMBER 28 Bec and Ben, The Ruminaters, Samoan Punks, Girl and Boy, DJ Skarlett Brighton Up Bar, Darlinghurst $10 8pm Jebediah, Sculptures, Conrad Greenleaf Rock Lily, The Star, Pyrmont free 6pm King Gizzard & The Lizard Wizard Oxford Art Factory, Darlinghurst $10 (+ bf) 8pm MUM’s 5th Birthday: The Cairos, Black Zeros, Wax Witches, Bored Nothing, Mannequins, Driffs,
March Of The Real Fly, Push/Pull, MUM DJs The World Bar, Kings Cross $10$15 8pm
SATURDAY SEPTEMBER 29 Defeater (USA), Blacklisted (USA), Perspectives Annandale Hotel $35 (+ bf) 8pm High On Fire (USA) Manning Bar, Sydney University, Camperdown $37.40-$44 (+ bf) 8pm Oh Mercy, Millions The Standard, Darlinghurst $20 (+ bf) 8pm Peter Combe with the Quirky Berserky Bellyflop In A Pizza
Band, The Mountains, Driffs Oxford Art Factory, Darlinghurst $20 (+ bf) 8pm Regurgitator, Senyawa (IDN) The Hi-Fi, Moore Park sold out 8pm
SUNDAY SEPTEMBER 30 El Gran Combo de Puerto Rico (Puerto Rico) UNSW Roundhouse, Kensington $99 (+ bf) 8pm We Come Out At Night: Horsell Common, Atlantis Awaits, The Sunny Side Up, Harbourer, MC Lars (USA), The Ghost Inside DJs, Hot Damn DJs Q Bar & Spectrum, Darlinghurst $15-$25 8pm Xxxx
Ziggy – The Songs of David
Winter People, Founds Old Manly Boatshed 8pm
38 :: BRAG :: 481 :: 24:09:12
BRAG’s guide to dance, hip hop and club culture inside
brag beats
planb the narrator
eric cloutier
+ sharam
also: + club guide + club snaps + weekly column
+ das efx
AT
Mike Monday YokoO Carlos Zarate
Telefunken Powers Garry Todd Matt Weir Nick McMartin Kerry Wallace BRAG :: 481 :: 24:09:12 :: 39
dance music news
free stuff
club, dance and hip hop in brief... with Chris Honnery
FREESTUFF@THEBRAG.COM
PHILOSOPHY OF SOUND
on the record WITH WORDLIFE The Last Thing I Recorded: We just finished an EP for emerging 4. Sydney label Motorik that we’re very proud of. ‘Vision’, the single, is epic sexy bassline techno, and it has remixes from our good buddies The Finger Prince, Teki Latex and Maelstrom. We’ve also got some sweet remixes in the pipeline for some great names, so keep yo ears peeled. The Record That Changed My Life: Paul’s Boutique by The Beastie Boys 5. combines everything we love about music: great eclectic beats from the Dust Brothers, imagination, youthful energy, and vivid storytelling, both musically and lyrically. It’s basically a journey through the mind of some of the coolest cats on the planet. I could listen to it any time and it’d put a smile on my face. It’s also a great example of white guys trying to make black music and getting it right, which is something we would totally like to do someday. The First Record I Bought: Smart E’s Sesame’s Treet – a cheeky 1. jungle remix of the Sesame Street theme that was massive in the early ‘90s. I still play it today, and I heard that the profits from it ended up funding a lot of big jungle and drum and bass labels. BOOOOOYAAAAKASHHHHAAAA!!
2.
The Last Record I Bought: The 12-inch of Four Tet’s 128 Harps. We love Four Tet’s recent forays into house
and garage. His sound has amazing textures and sounds, so it’s great on vinyl. We are still big believers in vinyl. Hopefully we’ll get something of our own pressed someday. The First Thing I Recorded: The very first Wordlife jams were 3. created almost two years ago now. It’s funny to listen back – we definitely have evolved since then in many ways, but we still have a soft spot for them. It’s all part of the journey, really.
LV
Philosophy is one of those topics that fall into the “dense, vague and a little bit wanky” category, but luckily you don’t need a doctorate to enjoy the slick tunes of Philosophy Of Sound. The nu-disco masters have a fresh EP, Fragile Disco, that they’ll be launching on the Brighton Up Bar this Saturday September 29, with Sydney-dwellers (and Discotexas labelmates) Coupons on hand to support. For those who seek something beyond just bass drops and infectious beats, Philosophy Of Sound offer a night of music that is “not only food for the feet, but also for thought.” To nab the double pass we have up for grabs, tell us a philosophy you live by. In 30 words or less (ours is ‘brevity’). Kyle Hall
With: The Presets, Nero (Live), Passion Pit, Plan B, Tame Impala, Justice (DJ Set), Flume, Charli XCX, Parachute Youth and more Where: Parklife @ Centennial Park When: Sunday September 30 More: Also playing at Soup-A-Palooza – Soup Kitchen’s long weekend special at The World Bar on Sunday September 30, with Pow! Pow!, Emoh Instead, Frames, Moonchild, Blackmale (Glovecats) and more
unlocks a “second act,” adding another two hours to the playing time to create a total four hours – not a bad way to get battle-hardened ahead of Acid Pauli’s extended set at Subsonic. There are five exclusive tracks in the mix, including new cuts from Acid Pauli and Nicolas Jaar, who released Pauli’s debut LP, mst, on his Clown & Sunset label earlier in the year. Tickets to the Subsonic festival are now on sale through subsonicmusic.com.au
COMPOUND AT GOODGOD
Following on from their bash with Jon Convex, Compound returns to Goodgod Small Club on Friday October 5. The people behind Compound, namely Zeus, Subaske and Community, will take on selection duties for the night. In addition to warming up for Jon Convex, Zeus has supported the likes of Sven Weisemann, Girl Unit and Chaos In The CBD over the past few months. Meanwhile, Community will be entrusted with building the atmosphere early in the night, while Subaske will be “coming out of the woodwork to push the deeper UK-style vibes well into the morning” for his debut Compound set. Doors open at 10pm, with entry $10 on the door.
CIRCO LOCO HALLOWEEN RE-JIGS THEIR LINEUP
The lineup for Finely Tuned’s much anticipated Circo Loco Halloween event has been rejigged, with Eric Estornel (who produces as Maceo Plex and Maetrik) cancelling, and Matthias Tanzmann’s tour also being pushed back. But the organisers have lined up some high profile internationals as replacements, with Aussie favourite Jamie Jones and Frenchman DJ W!ld set to fill the void. DJ W!ld is the co-founder of Catwash Records, and released his second artist LP Dirty a few months back on Cabin Fever, an associate label of Rekids that’s usually devoted to club-tailored house edits. W!ld further bolstered his credibility by releasing his latest EP on Snork – a label for staunch minimal and techno listeners. Highly touted Berlin-based DJ Margaret Dygas, who has an album on Perlon Records to her name, is still set to make her Australian debut at the event. Circo Loco Halloween is slotted for Saturday November 3 at The Greenwood in North Sydney, and presale tickets are currently available online.
Kora
OUTSIDEIN FESTIVAL: SECOND ANNOUNCEMENT
The second round of acts for the inaugural OutsideIn, a boutique festival that will be held over three stages of Enmore’s Factory Theatre on Saturday November 10, have been unveiled. London’s LV, who recently released a second album Sebenza on Hyperdub, heads a list of performers that also features USA’s Evenings and home-grown talents Holy Balm, Fishing, Bon Chat, Bon Rat and Guerre & Albatross. They join the first round of acts that includes Smoke DZA, Oliver Tank, HTRK, Flume, Shigeto, Africa Hitech, Jesse Boykins III and Melo-X. Hit outsideinfestival.com for further details and ticketing info.
