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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
JULIAN FROM GREENTHIEF
M
y father only really listened to either The Beatles or The Rolling Stones. It was Ringo Starr who originally inspired me to pick up the sticks. I quickly developed an obsession with drums, and played in many bands during my time at school. I eventually switched over to the guitar, when I became more interested in the songwriting side of things. After growing up on a healthy dose of ‘60s/’70s English rock (Zeppelin, Floyd, Beatles), I then discovered the ‘90s. Artists like Radiohead, Rage Against The Machine, Nine Inch Nails, Tool and Jeff Buckley were a huge inspiration when I began playing in bands. I remember first listening to Aenima by Tool, and being completely blown away by the diversity of the album. In more recent times, artists like The Mars Volta and Tame Impala really excite me with what they’re doing with music.
PUBLISHERS: Adam Zammit & Rob Furst EDITOR IN CHIEF: Adam Zammit 9552 6333 adam@peergroupmedia.com EDITOR: Steph Harmon steph@thebrag.com 02 9552 6333 ARTS & ASSOCIATE EDITOR: Dee Jefferson dee@thebrag.com 02 9690 2731 STAFF WRITERS: Alasdair Duncan, Benjamin Cooper, Krissi Weiss, Caitlin Welsh NEWS: Nathan Jolly, Chris Honnery
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GIG & CLUB GUIDE CO-ORDINATOR: Conrad Richters - gigguide@thebrag.com (rock) clubguide@thebrag.com (dance, hip hop & parties) INTERNS: Natalie Amat, Siobhan Graham, Charis Lynn, Tanydd Jaquet, Mina Kitsos REGULAR CONTRIBUTORS: Benjamin Cooper, Alasdair Duncan, Christie Eliezer, Murray Engleheart, Andrew Geeves, Chris Honnery, Nathan Jolly, Anna Kennedy, Chris Martin, 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...
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With: The Lazys, Blind Valley Where: Kittens @ Spectrum When: Saturday November 24
Germany and The Netherlands. But they’re making amends in 2013 with a huge Australian tour, in which they’ll be playing tracks from their eagerly anticipated new album, which is due out in May 2013 and contains just as much party as their earlier stuff. They play The Metro Theatre on March 1 and 2, also adding a special allages show on the Saturday afternoon. Tickets are on sale November 20 – and if you’re over 18, probably don’t hang out at the afternoon show like a creep... Speaking of creepy, the support act’s name is FLAP!
Dappled Cities
ADVERTISING: Ross Eldridge - 0422 659 425 / (02) 9690 0806 ross@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 8394 9027 les@thebrag.com
All musicians around the world face the same problem: money. As an independent band, your outgoing costs always seem to be a hundred times larger then your incoming costs, which creates huge difficulties in the selfsustainability department. Enjoyment needs to be the main factor that numbs the financial pain, which of course it does. Brisbane has an awesome music scene, and a lot of our friends’ bands provide a lot of inspiration. And I saw Radiohead recently, and that was mind blowing! I left feeling very inspired; it’s amazing seeing a successful band who’ve always done things on their own terms, staying true to who they are.
xxx
Steve (drummer), Tom (bassist) and I all come from quite different musical backgrounds, but we have a strong meeting ground – we’re quite lucky like that. Most of this year we’ve spent on the road, while trying to finish off our debut album with UK producer Steve James (Mental As Anything, Skunkhour, Superjesus).
We label our music as psychedelic rock. We currently have two EPs released (Retribution and Anicca), and hope to have our debut album done by mid-2013. We did the majority of tracking in Mullumbimby (northern NSW), at a lovely boutique studio that provided doubleheaded showers. But our live show is what we take the most pride in. I’d describe it as being energetic, but won’t say too much else; you can find out for yourself when you come along this Saturday...
SYDNEY DOES BECK’S SONG READER
Because Beck can record cover versions of entire albums in a day, chucks out songs that Pink makes hits of, and followed up a Prince-drenched funk record with a desolate, bleak break-up album, we weren’t at all surprised when he announced he was to release his latest LP, Beck Hansen’s Song Reader, as sheet music only, through everybody’s favourite quirky/incredible publishing house, McSweeney’s (distributed by Faber & Faber in Australia). “A novel concept, pity we’ll never get to hear those songs,” thought everyone – but The BRAG’s Steph Harmon and Caitlin Welsh decided that you, Sydney, YOU, deserve to hear the new Beck album. And what better way than at a huge benefit for a new non-profit writing centre Sydney Story Factory, held at The Standard on Wednesday December 19. Presented by The BRAG and FBi Radio, the night will feature BRAG favourites Josh Pyke, Jonathan Boulet, Dappled Cities, Caitlin Park, Richard In Your Mind, Aidan Roberts (Belles Will Ring), Thomas Rawle (Papa vs Pretty), Brian Campeau (doubling as musical director for the evening) and Elana Stone, in an exclusive, collaborative performance of the entire record. There are more names to be announced, including readings from some of Sydney’s best writers and performers – a massive love-in of music and words. Tickets are $25 from Moshtix, with all proceeds (and $1.50 of your booking fee) going to Sydney Story Factory. Get in early – as if this won’t sell out.
FINN + KELLY II
Obviously the idea of Neil Finn and Paul Kelly on one stage together, performing a mere droplet from the vast ocean that is their collective back catalogues, sold out two Sydney Opera House shows quicker than you can say “Love, like a bird, flies away”, then sigh wistfully. Luckily, those programming geniuses at Sydney Opera House have announced two extra shows, set for March 17 and 18. Get tickets or risk spending the entire evening watching your significant other try to work out the bridge chords for ‘Distant Sun’ so he/she can play it for you. It’s sweet and everything, but this’ll be better. Tickets on sale now.
KISS AND CRÜE
So, we’ve recently made a routine check on your excessorator – that little switch on your fuse box that indicates whether you have witnessed adequate levels of rock‘n’roll excess – and we’re sorry to inform you that you’re way under the national average. Not to worry, this can be fixed by purchasing tickets to the
double-dose of the ‘holy-what-Tommy-Leedrumming-on-a-spinning-platform??’ that is Kiss and Mötley Crüe live at Allphones Arena on Saturday March 9. Plus Irish rockers Thin Lizzy are on the same bill, just to tip things over into dangerous, decadent levels. Careful! Tickets on sale this Thursday.
CATCALL ON VINYL
Catcall’s debut record The Warmest Place is a BRAG favourite and now we will be able to play it on the warmest format, with the launch of the 12-inch version of the album, which happens on Saturday December 15 at Goodgod Small Club. Tickets are $15 from Moshtix, support comes from Model Citizen, Four Door and DJ Del, and yup, she did just sing the word “nipple”. So what? She’s allowed to.
CAT EMPIRE 2013
2012 was not the year of The Cat Empire – at least not in Australia. Fair enough, considering the guys were jetting around the world playing shows in far-flung, oddly-named places like
When ‘More Than Words’, that quite-lovely acoustic ballad by soft-metal band Extreme, shot to #1 in America, I would have loved to have been a fly on the wall of a record store when all the conservative, FM-listening soccer ‘moms’ (not to be confused with ‘mums’) walked in and wanted to buy the album that it was from – only to be handed a record titled Pornograffitti. I assume the term ‘Why, I never!’ was uttered a lot... Extreme are heading Down Under next year, hitting The Enmore Theatre on April 13 with guitarist Richie Kotzen (of Poison and Mr. Big fame) in tow. The idea of these guys pre-drinking at The Townie actually makes perfect sense. Tickets go on sale this Friday November 23. The Beards
SOSUEMEBONDI
SOSUEME figured that, because summer is just around the corner, they would take their weekly night of party good-times (not the official slogan) and move it to the Beach Road Hotel in Bondi, where summer comes to shine (not the official slogan). Every Wednesday from December 5, SOSUEME will be hosting a free night of genre-agnostic music, launching with Adelaide’s hairiest band, The Beards, and The Griswolds, backing it up strongly on December 12 with Melbourne emcee Illy. According to their press release, “SOSUEME continue to take full responsibility for some of your best nights out and your most debilitating of hangovers.” Which means you can email them every Thursday demanding that bloody Mary/Nurofen Plus/Berocca/bacon cocktail you need.
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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
on the record WITH
Missy Higgins
CLAUDE HAY
The First Record I Bought: Kiss’ Dynasty. Man, that 1. changed my life forever. Those guys
and listen to it. It’s just like looking at a photo you haven’t seen in a long time.
were all about an amazing show, and they blow my mind away. Later that year, I snuck into the Sydney Showground while the security turned their backs, and weaved my way to the front of the concert – ‘cause I was about ten years old, it was easy. There was no going back.
The Last Thing I Recorded: I just finished the new album, I Love 4. Hate You. For this one, I actually started the
The Last Record I Bought: The Raconteurs. A friend 2. introduced them to me and I immediately loved it: classic rock that just has great songs. I listen to them all the time – I love it when I get something new, I play it to death. I’m going to get the new Soundgarden one tomorrow – can’t wait. When it comes to music, I’m not that broadminded, I don’t think: it’s usually rock, funk or some blues, and in those categories I’m very selective. The First Thing I Recorded: I bought a four-track tape 3. recorder and must have used it every single night – I literally have buckets full of cassette tapes. I loved recording so much back then; it’s always been something I like doing and still always do myself, to this day. I’ve put a lot of my early day stuff to CD now, so it doesn’t get lost. It’s a buzz to sit back
first recording in Sun Studios in the USA – I happened to be on tour there and had a couple of days off, so I threw a track down. What a great studio. They still have all the same equipment there from back in the day, when Elvis and Cash rocked the joint. I also got the boys from Chase The Sun and Marshall Okell to play on a couple, and man they smashed it. Killer players. The Record That Changed My Life: Sorry, I have to edit that question. I’ll 5. give you five: 1. Audioslave’s first – Chris Cornell’s voice is just insane, and the song ‘Cochise’... Tension release. 2. Faith No More’s King For A Day – so diverse, so different, so dynamic, another amazing voice. 3. The movie Crossroads with Ry Cooder and Steve Vai – guitar-playing that gives me goosebumps. 4. Creedence Clearwater Revival’s Chronicles – they just write fucking good songs, and boy can Fogerty sing. 5. Anything Bootsy Collins has done. He got the funk. What: I Love Hate You is out now With: Mojo Bluesmen Where: Oxford Art Factory – Gallery Bar When: Friday November 23
Instead of spending the night of Friday December 7 watching those old episodes of Farmer Wants A Wife to see if you can pick up on the early sparks, get along to MUM @ The World Bar for Select Music’s Xmas Party, with music from Nantes, Andy Bull, The Preatures, Step-Panther, Toucan, Tokyo Denmark Sweden, The Walking Who, plus DJ sets from bluejuice’s Jake Stone, Hungry Kids Of Hungary, The Holidays, Rufus, DZ Deathrays and Elizabeth Rose. Yes please!
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You may have heard their first single ‘On Your Side’ on the radio, or you may have watched them support Alt-J, Gypsy & The Cat or The Rubens, or you may have even seen various members playing in Little Red, Ground Components or Eagle & The Worm. We don’t read your diary (except the pages you scan and send us – keep those coming, please), so we aren’t sure how you know New Gods, or indeed if you even do – but we are quite sure you’ll love their January 12 show at Goodgod Small Club either way.
Martin Atkins is a total boss: Public Image Ltd, Ministry, Killing Joke and Nine Inch Nails are a few of the bands he has played in, he founded Invisible Records, and has written three funny/ angry books about the music industry. He’ll be heading to The Factory Theatre this Saturday November 24 to launch his new book Welcome To The Music Business, You’re Fucked, show off his DJ skills, and probably unleash a multitude of awesome stories about the industry and his time in it. Tickets are still available!
MUTEMATH!
Ever noticed that bands from New Orleans, regardless of genre, always have a touch of that homespun soul to their sound, despite every attempt to shake it? We’d suggest it’s something in the drinking water, but the New Orleans Water Board would sue us for libel, and rightfully so; it’s a ridiculous claim to make, especially considering all the scientific evidence linking soul music to the devil. Genre-less-but-basically-just-awesome-rock band Mutemath are one such soul-drenched act, and you’ll be able to catch their inadvertent swagger when they return to us on March 24 at The Hi-Fi – assuming of course you buy tickets on, or close to, Monday November 26, when they go on sale.
HO HEY, LUMINEERS
SELECT XMAS
1992 was the year that the world’s first video telephone was released, ‘I’m Too Sexy’ hit #1 on the charts, and a little cassette label began in Perth. Said label became the now legendary Chapter Music, and they’re celebrating their 20th birthday by taking over Goodgod Small Club on Saturday November 24 with a birthday party, featuring sets from Geoffrey O’Connor’s Crayon Fields, Laura Jean, Standish/Carlyon, label co-owner Guy Blackman, and Jonny Telafone. There’s a special double LP compilation that’s only available at the show, featuring rare and unreleased tracks from the label’s brilliant roster. We’ve got a double pass to give away; to win, tell us who your favourite Chapter Music artist is.
MARTIN ATKINS
DUNE BUGGIN’
The Preatures
CHAPTER: 20 BIG ONES
NEW GODS
Mutemath
Mick Harvey, the guy who put the ‘Party’ in The Birthday Party and made The Bad Seeds bad (Sorry Nick, we know you’re all brooding and Devil-went-down-to-Georgia, but we also know of your Kylie-crush…), is to be the special guest of German avant-garde noise terrorists Einstürzende Neubauten (translation: Fear My Distortion Pedal Daisy Chain) when they play The Enmore Theatre on February 22. Einstürzende Neubauten are the real deal, too: formed in West Berlin in 1980; destroying instruments on stage with a jackhammer; using chunks of scrap metal as percussive tools; screaming death into a fuzzed-out mic. It’s visceral, intense and probably don’t bring a first date to this, or she’ll/he’ll think you’re into a whole bunch of other things you might not be into… Or maybe you are. Life’s short, take a punt.
Dune is a) An intolerably long-winded, mindnumbing, nonsensical David Lynch film, and b) The new moniker of Jade McRae, who you may remember as the non-Tin Lids one who sang backups for Barnesy for many a year. Well put down that cheap wine, because her new solo stuff is nothing like East – it’s Afro-beats and walls of sound and soaring vocals, and happening live at The Beresford (upstairs) this Friday November 23. Leanne Russo and Dan Crestani on first and second, in one of two possible orders.
You only need to hear the first jangly piano notes of Missy Higgins’ ‘Scar’ and it’ll be stuck in your head for days, lyrics and all (you know you know it!). Such is the power of the catchy hook. Missy’s been pretty quiet over the last five years, but after a batch of writer’s block she’s back in action with her latest album, and it’s packed with tunes and ‘tude. To celebrate, she’s bringing The Ol’ Razzle Dazzle to The State Theatre, with Gurrumul and Emma Louise on hand. The first two shows are sold out, but we’ve got five double passes up for grabs for Thursday November 22 – to score one, tell us the name of her latest single.
ACO FTW
There’s a new show from genius OC-creator and Gossip Girl-crafter Josh Schwartz called Hart Of Dixie, and during a pivotal, heart-racing scene, a joyous, folk-driven track called ‘Ho Hey’ by Colorado band The Lumineers soundtracked all the emotion, and the internet exploded with people trying to find out what just happened to their ears. Radio picked the track up, and the group went on to sell 300,000 records in quick succession. The song is fast gaining traction on Australian radio, which is possibly why they are jetting out here for a tour, hitting The Metro Theatre on March 27 – by which point things will be at fever pitch. Expect the song to top the Hottest 100 this year; tickets are on sale now.
The Australian Chamber Orchestra know how to rock out with their side-project ACO Underground, in which they perform Nirvana, Radiohead, REM, Bach, Vivaldi (all the angsty ones) under the direction of supremely talented frontwoman Satu Vänskä. They play December 2 at The Standard, and will be joined by performers including Brian Richie (bassist from Violent Femmes – who wrote possibly the most known bassline of all time) and guitarist Jim Moginie (Midnight Oil, king of surf-guitar, made a string of Aussie albums in the 2000s sound better by adding keyboards). Tickets are on sale now from the venue.
THE DESCENDENTS!!
SARITAH
What’s up, 1997-to-1999? We knew you would come back if we only listened to Meet The Family enough and kept wearing cargo shorts and Vans and never, ever let our deck sit in the garage gathering spiderwebs and balancing Kennards boxes on it – and on February 7 we hear you are coming to Sydney for one awesome show at the Big Top at Luna Park, and bringing The Descendents, Bouncing Souls, Frenzal Rhomb and Bodyjar along to play live sets in your honour. See, we knew we didn’t have to ever grow up! Tickets are on sale this Thursday November 22.
Pageants
Saritah blends dancehall, roots, reggae and all those feel-good genres, and then tops them off with a sultry-yet-wallowing voice – it’s not surprising that this West Australian artist is becoming popular in Jamaica. She’s touring her debut album Dig Deep, which was recorded in sunny Californ-i-a, and is playing two shows in Sydney this week: Thursday November 22 at Manly Boatshed ($10 entry), and Friday November 23 at The Rock Lily (which is at The Star Casino, and therefore free entry!).