SOUP-A-PALOOZA @ THE WORLD BAR
Soup Kitchen have put together a five room extravaganza at The World Bar for Sunday September 30 of this coming long weekend. The lineup is crowned by a live performance from Wordlife, the collective of Kato and Adam Bozzetto, who recently released their Birth, Punk, Rap, House, Life EP on Bang Gang and will incorporate live synths and drums into their performance. Pow! Pow!, Emoh Instead, Girl & Boy, Frames, Moonchild, Rocco Raimundo, Rubio and Zooky are among a lengthy list of live acts and DJs that will be performing across the different nooks and crannies of The World Bar. The revelry commences at the late-afternoon time of 3pm, and runs deep into the night (don’t worry, it’s a public holiday on Monday!), with entry free before 8pm.
S.A.S.H FT PEPPERPOT
S.A.S.H will take over The Abercrombie for 15 hours this Sunday September 30, for a long weekend bash headlined by Pepperpot, 40 :: BRAG :: 481 :: 24:09:12
a masterful DJ from France. Pepperpot is a specialist DJ who is a resident at Paris’ premier clubspot, The Rex Club. He’s been travelling the globe as a DJ since the early ‘90s, and has played alongside many of the international house and techno A-list, honing his own distinct style in the process. The lengthy list of DJs also representing throughout the afternoon/night includes Mike Monday, YokoO, Garry Todd and Thug Records’ main man Carlos Zarate. Pepperpot is also playing at The Spice Cellar during the wee hours of Sunday morning, for anyone who wants a double dose of the French maestro.
ACID PAULI GETS LOST FOR FOUR HOURS
Cult German DJ/producer Acid Pauli, who will be touring Australia and performing at the Subsonic Festival in early December, has mixed the next instalment in Crosstown Rebels’ Get Lost series, which is due for release in November. The mix is something of a sprawling epic, clocking in at around two hours in length, and that’s only half of it. A download code that comes with the CD
HIGH-TECH ALIEN FUNK
New Zealand quintet Kora will release their second album, Light Years, on October 26 via Remote Control. Light Years apparently eschews guitars in favour of a high-tech arsenal of synthesisers, live and sampled drums to create a result the band members themselves describe as “alien funk”. “When we began recording the album, we started putting pictures of planets and galaxies on the walls of the studio as visual cues for what we wanted to explore,” says Laughton Kora. “The whole thing with space is that it represents the unknown, and that’s how we feel about our music: we don’t know where we’re going but when we find what we like we stay with it.” Kora will perform at The Metro Theatre on Friday November 23, along with special guests The Nudge.
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dance music news
free stuff
club, dance and hip hop in brief... with Chris Honnery
FREESTUFF@THEBRAG.COM
five things WITH
Black Sheep
SHANTAN WANTAN ICHIBAN The Music You Make Apparently I am getting a little bit of 4. reputation as “that guy who plays hip hop and Elvis”. I like spinning everything from rockabilly to dancehall to Afro-house to Cumbia to good ol’ RnB and hip hop – all in the one set. Music, Right Here, Right Now This weekend is a birthday celebration 5. for the best club in Sydney. In recent years it seems like our city is finally developing a little bit of character, and Goodgod Small Club has been a big part of that. It has been the centre of a wide variety of awesome music events that might not otherwise have a home. This weekend all those different events form like Voltron to create Super-Party-Ultra-Mega! The best of what Goodgod has to offer, crammed into one weekend. It’s a celebration bitches!
Growing Up Growing up I was ridiculed by the 1. surfers and metalheads as a “try-hard homie”. You would find me listening to Jodeci on my Walkman or practicing my running man ‘till I wore the carpet thin. I used to be in various hip hop groups and have performed at every Wesfield Shopping Centre around Sydney. “You’re not American”, “Stop trying to be black” is what they would say – now the same turds annoy me for Jurassic 5 requests when I DJ.
My mum. She is swell. 2. Inspirations Your Crew Stolen Records Skrillionaires. It is a pirate 3. takeover of FBi Radio every Wednesday at 6pm. Once upon a time it was a hip hop show, but now we play everything from polka-house to electronic doom-folk. It has also expanded into a pretty sweet blog, and we’re putting on some of the most fun parties in Sydney. I also occasionally rep for Heaps Decent, triple j vampires and Player Haters everywhere.
Kyle Hall
What: Goodgod Birthday Nights Who: Saturday – My Disco, The Laurels, No Zu, The Fighting League, Songs, Bloods and more, hosted by Kirin J Callinan; Sunday – Michael Ozone, Slow Blow, Toni Toni Lee, Pelvis, Levins, Jimmy Sing, Jingle Jangle, Bad Ezzy, Shantan Wantan Ichiban and more Where: Goodgod Small Club When: Saturday September 29 and Sunday September 30
club world, you’re advised to get to Chinese Laundry early to avoid the usually sizeable queue, which has been dubbed by wary punters as the “Sussex Street Anaconda”.
LOSOUL AT ONE22
Esteemed German producer Peter Kremeier, aka Losoul, will headline One22 on Saturday October 20. Losoul has been a close associate of Frankfurt label Playhouse since 1996. His music, like that of the revered label, has been described as any of abstract, arty, playful, minimal, subtle, intricate and hypnotic, but I’ll settle for saying it’s “minimal house at its purest”. Losoul has released on labels such as Freak n Chic, Circus Company and Moon Harbour, and remixed the likes of Alter Ego, Jay Haze, International Pony, Lawrence, and Blaze’s well-known ditty, ‘Brand New Day’.
RICK WADE & KYLE HALL THIS WEEKEND
HIP HOP LEGENDS TOUR
I said a hip, hop, the hippie, the hippie to the hip hip hop and you won’t stop ‘til you leave the Hip Hop Legends Tour this Sunday September 30 at The Metro Theatre. For the first time ever Das EFX will be gracing our shores, bringing their tongue-twisting ‘90s rhymes-iggity. Joining them will be the Native Tongues crew Black Sheep and iconic urban Hispanic DJ Tony Touch, who will be spinning classics from Mos Def, Busta Rhymes and Snoop Dogg (Lion). If you’ve got the fever for the flavour and would like to score yourself one of two double passes, just tell us the names of the two dudes pictured above.
OKTOBERFEST SNOW PARTY AT CARGO BAR
Cargo Bar is celebrating Oktoberfest with a snow party this weekend, with the venue set to be transformed into an Oktoberfest-themed ski-resort as part of Cargo Bar and Smirnoff’s ‘Wrong Weekender’ experience, the first in a series of themed, long weekend events for the venue. The festivities begin on Saturday September 29 at 8pm, whereupon revellers will experience sets from DJs Lucia, Stu Turner, Jono Watkins and Richie Carter in addition to a live VJ set from DJ Flagrant, The National Red Bull Thre3style Champion of 2011. Over the Sunday and Monday, DJs Rob Kay, Daigo and Heke will all be spinning, keeping the party going at a venue that was visited by the one and only Prince Harry not so long ago…
TZU
Two figureheads of the Detroit house scene, Rick Wade and Kyle Hall, will make up a doubleheader at The Civic Underground on Sunday September 30. Wade is the co-founder of the iconic house stable Harmonie Park along with a certain Dan Bell, and is also behind the booty bass label Bass Force, which he uses as a platform for releases under his alter ego Big Daddy Rick. Conversely, Kyle Hall is a talented young “next-gen” producer from the Motor City who has garnered accolades from Detroit deities such as Omar-S and Theo Parrish, and released on labels like Hyperdub and Carl Craig’s Planet E imprint. Simon Caldwell, Future Classic DJs, Preacha and the Astral DJs will be spinning in support, with early bird tickets available online for $25.