PAGEANTS
Pageants sound like Pavement a bit, and The Velvet Underground a bit, and also like all those laconic Aussie pop bands that are popping up nowadays, and one minute into their debut album Dark Before Blonde Dawn they sing the line, “she lets her boyfriend play her Kyuss tapes in the car” – all of which instantly makes them one of our faves. They launch it this Saturday November 24 at The Old Fitz, with Camperdown And Out and King Tears Mortuary in support, who are perfect lo-fi, slacker, surfy, punky fits. We’ll be there. You should totally come.
Xxx
EINSTÜRZENDE NEUBAUTEN + MICK HARVEY
MISSY HIGGINS
E HIFI 1300 TH COM.AU THEHIFI.
your Favour
ite Festivals!
Just Announced Coming Soon
White Noise Wed 21 Nov Roll On Sun 25 Nov
O PE NE R AL NI BU G M HT
FA ST
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
SE LL IN G
SE LL IN G
FA ST
Sun 24 Mar
FA ST
Mutemath (USA)
Wed 21 – Tue 27 Nov SE LL IN G
O 26 N S NO AL V E
The Living End
Omar Rodriguez Lopez Group (USA)
Turbonegro (NOR) Thu 6 Dec
Sat 1 Dec
65daysofstatic (UK)
Maximo Park (UK)
Wed 2 Jan
Thu 3 Jan
Mayday Parade (USA)
Paul Kalkbrenner (GER)
Fri 7 Dec
Sat 15 Dec
SOLD OUT
Blood Red Shoes (UK)
Marduk (SWE) Sat 12 Jan
SE LL IN G
FA ST
Fri 4 Jan
The Boys Of Summer Tour 2013 Sun 13 Jan
Crystal Castles(CAN) Kerser Thu 17 Jan
Sat 2 Feb
Sat 9 Feb
An Evening with The Hoff (USA)
George Clinton & Parliament Funkadelic (USA)
Jon Spencer Blues Explosion (USA) Sat 9 Mar
Dinosaur Jr + Redd Kross (USA) Sat 16 Mar
Gin Blossoms (USA)
Fri 15 Feb Fri 8 Mar ENTERTAINMENT QUARTER, BUILDING 220, 122 LANG RD, MOORE PARK, SYDNEY
BRAG :: 489 :: 19:11:12 :: 13
Setting The Record Straight By Benjamin Cooper
“I
don’t even know what the fuck ‘slashies’ are – why would anyone say I hate ‘slashies’?” It’s a question Regina Spektor delivers with a fair amount of passion, understandably outraged at having been misquoted in an article. Worse still, the article’s reference pertained to a close friend and fellow musician. “Karen O is such a star. She’s got that – I don’t know – that particular quality that sets someone apart. I’ve seen the Yeah Yeah Yeahs perform a billion times, and there really aren’t very many charismatic performers like her. Then I look at this article and there’s this thing that has me bashing Karen O, because she’s a ‘slashie’... and I don’t even know what that is! I should be used to it, though,” she laughs. “Recently I was interviewed by this New York journalist who managed to print that I hate my favourite baseball team. I guess people just need to have a narrative.”
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the Spektors finally immigrated to America. Thanks to the close-knit and supportive Jewish community of Riverdale in The Bronx, Regina was able to recommence her musical tutelage, albeit on a loaned piano in the basement of her local synagogue, which she had to bash at to get any noise. She was ten years old. Fast-forward two decades, and the daughter of Bella and Ilya Spektor has released six albums, including this year’s critically and commercially successful What We Saw From The Cheap Seats. Produced by Mike Elizondo (50 Cent, Eminem), the record entered the Billboard charts at #3, and has seen Spektor hailed by no less an authority than Rolling Stone as her generation’s Joni Mitchell. Does she pay any heed to the swell of superlatives in recent years? “I just do my own thing,” she says, “which might sound tired, but it’s absolutely the truth. I understand that my music is going to be critically appraised, and that someone will say my album is the best thing ever, and someone else will say it is the worst thing ever. Then there will be the person who just doesn’t care... All I can control is doing the right thing by my art. If I can get that bit right, the rest will happen.”
The live show, however, is an entirely different matter: Spektor, who’s heading to Sydney for two sold-out shows at Sydney Opera House and a third announced for the Enmore, confesses that the larger-scale gigs required by her new fame can occasionally be overwhelming. “When you’re playing songs for anyone, there’s an exchange of energy – so obviously when there’s a lot more people you just feel that there’s a lot more going on,” Spektor says. “When I’m in front of thousands of people there are so many life stories, so many various problems people are experiencing, and all of these different backgrounds and degrees of happiness just come together. “When you’re on that stage you can’t help but feel all of that, within a particular moment. It just feels – it’s such a huge experience for me. Sometimes it’s just too much…” she trails off. “[But] everybody works hard. If it gets too much after a performance I’ll just put myself in a dark room. I’ll just lock myself in there, and not talk to anyone for a day. It’s always been like this for me. I think it’s probably like this for most people like me: if you’re really open and social and engaged and free with the world, then you have to be a bit careful.”
The biting and beat-driven What We Saw From The Cheap Seats represents a reunion between Spektor and Elizondo, after the pair collaborated on a few tracks for her last album, 2009’s Far. Elizondo’s hip hop leanings had Spektor’s piano-purist fans a little anxious, a wariness exacerbated earlier this year by the fast and furious leading single ‘All The Rowboats’ – but the album’s full release assuaged those concerns. Spektor swings from the island pop of the bilingual ‘Don’t Leave Me (Ne Me Quitte Pas)’ to the pared-back balladry of ‘Small Town Moon’, losing none of her swaggering cheek or humble wondering along the way. If there’s a secret ingredient, then she’s not telling. “There’s just different ratios to what needs to be done,” she says, with frustrating ambiguity. “I considered what went into my songs once, but ultimately you just have to make your art. Even critics need an angle – you know, I think a lot of the time when people try to review music they’re writing a story. It’s kind of like they’re making this narrative all of their own; a kind of fairytale for them to own. So people can write that, ‘On her sixth record Regina is coming up with a new style’ or
‘a new direction’, but I’ve just kept doing what I’ve always done.” Australia has been passionately fixated on Spektor since she debuted here in 2007, on the back of her astounding breakthrough LP, Begin To Hope. Despite it being her first visit to the country, she still managed to sell out large theatres, with locals holding aloft ‘Queen Reggie’ signs as Spektor walked onto the Enmore stage with a walking stick, arriving in Australia days after a car accident back home in New York. Local fans will be treated to a rested and rejuvenated Spektor this time around; she’ll be enjoying her “first decent break in months” before she leaves for Australia. “Not that I’m complaining – that’s just how things are. We get to see all these places around the world, and there are spots I’ve discovered purely because we accidentally stopped there for a day. It means that there’s a lot of time to reflect, and think about everything we get to see. I mean, so much of it is up to chance, and we still seem to be able to experience the best of all these different worlds. It’s kind of a bit like a swinging clock; sometimes the pendulum swings and I get to be on the road surrounded by people, and sometimes it swings and I’m somewhere else,” she says. “Either way, it’s pretty awesome.” What: What We Saw From The Cheap Seats is out through Warner Where: The Enmore Theatre When: Saturday December 8, tickets on sale now More: The two Sydney Opera House shows have sold out.
Regina Spektor photo by Sjervin Lainez
Fans of the Russian-born American folk pop musician have gotten caught up in the New Yorker’s own narrative, the remarkable events and characters of which require no embellishment. After initially stalling their planned migration from Communist Russia due to concerns about the effects on a young Regina’s musical development, the Spektor family finally sought the assistance of the Hebrew Immigrant Aid Society in 1989 during Perestroika, a period of reform and openness within the regime that allowed Soviet citizens to emigrate. After six months in the strange and surreal environment of a refugee processing centre in Italy,
“Critics are making this narrative all of their own. People can write that,‘On her sixth record Regina is coming up with a new style’ or ‘a new direction’, but I’ve just kept doing what I’ve always done.”
T H I S
W E E K
A T
STARJUMPS
T H E
2 3 R D
N O V
FRI DAY NO V EMBER
Sat 24 Nov
THE FADERS
+ MRS BISHOP + LEWI MCKIRDY (triplej) A L I O N T A N
R T O U
DJ S
SUNDAY 25 NOV 3PM
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Stonefield On Their Own Terms By Chris Martin
“Half the band hasn’t developed as the people that they’re going to be, let alone the musicians they’re going to be, so it’s been really important for us to take this time to do it properly.” her final Year 12 exams; Holly has a little way to go). But a more pertinent reason behind Stonefield’s cautiousness has been the time they’ve needed to mature as a functioning band. “Half the band hasn’t developed as the people that they’re going to be, let alone the musicians they’re going to be, so it has been really important for us to take this time to do it properly. “Looking back to two years ago, or even six years ago, we’ve definitely come a long way,” she continues. “We’ve released two EPs, so there’s been a lot of studio time. Working with different producers, you learn so much … so we’ve definitely improved a hell of a lot. [But] obviously we still need to improve.”
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my Findlay does well to hold back most of a reluctant sigh down the phone line. “I guess we’re just used to it. I think it’s a given we’re going to be asked about that, because there’s not a lot of bands with four sisters.”
The Stonefield drummer/vocalist is talking about what we’ve decided not to talk about for the rest of this interview: the ‘four outback sisters in a rock band’ tag that follows the Findlays around in every other press engagement they take. After all, there are only so many questions you can ask around the topic. ‘What’s it like playing as a family?’ ‘Is there much sibling rivalry in the band?’ ‘Do you share toothbrushes on tour?’ Blandness. It’s not that they’re ungrateful for the attention – “it doesn’t frustrate me,” Amy promises – but after two years on the domestic and international circuit since winning triple j’s Unearthed High competition, Stonefield have much more to
discuss. For one, there’s a debut album on the way, a project that will take up most of the band’s summer; they’ll break from the rehearsal room only for a handful of shows to add to their impressive list of festival credits, this time around featuring at Phillip Island for Pyramid Rock. “[Our career] has been kind of strange,” says Findlay. “All in all we’ve been playing for about six years or something like that now, but I suppose it was two years ago that everything started happening quite quickly… Suddenly [we were] playing all these festivals, playing Glastonbury, being played on the radio, doing interviews, all that kind of thing – but at the same time we still don’t have an album out.” It feels “really bloody good” to be finally working on that first album, she laughs, “and it’s something that we’ll probably use to go and spread overseas a bit more.” A major delaying factor to their full-length debut, Findlay admits, has been the age of her two younger sisters, Sarah and Holly (Sarah has only just completed
After plenty of jostling by various suitors, Stonefield signed a record deal with the Wunderkind label a year ago. Findlay counts it as one of the best decisions the band has made. “[Wunderkind] is all about young artists, and it’s really focused on artist development,” she says. “It’s not just, ‘Right, you guys need to write an album right now, let’s go’ – it’s letting us take the time to do it properly. It’s so good to not have that pressure from a record label saying that to you when you feel the pressure yourself anyway, because obviously we’ve wanted to put out an album for a long time.” Findlay’s role as the mouthpiece of Stonefield has itself gone through various seasons since the band performed as Lotah, a moniker discarded following their triple j success. Back then, Findlay was enrolled in her undergraduate music degree at the Northern Melbourne Institute of TAFE – a course which she credits with giving her invaluable industry knowledge while she began taking calls from prospective managers, booking agents and label reps. Now, having stepped away from the DIY management role, and after a couple of years’
worth of gigs behind the Stonefield drum kit, Findlay has ventured out front for real. On stage at Pyramid Rock, she’ll perform two-thirds of the set as she has for most of the past year: mic in hand, beneath the glow of the centre spotlight. “I love coming out from behind the drum kit,” she says. “At first it was really scary for me because obviously it was like a security blanket, having my drums in front of me. But it’s really good to be able to interact with the audience more and get the vibe going.” When the debut album does arrive (currently, the band are demoing “close to 20” songs, and hope to head overseas to record in January), Findlay anticipates a bit more variety to the classic rock sound that has made Stonefield’s name. “We’re trying to go for a bit more of a groove underneath some of the songs … there’s even some songs that’ve got a little bit of a country vibe going on, like a Lynyrd Skynyrd kind of thing.” Until then, it’s a familiar old formula: four like minds hooked into the power supply of a shed somewhere in the backyard of a suburban home, riffing over ‘70s-inspired jams until they come up with something to show the world. Sisterhood? Girl power? Just tired clichés. If Stonefield turn out as special as they’re threatening to be, it’ll be down to many other reasons – determination and education perhaps; Findlay’s piercing growl for sure. Success, that is, on their own terms. With: Tame Impala, Pnau, 360, The Cribs, The Amity Affliction, Children Collide, Anti-Flag, Unknown Mortal Orchestra and more Where: Pyramid Rock Festival @ Phillip Island, Victoria When: December 29-January 1 More: Stonefield also appear at Your Festival Weekender at The Cambridge in Newcastle, on Sunday November 25
Nuggets
Antipodean Interpolations By Patrick Emery
“I
n 1963, when I first picked up a guitar to learn my first chords, the dominant role model would have been a lonely folk singer in the backyard,” recalls Lenny Kaye. By 1964, the British invasion – sparked initially by The Beatles and consolidated by the emergence of The Rolling Stones, The Kinks and The Who – had forever changed the face of American rock’n’roll. “There was a whole new role model of musician that one could aspire to,” he says, “one that was extremely exciting and sexual and with lots of great songs.” Throwing off the shackles of the earnest folk singer ideal type, Kaye would convince his parents to buy him an electric guitar, which set off a chain of events that would lead to Kaye’s involvement in the seminal Nuggets compilation of ‘60s garage bands. “It was a vast change, and what you see in Nuggets are the bands that would grow out of that moment in time.”
By 1970, Kaye was playing in various garage bands, while also contributing to publications like Rolling Stone and Crawdaddy. Jac Holzman, head of Elektra Records – which had released The Doors, Love and the MC5 – approached him with an idea that would eventually morph into the Nuggets compilation. “Jac Holzman had a certain vision of gathering an album of great songs that needed to be in one listening experience,” Kaye says. For inspiration, he turned to the music of his youth. “[The bands on Nuggets] were the bands I listened to when I was driving around developing my musical lifeline. They were the bands that I most responded to, and
who helped me in my own garage bands.” Famously, Kaye would go on to join the Patti Smith Group in the mid 1970s, continuing to play in her band until the present day. Released originally in 1972, Nuggets is (arguably) rock’n’roll’s most celebrated cult release. Featuring tracks like The Thirteenth Floor Elevators’ ‘You’re Gonna Miss Me’, The Electric Prunes’ ‘I Had Too Much To Dream Last Night’, The Standells’ ‘Dirty Water’ and The Seeds’ ‘Pushin’ Too Hard’, the compilation laid the groundwork for garage, psychedelia, punk, and rock’n’roll scenes across the world. In Australia, the influence of Nuggets is omnipresent: Radio Birdman covered ‘You’re Gonna Miss Me’; The Beasts Of Bourbon included ‘Dirty Water’ in its live set in the early 1990s; The Dolly Rocker Movement covered ‘Pushin’ Too Hard’; and The Murlocs regularly play Count Five’s ‘Psychotic Reaction’. While it was only a matter of five or so years between the release of the original songs featured on the Nuggets compilation and the compilation itself, Kaye felt that in the early 1970s, rock’n’roll needed to be reminded of its more chaotic roots. “I felt like rock’n’roll was becoming less grassroots, more professional, more predictable, less open to new ideas,” he explains. But Nuggets was no rock’n’roll crusade: this was about the songs, and the energy behind them. “It was a very expansive time in terms of musical adventurism. And not only being a part of it, but liking those moments when people are starting out, not quite sure of what they’re doing, making mistakes and putting things
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together that have never been done before – that’s always appealed to me as a musician,” Kaye says. Now that anyone with a computer and a modem can stream their music to a global audience, it’s sometimes hard to appreciate the localised character of the original garage scene. “There were local scenes, and perhaps the only way you’d be heard was by having the 45 single gracing the bottom end of the top 40,” Kaye says. “I avoided having massive hits just to be contrary, and also because my brief was to find some unheard stuff, or tracks that weren’t as familiar.” Having been previously re-issued in 1976 by Sire Records, and again in 1998, as well as inspiring a series of related compilations over the next 30 years, Nuggets is being re-released once more in 2012 to coincide with the album’s 40th anniversary. Alongside the re-released record, Warner Music will be releasing two local Nuggets-inspired compilations: Down Under Nuggets: Original Australian Artyfacts 1965-67 is a compilation of Australian bands of the same era including The Loved Ones, The Missing Links, The Purple Hearts and The Black Diamonds; and Nuggets: Antipodean Interpolations Of The First Psychedelic Era features covers of original Nuggets tracks by contemporary bands like The Straight Arrows, Baptism Of Uzi, The Laurels, Pond, Palms, The Murlocs and The Frowning Clouds.
Asked to explain Nuggets’ enduring appeal, Kaye suggests the songs on the record provide inspiration for anyone thinking of starting a band. “Nuggets seems to have touched a chord within aspiring musicians, letting them know they could be part of this wonderful world we call rock’n’roll and assorted outposts.” It follows that garage rock – epitomised by the mixture of simplicity and spirit – also remains attractive to young musicians. “It’s returning to the basic building blocks of rock’n’roll – the instinct to start over and wipe the slate clean,” Kaye says. “I think there are certain elements of garage rock that are universal: the sense of unbridled youth, the sense of not being tamed, the sense of spunkiness, the sense of ‘I’m going to do whatever I like, even if no-one likes it’. The sense of yearning and desire.” What: Nuggets: Original Artyfacts From The First Psychedelic Era: 1965-1968, Down Under Nuggets: Original Australian Artyfacts 1965-67 and Nuggets: Antipodean Interpolations Of The First Psychedelic Era are out now through Warner Music With: The Laurels, Straight Arrows, King Gizzard and The Lizard Wizard, The Murlocs, The Gooch Palms and more Where: Nuggets: Antipodean Interpolations @ Sydney Festival’s Paradiso (Sydney Town Hall) When: Friday January 25 More: sydneyfestival.org.au
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YesYou Frivolous Life By Krissi Weiss
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stars added to the mix: Tara Simmons and Sterling Silver. “Jono and I keep most of what we do pretty close,” Parry says of the creative process. “But in the live setting we give Tara and Sterling a rough guide of what we want, and we let them make it their own. It might be a slight change in a vocal melody or a little change instrumentally; we really trust them and what they want to do.”
risbane-based electronic duo YesYou managed an auspicious start to their young career. After meeting Jinja Safari’s Marcus Azon in 2011, Gav Parry and Jono Kirkham invited him to work with them on their single, ‘Frivolous Life’. “It happened just over a year ago at BigSound,” Parry says. “We’d heard Jinja’s song ‘Hiccups’ a lot, and really loved it; it’s still one of my favourite Jinja tracks. We asked our manager to see if Marcus would be keen to work with us, and it turned out that he’d mentioned us in a few interviews, so we hit it off from there. We love that guy so much. ‘Frivolous Life’ was actually one of the first tracks he sent back to us.”
With constant comparisons to Gypsy & The Cat and Galapagoose, Parry is flattered – but also a little confused. “I think when people listen to the whole EP, they’ll find it harder to group us with another band,” he says. “Having said that, we don’t mind comparisons like Gypsy & The Cat, because we love what they do. We’d be silly to say we didn’t see [similarities] entirely – acoustic guitar, synth, piano and two guys from Australia – but the thing that we want and what I think makes us a little different is that, being producers, we feel we don’t have to be pigeonholed into a particular genre. We both have different tastes in music and we’re open to working with a variety of people. That’s what YesYou is about.”
After being nominated as a triple j Next Crop artist, supporting the likes of Neon Indian, Electric Guest, Oscar + Martin and Ball Park Music has kept the band busy enough, and left those fans roused from their first couple of singles eagerly anticipating their next release. A debut EP has arrived, and with it even more praise for the band’s dream-soaked, blissdrenched electro-pop sound.
The most defining element of YesYou’s sound is the heart and soul that’s poured into each track; they manage to shake off any clinical
With the band’s success thus far intermittently attributed to the ripples they’ve made on the internet (that vast, empty ocean of a billion voices), I ask Parry whether anything that has happened online has actually translated to
real-world opportunities. “Bands make ripples online every day, but that really doesn’t amount to anything massive,” he says. “Ripples don’t get you far on the internet. To be noticed these days you need to make a big splash. Flume is a great example of that.” As usual, it just seems to come down to hard work – and, of course, talent. With: The Rubens, Asta Where: triple j’s ARIA week event @ Oxford Art Factory When: Tuesday November 27
Crayon Fields Chapter Music Turns 20 By Benjamin Cooper
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label’s 20th birthday should never be about one man, yet it’s hard to consider any of the history and significance of Chapter Music without focusing (at least briefly) on founder Guy Blackman. “We all worship at the altar of Guy,” jokes Geoffrey O’Connor, solo artist and also frontman of The Crayon Fields – both of which are represented by Chapter. “But I honestly think that Guy and Ben [O’Connor, Blackman’s partner in life and Chapter] will be our ambassadors to other planets in the future, because they’re quite exceptional at gathering people together.” And which of the myriad Chapter releases from the last two decades should the duo present as a gift to the hypothetical alien cultural advisors? “Well,” O’Connor reflects, “they probably wouldn’t want to invade if they heard a Chapter release, because so many of them are run off tapes or from crackly vinyl, and they’d think all our technology is old. Then again, it’s probably a good thing if we’re preventing alien invasions.” Blackman is responsible for artists and bands as diverse as Twerps, Primitive Calculators and Pikelet, and it all began in Perth way back in 1990, with a Syd Barrett-inspired fanzine. The homemade publication was titled Chapter 24, and ran three issues before things stepped up with the Bright Lights, Small City compilation cassette of underground local bands barely 18 months later. After this point, in June 1992, the brand expanded by continuing to release cassette compilations alongside the new fanzine Salty And Delicious. But it was when Blackman relocated to Melbourne in 1995 that Chapter’s roster and profile really began to grow. After releasing Brisbane band’s Minimum Chips’ self-titled 7-inch in September that year the label continued apace, using the now-closed Corduroy Records in Highett to press further releases for Perth band Sulk and Western Australian-expats Sleepy Township in 1996. While these were only short-format releases, they were marked by Blackman’s choice to continue releasing new Australian music in
idiosyncratic forms. Even now, as other artists’ embrace other methods of musical production and consumption, Chapter continues to be a bastion of quality and difference: the group’s 20 Big Ones compilation of rare and unreleased tracks comes on double pink and green vinyl. “I think it’s great that Guy, and the label, have been so into vinyl for such a long time,” O’Connor says. “There’s a sense, at least for me, that records and Guy are quite caught up in one another... I don’t know whether you could say records are the most important thing about Chapter, though, because it seems to be more about how we all get along. There’s a real sense of community [to the label], and a community that is diverse in every way. I was joking before about worshipping Guy, because we all get along really well and there’s a sense that things just kinda govern themselves. It’s wonderful to be a part of, and I honestly cannot believe that they’ve been doing it for 20 years!” O’Connor isn’t making any promises to curb his enthusiasm at the label’s celebratory shows. After a period of solo work, including last year’s debut album Vanity Is Forever, he has returned energised to his full band Crayon Fields. “I always think I’m going to have some weird kind of nostalgia about returning to something, but then we’ll get to the shows and I know I’ll get extremely excited. This is an interesting time for us to be doing shows, because we’re trying out some ideas that are more synthetic than before, as well as some that are more orchestral,” he says, before unintentionally summing up the Chapter ouvre: “so there’s that strange collision of the weird and the familiar.” What: 20 Big Ones is out now Who: Crayon Fields, Laura Jean, Standish/ Carlyon, Jonny Telafone, Guy Blackman Where: Chapter 20 @ Goodgod Small Club When: Saturday November 24
City Riots Bright Lights By Benjamin Cooper
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icky Kradolfer is enjoying the benefits of being a touring musician. After a long, cold winter, the vocalist and guitarist of Adelaide rockers City Riots has found himself in Queensland and a fair distance from home, on the promotional trail for the group’s debut album, Sea Of Bright Lights. “It can get tiring,” he says down the line, during an expansive conversation that swings from mercifully understanding bosses to the tricky definition/s of independent music. “We’ve just finished doing an in-store [appearance], and they got us to DJ afterwards, and then we’re out of here and onto the next spot. It’s pretty mad at the moment, but we’re just taking it as it comes, you know?” Patience and flexibility have come to define the South Australians’ approach to recording and touring. After spending a good chunk of 2011 laying down their third EP, Matchsticks, with veteran producer Bjorn Thorsrud (Smashing Pumpkins, Dandy Warhols) in Chicago, they decided to mix things up a little for their full-length. They solicited the skills of Australian producer Paul ‘Woody’ Annison (Children Collide, Hunting Grounds), who had taken up mixing duties on Matchsticks – and who therefore knew to expect relentless vigor from the four-piece. “We were constantly sending songs to Woody, because we just had all these ideas,” says Ricky. “We had this chance to show our progression and maturity as a band, so we decided to really make a go of it. I didn’t want to make a record that sounded like five other fucking bands on the radio, which meant that by the time we got to Melbourne we’d already loaded Woody up with more than forty songs. He was...” he pauses for a moment, before chuckling, “very pleased with our ambition.”
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Despite the relatively short space of time between their Chicago sessions and their April recording slot at Annison’s Red Door Sounds, the band still found time to fine-tune aspects of their writing. “We’ve always been quite focused, so it was really important after last November that we set time aside to work on honing our craft,” says Ricky. “So much of what you do as an independent act is about finding that tricky balance in how you record and tour, and it’s really important to develop the way you write and understand things as a group. At the same time, you have to make the most of those opportunities that do come up to record overseas, or tour over there.” In 2008, City Riots’ were invited to play the UK’s 2008 Great Escape Festival – by Martin Elbourne, the man behind The Smiths and New Order. For Ricky, these experiences are more than just affirmations or rungs in a ladder: they’re opportunities for creative development. “I think that there’s experiences we’ve had that give our music certain qualities, and I think those end up becoming real points of difference. I definitely don’t want to over-think what we’re doing, but there’s a continuity to what we do, and it’s great to be able to explore certain themes again. “Don’t worry,” the frontman laughs, “I’m not trying to make Pet Sounds or anything too boldly ambitious. But to be honest there are things about City Riots that are unique, and I really wanted to bring them to the forefront for this record. At the end of the day, we can only do what we find unique and exciting; hopefully it continues to be just as exciting for everyone else.” With: Palms, Made in Japan, Olympic Ayres and Jubilants DJs Where: Indie Shuffle Presents @ FBi Social When: Saturday November 24
xxx
While Parry and Kirkham fulfil the duty of primary songwriters and producers, the live lineup has been fleshed out into a four-piece, with another pair of Brisbane electro-pop rising
shackles that can occasionally constrain electronic music. “It might be because we try to not think about it too much,” Parry explains. “We just want to make the best music we can, and we work really hard to make this something we can do for a long time… Maybe that’s how we avoid the traps.”
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Alexisonfire We Are The End By Joshua Kloke
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ime heals all wounds, or so they say.
When vocalist George Pettit of Canadian hardcore outfit Alexisonfire announced in August of 2011 that the band was calling it quits, fans took the news pretty hard. Pettit soon offered a statement on the band’s website, revealing that the break-up indeed wasn’t amicable. The biggest question that plagued the move was a simple one: why? Why would this band, who’d amassed loyal followers and critical acclaim, decide to throw in the towel? Pettit didn’t offer much in the way of further explanation afterwards, and for months there were more questions than answers. It took time for the band to gain perspective on the split, which Pettit is now able to offer. “I think when you spend ten years doing any sort of job, you need a break,” says the 30-year-old, reached on the phone from his Toronto Area home. “There’s a lot of things that we did which were enjoyable at first, but they eventually became stresses in our lives. Not to mention the success Dallas [Green] was having with City And Colour, which was eclipsing anything
we’d done. So when Dallas announced that he was going to focus solely on that, there was the initial twinge of resentment and anger. But once you let the dust settle, you can see why he’s doing what he’s doing. Simply put, it was done,” he continues. “It may have taken Dallas and Wade [MacNeil] saying it out loud for us to understand it, but it was certainly necessary.” A year after the split, rumblings of one last tour began to surface. Fans were hesitant to buy into the rumours, until the band announced the string of farewell shows. Pettit admits feeling guarded about the tour, wondering if the band’s abandoned fans would be ready to accept them for one last tour. But after the first show in London sold out in a matter of minutes, he was treated to a keen understanding of just how important Alexisonfire was to their followers. “It’s actually been amazing,” he says, sounding touched. “I didn’t know what to expect; it’d been a year and a half since we announced we were done, and we wondered if no one would give a shit. We’d played Brixton Academy in London once before; it didn’t sell out, but it was a great show. And now we’re able to sell out two nights. It’s a great feeling. “There’s a lot of messages being passed around through various social media sites, and we’re getting a real sense of what this band meant to our fans,” he continues. “It’s very humbling. It makes me feel like we did something worthwhile. You stop thinking about the little mistakes you made here and there.”
“Ten years from now, who knows what people will think of the band? Hopefully they’ll think we did something worthwhile. In a lot of ways, we probably inspired a lot of bad music.” While the purpose of a farewell tour is to allow fans one last opportunity to say goodbye, the very nature of Alexisonfire’s break-up couldn’t have come as a huge surprise to the more keen observers. Formed out of the ashes of other Southern Ontario bands that split, including Helicon Blue and Condemning Salem, there has always been a volatile intensity to the aesthetic of Alexisonfire. At times, that intensity could be mistaken for vulnerability, especially when Dallas Green began finding success with City And Colour. So with that in mind, was the demise of Alexisonfire an inevitability? Pettit takes a long pause, considering the question. “It’s tough to say. There were some moments throughout the band that came out of left-field, and it was entirely possible that we could’ve continued on with this band, but have been very unhappy,” he says. “Maybe it should be that way with every band. There’s only a certain amount of creative juice you can squeeze. We probably could have made another record, but I also think we did everything we needed to do.” With the farewell tour booked across four continents, culminating with a run of shows throughout their native Canada, the only thing left to do now is look back at the career of one of the most impassioned and fervent hardcore bands of the 21st century. How the pundits frame Alexisonfire and their legacy remains to be seen. “I think when you’re in a band with five people making an equal amount of creative decisions, you get used to coming to compromises. That’s important,” Pettit says. “Because the band was a collaborative effort, I feel good about what we achieved… Ten years from now, who knows what people will think of the band? Hopefully they’ll think we did something worthwhile. In a lot of ways, we probably inspired a lot of bad music,” he laughs. That Pettit can finally find humour in the break-up is telling. Their best days may be behind them, but there’s no reason for fans not to enjoy Alexisonfire’s last kick at the can. “Sometimes I think we did as much harm as we did good, but I don’t have a lot regrets. If people look back on us 10 years from now and think we were a good live band and we made some records that stood the test of time, that’s all I can really hope for.” With: House Vs Hurricane Where: Hordern Pavilion When: Tuesday December 11 20 :: BRAG :: 489 :: 19:11:12
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ANASTASIA KLOSE
Anastasia, dancing in The Re-Living Room
What do you do when you’re unemployed? I read, I watch YouTube, I sleep in. Being unemployed gives me a chance to catch up on popular culture, and see what people are looking at and what’s happening, in a lazy and agenda-free way. So is that what you do in the MCA show? I am trying to enact those listless days in my early twenties where I watched music videos to pass the time – watching Rage all night was really popular in the early nineties and noughties. I also want to invoke that unique sort of nostalgia that video clips cause. Video clips are like wormholes to a lost era - the lost world of one’s past. In the performance, I am also trying to capture that gap between the fantasy and the reality. Literally, the audience stands in the magical gap between me and a fantasy (beautiful and talented female popstars). Female popstars are the ideal images of woman of today, right? They always seem to triumph over heartbreak, and they always articulate perfectly the feelings you have, better than you ever could. They are aspirational; the best performance artists of our time. What’s your background/training as an artist? After doing an arts degree at Melbourne
of the music, and the installation. What I find most challenging is aggression or open hostility from the audience. Some highlights so far: when a man danced with me to celebrate his 32nd birthday, when Noel Fielding came in, when two girls sat for 1.5 hours on the gallery floor to watch me perform one Saturday, when I danced zumba-style with 30 school girls, and when two girls came in and danced with me one afternoon out of the blue, early on in the performance. But really, something wonderful happens everyday. I get so much positive energy from people who enjoy it. Is staying in the box as hard as you expected? It’s doable. But I get exhausted and have injured my knees. They keep getting re-injured as I keep dancing. And some days you just don’t want anyone to look at you. But the crowd re-energises me.
Uni, I spent four years at VCA in the drawing department. I finished with Honours in 2005. I make art about my life. I try to draw out things in my life which other people could relate to. I make art about things I love. Being restless, I try my hand at as many mediums as I can: performance, video, installation, drawing and poetry. What are the weirdest things you’ve observed during the performance? People think they can surprise me while I sit or dance, but it’s difficult. I am in my own world in there, mesmerised by the TV, protected by the sound
The Queen by Birdhat
Any tips for those considering a life in performance art? Learn as much as you can about the history of performance art to work out your own perspective. Take risks. Be original. Try to imagine the experience for the audience. Consider every aspect of the performance. Trust in your vision, and chance. What: The Re-Living Room When: Daily from 10am-5pm; Thursdays from 2-9pm until December 2 Where: Level 1 South Gallery, Museum Of Contemporary Art More: mca.com.au
funnier than all those other grand finals, if not necessarily more entertaining (we cannot guarantee anyone’s ear will be bitten off). cranstoncup.com.au
ARTBAR SHIT YEAH!