ESG AT OAF Above & Beyond
ABOVE & BEYOND
One of the UK’s most popular trance acts, Above & Beyond, are heading Down Under at the start of next year for a tour that includes a show at The Hordern Pavilion on Sunday January 27. Above & Beyond will showcase material from their forthcoming Anjunabeats Volume 10 compilation, which follows on from last year’s album Group Therapy, which featured guest spots from Faithless and Bent vocalist Zöe Johnston, and Richard Bedford. Support will come from Anjunabeats producers Andrew Bayer and Norin & Rad, with tickets on sale from Tuesday September 25.
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Southern Bronx disco punk veterans ESG will be hitting Australian for what is apparently a farewell tour early next year, which will include a performance at Oxford Art Factory on Friday January 18. Emerging in the ‘80s and headed by the Scroggins sisters, E.S.G were one of the most dynamic bands of their time, and have been sampled by hip hop contemporaries including The Beastie Boys, Public Enemy and LL Cool J, to name but a few. After more than 30 years releasing music, ESG released what they have declared will be their final album, the aptly titled Closure, earlier this year. They will be performing cuts from this album, along with some of their classics, on their forthcoming farewell tour.
SHARAM
Grammy Award-winning IranianAmerican producer Sharam, best known for his role as half of Deep Dish, will headline Chinese Laundry this Saturday night. In addition to the illustrious Deep Dish back catalogue, which includes LPs such as George Is On and mixes for the Global Underground series, Sharam has also remixed the likes of David Guetta, Timo Mass and, uh, Eddie Murphy. Earlier this year, Sharam released a double CD compilation, Night & Day, which featured his new track ‘Radio G’ along with cuts from Maceo Plex, Dirty South, Armand Van Helden and Extrawelt. Given Sharam’s standing in the
TZU MILLIONS OF MOMENTS TOUR
With their fourth studio album, Millions Of Moments, having just hit shelves, TZU have planned a series of shows in support of the release, including a gig at The Standard on Saturday October 13. Millions Of Moments is TZU’s first LP since 2008’s Computer Love, and sees the group delving further into the electronic direction they explored on that record. According to the press release, Millions of Moments “follows the adventures of Persephone … From a ghost story set in colonial times, to an 18th century stalker; from an end of the world apocalypse, to a love on the brink of destruction.” But enough of the PR talk – you can read our review of it back on page 30.
Plan B Raw Talent By Krissi Weiss
B
enjamin Ballance-Drew aka Ben Drew – aka Plan B – is as eclectic and restless as his name changes suggest. A rapper, producer and songwriter with a soaring and smooth soul timbre, Drew first emerged making hip hop tunes, before stumbling down the RnB lust-song path and then settling into a more grime-filled rap sound. Similarly, his acting career evolved into producing, directing, writing and editing his own short films, and while his latest album, iLL Manors, was released this year, it is not a stand-alone album: it is the soundtrack to his first feature film, also iLL Manors, that has been dubbed a kind of hip hop musical. Even a boring day in the life of Plan B sounds utterly exhausting: crammed in before an onslaught of media obligations is a suit fitting, a haircut, a trip to the dentist, the gym and French lessons. With the release of iLL Manors, have music and film finally reached equal footing in the life of Ben Drew? “I love music equally as much as I love film,” he answers. He talks with boundless enthusiasm and pure Brit charm. “I feel that I’ve mastered the art of music to a degree; I know how to make a good album, how to look at it objectively and know whether or not it is good enough to be released. With film, I feel like I’m still learning. I love the rawness of that expression and inexperience, because that can give your art character. I think the iLL Manors film has a lot of character. It may not be as polished – that’s because it was made on a low budget by someone who hadn’t done a feature before. But I think that my talent as someone who can direct actors is visible in the film – I think.
hop-fueled iLL Manors – Drew has managed to appease various audience expectations with a new live show. “I think I’ve figured a way to make the songs work on their own. We just did a forest tour; when you headline V Festival in the UK they won’t let you back on the next year, so you have the option to do this forest tour where they erect stages in forests up and down the UK,” he explains. “We changed the show [for the tour]. We split the stage in two, so for the first half we’re wearing suits and we do the Strickland Banks stuff, and then for the second half we have a beat boxer going while we get changed into clothes we’re more comfortable in, and do the ill Manors stuff.” Judging by the success of those shows, Plan B’s upcoming Australian tour is set to be awesome. What: iLL Manors is out now on Atlantic, through Warner Music With: The Presets, Nero, Passion Pit, Tame Impala, Justice (DJ set), Robyn, Chiddy Bang, Wiley, Labrinth, Hermitude and more Where: Parklife @ Centennial Park When: Sunday September 30
“For all of the criticisms you can lay on the film, I think it has that character,” he continues. “I chose my cast wisely, a lot of them unknown, and I’m allowing them to improvise and to bring their own unique angle to it. I really love raw talent. I love being a raw talent and I love seeing it. I love film because there is so much to learn, and I guess because I am polished in my music, I feel that I can get across a deeper meaning to people. I am at two different levels with both of my art forms, but I still get so much out of both.”
“I moved the editing suite to my mum’s house and sat in there for about a month and a half. I had cabin fever, drinking vodka and Red Bull just trying to stay focused.” While critics and fans are focusing on the film and the album as two distinct entities, Drew finds it impossible to separate them. “I don’t want to separate them – I can’t,” he says. “In hindsight, I wish the album had’ve come out first and then the film after that over here. A lot of people now want to see the film, but they can’t until it comes out on DVD. If it had happened the other way we would have had a greater level of box office success. It’s not that I’m driven towards making money at all – I’m driven towards people seeing my art, and box office success proves how many people went to see it. The whole point of my art is to convey a message to people, and have them experience it.”
Grammy Award winning producer, Sharam returns to Australia to tour his brand new Solo album Night & Day. Chinese Laundry will host Sharam’s “Day” style Tech House set in the Cave.
Given the dilemma posed by the mutual dependence of the film on the music and vice versa, the prospect of preparing a live show for the iLL Manors tour has been yet another exhausting labour of love for Drew. Even finishing the album in the first place presented a host of issues. “The album was a headache because once the film had been out in the cinema, I had to finish it,” he explains. “In the film you’ll hear one verse, maybe a chorus, and then it will go back to the dialogue. The film tells part of the story and the songs tell the other half, relying on each other, so I had to make the album work in its own right. I spent eight weeks living in the studio writing the rest of the parts of the songs, and I went out of my mind. Kind of like when I finished the editing of the film. I moved the editing suite to my mum’s house over Christmas and sat in there for about a month and a half with only one other editor. I had cabin fever, drinking vodka and Red Bull just trying to stay focused and not go insane.” With his two biggest albums vastly disparate affairs – 2010’s soulful The Defamation Of Strickland Banks, and this year’s grimey, hip
CNR KING & SUSSEX STREET ( UNDER SLIP INN )
chineselaundryclub.com.au BRAG :: 481 :: 24:09:12 :: 43
Eric Cloutier Clout Score By Krissi Weiss
While travelling abroad and playing music seems like a dream job, spending time and money to arrive on a distant shore only to play a regrettable gig is something Cloutier avoids – he’s wary of burning out from jumping through time zones and living in a blur. Even journeying to somewhere as exciting as Moscow (which was a fantastic gig according to Cloutier) left the DJ exhausted and unable to appreciate his unique surrounds: he’d crammed that show into a hectic run of worldwide sets. “If it’s a new experience, like with coming down to Australia for the first time, then it’s generally a yes to spreading into a new market,” he says, of his decision to play or not to play a gig. “But before I make a decision I like to have some chitchat with the promoter and feel them out. There’s some people out there that you can tell are doing it for the wrong reasons. The money, yes it’s nice, but it’s in no way a driving factor.” Despite spinning records since 1996, Cloutier admits that he wasn’t always into the sound that his hometown is known for. “Being from Detroit, I grew up where this music was literally everywhere,” he says. “I was always surrounded by it, and growing up your tastes change and evolve. When I was younger, I was really into metal and punk, but that whole scene eventually drove me crazy. I ended up listening to a friend one night, who ended up taking me to a party. That was a game changer for me. It was one thing to hear my friend’s mixtapes, but to be in a party and see a DJ and live PA was really a tipping point. I realised that electronic music was so much more the style I wanted to be involved in – and it was all downhill from there,” he laughs.