The MCA is readying itself for an arvo of “pure bewdy”, with Melbournian rock’n’roller Jon Campbell curating the last MCA ARTBAR of the year. Campbell uses slang and satire to poke fun at suburban culture with posters and paintings born from a DIY punk ethos that celebrates the laidback ‘nah’-ness of Australian culture. DJ duo Dads With Earrings will be spinning tunes while you wander through Campbell’s odyssey of ‘Straya, and with a title like Shit Yeah — Jon Campbell rocks the MCA it probably means ARTBAR’s rounding out 2012 with a bang. The Yeah Flag will be flying into the wee hours on Friday November 30, grab tickets at mca. com.au/series/artbar
TRIPOD GET OLD, LOL
As part of Sydney Opera House’s Summer At The House program, ARIA-nominated musical comedy trio Tripod are sharing their journey to middle-agedness, off the back of critical acclaim for their US and Edinburgh tours of Tripod versus the Dragon. The best thing about this is that they are actually funny (see the X-Box song) and actually musical (see the Dungeons & Dragons song). The show’s called Men Of Substance, and features any or all of the following: reminiscences, harmonies, truth, satirical lyrics, and the secrets to being a drug lord. It runs January 3-13 at the Drama Theatre, and tickets are a very less-than-$50 $45 from sydneyoperahouse.com
BURLESQUE! WINS!
Be part of Sydney’s neo-burlesque history next Friday, when 34B Burlesque throws its last party – celebrating seven years of sex and comedy, sequins and corsets. It’s gonna be a helluva show, featuring many of the lovely ladies who got their lucky break on the 34B stage: reigning World Queen of Burlesque Imogen Kelly, local agitators Holly J’aDoll and Lauren La Rouge (who run newcomers night The Peel, and will be hosting their own stage on the night), scene stalwarts Tasia and Lulu, rising star Lucille Spielfuchs, Rita Fontaine, Lola the Vamp, Cherry Lush – all wrangled Messr François Bublé, who will oversee the last hurrah. 34B Burlesque’s 7th Birthday & Farewell Show goes down Friday November 30 – you can find tickets at qbar.iwannaticket.com.au OR you can try your luck at our one double pass up for grabs – just tell us the theme of one past 34B Burlesque party. Dave Thornton (December 1), off the back of his sell-out Sydney Comedy Festival shows; and ‘Stand Up Queen’ Cal Wilson (November 29-30), who recently appeared on QI Live with Stephen Fry and Alan Davies, and will begin her search for The Greatest Story Ever Told. It’s the last hurrah for Spring Sessions at the Comedy Store (Entertainment Quarter, Moore Park). comedystore.com.au
CINEMANIA @ MCA
Brown Council’s Diana Smith is taking over a corner of the MCA next month with a series of performance lectures in which a bunch of her cinephile pals lay bare their cinematic obsessions. Triple j’s Angus Truskett talks Nicolas Cage; artist Todd McMillan talks Woody Allen; post gal and Quizzle Schizzle host Zoe Coombs Marr talks musicals; artist Dara Gill talks censored films; FBi Radio’s Kate Jinx talks teen witch tropes; and Alaska Project helmer and artist Sebastian Goldspink talks brunettes on screen. The cinephilic soirees take place on Thursdays December 6, 13 and 20 from 7pm at MCA’s Veolia Lecture Theatre (with cheeky drinks on the Sculpture Terrace afterwards…). More 'more' at mca.com.au
From video installation
LEVINS SPEAK EASY UNEARTH NEW ART
There’s a new kid on the online gallery block and you can score works from emerging artists without sacrificing your grocery fund (or selling your first born, phew). See what it’s all about at the UpRaw pop-up exhibition which kicks off November 28 at 174 Crown St. UpRaw is a new branch of Art Equity and the ethos is simple: an online exhibition space and marketplace where you can see and buy works from a unique selection of Australian and international artists, minus the insane prices. The show runs until December 10 and features pieces by Sydney street legend Birdhat, Archibald Prize finalist E.L.K. (aka Luke Cornish) photographer Jack Condon and. Info at upraw.com.au
CRANSTON CUP
If you like your comedy as unpredictable as your boyfriend/girlfriend, make a beeline for the Theatresports Cranston Cup this weekend, which will see former champs Bridie Connell and The Bear Pit (wunderkinds Steen Raskopoulos and Carlo Ritchie) trading 22 :: BRAG :: 489 :: 19:11:12
comedic blows with the likes of Jay ‘Play School’ Laga’aia and the freshest faces in Sydney comedy for a ridiculously enormous trophy. Improv extraordinaire Susie Youssef (of Nice Kicks fame) will be hosting, so grab your scorecards and head to the Enmore Theatre this Saturday November 24. It’ll be
Give a round of delicious whisky to a bar of free thinkers, and you get a spirited conversation (and potentially a riot). That’s the premise behind Bulleit Whiskey’s upcoming Speak Easy series, which launched last month with a (David Chang) bang, and continues this month with The Dip’s Andrew Levins, who’ll play DJ and shout rounds of Bulleit’s new Rye whisky (yeehaw) over some choice conversation. Head to The Cornerhouse (281 Bondi Rd) on Sunday November 25 and Mojo Record Bar (73 York St) on Thursday November 29 for an old fashioned yarn/nip. fbiradio.com/speakeasy
SPRING SESSIONS
If you like your comedy as changeable as Sydney’s weather, head to Sydney Comedy Store next week, where you have your pick of three Australian comics over four days: The Project’s Charlie Pickering (December 2), pondering the big questions of life in One Giant Leap; globetrotting House Husband
NUMSKULL
Having won-over NYC with his show at Brookyln’s Mishka earlier this year, Sydney low-brow provocateur Numskull is re-interpreting the works for The Tate next week, in a capsule show called Survival Tactics, comprised of six limitededition prints, hand-carved sculptures, paintings and a video installation. Expect his trademark retro typography, pop-cultural mashup and collage aesthetic, extended into new mediums. Survival Tactics opens 6pm Wednesday November 28 at The Tate @ The Toxteth (345 Glebe Point Rd). (And if you like your art wearable/affordable, we hear you can pick up one of the limited-edition tees he designed for Mishka). thetate.com.au
Anastasia Klose performing The Re-living Room (2012) at the MCA. Image courtesy the Museum of Contemporary Art Australia. Photograph: Alex Davies
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nastasia has turned being unemployed into an art; for the 2012 Primavera season, the Melbourne-based video and performance artist has installed herself – six hours a day, seven days a week – in a room in the MCA, where she’s re-living a two-month period of unemployment from her lifel.
Imogen Kelly
I, Animal [THEATRE] We Oughta Zoo By Bella Arnott-Hoare
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I, Animal – photo by Danni Knox
I, Animal is part of a push by Zoos Victoria to expand their traditional demographic. They commissioned Adelaide theatre-makers The Border Project to adapt their award-winning Adelaide Festival show I Am Not An Animal, in which performers used Adelaide Zoo as a stage and its animals as co-stars, into an interactive theatre tour for Melbourne Zoo (Australia’s oldest), which will run nightly throughout the summer. The final ingredient was the tech savvy of Art Processors, the developers behind ‘O’, the innovative iPodTouch-cum-tour-guide used at Hobart’s MONA. “Effectively, it’s premium audio-interpretation
technology that’s allowed us to create a theatrical after hours event to help [adults] appreciate what goes on here at the Zoo – but in an entirely unique, theatrical, funny, weird, emotional capacity,” says Kinsella. “We basically take people back to their childhood – that’s where the theatrical element comes in. I can’t give too much away, but we have surprises that pop up during the evening.” As they enter the Zoo, each visitor is given an iPod Touch containing various audio and visual material and directions. Operating interactively with the user, the iPod takes you on a choose-your-own-adventure where you wind your way though the Zoo and hear various stories. “If you’re standing in front of the gorilla enclosure and we’re telling you about Rigo, our silver-backed gorilla, and how he arrived in Australia, Rigo’s right in front of you,” says Kinsella. “If we take you down to the tigers and we’re talking about how tigers stalk and hunt in the wild, our gorgeous tigers are right there.” But as much as zoos originated as forms of entertainment, these days they have a greater purpose – to protect and keep the animals within them. As a staunch conservationist, Kinsella is an authority on Zoos Victoria’s role as guardians. “A lot of people haven’t gone to the Zoo since they were kids and they may not know how much we’ve changed," she says. "Zoos Victoria is all about conservation. Everything that we’re doing is about trying to change the habits of humans, to save the lives of animals into the future.” For those of us who’ve avoided zoo-crowds for the last couple of decades, I, Animal is an opportunity to re-engage with zoos as they are now. “When you get here it’s quite extraordinary how much it’s changed,” says Kinsella, “and that’s what we’re appealing to with the hipsters out there – who probably haven’t been here since they were kids. You might actually realise that you can help – you can get on board.”
Things get deep in Melbourne Zoo's I, Animal
What: I, Animal When: Nightly from Friday November 23, 6.30pm til late Where: Melbourne Zoo More: zoo.org.au/ianimal
Good whisky and strong spirits save the day
The Angels’ Share [FILM] Ken Loach’s Bittersweet Life By Dee Jefferson 011 marked the 75th birthday for British social-realist filmmaker Ken Loach, and almost 50 years in the film and television industry, spanning upwards of 30 feature films and documentaries. Not much has changed in terms of his method or subject matter over those years: he continues to make politically-charged films about the working classes, at first in Britain, then Scotland and Ireland; his naturalistic aesthetic continues to be guided foremost by function and truthfulness to his subject matter; and he’s continued to use non-actors as often as he's used UK stalwarts like Ray Winstone, Terence Stamp, Robert Carlyle or Peter Mullan. And while it’s tempting to see recent comedies Looking For Eric and The Angels’ Share as signs that the veteran filmmaker is mellowing, it would be naïve. As he says over the phone, “The world you see around you has huge problems and is in a really desperate state.” (He also later tells me not to be too optimistic about getting old, and to “take the monkey glands, or whatever,” to stay young).
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Nevertheless, Loach’s latest film, The Angels' Share, is a ray of sunshine. Written by his longtime screenwriting collaborator Paul Laverty, it follows a group of Glaswegian juvenile offenders, lead by new father Robbie, who take up whisky tasting as a hobby – and stumble upon the perfect crime. In terms of visual style and social context, it’s not unlike his critically acclaimed Sweet Sixteen (and indeed, two of the lads made their screen debuts in that film) – but it’s sweeter and funnier; more like a little fable, as Loach says. “You can’t keep telling the same story; you’ve gotta to find ways of describing peoples’ experience that leave you with sometimes with a tragic end, sometimes with a happier end – and, you know, every shade in between," says Loach. "So it’s finding characters and situations that are gonna tell a good story – but not undermine the basic situation we find ourselves in. You want to put a smile on peoples’ faces sometimes, but not at the expense of pretending everything in the garden’s rosy, which it isn’t.”
More than just making you laugh – and the sight of four misfit, rough-as-guts Glaswegian youths mixing with whisky connoisseurs is certainly rich territory for that – The Angels’ Share is a deeply optimistic underdog story, in which the main character Robbie, for all his set-backs in life, gets a second chance – or several – to make good. We’re used to seeing Loach’s characters hopelessly tangled in the system – whether it’s social welfare, criminal justice, or their inability to make inroads within a socio-economic system geared against them; but in The Angels’ Share, Robbie benefits from the unexpected kindness of strangers. “I got first chances, really, so I was lucky enough not to have to wait for a second chance,” says Loach, whose upper-middle-class background couldn’t be further from the people he chooses to champion. “I’ve just been spectacularly lucky at key points – with the people I’ve worked for, or because of university and things like that. But obviously for people who are in the position of these kids in the film, the system can’t give them a second chance. Robbie’s the exception – just through a series of strokes of luck, and then getting this idea for this ‘victimless crime’. … But for the other three in the group, they’re going to go back into the mess that they’ve always been in, with their work… So it has a happy ending [for Robbie] – but you know that the wider picture is as bleak as it ever has been. It’s mixed, you know – bittersweet.” Looking back on his much-fêted career, Loach is suitably pragmatic: “Things don’t change, really,” he demurs. “It’s still hard work; you still have to get up early and you still find yourself standing around in the rain; the basic things don’t change (laughs). You still need a dry pair of shoes and something to keep your hair dry – a good umbrella at least.” What: The Angels’ Share When: Released November 15
Beautiful One Day [THEATRE] Island Life By Justin Wolfers
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Palm Island – photograph by Frank Mainoo
eautiful One Day is a theatrical documentary made in collaboration between Belvoir, Version 1.0 and Ilbijerri Theatre. Through conversation and source material it tells the stories of Palm Island, a distinctive indigenous settlement off the coast of Townsville. The island was heavily reported on in 2004, following the death in custody of Mulrunji Doomadge and the subsequent so-called riot. BRAG talked to Belvoir’s Associate Director Eamon Flack and Version 1.0’s Jane Phegan about their creative process, the issues of oppression this production seeks to reframe, and the possibilities of how we might, as Palm Islander Magdalena Blackley suggests, “achieve something that might be called comfortable.” Version 1.0 is known for quite political performance, yes? JP: Absolutely, yeah. Trying to make conversation happen is our aim, around things that have perhaps been misrepresented or misunderstood, especially during the Howard years. Like, “You don’t need to understand what’s happening around you. We’re making decisions for you.” Which is of course completely and utterly relevant for Palm Island, or Palm Islanders, and giving a voice to these people. Ralph Myers [Belvoir Artistic Director] is quoted as saying he likes that it’s an ‘overtly political’ piece.
JP: One of our primary tasks is to tell the other side of the story about Palm Island, considering the amount of times they’ve had the story mistold and misrepresented by white people going to cover the death or the so-called riot. And how does devising documentary style theatre differ from working with a script? EF: See this? [Script marked with pencilled changes.] We printed that out this morning and we go into the theatre tomorrow. JP: Making changes at lunch-time. So it’s a living thing. JP: Yes – and it’ll keep changing, and it’ll continue to live depending on the audience. EF: Unlike with a play, where your primary source is the script, [here] your primary source is the people in the room. And maybe things they’ve read, or the thing that they’ve been living for since 1953. There seems to be the quietness and the beauty of Palm Island, which is obviously striking, and then the injustice and the history of oppression – how do the two interact in this production? EF: There’s a lot pain on Palm, inevitably, but I think our habit is to think of these towns as being defined by their pain and their challenges and their justifiable anger; but actually, when you go to Palm you realise that they’re defined just as much by a lot of magnificent human qualities
– patience, and openness, and a cunning intelligence. What do you think about the comment that there’s a ‘brutality of ordinariness’ to the culture on Palm Island? EF: I think if there’s a brutality of ordinariness that it’s more to do with the Queensland Police Force. Traditionally they’re very attuned to the uses of brutality. JP: And that’s something we’ve highlighted in the play. It’s interesting to note when people come and see the show the difference between the riot footage that they see, and the way we present it, and the way it was portrayed on the news. And also that Palm Island is physically removed, and out of the sightlines. JP: Yeah absolutely. That brutality has happened
so many times that it’s become ordinary, although it can’t become ordinary because it’s so heavy-handed. But we’ve got some beautiful interview videos, with a lot of the elder community, and nearly all of them have the attitude that there’s good and bad in every race, and don’t have any animosity towards white people per sé. … I thought people would be more wary, given the history. EF: And when you go there, you see how important and how necessary the telling and re-telling of these stories is. And it’s to do with how on Palm you can’t wake up and read about it in the Sydney Morning Herald. What: Beautiful One Day When: November 21 – December 23 Where: Belvoir St. Theatre Upstairs BRAG :: 489 :: 19:11:12 :: 23
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ou don’t need a sense of childlike wonder to enjoy the zoo – but it helps; which is why, as we grow older and gather responsibilities and worries, it seems to lose its appeal. But Melbourne Zoo’s new, adults-only theatre program I, Animal is set to change this, reigniting our sense of curiosity and immersing visitors in their own animal instincts. “It’s a bit naughty,” says Zoos Victoria’s Stella Kinsella, who projectmanaged I, Animal. “The content is not for kids. It’s a bit dark, a bit edgy. …we swear a bit, we talk about sex, we talk about ancestry, we talk about love.”
Arts Snap
Film & Theatre Reviews
At the heart of the arts Where you went last week...
Hits and misses on the silver screen and the bareboards around town.
Javier Bardem is the tailor-made foil for Craig's Bond in Skyfall
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■ Film
THE TWILIGHT SAGA: BREAKING DAWN PART 2
claire nakazawa: in the middle of the river
PICS :: TL
In Cinemas Now
gibson fox: smoked pork
PICS :: PX
08:11:12 :: 107 Projects :: 107 Redfern St Redfern
09:11:12 :: China Heights :: 16-28 Foster St Surry Hills
Arts Exposed What's in our diary...
KINGS CROSS FESTIVAL Wednesday November 21 – Sunday November 25 Around and about the 2010
Kings Cross is flashing its sweeter parts this week, in this inaugural festival of arts, entertainment, food and commerce. Get your shop on with extended late-night hours on Thursday – or if you’re lazy, check out a curated selection of the best bits at the Festival Pop-Up Shop (28 Macleay Street – open daily 9am-5pm); get your food on with the Something Sweet and/or Walk The Fork special deals happening around Kings Cross’s bars and restaurants (including Jimmy Liks, Bourke Street Bakery, Barrio Chino, Gastro Park, TB Gelato, and oodles more); get your whisky and wit on with the Writers & Whisky talks series in the Festival Bar (aka Dandelion Bar – Level 2, Mercure Hotel), featuring Madame Lash, Charles Waterstreet (creator of Rake), Louis Nowra and more; get your film on at Chez Dee’s Film Noir night (Wed November 21 from 7-10pm); or get your swing on Sunday night, with The Dan Barnett Band & Emma Pask. For the full lineup, check out kingscrossonline.com.au Xxxr by Xxx
24 :: BRAG :: 489:: 19:11:12
Breaking Dawn Part 2 sees the Twilight saga draw to a close, with a bang as well as a whimper. The whimper can be heard rising from the audience, when dumb, sexy werewolf guy Taylor Lautner whips off his shirt and shows off a pair of nips that just won’t quit. The bang, it’s heavily implied, is what’s going to happen when his character is done grooming a friend’s newborn baby for sex. It’s all good, though – in Twilight parlance, he has actually ‘imprinted’ on the baby, meaning it’s totally legit for the two of them to make with the sexy times. Nobody in the film really comments on how gross this is – well, Kristen Stewart’s character dwells on it for like two minutes, but then she returns to whatever wild animal carcass she was gnawing on and the whole thing is glossed over. This creepy plot development is somehow one of the least crazy things in this surreal, fever dream of a movie. The plot can be summed up as follows: Robert Pattinson and Kristen Stewart have a kid. Taylor Lautner wants to fuck it. A mincing, squealing vampire played by Michael Sheen wants to kill it for whatever reason. There’s a big battle where everyone gets decapitated – seriously, if this was a Friends episode, it would be The One With Peter Facinelli’s Severed Head – but then it flashes back to a few minutes before and it was all a dream and a gigantic cop-out. Then the kid ages really fast and Taylor Lautner fucks it. The end. Oh, and Wendell Pierce from The Wire shows up for a couple of minutes, lending an air of credibility to your Bunk Moreland/ Jasper Cullen crossover fan-fic. Also, there’s an Amazonian warrior princess who channels the angry ghost of Tyra Banks, and whose lack of dialogue makes her the stand-out performance of the movie. There’s something really cynical at the heart of the Twilight films. They attract a loyal audience of fans and are guaranteed to make a bazillion bucks no matter what, so those involved seem happy to cut every corner possible. The special effects are dodgy as hell – the trees in the background of a snowy field look cut-and-pasted in like North Korean missiles, and the less said about the CGI baby the better. The main cast are all pretty glum and gormless, with the exception of Michael Sheen, who must have been paid by the eye-roll and ‘EEEEEEEEEEEEEK!’ So that’s it – until Tyler Perry and Willow Smith reboot this thing in 10 years’ time, Twilight is all done. Edward and Bella out, bitches. Alasdair Duncan ■ Film
SKYFALL In cinemas from November 22 Just a couple of years out from extensive media coverage of MGM’s financial woes and the future of the Bond franchise, and marking its 50th anniversary, Bond is reborn this week with the release of Skyfall. Helmed by Sam Mendes (Revolutionary Road, Road To Perdition), this latest
instalment is on the face of it a return to Bond’s roots, but in fact represents a push into new territory, following in the footsteps of Casino Royale, which marked a wholly new vision of the iconoclastic MI6 agent, as epitomised by Daniel Craig – less suave and urbane and more muscular, mean and emotionally damaged. Since Casino Royale, Bond has been edging into ever darker territory – his resolve weakened, his loyalties divided, his focus fuzzied by emotional entanglements. Skyfall sees him stripped also of his formidable physical prowess, after a mission gone wrong ends in him being shot by a fellow agent, and ostensibly falling to his death. When he pops up again on an exotic island (with obligatory disposable-naked-local-beauty and bottle of Heineken in hand), he seems morbidly fixated on getting wasted. When M’s life is threatened by a mysterious cyber terrorist, however, Bond returns to London, and resumes duties – albeit in a handicapped state. What unfolds over the next two hours stretches credulity even by Bond standards I suppose, but suffice to say there’s the distracting potentially-villainous babe who leads him to the actually villainous bad guy, who is intelligent enough to lead Bond and Co. on a lethal and intricate goose chase, but just dumb enough to make those fatal mistakes in the last stretch. The key theme for Skyfall is the tug of war between the old – old methods, old technology, old habits, old history and friends – and the new. This affords the filmmakers some cute gags, the chance to show off a vintage Bond-mobile, a key action set-piece that’s refreshingly lo-fi, and the chance to expand upon their protagonist's emotional profile by taking him back to his roots. On a meta level, you can read even more into it: a theme song by Adele, channelling classic Bassey; juxtaposing the legendary Judi Dench with rising stars like Ben Whishaw; and, not least, the studio's need to update the franchise in a way that brings established fans with it, but meets the expectations of younger generations. (Yep, they're hammering that metaphor to death – and right back into re-birth). Perhaps for this reason, Skyfall takes a leaf out of two hugely popular recent franchises: Christopher Nolan’s Batman reboot, and Tony Gilroy’s Bourne films. You’ve got a psychologically tortured hero who is satisfyingly human (he makes Connery, Dalton, Moore and Brosnan look like cartoons), a cyber crimescape, a villain who’s more monster than human, a heavy dose of hardcore violence, and an all-star support cast. It’s darker than even Quantum Of Solace (which is saying something), and there’s a notable scarcity of sex and comedy. Which is fine on a first-time viewing – audiences go to Bond films for the action sequences and because they like Craig’s version. They return, however, for the comedy, the sex, the set-pieces, and the side-players. Will Skyfall bear repeat watching like Casino Royale did? Probably not. On the upside, Javier Bardem is the most creepy, terrifying, hilarious and fascinating Bond villain in recent times (more Joker than Julius No), and his scenes are quite honestly worth the ticket price alone. Dee Jefferson
See www.thebrag.com for more arts reviews
Film & Theatre Reviews Hits and misses on the silver screen and the bareboards around town.
■ Musical
SASHA REGAN’S PIRATES OF PENZANCE Until November 24 / Sydney Theatre
Sasha Regan's Pirates Of Penzance – photo by Lisa Tomasetti
There’s something slightly scurrilous about entering the elegantly draped Sydney Theatre to see a very silly show – let alone one this wantonly irreverent. British director Sasha Regan’s production of the Gilbert and Sullivan classic has already performed to rave reviews at a number of regional theatres, proving that regardless of location, Australians are consistently enticed and excited by the prospect of an entirely male cast of Brits singing sea shanties. And doing it in women’s clothing. The story begins just half an hour shy of the 21st birthday of orphan Frederic (Matthew Gent, with a ridiculously golden fleece of curls), who upon coming of age will cease his apprenticeship to the band of kindly pirates – ineffectively but joyously led by the Pirate King (Nic Gibney) – who took him in as a boy. Simultaneously, he falls in love with Mabel (played by a stunningly versatile Alan Richardson), the kindly daughter of a British Major-General. All seems rosy – until Frederic’s besotted nursemaid Ruth (Joseph Houston) reveals he was born in a leap year – meaning that he has technically only had five-and-a-bit birthdays, Neal Moors and cast
and therefore has an outstanding obligation of 63 years. Star-crossed lovers indeed! Battle and all manner of mirth and (sung) mockery ensues, spilling over into the crowd on numerous occasions. Mabel’s father is played by the marvellously expressive Neil Moors, who uses his physical comedy skills to breathe new life into the much parodied ‘I am the very model of a modern Major-General’. While it took a while to warm up (the usually excellent opening ensemble-number ‘Pour, oh pour the pirate sherry’ falls a little flat), the chorus’ performance generally cannot be faulted. They executed Lizzi Gee’s (Billy Elliot, West End) choreography with remarkable relish, ably accompanied on piano by musical supervisor Michael England. England performs and conducts from directly between the front row of the audience and the stage, but his presence is not at all distracting – compared to the massive corporate logo-like clouds that dominate the set of designer Robyn Wilson-Owen. The intention is obviously to indicate the tropical shores of the play’s setting in Cornwall, but they blight an otherwise versatile space that allows performer and audience alike to embrace the fun and foolishness of pirate life. Benjamin Cooper
Street Level WITH
JOEL DICKENS
J
oel does to the canvas what Radiohead do to your ears, creating chaotic but coherent largescale works with names like ‘All This Effort Just To Appear Normal’ and ‘Like Noise From A Party You’re Not Invited To’. For the past year, the UK-born Sydneybased painter has been on a mission to produce one painting per week – punctuated this week by a show at Lower-Fi. How did the art start? There are no practicing artists in my family but my mother has a deep appreciation of art and, growing up, I was surrounded by art books. Certain artists had a profound effect on my understanding of the world, through their work, and I realised that was what I wanted to do. Tell us about this upcoming show: I’m producing one painting a week, until 52 works are done; the show will mark week 38. None of the works has been seen before. I’m going to exhibit a number of pieces from over this period, alongside the painting from that week. They range in size from about 1m sq. to 3x2m, and they’re all painted with acrylics. You’ve previously said your shows are inspired by news and current affairs – can you talk about what inspired this one? (pictured above). It was painted in reaction to the conflict in Syria, as it slipped into something resembling a civil war, with atrocities being committed by both sides. I try to represent the psychological, internal conflict experienced by those involved in a situation, as well as the physical conflict as observed from afar. Can you describe your artistic process? My studio is in my house. I like to do the housework before I get started; I can’t paint if
A Horse With Two Riders (2012) I can feel the washing up waiting to be done! I listen to the radio a lot while I’m staring at the canvas, thinking, and to music when I’m actually painting. What I listen to depends on my mood but there’s a good chance it will be either Bob Dylan or Leonard Cohen. The restrictions of this project mean the paintings cannot take longer than one week to produce. The titles of your works sound to us a lot like Radiohead song-titles; are you a fan? Did you go to the Sydney gig? Yes, I am, and I did and I thought it was incredible. I think their music is a protest, and I have great respect for anyone who tackles the subject of the human condition and speaks out against injustice. The titles of my work are very important to me. I write some poetry and the titles usually come about through that process. I think a title can set the conceptual tone of a painting and set the viewer on the right course to understanding it. What: It's A Myth That Hyenas Don't Hunt When: Thursday November 22 from 6pm Where: Lower-Fi / 7-9 Little Bourke Street Surry Hills
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Album Reviews What's been crossing our ears this week...
ALBUM OF THE WEEK good kid, m.A.A.d city Interscope / Universal Debut albums by mixtape superstars nearly always fall flat, trapped between the label’s desire to reach a wider audience, and the fans’ desire for the artist to keep it real. Kendrick Lamar may have found the perfect way around that: writing a ‘concept album’ about his own life, from Compton to Interscope, including the process of writing and recording good kid, m.A.A.d city.
Kendrick Lamar has lived up to the hype. This is an essential album.
It’s a stroke of genius, pre-empting almost any criticism by subsuming it into the album’s narrative from the beginning. He even manages to make the skits compelling, which act as a narrator that pulls the threads of the album together. m.A.A.d city is one of hip hop’s great debuts for many reasons – the clever documentary concept, great production (overseen by executive producer Dr. Dre), guests in top form (Drake, Dre) – but
BIRDS OF TOKYO
GODSPEED YOU! BLACK EMPEROR
This Fire EMl Several recent reviews of the This Fire EP have drawn the comparison between the recent directions of Birds of Tokyo and Karnivool, BoT vocalist Ian Kenny’s award-winning prog outfit. Such a comparison, frankly, is growing tiresome. It’s true that the majority of Karnivool fans would likely hate This Fire, but A Perfect Circle isn’t Tool, Split Enz isn’t Crowded House, Stone Sour isn’t Slipknot – and Birds of Tokyo have never been Karnivool. Both bands are simply lucky to share an incredibly versatile, talented, malleable vocalist, all of which qualities quickly become obvious in the 20-or-so minutes it takes to journey through This Fire. While the title track is clearly the most accessible of the four, with its fairly standard pop structure and its catchy chorus, the more ambient tracks that make up the second half of the EP – ‘Boy’ and ‘The Lake’ – are the standouts. The opening to the latter is reminiscent of Massive Attack’s ‘Teardrop’ with its sparse piano base, but the remainder of the track develops into a beautifully sculpted vocal melody floating over a spacious backing of electronic effects and a sparse drumbeat. The lyrical beauty of ‘Boy’ is dark and reflective, floating through layers of reverb over an ambient organ part and subtle guitar swells. The most impressive aspect of this song is its ability to resist breaking out into a predictable, cheesy ballad beat at its climax; rather, it maintains the course of an overall crescendo, which gently fades out at its end. It is their compositional restraint that sets Birds Of Tokyo apart from the stampede of thousands of other soft-rock indie bands populating the continent. Sheridan Morley
Allelujah! Don’t Bend! Ascend! Constellation / Inertia Godspeed are one of those bands that inspire intense devotion from their followers – when I worked in a record store I was once roundly abused for putting the exclamation mark in the wrong place – and the announcement of their reformation was met with the inevitable mix of elation and terror. Could such an extraordinary, dynamic sound be revived after nearly a decade? Well, fans rejoice, because Allelujah! is every bit vintage Godspeed: a fourtrack album that lasts 52 minutes; audacious, breathtaking changes in tempo and tone; weird noises that grate at first but become an integral part of the whole; and, of course, a whole heap of noise. The band now features nine members, and when they put them all to use it sounds like 900. In a stroke of genius, the majority of this album is taken up by two 20-minute songs, ‘Mladic’ and ‘We Drift Like Worried Fire’, both of which featured in the band’s last run of live shows a decade ago. Both have apparently been re-worked to make better use of the expanded lineup, which has enabled the band to maintain their sound and style despite ten years apart. If it sounds like I’m a little lost for words, that’s because I am. Without lyrics there’s no real framework for understanding what Allelujah! is ‘about’, and all we’re left with are feelings and emotions – both inherent in the music, and projected by the listener. Each of you will bring your own baggage to this, and everyone will respond differently. But the sheer size and scope of this record cannot help but inspire a reaction, and force you to feel all kinds of things you weren’t prepared to feel. Welcome back, Godspeed. It’s like you never left.
it is Lamar himself who really shines. Technically speaking he is a genuine talent, capable of speed (‘Bitch, Don’t Kill My Vibe’), soul (‘Money Trees’) and massive swagger (‘Backseat Freestyle’), with enough confidence to actually use his voice as an instrument, moderating his tone from song to song as needed. But it’s the depth of Lamar’s personality and philosophy that’s the real star. The way he deals with trying to provide for his parents, his addiction to PCP, peer pressure, industry leeches and fame reveals a soul much older than his 25 years. He manages to combine old school gangsta bona fides with the sort of emotionally-fraught subject matter that Drake, The Weeknd and the like have brought to RnB in the past year or two. It’s a bravura balancing act, and one that will hopefully encourage more MCs to do the same. Hugh Robertson
THE DARK HORSES
CHANCE WATERS
Everyone’s Alone Dark Horse Records / Inertia
Infinity Shock Entertainment
As man/myth/legend, Tex Perkins is one of the more prolific and entertaining rockers this side of the equator. Part moody troubadour, part rock messiah, on a given day he can be anything from a grubby pub-crawler to a slick Johnny Cash. But with The Dark Horses, he takes a bit of a step back to focus on “more of a band feel”, and the second album from the current lineup, Everyone’s Alone, is meandering, musically sparse and a little reminiscent of Eddie Vedder’s Into The Wild soundtrack. The title track is a mellow, pianodriven musing that in the hands of a lesser artist could be scoffable, but when you hear “we use a word like 'forever', but it’s just pretend” in Perkins’ world-weary intonation, you can’t help but agree. His voice is at its broken best on the desperate ballads ‘Stay (Where You Are)’ and ‘Who Do You Think You Are (You Can’t)’, softened by gentle harmonies and bare instrumentation.
It’s probably just me showing my age, but it’s difficult not to have a soft spot for a song that begins by rattling off the children’s television programs of my mis-watched youth. Something about hearing Mind Over Matter’s Smiles Again pose the existential question “When did it all get so hard?” on Chance Water’s ‘Wedding Ring’ turns that smile into a massive guffaw when he answers his own question: “Probably when they took Alex Mack off TV”. But Waters’ debut album under his own name, following on from the success of 2009’s Inkstains under the Phatchance moniker, is no gimmicky outing. Waters’ lyrical presence is felt from the first beat, as the opening title track begins with a quiet insistence and muted strumming. By the time the drop hits, with 50 seconds remaining, there can be no doubt that Waters' range has widened, although he’s lost none of his trademark nihilism.
The Black Keys-esque electric distortion of ‘You Already Know’ and the similarly fuzzed-out rock of ‘A Real Job’ are more akin to the gravelly growling of The Beasts Of Bourbon, but they’re tempered by instrumental interludes that hark back to Perkins’ atmospheric score for Beautiful Kate. ‘Sleep (Deep And Long)’ brings things to a close and it’s an unexpectedly tender end, with piano and layered vocal loops that fade into silence.
It’s strange that after such a bombastic opening, ‘Maybe Tomorrow’ takes such a lightweight direction, with the piecemeal piano part continually trying to turn the track into a London summer ditty. The Bertie Blackman-featuring ‘Young And Dumb’ replaces strings with some delightfully muted horns, giving hope to fans of the cultured swagger that contributed to the recent success of Plan B. Waters can drop the occasional F-bomb (just like the aforementioned Englishman), but trades in the easy vulgarity for focused collaboration with compatriots, like Paris Wells on the smoothly tribal ‘Success’.
Everyone’s Alone is an album that traverses the broad terrain of rock, showing that The Dark Horses are more than just a backup band: they’ve got plenty to say in their own right.