W
Party All The Time By Benjamin Cooper
A
lack of sleep is not an unusual complaint for Sharam Tayebi. The American comprises one half of world-destroying electronic act Deep Dish with Ali ‘Dubfire’ Shirazinia, so the DJ and producer gets little-tono rest between collaborating with, and remixing for, artists like Madonna, Daniel Bedingfield and Richard Morel. More significantly for expectant local fans, though, is the source of Sharam’s present restlessness: “I’ve just left the studio here in Washington, and there’s so much to finish before we head to Australia. I’ve spent the entire afternoon on some production that needs to be finished, wrapping up some mixing and mastering before we fly. First it’s Miami, then Ibiza, and then down to Australia.” Is it fair to say he’ll be taking in the holy trinity of party destinations? “Definitely!” he enthuses. “I love partying down south. But I do have to admit that one of my first thoughts when the tour was confirmed was, ‘What airline am I going to take?’ That’s seriously the only relaxation time I get, where I can read a book or listen to some songs, because the work never ends.
I know I’m very fortunate, and don’t worry – once we hit the ground for the shows it is all going down!” After more than two decades as a creator and innovator in the house scene, Sharam has more than enough cause to feel a little fatigued. He and Shirazinia founded the electronic and progressive label Yoshitoshi Records through their Georgetown store of the same name in 1994. The physical store unfortunately closed in 2003, but the label continues to release digital and vinyl projects that excite and interest the pair. And in spite of his workload, the man himself is a tight bundle of excitement, tempered by admirable professionalism and courtesy. “It’d be too easy to get overwhelmed by all the work we’re doing,” he explains. “I’m actually excited on a daily basis by our work, because I just think that if we can achieve what we set out to with this, then the possibilities are limitless.” “The roles of the DJ and producer are always evolving and changing – I honesty don’t think they can be separated,” Sharam says, when asked about the influence of one role on the other. “At the end of the day it has to be exciting for everyone listening. I like to think that I’m inspired by what I play in the club and the reactions from the crowd, so I incorporate that into my studio work. That means I can focus on the art of DJing, which operates as a form of entertainment for everyone listening, but also acts as a form of education. “It’s a learning and inspirational process for me,” he continues, “and because people react differently in certain ways to your playing, it means you feel really energised and pushed forward. It’s undeniably a business, but if you can stay focused and excited by what’s going on then you’ll be a success. I’ve been fortunate enough to be involved in the business [in such a way] that I can be involved in tackling problems as they happen. At the same time I also have the best job in the world, where I get to literally come up with an idea from nothing, just pluck it out of the air, and begin to process that into a workable song. If you turn that process into something exciting for people to dance and laugh to, that’s great,” he says. “It’s especially great if you can turn it into a successful record!”
Cementing his dedication to electronic music – and the culture that goes along with it – was his time in what he felt to be the conceited culture of metal and punk. “I was sick of the posturing and the whole attitude of, ‘I know of a band that you don’t know of, so I’m cooler than you’,” he says. “Why can’t we all just enjoy what we enjoy? If I’m wearing the T-shirt of a band that you don’t like, why do you have to not be my friend because of that? That’s so high school and sophomoric. To go into a community like the Detroit electronic scene where it was like, gay, straight, black, white, young, or old – everybody is having fun. How can you possibly say no to something that simple?”
With: Kid Kenobi, Peking Duk, A-Tonez, Offtapia and more Where: Chinese Laundry When: Saturday September 29
With: DJ Trinity and Magda Bytnerowicz Where: 4our @ One22 When: Friday September 28
Das EFX Keeping It Real By Alasdair Duncan EFX, he is one of hip hop’s elder statesmen, although as he tells me, he refuses to play the part of the old rapper sitting in his rocking chair telling the kids how it should be done. “Back in the day, we recorded a track called ‘Real Hip Hop’, and the phrase took on a life of its own,” he says. “What I don’t want to do, and what I personally didn’t want to do with that track, is to alienate anyone in hip hop. “We were members of a ‘90s generation,” he continues, “but we came in around the second or even the third wave. There was a whole generation that came before us in the ‘80s, and I’m sure that they would have considered what they were doing to be ‘real hip hop’ as well.” Times move on, and there’s a whole new generation of kids making hip hop today, but unlike many older, curmudgeonly rappers, Dray insists that you can’t tell them what they’re doing is not real, because it is real to them. “Hip hop, in a way, is just like clothes you put on. If you see somebody walking on the street, you may not particularly like what they’re wearing, but shit, they like it, you know?”
P
eople speak about the late ‘80s and early ‘90s as the era of “real” hip hop, and castigate the music that came after
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as inauthentic and lacking in the spirit of the pioneers. Andre ‘Dray’ Weston was there. A founding member of east coast group Das
Dray raised some eyebrows among older fans recently when he took to Twitter in an attempt to get a shout-out from teen pop star Justin Bieber. I ask him if that’s a necessary way to promote yourself in this day and age, and he tells me that, while it may not specifically be necessary, the internet is a tool and it’s foolish not to use it. “I know Justin Bieber is around people who grew up with Das EFX. I mean, it would be a great
story. I’m a student of the game, I know Justin could very well have seen that tweet and not known who I am, but clicked on the link anyway. Justin’s manager Scooter is a hip hop guy, and he may have been there to see that tweet, and told Justin the story of us in the ‘90s. As a result of that, Justin would have been turned on to Das EFX,” he continues. “It’s like I was saying, man: I don’t want to be that rapper sitting there in a rocking chair getting mad at the kids – people did that to me when I was coming up, and I rolled my eyes then, and still do now.” For the record, Dray respects Bieber’s rise to fame. “I kind of like Justin’s shit; the kid is a bad little brother. I mean, you may not like his music, but you have to respect his hustle and his grind. He didn’t just wake up and say ‘I want to be a star’ and it happened for him overnight. He worked really hard for it.” Das EFX are all set to make their first ever trip to Australia, and I ask Dray what fans can expect from the set list. “Well we don’t want to be stuck in the ‘90s, but people want to hear that older stuff, so we’ll be playing it, but we’ll be playing it like it just came out yesterday,” he says. “It’s gonna be great, man. We’ve been looking forward to coming down and seeing you for the longest time.” With: Black Sheep and Tony Touch Where: The Hip Hop Legends Tour @ The Metro Theatre When: Sunday September 30
Eric Cloutier by Seze Devres
hen someone escapes the punk and hardcore scene for the electronic world because of the former’s pretension, you know something has gone awry in the old punk realm. That’s exactly what drove Detroit’s house and techno protégé, Eric Cloutier, into the warm embrace of party nights and the DJ lifestyle, eventually launching his self-confessed “extended hobby” into a globe-trotting affair. Residencies at Detroit’s The Necto and The Works gave way to a coveted residency at New York City’s premiere techno night, The Bunker, and now he’s in Australia for the first time, after passing through Japan and China. “I was just in Japan doing Labyrinth Festival,” Cloutier says, in a surprisingly spritely tone given he’s literally just gotten off his flight to Melbourne. “I’ve played there once in 2009, so this is my second time – but I did the Enter The Labyrinth party, which they do in May.”