Waters has spent years paying his dues in the local scene, and proves himself with this collection of tricked-out tunes. Now if he could only do something to bring Alex Mack back...
Natalie Amat
Benjamin Cooper
Hugh Robertson
INDIE ALBUM OF THE WEEK FLUME Flume Future Classic Sydney’s Harley Streten started producing music when he was 11, after finding free music-making software in a box of Nutri-Grain; as Flume he’s had everyone swooning over his ethereal brand of electronica since the release of ‘Sleepless’ last year. It was with baited breath that we waited to see what he'd bring to the table for his debut album, and it’s a great relief to
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be able to confirm that this record – which debuted at #1 on the iTunes chart last week, hilariously beating One Direction – lives up to expectations. Buzzing with influences that range from hip hop to dream pop to electronica, there are few tracks on ‘Flume’ that won’t have you hitting the repeat button; Streten is truly in command here, creating beats that can hit all the right spots. ‘Holdin’ On’, with its soulful, hip hopinfused beat, was recently released to even more fanfare, and is a tune that possesses the kind of groove that would make Danger Mouse blush, while ‘On Top’ features a killer hip hop
beat and some tight rhyming from NYC’s T.Shirt. With a knack for picking the right vocalist to bring his luscious beats to the fore, tracks like ‘Insane (feat. Moon Holiday)’ and the sublime ‘Left Alone (feat. Chet Faker)’ are some of the stand-out cuts – and then you have a tune like ‘Warm Thoughts’, resplendent with gentle crooning and a beat that truly befits the title. It’s hard not to gush like a schoolgirl over Flume, especially considering that this album is just the beginning of what he has up his sleeve. Marissa Demetriou
Kendrick Lamar photo by Jeff Forney
KENDRICK LAMAR
BORED NOTHING Bored Nothing Spunk Records From the humdrum small-town life vilified by Morrissey, to the whiney, woe-is-me grunge prominent in the mid-‘90s, musicians of the past few decades have proven that ennui can be a perversely invigorating thing. Melbourne’s Fergus Miller shows that boredom and frustration is still good fodder for the young and disillusioned with his excellent debut album as Bored Nothing. The choice of band name says it all, really. Once you get past the fact that the washed-out guitar music you’ve just put on is not from Brooklyn, Bored Nothing totally slugs you with its fuzzy slacker hooks. It’s a sound best classified as ‘dream pop’, though there’s an agitation at its core, reflected in shirty song titles like ‘Shit For Brains’, ‘I Wish You Were Dead’ and ‘Build A Bridge (And How About You Get The Fuck Over it)’. When song titles aren’t abusive, they seem cast-off and half-baked: ‘Popcorn’, ‘Bliss’, ‘Snacks’. The lyrics and vocal delivery reflect this blend of aggression and submission. Much of it is a hazy reflection on Miller’s own life, his breathy vocals delivering stories about being young, getting stoned and skipping class. Otherwise, he chooses tragic outsiders as his subjects, sympathising with the late moonshiner and bootlegger Marvin Sutton in ‘Popcorn’, and a sufferer of a hair-pulling disorder in ‘Just Another Maniac’. You can pretty much dumb it down to a theme of ‘everyone’s fucked’, though it’s more succinctly put in the chorus of the album’s first song: “And it’s hard for me to say/But we’ve all got shit for brains.” This is an astonishing first album from a new talent still finding his voice and individuality. I suspect there’s even better to come from this chairman of the bored. Chris Girdler
OFFICE MIXTAPE And here are the albums that have helped BRAG HQ get through the week... BECK - Seachange BRIAN CAMPEAU - Mostly Winter Sometimes Spring BJÖRK - Bastards
RUN DMC - Raising Hell MARIAH CAREY - Butterfly
RES EATEST PLEASU O OF LIFE’S GR MARRYING TW
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NOV Black Sorrow 22 The
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NO From Earth 28 Sound V
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Lizotte’s Sydney 629 Pittwater Rd Dee Why
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Lizotte’s Newcastle 31 Morehead St Lambton
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snap sn ap
city calm down
PICS :: PX
up all night out all week . . .
08:11:12 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587
yo grito! 09:11:12 :: Metro Theatre :: 624 George St Sydney 9550 3666
party profile
last dinosaurs
PICS :: AM
It’s called: Yo Grito!
It sounds like: Garage, soul, rhythm & blues, surf, punk, and weird pop – mostly from the ‘50s and ‘60s. Who’s playing? The gang is King OPP (The Straight Arrows), Daniel Darling (Kill City Creeps), and Silky Doyle (FBi Radio’s Dusty Fingers). Honorary and extended family members include: The Gonz, Flash And Crash, Smokey La Beef, El Peludo, Ty Segall, Mikey Young (Eddy Current Suppression Ring), and Amy and Hayley (Super Wild Horses). Sell it to us: Yo Grito! is a weekly fuzzed-out affair hosted by three Sydney rock’n’roll gurus doing what they do best. With a brotherhood this tight, it’s no surprise that they’re modern day legends. Nightly specials at the bar and The Dip, plus King, Darling, and Doyle ensure satisfaction on more than one level… The bit we’ll remember in the AM: Being told “we don’t take requests” – and not hearing the song from the beer ad with the tongue. Crowd specs: Anything goes, as long as the hips can handle it! Wallet damage: Free. Where: The Front Bar @ Goodgod Small Club
gypsy & the cat
PICS :: PX
When: Every Friday, from 9pm
LEY CHO) :: KATRINA CLARKE :: ASH
S : TIM LEVY (HEAD HON OUR LOVELY PHOTOGRAPHER XAVIER :: RO PED :: NS MUN MAR :: DANIEL
skunkhour
PICS :: KC
08:11:12 :: Metro Theatre :: 624 George St Sydney 9550 3666
10:11:12 :: The Standard :: 3/383 Bourke St Darlinghurst 9331 3100
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snap sn ap
08:11:12 :: Brighton Up Bar :: Level 1/77 Oxford St Darlinghurst 9572 6322
newtown festival
PICS :: TL
atom bombs
PICS :: TL
up all night out all week . . .
11:11:12 :: Camperdown Memorial Park ::
12:11:12 :: Sydney Opera House :: 2 Macquarie St Sydney 9250 7111
party profile
ben harper
PICS :: SW
propaganda It’s called: Propaganda – End Of Exam Party It sounds like: An end of exam extravaganza! Who’s spinning Tom Ballard (triple j) vs Jake (bluejuice), Pop-aganda DJs' Silent Disco. Three songs you’ll hear on the night: 'Default' – Django Django; ‘Heart Of A Lion’ – The Griswolds; 'Elephant' – Tame Impala. And one you definitely won’t: ‘Down River’ – Wilcannia Mob (remember that?) Sell it to us: We’ve pitted triple j against Bluejuice for this end-of-exams Propaganda bash. Propaganda favourites Tom Ballard and Jake Stone will play an AV mix of the best new and classic indie, pop, punk and party jams to celebrate. Upstairs, Pop-aganda DJs will be doing what they do best, in a silent disco kinda way! And there’s $5.50 Coopers Pale and $5 Carlton Drys all night long! The bit we’ll remember in the AM: That you don’t have uni in the morning. SCORE. Crowd specs: Copious amounts of students free from the shackles of commitment! Joyous party-people having a lovely time. Wallet damage: $5 from 10pm / free for students. Where: The World Bar / 24 Bayswater Road, Kings Cross
texture like sun
PICS :: PX
omar
09:11:12 :: FBi Social :: 244-248 William Street Potts Point 9331 9900
PICS :: KC
When: Thursday November 22
10:11:12 :: Oxford Art Factory :: 38-46 Oxford St, Darlinghurst 9332 3711 :: S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER XAVIER :: RO PED :: NS MUN IEL DAN :: MAR
KATRINA CLARKE :: ASHLEY
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live reviews what we've been to see...
RADIOHEAD Sydney Entertainment Centre Monday November 12 There’s nothing quite like a Radiohead show to make one fully understand the follies of weekly print publishing in a world of immediate media. By the time this BRAG hits Sydney streets, there’ll be nothing more to say about the pair of gigs last week that hasn’t already been said. Most importantly, you already know that the band played incredibly – to be fair, though, Thom Yorke and Jonny Greenwood would have been applauded just as loudly if they’d walked on stage for a quick high five.
BUTTERFLY BOUCHER, CAITLIN PARK The Vanguard Wednesday November 7 Caitlin Park kicks off her set by asking us to let her know if her boob starts showing out of her onesie, and commenting that if anyone feels the need to get her a whisky she’d appreciate it. Musically, she’s just as playful, mixing disparate elements into a set that is occasionally brilliant and always interesting. Layering different sounds, beats and voice clips into songs that switch genre with theatrical aplomb, she’s to be forgiven when the disparate parts occasionally jar. She covers the Fresh Prince Of Bel Air theme, and closes on an a capella that shows off her rich, low voice. Certainly a Sydneysider to keep an ear out for. (And she got her whisky, by the way.) Watching Butterfly Boucher (born, believe it or not, Butterfly Boucher), I’m struck by how this woman can have been allowed to fly just under the radar for so long: a decade or so into her solo career, she should be selling out venues far bigger than this. The confident, funny, vibrant Radelaidian has the audience wrapped around her little finger pretty much the moment she steps on stage. She tells us we’re part of the band (it otherwise comprises a keyboardist and drummer), so we’re to sing back to her as loudly as we like – and if we’ve made up any preferred lyrics at home, tonight’s the night to debut them. It’s difficult to pick a highlight. It could have been in the trips down memory lane, like crowd-pleaser ‘A Walk Outside’ from her first album, 2003’s Flutterby, which Boucher mentions she hasn’t played for years. It could have been the slow, beautiful ‘A Bitter Song’ – “from my second album, which went nearly unheard in Australia,” she says, without a trace of bitterness. It could have been her playing ‘Unashamed Desire’, a single from Missy Higgins’ latest album (also a track on Boucher’s), which Missy and Butterfly co-wrote: “I finally get to play it myself!” It could even have just been the cheerful banter between the band members, and the recurring theme of adding cowbells to songs. But I think it was ‘5678!’, the lively single from her latest, eponymous album, which raised the roof the most. In all, a great set from a wonderful artist. Here’s hoping 2013 is her year. Romi Scodellaro
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You’ve already read what songs were played: although the setlists differed between the two Sydney shows, both focused on the latest album The King Of Limbs, with its full-bodied yet scattered, skittering sonics – twitchy, amorphous and percussive – from which only two songs (‘Little By Little’ and ‘Codex’) weren’t played. Older highlights included the sensational ‘Myxomatosis’ and ‘The Gloaming’ from Hail To The Thief, and ‘Lucky’ and ‘Paranoid Android’ from OK Computer. The series of massive, mathy, electronic-driven tracks was broken up by the mellower numbers; Yorke on piano for a “remix” of ‘Videotape’, the shut-your-eyes-and-turn-off-the-lights of ‘Pyramid Song’, and the wonderful, swelling ‘Everything In Its Right Place’, which hurled us back into ourselves after a heady and ecstatic ‘15 Step’. (One of the greatest feats of Radiohead was elucidated by my delightfully overwhelmed plus one: “They sure know how to end a song!!!”) You’ve seen photos of the stage, and the huge amount of gear that dwarfed the bandmembers – two meticulous drummers, Phil Selway and Clive Deamer, Ed O’Brien on guitar, and the legendary
Jonny Greenwood with his legendary mop of hair, who played pretty much everything else. And you can probably imagine how the crowd reacted: momentous applause after the first moment of every song, but for the most part we were wrapped up in our own thoughts, because there’s absolutely nothing social about listening to Radiohead. You’ve seen what it looks like when Yorke busts a move: multiply the jerky, worm-like wriggle and twitch of the ‘Lotus Flower’ clip with the energy of a sold-out Entertainment Centre and the sensuality of a full-bodied and faultless soundsystem and mixing desk, and you’ll come close to envisioning his flailing fancy footwork. (What other frontman can ditch his instrument and dance for the majority of a set without having things thrown at him?) And the surprise of the lighting was ruined via Instagram after their first Brisbane show: each song had its own striking colour – greens, purples, blues, yellows, oranges – emanating from a massive screen that took up the entire back of the stage, with a banner of six smaller screens affixed to the ceiling and twelve floating down at varying angles and heights and moving throughout the set, with each separate configuration conveying a different mood (highlighted best when all twelve lowered and faced down, making the cavernous SEC feel like a small, acqua-lit nightclub.) You’ve already read a bunch of reviews that mention how difficult/redundant it is to review a Radiohead show of this magnitude. If you haven’t, at least you’ve read one. Steph Harmon
PHOTOGRAPHER :: TIM LEVY
GRAPHIC: FAT FREDDY’S DROP, OTIS FRIZZELL Sydney Opera House Saturday November 10 It began with giant silhouettes of birds overshadowing the Concert Hall stage. Smoke and green koru designs filled the space, as the overwhelming sound of conch shells welcomed Fat Freddy’s Drop in traditional New Zealand style, amplifying the tension of an already over-excited audience. There were about two minutes of audience awkwardness during the first song – until vocalist Dallas Tamaira jumped in the air and set off a spring-loaded reaction: the entire audience lost their shit at the very same time, and no one was left in their seats. Their new single ‘Silver And Gold’ had just been released online hours before the performance, but I didn’t want to spoil the surprise. Playing a number of tracks from their forthcoming album Blackbird, its awesome to hear that the Fat Freddy’s Drop winning formula is still going strong. Live, the Wellington band create an energetic sound that completely contrasts with the easy-listening albums that I have spent so many lazy sunny days listening to. Trombonist Joe Lindsay embodies this powerful performance in his tidy white suit, jumping around the stage like a human whirlwind.
Three large panels above the band showcased New Zealand street artist Otis Frizzell’s latest works, created specially for the occasion, as illustrations for the album. To the sound of a melodica solo, the middle panel slowly lifted up to reveal a massive canvas on a stage above the band. A small figure jumped onto the platform and immediately started painting massive lines of black as the band began their final song. Distracted, the audience eagerly tried to work out what it was that Frizzell was drawing. Listening back to the song would have given you the clues though, as giant blackbirds began to take form on the canvas. Back on stage for an encore, Fat Freddy’s took it one step further with a loose version of ‘Shiverman’. Dallas stood like a conductor, adding layers of loops from individual members as the audience danced, in denial that the set was nearly over. Being a Kiwi myself, witnessing the work of two iconic NZ artists filled that little hole of homesickness that had been building up. Fat Freddy’s Drop capture some of the best qualities about New Zealand, and with the assistance of Otis Frizzell they took us on a audio-visual journey from the bottom of the sea to the treetops with the blackbirds. Tanydd Jaquet
REFUSED, ENDLESS HEIGHTS The Enmore Theatre, Tuesday November 13 Tonight, Dennis Lyxzén emphatically answered a very simple question that Australian hardcore fans have been asking since 1998: yes, the man can indeed scream. That the frontman of seminal Swedish post-punks Refused pulled off an evening of screaming to the hordes whilst rocking an enviably dapper collar-and-waistcoat was perhaps an even greater achievement: never before have so many hairy dudes at the Enmore given so much crossarmed approval to a man dressed like a pirate. It doesn’t get much more frustrating than opening for the supposed pioneers of a genre, and being pelted with bottles and cans. Queenslanders Endless Heights tried their darndest, with their frontman valiantly attempting to engage the crowd. Despite the band’s determination to develop some rhythmic heft towards the end, it was difficult not to focus on the vessels flying through the air. As the opening strains of 1998’s ‘The Shape of Punk to Come’ echoed through the room, the five Swedes entered the stage to rapturous applause (and only a small amount of bottlethrowing). Lyxzén acknowledged their strange infamy by cheekily remarking: “We’re sorry it’s taken us 14 years to get here – but if we had come back [sooner], then we’d have only been playing to ten people at The Annandale.” The five-piece augmented their performance, and Lyxzén's violent physicality, with the constant menace provided by drummer David Sandström. During the vicious breakdown of ‘Rather Be Dead’, the whole band converged on Sandström’s kit, allowing their scenestealing guitar solos to draw focus back to the pounding heart of the band. And then, of course, the plucked and vicious first notes of ‘New Noise’ rang out. The once-radical punks’ antianthem is still the best example of their particular brand of melody and fury, with its quieter moments almost succeeding in preventing more things being thrown at them. Not that Lyxzén seemed to mind, as he grinned and closed the show by leaning out from the stage to embrace his fans. Every inch the hardcore pirate. Benjamin Cooper
live reviews what we've been to see...