Sharam
Deep Impressions Underground Dance And Electronica with Chris Honnery
Oskar Offermann photo by Georg Roskeschnitt
Oskar Offermann
I
t’s no secret that I like the cut of Oskar Offermann’s jib. Any readers who are familiar with my personal grooming – or lack thereof – will attest to my fondness of copious coiffure, and the amply bearded Offermann certainly sets a lofty benchmark when it comes to representing in the long hair/shaving moratorium stakes. While Offermann earns plaudits from this author based on his all-round style, his status as a Deep Impressions poster boy can also be attributed to his standing as one of the foremost purveyors of deep house in the Berlin underground scene. The Frankfurt-born DJ, producer and label owner has been building an impressive house music pedigree over the past seven years, with releases on his own labels WHITE and Rimini, along with a particularly impressive collaboration with fellow Frankfurter, Moomin, on the Aim imprint last year. Offermann will take that inevitable next step as a producer in November with the release of his debut album Do Pilots Still Dream About Flying?, on which Oskar claims to have deliberately moved away from his deep house tendencies to enter the realm of traditional songwriting. In his own words, Oskar has “finally arrived in his profession as a DJ and producer”. However, having heard the promo, I can assure househeads and fans of Oskar’s previous output that the forthcoming album still retains the subtle melodies and dreamy take on house soundscapes that characterised his previous releases. Based on initial impressions, Do Pilots Still Dream
About Flying? should attract plenty of new listeners to the Offermann fan club; it is an accomplished LP that works as a coherent and immersive listening experience, as Offermann makes the transition from EP to LP production with consummate ease. I normally steer well clear of the White Revolver in Bondi – I’ll allow you to draw your own inferences on that one – but this Friday September 28 is something of an anomaly for the venue, with quirky Canadian producer Colin De La Plante, aka The Mole, dropping by for a DJ set. The Mole’s breakthrough occurred back in the sun-kissed spring of ’08, when his debut album As High As The Sky appeared on Wagon Repair. Since then, he has toured with Mathew Jonson’s avant-garde acid techno troupe Cobblestone Jazz, and released records across a plethora of different labels, including Prins Thomas’ Internasjonal imprint and Ostgut Ton. De La Plante’s arrival Down Under follows the launch of his new label, Maybe Tomorrow, which he inaugurated with his own EP, If I Had A Nickel – a release described by XLR8 as painting De La Plante as a “disco-house formalist who took the brown acid.” The review proceeds to qualify this remark via a somewhat condescending attempt at wit, adding that if De La Plante’s “rambling, goofy interview with Resident Advisor [from 2011] is any indication, weed appears to be his preferred narcotic.” While there’s no doubting De La Plante is a “character”, I would counter that in a milieu full of contrived and generic self-marketing, it is far more engaging to encounter an interview with someone who is not attempting to constrain their personality (“goofy” or not) or mould their disposition to reflect ephemeral sonic fads. De La Plante’s productions are similarly “out there” on their own sonic tip, and he’s a difficult fellow to pigeonhole, but that’s precisely what makes The Mole worthy of your investigation. Dutch luminary Steve Rachmad will headline One22 on Saturday October 27 in an event organised by Disconnected and Shrug. Rachmad’s debut LP under his Sterac moniker, The Secret Life Of Machines, released in 1995, is widely recognised as a masterpiece. A release that captured the Detroit techno zeitgeist – think melodic, machine-made soul – The Secret Life Of Machines recently received an overdue re-release, and still stands the test of time today. The re-release was accompanied by a Secret Life Of Machines Remixed album, which featured many of the foremost producers from the present day paying homage to Rachmad and reworking tracks from his landmark LP. Next generation Dutchmen Joris Voorn and 2000 And One provided remixes for the compilation/tribute album, alongside reworks from Joel Mull, Samuel L Session and Vince Watson, in addition to a slowburning interpretation from one Ricardo Villalobos. Rachmad will be supported at One22 by Defined By Rhythm, Dave Stuart and Ben Dunlop, with presale tickets currently available online.
LOOKING DEEPER FRIDAY SEPTEMBER 28 The Mole White Revolver
SUNDAY SEPTEMBER 30 Pepperpot The Spice Cellar
MONDAY OCTOBER 1 Konrad Black The Abercrombie
SATURDAY OCTOBER 27 Steve Rachmad One22
Pepperpot
Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com BRAG :: 481 :: 24:09:12 :: 45
club guide send your listings to : clubguide@thebrag.com
club pick of the week The Presets
SUNDAY SEPTEMBER 30
MONDAY SEPTEMBER 24 Scurffy Murphy’s Haymarket Mother Of A Monday DJ Smoking Joe free 8pm The World Bar, Kings Cross Latin Jazz DJs free 7pm
TUESDAY SEPTEMBER 25 Aquarium Wharf, Sydney Harbour Some $hip Chickflick!, Sherlock Bones, Jagged Beatz, Main St, Stepbros, Eggo, Terrorwrists $35 7pm under-18s Australian Museum, Sydney Jurassic Lounge Astral People DJs, Tokyo Denmark Sweden, Fishing, Spod (DJ set), Ariane $14 5.30pm Establishment, Sydney Rhumba Motel Salsa DJ Willie Sabor free 8pm Metro Theatre, Sydney Bone Thugz N Harmony (USA), Kerser, Fortay, TL Crew $49.70 (+ bf) 7pm all-ages Scruffy Murphy’s, Haymarket We Love Goon Tuesdays DJ Podgee, DJ Smoking Joe free 8pm Trademark Hotel, Kings Cross Coyote Tuesday Oktoberfest DJ Johnny B, DJ Shipwreck, DJ Ant, MC Danny Simms $10 8pm The World Bar, Kings Cross Jam Jam DJs, Ali, Chris free 8pm
Centennial Park, Sydney
Parklife
The Presets, Nero (UK), Passion Pit (USA), Plan B (UK), Justice (DJ set) (FRA), Tame Impala, Labrinth (UK), DJ Fresh (UK), Robyn (SWE), Chiddy Bang (USA), Rusko (UK), Chairlift (USA), Wiley (UK), Benga (UK), Jacques Lu Cont (UK), Jack Beats (UK), Modestep (UK), Hermitude, Art Department (CAN), Lee Foss (USA) Softwar, Parachute Youth, Citizens! (USA), Charli XCX (UK), St Lucia (USA), Rizzle Kicks (UK), Flume, Alison Wonderland, Slow Blow, A-Tonez, Bondi Hipsters, Glove Cats, Inthemix DJs, James Taylor, Nic Scali, Peking Duk, S.A.S.H DJs, The Griswolds, The Mane Thing, The Motoriks, Wordlife and more
$138 (+ bf) 12pm 46 :: BRAG :: 481 :: 24:09:12
WEDNESDAY SEPTEMBER 26 The Bank Hotel, Newtown Vogue #3: Pop Night Mel Blank, Del free 9pm Epping Hotel DTF Resident DJs free 8pm Ivy, Sydney Salsa at Ivy DJ Dwight ‘Chocolate’ Escobar free 7pm The Lansdowne Hotel, Chippendale Frat House Landsdowne House DJs free 8pm The Marquee, The Star, Pyrmont Assembly Wednesdays Canyons $10 8pm The Ranch, Epping Hump Wednesdays Resident DJs free 8pm Sapphire Lounge, Kings Cross Cream Dim Slm, Eko, Troy T, Fritz The Face, Liteworks, Nacho Pop, Haim, Kane Kirby 8pm The World Bar, Kings Cross The Wall Pop The Hatch, P1rate, Singha, Mitch Lowe, E-Cats, Pablo Calamari, Jack Bailey $5 7.30pm
THRUSDAY SEPTEMBER 27 The Columbian, Darlinghurst Glamour pour le Hammer Jack Shit, DJ Soup free 9pm The Cool Room, Australian Brewery, Rouse Hill We Love Thursdays - Schools Out Party Tom Piper, Big Will, Troy T 8pm Five Eliza, Newtown D&D’s Beat Ballroom Dave Fernandes & Dean Dixon free 6pm Goodgod Small Club, Sydney Hoops: The Reunion Bad Ezzy, Nina Las Vegas, Anna Lunoe $5 9pm Greenwood Hotel, North Sydney Greenwood Thursdays Resident DJs free 8pm
Ivy Changeroom, Sydney Loose Change Jimuphy Masters (UK), DJ Agey, Ayko Akroff, August Storm free 8pm Kit & Kaboodle, Kings Cross Resident DJs free 8pm Oxford Art Factory, Darlinghurst Klub Kiki – Scissor Sisters Official After Party Sammy Jo (USA), Sveta, Dan Murphy $29 (+ bf) 10pm Q Bar, Darlinghurst Hot Damn Hot Damn DJs $15$20 9pm Sapphire Lounge, Kings Cross Rewind Bobby Digital, Moto, DJ Samrai, Manny, Trey, Naiki, Big Bee 8pm Trademark Hotel, Kings Cross Swag Resident DJs $10 9pm The Village, Potts Point Salt Nic Scali, Dan What, Skeleton Collective, Zyklus, Salt Residents free 8pm The World Bar, Kings Cross Propaganda Propaganda DJs, Spice Cube DJs free (student)-$5 9pm
FRIDAY SEPTEMBER 28 Abercrombie Hotel, Broadway Totally Barry Bad Barry DJs free 9pm AND, Bondi Junction Deep Frydays James Cripps, Tim Culbert vs Oliver Gurney, Simon Caldwell, Robbie Lowe free 10pm The Bank Nightclub, Kings Cross Get Funked Fridays Snap Back Party Resident DJs 9pm Burdekin Hotel, Darlinghurst Gutterglam Pink Ribbons, Fingertips, Saint Sly, High Class Hookers, JD Joplin, Machine God, Lady White $15 9pm Candys Apartment, Kings Cross Night Moves Demons To Diamonds, Le Bronx, 2Busy 2Kiss, Chick Flick, Dirty Little Secrets, Main St, DJ Nick La Rosa $15-$20 9pm Chinese Laundry, Sydney Doctor Werewolf, Empress Yoy, JD4D, Step Brothers, Sweat Decks, Rodman, Jamie-Lyn, Marco Rocco $15-$25 10pm Civic Underground, Sydney Volar Volar DJs 10pm Cohibar, Darling Harbour Gimme Five DJ Toby Neal, Candidate free 8pm Goodgod Front Bar, Sydney Yo Grito! Yo Grito! DJs free 9pm Hermann’s Bar, University of Sydney, Darlington Big T, Mitus, LAEL Rockwell, Collectove Crew, Sleepwalkers, DOEL $8.50-$10 (+ bf) 8.30pm Ivy Poolclub, Sydney Moonshine Anna Lunoe, Alley Oop, Toni Toni Lee, Elly K 9pm Jacksons On George, Sydney DJ Ivan Drago, DJ Rain Julz free 8pm Kit & Kaboodle, Kings Cross KK Fridays Resident DJs 8pm The Marlborough Hotel – Cellar Bar, Newtown DJ Simon Laing free 8pm Marquee Sydney, The Star, Pyrmont Rebecca & Fiona (SWE) $40 8pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm Oatley Hotel We Love Oatley Hotel Fridays DJ Tone free 8pm One22, Sydney Eric Cloutier (USA), Trinity, Madga Bytnerowicz $15-$25 (+ bf) 10pm The Red Rattler, Marrickville ThisIsFashionNow DJ Sveta, La Donna Rama, Meta $15 (+ bf) 9pm The Roundhouse, UNSW, Kensington
Desi Musicfest 2012 PBN feat. Sanji, Jassi Sidhu (UK), Dr. Zeus fat Shortie & Zora, Platinum Dholis, Tantra Nights DJ $45 (+ bf) 7pm all-ages Sapphire Lounge, Kings Cross One Night Stand Dim Slm, Troy T, Tony Shock, DJ D, Kid Waah, Danny Simms, Bobby Digital DJ La, Steve S 8pm Space Nightclub, Sydney Zaia Resident DJs 9.45pm The Spice Cellar, Sydney Debonair, Submarine DJs $10 10pm The Sugar Mill, Kings Cross Woodstock Mickey D, Mista Kay, Danny Simms 10pm Tarantula Club, Darlinghurst Warp Speed Tarantula DJs 9pm Warehouse Venue, Sydney Contemporary Scarecrow Launch The Mole (CAN), Garry Todd, Carlos Zarate, Sam Roberts, Marc Jarvin, Will Allen $20 9pm The Watershed Hotel Vanity Fridays DJ Matt Roberts $20 8pm White Revolver, Bondi Beach Endless The Mole (CAN), Garry Todd & Marc Jarvin, Ben Ashton & Gabby, Jack Sword & Nic Scali $15 9pm The World Bar, Kings Cross MUM The Cairos, Black Zeros, Wax Witches, Bored Nothing, Mannequins, Driffs, March of the Real Fly, Push/ Pull, MUM DJs $10-$15 8pm
SATURDAY SEPTEMBER 29
SUNDAY JUNE 24
Abercrombie Hotel, Broadway Strange Fruit Strange Fruit DJs free 9pm The Arthouse Hotel, Sydney ESI Presents E-Force (NL), Neil Hume, JTS, X-Dream, Nomad, Dillytek, Nik Import, Lihan, HSB aka Hardstyle Boiz, The Khemist, Blocka, X-Stylez, Delete, Vazard, Convict, The Strangerz, Midshifter, Kamikaze, Spindo, Zander, Spellbound, Panik, The Saint, Pato De Gomah, Jamleon, Yev, Lynx DJ, Lunatix, Erase MC $40 (+ bf) 9.30pm The Bank Nightclub, Kings Cross Traffic Light Party Nemz, Willi, Mo, J Rox, Billy B, Damn, Esem, Teknix, Shalvy, Astylez, Albie Smile & August 9pm Brighton Up Bar, Darlinghurst Philosophy of Sound, Coupons $10 8pm Candys Apartment, Kings Cross Heat Sherlock Bones, SMS, Scott Cole, Wormi, Crux, Audio Trash $20 9pm Cargo Bar, King St Wharf Kick On Resident DJs free 6pm Chinese Laundry, Sydney Sharam (USA), Kid Kenobi, Peking Duk, A-Tonez, Offtapia, Bounce Crew DJs, Whitecat, Georgia, King Lee, Ya Jokin $25 9pm Club 77, Darlinghurst Starfuckers Starfuckers DJs 10pm Cohibar, Darling Harbour Yellow Sox Toby Neal free 8pm The Cool Room, Australian Brewery, Rouse Hill Saturday Nights At The Brewery DJ Koffee 8.30pm Establishment, Sydney Sienna Resident DJs 8pm FBi Social @ Kings Cross Hotel Hands Up! Stagfman, Clockwerk free 11.30pm Goldfish, Kings Cross Musik Matters Mike Monday, S.A.S.H DJs, Kerry Wallace,