OUTSIDE IN FESTIVAL The Factory Theatre Saturday November 10
We all got a little excited when boutique indie-electronica label Yes Please and Astral People – a collective geared towards showcasing the best in underground beats – announced plans to co-run a mini-festival incorporating the best in local and international artists. They probably had no idea that their plans would include Radiohead, but Thom Yorke has always been his own creature. While the frontman of The World’s Greatest Band wandered through the climes of The Factory Theatre, the crowd waited patiently for HTRK, performing in Sydney for the second time since last November. After an extra 30 minutes of triple j’s Lewi McKirdy dropping dirty south hits, the expat Aussie duo finally emerged to stutter through spectral numbers like ‘Bendin’’ with po-faced disdain. It was an unusual move; one conclusion to be drawn from the seemingly willful contempt
Remedy
More Than The Cure Since 1989 with Murray Engleheart
Dave Grohl
Jonnine Standish had for bandmate Nigel Yang’s technical advice is that the group is perhaps going through a spot of unseen turmoil... Not ‘getting’ HTRK didn’t seem to bother most of the crowd, though, who were still beaming from the good times offered by King of Crunk McKirdy. Earlier, Fishing had shown a predilection for blowing minds and speakers at the downstairs Factory Floor. The duo were glitchin’, poppin’ and actually hip hoppin’, via the jaw-jammingly smooth skills of (MC?) Doug Wright, a man completely uninterested in anything except party rocking. On the main stage was Sydney/Adelaide duo Collarbones, still hot from last month’s release of their second album, Die Young. The Two Bright Lakes label alumni have matured as songwriters, but at the same time have lost none of their live flair. As the bass from ‘Too Much’ drove a sonic boom down the middle of the room, the girl behind me screamed, “I have no fucking idea what is going on, but this is amazing!” But other than Mr. Yorke, the man of the festival was surely Flume, who'd just come off a massive week with his debut record making Album Of The Week on both triple j and FBi Radio. The entire room erupted to the familiar ripples and fades of breakout single ‘Sleepless’, with a chorus of headbobbing that represented an important moment of vindication for underground electronic music in Sydney. Benjamin Cooper
QOTSA X GROHL
It seems that Dave Grohl will be moving back into his role as the modern day John Bonham, on the coming Queens Of The Stone Age slab. It’s said that the recording will be out by mid year.
CHILI PEPPER
In December, John Frusciante – former Chili Pepper master axe, generally loveable cosmic cadet and Can fanatic – is reissuing eight of his solo recordings on vinyl, but in a limited manner. We’re talking stuff like Inside Of Emptiness, A Sphere In The Heart Of Silence, Curtains and The Empyrean.
SLINT REDUX
There’s rumblings that Slint may reform next year.
MY SOLO JACKET
We’re not sure if this is the beginning, the middle or the end of something, but Jim James, the frontman of My Morning Jacket, is set to release his first solo slab in February. It’s titled Regions Of Light And Sound Of God.
MORE MESCALEROS
Hellcat Records have re-released Joe Strummer & The Mescaleros’ three albums – Rock Art and the X-Ray Style, Global A Go-Go and Streetcore. While for us they were largely a case of legend eclipsing shit-hot content, they’re available on CD and vinyl with bonus tracks, including single B-sides and live stuff.
DINGOES LAMENT
Of all the books that usually hit at this time of the year, this one is well and truly worthy: written by John Bois and titled The Dingoes’ Lament, it’s the tale of one of our greatest bands, The Dingoes, who – led by the magnificent voice of Broderick Smith – had the US by the throat for a moment in time. These guys were the shit, playing a glorious musical arc that took in the entire scope of the Southern Cross.
COLOURED BALLS
Hot New York reissue label Sing Sing are doing the Oz rock business with a vinyl reissue of Coloured Balls’ Ball Power album, from 1973. While we still argue that the Balls never really delivered in the studio (as was the way of studio recording in this country in the early ‘70s), this is as strong as they got in that environment – and that’s no lame thing.
MY BLOODY LONG WAIT
The two-decades-plus-in-the-making followup to My Bloody Valentine’s masterpiece Loveless will be out by year’s end, says Kevin Shields – and it will be followed by an EP of additional new material. Quite a tall and sudden order really, given we’re already well into November. We’ve had our hopes built up previously, only to have it all end in tears – so we’ll just wait and see this time. But whether he admits it or not, imagine the pressure of following up one of the most revered recordings of the past 50 years (let alone the ridiculous associated expectation factor after all this time). A bit like AC/DC waiting 20 years to follow up Back In Black. What if it isn’t an utter masterpiece? Again.
BLOOD DUSTER
Melbourne’s Blood Duster are hardly strangers to extremity, and they’re taking it to the man (or men) once again, by releasing their new slab on limited-edition vinyl. But as it will have the slab’s title – KVLT – scratched into it, it’ll be un-playable. Such vinyl teasers! And the masters have already been destroyed. So the album that never really was, will never ever be again. But a five-song download called SVCK is out now, along with the album that cannot be played. Check it out at bloodduster.com.
TMOC
With The Mark Of Cain’s excellent new album Songs Of The Third And Fifth now out and about, there’s also a brand new TMOC website, which has a fresh look and feel as well as incorporating social news-feed elements (Twitter/Facebook) and enhanced audio/video streaming (Soundcloud/YouTube). It’s at tmoc.com.au
ON THE TURNTABLE We’re still spinning The Jon Spencer Blues Explosion’s newie, Meat And Bone, which kinda sums up their whole deal. It’s them at their back-from-the-grave, screaming-and-a-hollerin’ best. We have a theory about these guys: while they were very wide – even bug-eyed – boys cranking it up alongside R. L. Burnside a decade or so ago, the trio are slowly turning into figureheads that other young punks will sit before and ask in hushed tones, ‘Tell us about fucked up blues punk, Godfathers.’ No one is gonna say that to The Stones these days. And these three look and sound like a train wreck. A lonesome train. On a lonesome track.
TOUR AND INDUSTRY NEWS With the shutdown of the Sando, the Psychotic Turnbuckles’ return bout has had to be rescheduled. They’re now playing The Bald Faced Stag on December 15. All current tickets will be honoured. The Sando would have been a sell-out, but more tickets will now be on sale. Angry Anderson, The Junkyard Dogs (with Steve King on bass) and Exposed will be playing at the Professional Tattooing Association Of Australia’s Sydney Tattoo Show on Saturday November 24 at Penrith Paceway, from 2pm onwards. The aural-onslaught that is Dinosaur Jr is returning to Australia, off the back of the I
PHOTOGRAPHER :: ASHLEY MAR
Bet On Sky slab. On March 16 they’ll be at The HiFi, playing a huge rock bill with the punk rock royalty of Redd Kross and Royal Headache. The mighty Dropkick Murphys return next year for Bluesfest and sideshows of their own with Frank Turner And The Sleeping Souls and Swingin’ Utters as support. On March 30 they’ll be at Bluesfest; on March 31, at Newcastle Panthers; and on April 1 at the Big Top at Luna Park. Neil Young and Crazy Horse return in March to do and sound as only they can. On March 10 they’re at the Entertainment Centre.
Send stuff to remedy@ozemail.com.au by 6pm Wednesdays. Pics to art@thebrag.com www.facebook.com/remedy4rock BRAG :: 489 :: 19:11:12 :: 31
g g guide gig g send your listings to : gigguide@thebrag.com
pick of the week
ROCK & POP
Bleeding Knees Club
FRIDAY NOVEMBER 23
The Standard, Darlinghurst
Bleeding Knees Club, Step-Panther, Driffs $15 (+ bf) 8pm MONDAY NOVEMBER 19 ROCK & POP
Brendan Deehan The Observer Hotel, The Rocks free 8.30pm The King Is Dead, Long Live Queen: Toby Francis The Basement, Circular Quay $25 (+ bf) 7pm Miss Little 505 Club, Surry Hills $10 8.30pm
JAZZ
Monday Jam: Danny G Felix The Lansdowne Hotel, Broadway free 9pm Miss Little 505, Surry Hills $10 8.30pm Rob Eastwood Dee Why RSL Club free 6.30pm
ACOUSTIC & FOLK
Russell Neal, Anita Lenzo Trio, Chris Brookes, Massimo Presti Kellys On King, Newtown free 7pm 32 :: BRAG :: 489 : 19:11:12
Hiatus Kaiyote
WEDNESDAY NOVEMBER 21
TUESDAY NOVEMBER 20 ROCK & POP
Adam Pringle and Friends Sandringham Hotel, Newtown free 8pm Carl Fidler The Observer Hotel, The Rocks free 8.30pm Crooked Saint Cafe Lounge, Darlinghurst 8pm Mandi Jarry Duo Maloney’s Hotel, Sydney free 8.30pm Matt McMahon Trio, Jess Pollard 505 Club, Surry Hills $8–$15 8.30pm Missy Higgins, Gurrumul, Emma Louise State Theatre, Sydney sold out 8pm Owl City (USA), Sinead Burgess Metro Theatre, Sydney $57 (+ bf) 6.45pm all-ages The Pierces (USA) Oxford Art Factory, Darlinghurst $33 (+ bf) 8pm
Sons of Mercury Scruffy Murphy’s Hotel, Sydney free 10pm
JAZZ
Ian Blakeney Dee Why RSL Club free 6.30pm Jazzgrove: Matt McMahon Trio, North South 505, Surry Hills $8-$15 8.30pm
ACOUSTIC & FOLK Carolyn Woodworth, Peter Williams Off Broadway, Ultimo free 7.30pm Darren Bennet George IV Inn, Picton free 7.30pm Handasyd Williams The Botany View Hotel, Newtown free 7pm A Night of Americana: Steve Hogan The Basement, Circular Quay $25 7.30pm Russell Neal, Patrick McCarthy Taverners Hill Hotel, Leichhardt free 7pm
Andy Mammers Duo Maloney’s Hotel, Sydney free 9pm Art School Ball – Candy Shop: Edema Ruh, The Original Rusty Syncopators, Fleur Wiber & The Apparitions, Blonde Band, Cosmo & Pat, Pablo J & The Lobsterettes, Free Wifi, Chris Lapa Annandale Hotel $8 7pm Atlas B Salvesen, Spookyland, Edward Deer The Vanguard, Newtown $18.80 8pm The Black Sorrows The Basement, Circular Quay $35 (+ bf)–$89.80 (dinner & show) 7.30pm Bleeding Knees Club FBi Social @ Kings Cross Hotel free 1pm The Crossroads: Bellyache Ben & The Steamgrass Boys, Spirit Valley, Blackbear, DJ Flashback Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm Gang Of Brothers Rock Lily, The Star, Pyrmont free 7pm Gemma The Observer Hotel, The Rocks free 9.30pm Goodnight Dynamite O’Malley’s Hotel, Darlinghurst free 9.30pm Harry Sutherland Trio 505 Club, Surry Hills $10–$15 8.30pm Housse de Racket (FRA), Sosueme DJs Beach Road Hotel, Bondi free 8pm Immortal Band Comp Valve Bar & Venue, Tempe 7pm Jackson McLaren Arcadia Liquors, Redfern free 8pm Josh McIvor Mean Fiddler, Rouse Hill free 6pm Live & Local: Damien Molloy, Climax Igloo, Nick & Leisl, Alex Gibson Lizotte’s Restaurant, Dee Why $15 8pm The Living End, 2manyPJs The Hi-Fi, Moore Park $42 (+ bf) 8pm Mandi Jarry Northies, Cronulla free 7.30pm Matt Jones Summer Hill Hotel free 7.30pm Matt Schlam Brass Monkey, Cronulla $18.90 7pm Missy Higgins, Gurrumul, Emma Louise State Theatre, Sydney sold out 8pm Musos Jam Night Bald Faced Stag, Leichhardt free 8pm One Wild Night Scruffy Murphy’s, Haymarket free 11pm Terry Halliday Dee Why RSL Club free 6.30pm Ultimo TAFE Music Showcase Notes, Enmore $10 (+ bf) 7pm
JAZZ
Harry Sutherland Trio, Ken Allars 505, Surry Hills $10-$15 8.30pm
ACOUSTIC & FOLK
Carolyn Woodorth Rotal Hotel, Springwood free 8pm Greg Sita, Nathan Cole Cookies Lounge and Bar, North Strathfield free 7.30pm Helmut Uhlmann, David Moulder, Senani, Alex Johnson, Luke Robinson UTS Loft, Ultimo free 6pm
Jackson McLaren Folk Club, Arcadia Liquors, Redfern free Russell Neal, Warren Munce Cat and Fiddle Hotel, Balmain free 7pm TAOS, John Chesher, Gavin Fitzgerald, Men With Day Jobs Coach and Horses Hotel, Randwick free 7pm
THURSDAY NOVEMBER 22 ROCK & POP
Angel At My Table, Crossing Red Lines, The Pepperheads Lansdowne Hotel, Chippendale free 7pm Bang!: Tuka, Rapaport, 10th Dan, Grub Annandale Hotel free (early bird)-$10 7pm Benjalu The Vanguard, Newtown $13.80 8pm The Black Sorrows Lizotte’s Restaurant, Dee Why $54–$124 (dinner & show) 8pm The Blind Hot Gems 505 Club, Surry Hills $10–$15 8.30pm Bob Evans, Thelma Plum Camelot Lounge, Marrickville $39 7pm Claude Hay, Mojo Bluesmen Peachtree Hotel, Penrith free 8pm Elevate Scruffy Murphy’s, Haymarket free 10pm Eora TAFE Music Showcase Notes, Enmore $6 7pm Eyehategod (USA), I Exist Manning Bar, Sydney University, Camperdown $45 (+ bf) 8pm Fanny Lumsden, Boats of Berlin, Georgia Juliette Moncrieff, Swap Fpht Jangles The Standard, Surry Hills $10 (+ bf) 8pm Fishing, Guerre, True North Brighton Up Bar, Darlinghurst $10+bf 9pm Hiatus Kaiyote, Bon Chat Bon Rat, DJ Huwston FBi Social @ Kings Cross Hotel, Darlinghurst $20 8pm Hot Damn!: Joey Cape (USA) Exchange Hotel, Darlinghurst $15–$20 8pm Justine Clarke Concert Hall, Sydney Opera House $31.60 (+ bf) 11am The Living End, 2manyPJs The Hi-Fi, Moore Park $42 (+ bf) 8pm Missy Higgins, Gurrumul, Emma Louise State Theatre, Sydney 8pm The Music Makers Club: Sea Legs, The Cadres, Ginger
& Drum, Train Robbers, Guests Of Ghosts, Round The Corner, Wolfden DJs Oxford Art Factory, Darlinghurst free 8pm Musos Club Jam Night Carousel Hotel, Rooty Hill free 8pm Saritah Old Manly Boatshed $10 8pm Sounds Of Coma, Jova, Sweat Sydney Livehouse @ Lewisham Hotel $10 8pm Stylus Brass Monkey, Cronulla 8pm Ungus Ungus Ungus Sandringham Hotel, Newtown free 8pm Vimana & The Jazz Bogans, Tyran Hall, The DB 5, Sheena R Valve Bar & Venue, Tempe free 7pm Wes Carr Introducing Buffalo Tales, Annaleise Szota, DJ Sinead Rock Lily, The Star, Pyrmont free 7pm
JAZZ
Blind Hot Gems 505, Surry Hills $10-$15 8.30pm Lionel Robinson Dee Why RSL Club free 6.30pm Peter Head Harbourview Hotel, The Rocks free 8pm Sonic Mayhem Orchestra With Steve Balbi Play Bob Dylan Blue Beat, Double Bay $20 (+ bf) 7pm
ACOUSTIC & FOLK
Andrew Denniston, Nick Domenicos, Spencer McCullum Kogarah Hotel free 7pm Angelene Harris, Eva-Maria Hess, Oscar Lush, Ayla Scanlan, Russell Neal Forest Lodge Hotel, Glebe free 7.30pm Carolyn Woodorth Olympic Hotel, Paddington free 7.30pm Joanne Hill Corrimal Hotel free 7.30pm Jo Meares & The Honeyriders, Zara Ahmed (CAN), Maxine Kauter, Roland Kay-Smith The Union Hotel, Newtown free 8pm Kirk Burgess Sackville Hotel, Balmain free 7pm Morgan Joanel The Workers, Balmain free 7pm Russell Neal, TAOS, Craig Edmondson, Nothin But Jam, Rachael James, Cheyne McFarlane Brass Monkey, Cronulla $15 8pm
g g guide gig g
send your listings to : gigguide@thebrag.com