club guide send your listings to : clubguide@thebrag.com Mike Wir, Johnny Gleeson, Matt Cahill $20 6pm The Green Room Lounge, Enmore Vinyl Solution DJ Nic Dalton free 7pm Inner City Warehoue Location, Sydney Primal Urge Paradise Lost DJs $15 10pm Ivy, Sydney Ivy Saturdays Chris Fraser $20 8pm Jacksons On George, Sydney Full Moon Party DJ Simon Laing, DJ Michael Stewart free 8pm Kit & Kaboodle, Kings Cross Kitty Kitty Bang Bang! Isbjorn, Mr Belvedere, David Neale, Playmate, Devola, Pat Ward, Handsome, Kristy Lee 8pm The Marlborough Hotel – Cellar Bar, Newtown Resident DJs free 8pm Marrickville Bowling Club Africa Hitech (UK), Lorna Clarkson, Luke Snarl, D&D $30 (+ bf) 10pm Metro Theatre, Sydney The Glitter Ball Fashion Freaks Kitty Glitter, Alex Taylor, Stephen C, Scott Tanner $50 (+ bf) 10pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm One22, Sydney Echoes SV.1.0 Dave Stuart, Gabirel Fernandes, Echo Inspectors, Ben Ashton, Andosound $10 (+ bf) 10pm O Nightclub, Potts Point Nuff Said! Alleviate, JaimeLyn, Rees Hellmers, Harper,
Justin R vs Hazz, Sprawl free$10 9pm Sapphire Lounge, Kings Cross Sapphire Saturdays Jo Funk, Dim Slm, Charlie Brown, J Smoove, Discokid, Steve S, Bobby Digital, Troy T, Bigwill, DJD, Micky D, Ilija, Six Fingers 8pm Secret Inner City Location, Sydney Warehouse Techno Robbie Lowe, Ben Ashton, Andrew Wowk, Nathan Cryptic, Aaron Robins, Ft Mode $30 7pm Space Nightclub, Sydney Masif Saturdays Resident DJs 10pm The Spice Cellar, Sydney The Residents Robbie Lowe, Mike Whitcombe, Kali, Gabby $20 10pm The Sugar Mill, Kings Cross Woodstock Mickey D, Mista Kay, Danny Simms, Six Fingers 10pm The Watershed Hotel Watershed Presents… Skybar $20 9pm The World Bar, Kings Cross Cakes Tokoloshe, Doug Masters, Pipemix, Finger, Blaze Tripp, Chris Arnott, Kato, Go Freek, The Mane Thing, Hannah Gibba, Tigerlilly, Astrix Little, Garage Pressure $15-$20 8pm
SUNDAY SEPTEMBER 30
SUNDAY JUNE 24
Abercrombie Hotel, Broadway S.A.S.H Sundays PEPPERPOT (Fr), Mike
Monday, YokoO, Carlos Zarate, Telefunken, Garry Todd, Nick McMartin, Powers. Matt Weir, Kerry Wallace $10 2pm Bank Hotel, Newtown Newtown Festival Fundraiser Mitch Lowe, Sveta, Andy Traxx, Miss B, Sandi Hotrod 12pm The Bank Nightclub, Kings Cross Justice Crew, Nemz, WIlli, Mo, J Rox, Billy B, Damn, Esem, Teknix, Shalvy, Astylez, MC Rocamic, J Dwight 9pm The Beresford Hotel, Surry Hills Beresford Sundays Resident DJs free 3pm Candys Apartment, Kings Cross Sunday Dirty Sunday Sherlock Bones, Zomg Kitenz, 2Busy 2Kiss, Stalker, Digital T, Say Oh!, Aero, Amy Lee, New Age Bullshit 9pm Centennial Park, Sydney Parklife The Presets, Nero (UK), Passion Pit (USA), Plan B (UK), Justice DJs (FRA), Tame Impala, Labrinth (UK), DJ Fresh (UK), Robyn (SWE), Chiddy Bang (USA), Rusko (UK), Chairlift (USA), Wiley (UK), Benga (UK), Jacques Lu Cont (UK), Jack Beats (UK), Modestep (UK), Hermitude, Art Department (CAN), Lee Foss (USA), Softwar, Parachute Youth, Citizens! (USA), Charli XCX (UK), St Lucia (USA), Rizzle Kicks (UK), Flume, Alison Wonderland, Lancelot, Slow Blow, A-Tonez, Bondi
Hipsters, Brown Bear, DJ Fuel, Ember, Fake Bratpack, Glass Wax, Glove Cats, Go Freek, Inthemix DJs, James Taylor, Kyro & Bomber, Nic Scali, Nukewood, Oakes & Lennox, Offtapia, Peking Duk, Pixl, S*A*S*H DJs, The Griswolds, The Mane Thing, The Motoriks, Wordlife $138 (+ bf) 12pm Chinese Laundry, Sydney Daywash Timomatic, DJ Johnny M (UK), Fly Girl Tee, Sveta, Neil Hume, Jimmy Dee, Johnny BlueBoy, Damien Reddrop, Johan K, Luke Leal, Israel, Adam Love, Brendan Terry, Dean Reid, Chip, David Neale, Jim Jam, Man3 $69 (+ bf) 12pm Civic Underground, Sydney Kyle Hall (USA), Rick Wade (USA), Simon Caldwell, Future Classic DJs, Preacha, Astral DJs $30 (+ bf) 10pm Club 77, Darlinghurst House of Fun presents Mon Ami Starfuckers DJs 10pm Establishment, Sydney Superjamm Troy T, Def Rok, G-Wizard 9pm Freda’s, Chippendale Dreamsville #1 Kate Jinx, Smart Casual, Smokey La Beef free 4pm Goldfish, Kings Cross House Classics Martini Club, Jumping Jack vs Abel El’ Toro, Johnny Gleeson, Tom Kelly 8pm Goodgod Small Club & Front Bar, Sydney Goodgod Birthday All Stars The Goodgod House Band, Michael Ozone, Slowblow, Same Old Scene, Toni Toni Lee, Pelvis, Levins, Joey The
Saint, Jimmy Sing, Jingle Jangle, Perfect Snatch, Shantan Wantan Ichiban, Bad Jackson, Bad Ezzy $18 (+ bf) 7pm The Hi-Fi Sydney, Moore Park Apollo The Party Ruby, Matt Bachi, Kate Monroe, Mark Alsop $75 (+ bf) 2pm The Hive Bar, Erskineville Rhythm Shower Rik, Gunjo, Stevie Dub, Jase, Madame B free 4pm Home Nightclub, Darling Harbour The Booty Bar Gold Edition XL DJ Mel $15 (+ bf) 9pm Home Nightclub Rooftop, Cockle Bay Wharf DILF Dom DeSousa, Alex Taylor, Stephen C, Jayson Forbes, Dan Slater, Murray Hood, Chip 50 (+ bf) 6pm Hordern Pavilion, Moore Park Paul Oakenfold (UK), MaRLo, Binary Finary, VLN, Thomas Knight, Nick Arbour, DJ Ange, Matt Cahill, T-Boy, Mars Monero vs Reno, Sam Arellano, Danny Lang vs Digit, Damien Osborne vs Nick Robins $71.90 10pm Hugo’s Lounge, Kings Cross Sneaky Sundays DJs 8pm Ivy Poolclub, Sydney Marco Polo 2012/2013 Launch Party Gigamesh (USA), Tommie Sunshine (USA), Lancelot, Robbie Lowe, Nukewood $25 (+ bf) 1pm Kit & Kaboodle, Kings Cross Easy Sundays Resident DJs 8pm
Metro Theatre, Sydney Hip Hop Legends Tour Das EFX (USA), Black Sheep (USA), DJ Tony Touch (USA), Brethren, Motley (UK), DJ Victor Lopez, DJ Mathmatics, LFM, B-Don, Ran-Dee $45 (+ bf) 7pm Oatley Hotel Sunday Sets DJ Tone free 7pm Oxford Art Factory, Darlinghurst Spinout Sneaky Sound System $59 (+ bf) 10pm Q Bar, Darlinghurst Daydreams Daydreams DJs 4.30am Sapphire Lounge, Kings Cross Sapphire Sundays DJ Troy T, Resident DJs 8pm The Spice Cellar, Sydney Pepperpot (FRA), Nic Scali, Kerry Wallace, Matt Weir, Steven Sullivan $20 10pm The Sugar Mill, Kings Cross Woodstock Mista Kay, Johnny B, Danny Simms, Mickey D 10pm The Watershed Hotel Afternoon DJs DJ Brynstar 4pm The World Bar, Kings Cross Soup Kitchen Wordlife, Pow! Pow!, Emoh Instead, Girl & Boy, Frames, Rocco Raimundo, Moonchild, Blackmale, Mannjazz, Rubio, Zooky, Junior, Ethan Winzer, Dan Bangs, Nacho Vossler, Cotelette, Antoine Vice, Whitecat, Space Junk, James Cripps, Hydraulix, Animal Jeans, Get Rad!, Singha, Bocue $10 3pm
club picks up all night out all week...
WEDNESDAY SEPTEMBER 26
SUNDAY SEPTEMBER 30
The Marquee, The Star, Pyrmont Assembly Wednesdays Canyons $10 8pm
Abercrombie Hotel, Broadway S.A.S.H Sundays PEPPERPOT (Fr), Mike Monday, YokoO, Carlos Zarate, Telefunken, Garry Todd, Nick McMartin, Powers. Matt Weir, Kerry Wallace $10 2pm
The World Bar, Kings Cross The Wall Pop The Hatch, P1rate, Singha, Mitch Lowe, E-Cats, Pablo Calamari, Jack Bailey $5 7.30pm
Civic Underground, Sydney Kyle Hall (USA), Rick Wade (USA), Simon Caldwell, Future Classic DJs, Preacha, Astral DJs $30 (+ bf) 10pm
THURSDAY SEPTEMBER 27 Goodgod Small Club, Sydney Hoops: The Reunion Bad Ezzy, Nina Las Vegas, Anna Lunoe $5 9pm Hoops
Africa Hitech
FRIDAY SEPTEMBER 28 Chinese Laundry, Sydney Doctor Werewolf, Empress Yoy, JD4D, Step Brothers, Sweat Decks, Rodman, JamieLyn, Marco Rocco $15-$25 10pm One22, Sydney Eric Cloutier (USA), Trinity, Madga Bytnerowicz $15-$25 (+ bf) 10pm
Goodgod Small Club & Front Bar, Sydney Goodgod Birthday All Stars The Goodgod House Band, Michael Ozone, Slowblow, Same Old Scene, Toni Toni Lee, Pelvis, Levins, Joey The Saint, Jimmy Sing, Jingle Jangle, Perfect Snatch, Shantan Wantan Ichiban, Bad Jackson, Bad Ezzy $15 (+ bf) 7pm Ivy Poolclub, Sydney Marco Polo 2012/2013 Launch Party Gigamesh (USA), Tommie Sunshine (USA), Lancelot, Robbie Lowe, Nukewood $25 (+ bf) 1pm
The Spice Cellar, Sydney Debonair, Submarine DJs $10 10pm
Metro Theatre, Sydney Hip Hop Legends Tour Das EFX (USA), Black Sheep (USA), DJ Tony Touch (USA), Brethren, Motley (UK), DJ Victor Lopez, DJ Mathmatics, LFM, B-Don, Ran-Dee $69.90 (+ bf) 7pm
SATURDAY SEPTEMBER 29
The Spice Cellar, Sydney Pepperpot (FRA), Nic Scali, Kerry Wallace, Matt Weir, Steven Sullivan $20 10pm
Chinese Laundry, Sydney Sharam (USA), Kid Kenobi, Peking Duk, A-Tonez, Offtapia, Bounce Crew DJs, Whitecat, Georgia, King Lee, Ya Jokin $25 9pm
The World Bar, Kings Cross Soup Kitchen Wordlife, Pow! Pow!, Emoh Instead, Girl & Boy, Frames, Rocco Raimundo, Moonchild, Blackmale, Mannjazz, Rubio, Zooky, Junior, Ethan Winzer, Dan Bangs, Nacho Vossler, Cotelette, Antoine Vice, Whitecat, Space Junk, James Cripps, Hydraulix, Animal Jeans, Get Rad!, Singha, Bocue $10 3pm
Marrickville Bowling Club Africa Hitech (UK), Lorna Clarkson, Luke Snarl, D&D $30 (+ bf) 10pm
BRAG :: 481 :: 24:09:12 :: 47
snap up all night out all week . . .
It’s called: Teen Spirit It sounds like: The most bangin’ ‘90s club since the ‘90s. We play ‘90s songs. Seriously, only ‘90s songs. It’s really simple and really awesome. Who’s playing? All your favourite Teen Spirit DJs in one room for the first time in a long time. Three songs you’ll hear on the night: B*Wit ched – ‘C’est La Vie’; Deep Blue Something – ‘Breakfast At Tiffany’s’; Marky Mark – ‘Good Vibrations’ And one you definitely won’t: Wheatus – ‘Teenage Dirtbag’. That’s totally ‘00s, bro. Sell it to us: For our first 18 months we reside d conquer Q Bar (taking with us Aqua, The Venga at Phoenix, before moving on to boys and East 17, and breaking hearts and vocal chords along the way). To welcome in the long weekend, we’re going back to where it started for one night only. Don’t miss it! The bit we’ll remember in the AM: There is really nothing like singing Shania Twain in a basement club. Crowd specs: Babes, freaks and geeks. Wallet damage: $15 Where: Phoenix @ The Exchange Hotel When: Friday September 28, from 10pm
cassian
PICS :: AM
party profile
teen spirit
13:09:12 :: Australian Brewery :: 350 Annangrove Rd Rouse Hill 9679 4555
sash sundays
PICS :: AM
the cool room
PICS :: NA
14:09:12 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587
spice fridays
PICS :: AM
16:09:12 :: The Abercrombie Hotel :: 100 Broadway Ultimo 9280 2178
propaganda
PICS :: GP
14:09:12 :: The Spice Cellar :: 58 Elizabeth St Sydney 9223 5585
13:09:12 :: World Bar :: 24 Bayswater Rd Kings Cross 93577700 48 :: BRAG :: 481 :: 24:09:12
:: NOHMON ANWARYAR :: S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER MAS PEACHY :: PEDRO XAVIER THO :: MAR RMANN :: ASHLEY KATRINA CLARKE :: SASKIA EISE
BRAG :: 481 :: 24:09:12 :: 49
snap
big things tour
PICS :: PX
up all night out all week . . .
astral people 1st b'day
PICS :: AM
14:09:12 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711
jaytech
PICS :: AM
15:09:12 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587
jeru the damaja
PICS :: KC
15:09:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999
strike
PICS :: AM
13:09:12 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711
14:09:12 :: Strike Bowling Bar :: Lvl4 Mandarin Shopping Centre Chatswood 8458 1400
It’s called: Oktoberfest Snow Party It sounds like: The wind whistling past your ears as you plummet down a toboggan ramp built on 45 tonnes of real snow. Acts: DJ Flagrant (VJ set), Stu Turner, Jono Watkins, Richie Carter and more. Three songs you’ll hear on the night: Roger seventytwo – ‘Take Me Higher’; Calvin Harris – ‘We’ll Be Comin’ Back (ft Example)’; Kanye West – ‘Mercy’ And one you definitely won’t: Rammstien – 'Ich Tu Dir Wei' (…or will you?) Sell it to us: We’ve recreated the German ski fields in one huge Oktoberfest celebration that goes for three whole days and nights! The bit we’ll remember in the AM: DJ Flagra nt spinning that extreme snow party mix on the VJ decks. Wallet damage: Free before 10pm / $10 after Where: Cargo Bar, King Street Wharf When: Saturday September 29 – Monday Octob er 1
50 :: BRAG :: 481 :: 24:09:12
octave one
PICS :: AM
party profile
oktoberfest snow party
15:09:12 :: Goldfish :: 111 Darlinghurst Rd Kings Cross 8354 6630 :: NOHMON ANWARYAR :: S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER MAS PEACHY :: PEDRO XAVIER THO :: MAR LEY ASH :: NN RMA KATRINA CLARKE :: SASKIA EISE