FRIDAY NOVEMBER 23 ROCK & POP
Anita Wardell 505 Club, Surry Hills $20–$25 8.30pm The Aus Blues Bros Show Engadine RSL & Citizens Club free 8pm Bill Jackson Cat & Fiddle Hotel, Balmain $15 8pm Bleeding Knees Club, StepPanther, Driffs The Standard, Darlinghurst $15 (+ bf) 8pm Buffalo Notes Live, Enmore 8pm Chase The Sun, Corey Legge Beaches, Thirroul free 9pm Circle Jerk, No Art, Mere Women, Family, Yard Duty The Sly Fox, Enmore free 8pm Claude Hay, Mojo Bluesmen, Leafalee Gallery Bar, Oxford Art Factory, Darlinghurst $12 8pm Dark Funeral (SWE), Draconis Infernum (Singapore), Erebus Enthroned, Gods of Eden, Norse, Katabasis The Factory Theatre, Enmore $59 (+ bf) 8pm Darren Jack Brass Monkey, Cronulla $19.90 7pm Deadly Visions, Street War, Boneless, Death Toll, Taken By Force Valve Bar & Venue, Tempe free 7pm Doug Dekroo’s Lonesome Train Town and Country Hotel, St Peters free 7.30pm
Kora Dune, Leanna Russo, Dan Crestani, Bernie Dingo Upstairs Beresford, Surry Hills free 6pm Floating Points, Alexander Nut, Fatima Oxford Art Factory, Darlinghurst $35 9pm Guided By Guided By Voices Petersham Bowling Club 8pm Hip Not Hop Customs House Bar, Circular Quay free 7pm Hit Machine Rooty Hill RSL Club free 8pm Hue Williams Tea Gardens Hotel, Bondi Junction free 8.30pm Ignition Scruffy Murphy’s, Haymarket free 10.30pm Joe Pug (USA), Little Bastard Annandale Hotel $25 8pm Kora (NZ), The Nudge Metro Theatre, Sydney $38.90 7.45pm The Legendary Stylus Lizotte’s Restaurant, Dee Why $44–$86 (with dinner) 8pm The Living End, 2manyPJs The Hi-Fi, Moore Park $42 (+ bf) 8pm
Midnyt Sun Western Suburbs Leagues Club Campbelltown, Leumeah free 8pm MUM: The New Brutalists, Little Casino, The Carroways, Colonies, The Chorus Girls, The Desolations, Nothing Rhymes With David, Swim Team, Wolfgang, Cries Wolf, Smithers, Finlay, 10th Avenue, Nickles The World Bar, Kings Cross $10-$15 8pm Night Cruise Huskisson Hotel free 8pm Perry Keyes, Loene Carmen The Vanguard, Newtown $25.80 8pm The Phonies, The Conscious Pilots, Lyall Moloney, DJ Ivory Bronston FBi Social @ Kings Cross Hotel $10 8pm Pigeon Brighton Up Bar, Darlinghurst 8pm Rick Astley (UK) Penrith Panthers, Evans Theatre 8pm Rip it Up Eastern Suburbs Legion Club, Waverley free 8pm
The Road Cases Richmond Inn free 8.30pm Roots- Punk Fridays Spectrum, Darlinghurst $10 8pm Saritah, Righteous Voodoo, Rich Neho, DJ Kitsch78 Rock Lily, The Star, Pyrmont free 9pm Shade Of Red Coogee Bay Hotel free 10pm Taken By Force, Deadly Visions, Street War, Boneless, Death Toll Valve Bar & Venue, Tempe 7pm Ten Foot Pole Sandringham Hotel, Newtown 8pm Toehider, Bitter Sweethearts The Lansdowne Hotel, Broadway free 8pm Village People (USA) Enmore Theatre $89.90 7pm Wes Carr Introducing Buffalo Tales Notes, Enmore $17.85 7pm Winslows Cancer, The Net Of Being, Red Oxygen, Something Frank Sydney Livehouse @ Lewisham Hotel $12 8pm
Wanderlust The Sound Lounge, Seymour Centre, Chippendale $10 (student)–$20 8.30pm
SATURDAY NOVEMBER 24 ROCK & POP
Addison Road, Friedas Boss, White House The Lansdowne Hotel, Broadway free 8pm Amber Lawrence Lizotte’s Restaurant, Dee Why $29–$71 (dinner & show) 8pm Bang Shang a Lang Unity Hall Hotel, Balmain free 9pm Chapter Music’s 20th Birthday: Crayon Fields, Laura Jean, Standish/ Carlyon, Jonny Telafone, Guy Blackman, Chapter Music DJs Goodgod Small Club, Sydney $15 (+ bf) 7pm Dave White Band, DJ Urby
Rock Lily, The Star, Pyrmont free 7.30pm Dirty Deeds: The ACDC Show Ettalong Bowling Club $20 8pm Double Whammy Engadine RSL & Citizens Club free 8pm Fantine, Louis London, Twin Lakes, Liz Bird Upstairs Beresford, Surry Hills free 6pm Forever 27: Jeff Duff, Chris E Thomas, Damien Lovelock, Floyd Vincent, Rex Goh The Basement, Circular Quay $25 (+ bf) 7.30pm Get Vocal End Of Year Party Notes, Enmore $23.50 7.30pm Godswounds, Kaleeko, Squawk! Fitzroy Hotel, Windsor 8.30pm Greenthief Spectrum, Darlinghurst 8pm Hue Williams Goulburn Railway Bowling Club free 7.30pm Indie Shuffle: Palms, City Riots, Made In Japan, Olympic Ayres, Jubilants DJs
JAZZ
Made In Japan
Anita Wardell (UK) 505, Surry Hills $20-$25 8.30pm Brazil Meet Cuba The Basement, Circular Quay $25 7.30pm Chris E Thomas in The Rock ‘n’ Soul Revue Blue Beat, Double Bay $20 (+ bf) 7pm Keyim Ba Camelot Lounge, Marrickville $25 7.30pm Simon Tedeschi, Kevin Hunt Independent Theatre, North Sydney $38 7pm all-ages
wed
21 Nov
(9:00PM - 12:00AM)
thu
22 Nov
(9:00PM - 12:00AM)
fri
23 Nov
(9:30PM - 1:30AM)
(5:00PM - 8:00PM)
SATURDAY AFTERNOON
sat
24 Nov
(4:30PM - 7:30PM)
SATURDAY NIGHT
(9:00PM - 1:30AM)
SUNDAY AFTERNOON
sun
25 Nov
(4:30PM - 7:30PM)
SUNDAY NIGHT
(8:30PM - 12:00AM)
BRAG :: 489 :: 19:11:12 :: 33
g g guide gig g send your listings to : gigguide@thebrag.com
Iwrestledabearonce
Zu2 – The U2 Experience Richmond Inn free 10pm
JAZZ
FBi Social @ Kings Cross Hotel $15 8pm Iwrestledabearonce (USA), In Hearts Wake, Storm The Sky Annandale Hotel $27.50 (+ bf) 8pm Kadence Ruth Cracknell Room, Sydney Theatre, Walsh Bay free 8pm Leadfinger, The Dirty Earth, The Balkan Grill The Sandringham Hotel $10 8pm The Living End, 2manyPJs The Hi-Fi, Moore Park $42 (+ bf) 8pm Martin Atkins, Blackbreaks The Other Room, The Factory Theatre, Enmore 8pm Milos Karadaglic City Recital Hall, Sydney $59 8pm Nickelback (CAN) Allphones Arena, Sydney Olympic Park 8pm The Nuts Brighton RSL Club, Brighton-
Le-Sands free 8pm Ocean Alley, Moonlight Cowboys, The Good Fruits, James Lange Mona Vale Hotel $15 6pm Ozzmosis - Ozzy Tribute Show: Black Label, Aeturnus Dominion, Parenthia, Thundasteel, Horrorwood Mannequins, Skuldogory, Decaying Freedom Valve Bar & Venue, Tempe 1pm Pageants, Camperdown & Out, King Tear Mortuary The Old Fitzroy Hotel, Woolloomooloo 8pm Powderfinger Show Cardiff Panthers 8pm Price Of Fame, Justine Whalin and the Men, The Kingdom Of Jones, Craig Hansen Sydney Livehouse @ Lewisham Hotel $12 8pm The Ray Mann Three, The Khanz
Oxford Art Factory, Darlinghurst $18 (+ bf) 8pm Rick Astley (UK) Rooty Hill RSL Club $69.90 (+ bf) 8pm Sideshow Annie The Red Rattler, Marrickville $15 8pm Souled Out Scruffy Murphy’s, Haymarket free 10.30pm Spectacles Presents: Svelt, Rockethead, Spectacles, Mung Nkdlnch, Feick’s Device, Shardae Ewart Secret Venue, Marrickville $12 7pm Steve Magnussen Duo 505 Club, Surry Hills $15–$20 8.30pm Tangled Up In Bob Brass Monkey, Cronulla $25.50 7pm Toucan Duo Western Suburbs Leagues Club Campbelltown, Leumeah free 8pm
Bloodlines The Sound Lounge, Seymour Centre, Chippendale $10 (student)–$20 8.30pm Continental Robert’s Soul Kinda Feeling Revue Blue Beat, Double Bay $18 (+ bf) 7pm Greg Poppleton & His Bakelite Broadcasters Kings Cross Festival free 1pm Into Oblivion: Ambre Hammond and Marcello Maio Camelot Lounge, Marrickville $20-$25 7.30pm Jazz Nouveau Supper Club, Fairfield RSL Club free 7pm Peter Head Harbourview Hotel, The Rocks free 5pm Steve Magnussen’s Magnet 505, Surry Hills $15-$20 8.30pm Yuki Kumagai, John Mackie Well Co. Café/Wine Bar, Leichhardt free 7.30pm
ACOUSTIC & FOLK
Dane and Aaron Cookies Lounge and Bar, North Strathfield free 8pm The Satsuki Odamura Koto Ensamble Cafe Church, Glebe $25 8pm
SUNDAY NOVEMBER 25 ROCK & POP
5 Seconds of Summer, Nine Sons of Dan
Metro Theatre, Sydney $28.70 5pm all-ages Ace Karaoke Brighton RSL Club, BrightonLe-Sands free 7pm The Black Hill Ramblers Marrickville Bowling Club free 4.30pm Bleeding Knees Club, Step Panther, Driffs The Lair, Metro Theatre, Sydney $12 (+ bf) 4.45pm all-ages Boris Driver, Nervous Disorder, Zed Blunt, Slip Not, Anita Lenzo Valve Bar & Venue, Tempe free 1pm The Fender-Benders Bayview Hotel, Woy Woy free 3.30pm Groove Farm, Tim Stokes, Liam Gale & the Ponytails, Ben Hardie, Shining Whits, Anita Lenzo Trio, EvaMaria Hess, Ian Macintosh, Natasha-Eloise, Brad Myers, Jasmine Beth, Lincoln Davis, Senani, Men With Day Jobs, Dan Crestani, HiddenAce, White Ocean Avenue, Alexis Sellies, Stationmasters Newport Artisan Market, Newport free 9am Helpful Kitchen Gods, Forenzics, Milkk, Psychic Date, Redcelldisorder, Dr Delites Gladstone Hotel, Chippendale free 5pm HP Coronados Rock Lily, The Star, Pyrmont free 2pm Iwrestledabearonce, In Hearts Wake, Storm The Sky Live at the Wall, Leichhardt $31.15 8pm Jack Vidgen Lizotte’s Restaurant, Dee Why $59 8pm
Kinsky, The Collective Project Unit & Friends Ska Band The Vanguard, Newtown $15.80 8pm The Living End, Cabins, 2manyPJs The Hi-Fi, Moore Park $42 (+ bf) 8pm Rick Astley (UK), Wa Wa Nee Enmore Theatre sold out 7pm Screaming Sunday Annandale Hotel $15 12pm The Slowdowns Sandringham Hotel, Newtown free 4pm Suite Az, DJ Kitsch78 Rock Lily, The Star, Pyrmont free 8.30pm Sunday Blues Jam: Mark Hopper Artichoke Gallery Cafe, Manly free 8pm Sydney Blues Society Botany View Hotel, Newtown free 6pm Van Hoorn, Lake Nash Brass Monkey, Cronulla $19.90 7pm
JAZZ
The Peter Head Trio Harbourview Hotel, The Rocks free 4pm Wouter Kellerman (South Africa) Camelot Lounge, Marrickville $20 (conc)-$25 6.30pm
ACOUSTIC & FOLK Elevation U2 Acoustic The Orient Hotel, The Rocks 4.30pm Chris Neto, Samantha Johnson Cookies Lounge and Bar, North Strathfield free 6pm Samantha Johnson Salisbury Hotel, Stanmore free 2pm
gig picks up all night out all week...
TUESDAY NOVEMBER 20
THURSDAY NOVEMBER 22
Owl City (USA), Sinead Burgess Metro Theatre, Sydney $60 (+ bf) 6.45pm all-ages
Bob Evans, Thelma Plum Camelot Lounge, Marrickville $39 7pm
Fantine, Louis London, Twin Lakes, DJ Liz Bird Upstairs Beresford, Surry Hills free 6pm
The Pierces (USA) Oxford Art Factory, Darlinghurst $33 (+ bf) 8pm
Fishing, Guerre, True North Brighton Up Bar, Darlinghurst $10+bf 9pm
Greenthief, The Lazys, Blind Valley Spectrum, Darlinghurst $10 9pm
WEDNESDAY NOVEMBER 21
Hiatus Kaiyote, Bon Chat Bon Rat, DJ Huwston FBi Social @ Kings Cross Hotel, Darlinghurst $15 (+ bf) 8pm
The Crossroads: Bellyache Ben & The Steamgrass Boys, Spirit Valley, Blackbear, DJ Flashback Gallery Bar, Oxford Art Factory, Darlinghurst free 8pm
Indie Shuffle: Palms, City Riots, Made In Japan, Olympic Ayres, Jubilants DJs FBi Social @ Kings Cross Hotel $15 8pm
Missy Higgins, Gurrumul, Emma Louise State Theatre, Sydney $79.95 7pm
Owl City
Missy Higgins
Village People
Jo Meares & The Honeyriders, Zara Ahmed (CAN), Maxine Kauter, Roland Kay-Smith The Union Hotel, Newtown free 8pm
FRIDAY NOVEMBER 23 Kora (NZ), The Nudge Metro Theatre, Sydney $38.90 7.45pm MUM: The New Brutalists, Little Casino, The Carroways, Colonies, The Chorus Girls, The Desolations, Nothing Rhymes With David, Swim Team, Wolfgang, Cries Wolf, Smithers, Finlay, 10th Avenue, Nickles The World Bar, Kings Cross $10-$15 8pm Village People (USA) Enmore Theatre $89.90 7pm
34 :: BRAG :: 489 : 19:11:12
SATURDAY NOVEMBER 24 Chapter Music’s 20th Birthday: Crayon Fields, Laura Jean, Standish/Carlyon, Jonny Telafone, Guy Blackman, Chapter Music DJs
Goodgod Small Club, Sydney $15 (+ bf) 7.30pm
Pageants, Camperdown & Out, King Tears Mortuary The Old Fitzroy Hotel, Woolloomooloo 8pm
SUNDAY NOVEMBER 25 Roll On: The Living End, Cabins, 2manyPJs The Hi-Fi, Moore Park $42 8pm The Living End
BRAG :: 489 :: 19:11:12 :: 35
36 :: BRAG :: 489 :: 19:11:12
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BRAG’s guide to dance, hip hop and club culture
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FREESTUFF@THEBRAG.COM
club, dance and hip hop in brief... with Chris Honnery
on the record WITH
Michael Mayer
B.O.O.M.A
MICHAEL MAYER Growing Up Alex and I grew up 1. separately, as people often do. We came together in 2008 to perform music and tour with our other projects, Ten Thousand Free Men & Their Families and Dot.AY. Later, we started making music together with a completely different aesthetic to either of our previous projects, and it was a good time so we kept doing it. Now we’re grown up. Inspirations We’re heavily influenced 2. by the juke and/or footwork styles of Chicago. Guys like DJ
Rashad, DJ Spinn, DJ Avery, Young Smoke and so on. Outside of that Chicago bubble, we’re both into HudMo, Sinjin Hawke, Cashmere Cat, Rustie, and most things Mark Pritchard has been involved in. Basically any upcoming internet/hashtag genre gets us going as well, just as long as Rihanna doesn't fuck with it on SNL. Your Crew Alex and I live in different 3. cities, which means we have a pretty broad crew. Generally we both DJ separately as B.O.O.M.A, because we can cover more
WOLF + LAMB @ IVY POOL
On Saturday December 1, Brooklyn house duo Wolf + Lamb will play their first ever Australian show at Ivy Pool Bar, to mark World AIDS Day. Wolf + Lamb is Zev Eisenberg and
ground and spread the same kind of love further. In Melbourne, the SpaceWalk crew have been really supportive, and a great home. In Sydney, Outer Bass has been just as fantastic. It will be great to play Outer Bass as a duo for the first time! The Music You Make We make party music, 4. with a focus on bass and triplet rhythms. If you wanted to nail down the genres we’ll span in our set, you can expect to hear juke, footwork, Jersey club, hip hop and trap. Silly, silly party music.
Gadi Mizrahi, who are behind all aspects of the outfit’s numerous operations: production team, DJ duo and record label. The pair recently dropped a new album, Versus, the follow-up to their 2010 debut, Love Someone,
Color Me Badd, looking goodd.
Music, Right Here, Right Now 5. There’s a lot of good stuff going on in this bass music pocket in Australia. Acts like Rachel Haircut, Wordlife, What So Not and a host of other DJs and producers are making their marks. I’d say it’s all on the up – you’ll be hearing more and more in the club in the coming year. Wh0: B.O.O.M.A (both halves in the same place!) Where: Outer Bass @ The Gladstone Hotel When: Friday December 7
Before the silly season REALLY begins, and all you’re able to hear is cheesy celebrity Christmas albums and the horrific shrieks of crowded consumers, be sure to catch one of Germany’s electronic music legends. Michael Mayer is making the trek Down Under with his signature 4/4 techno-house blend in tow. The DJs’ DJ, producer and co-owner of the legendary Kompakt stable is taking the magic of his Mantasy album on the road; the self-described “entertainer and educator” will land at the Oxford Art Factory on Saturday December 1. To score one of two double passes, tell us the name of your favourite Mayer remix.
Calvin Harris
which featured collaborations with Voices Of Black, Night Plane, PillowTalk, Greg Paulus of No Regular Play and Rap Lisa, who made her Wolf + Lamb debut last year on Voices Of Black’s Her Flower EP. The event is a cross promotion with Belvedere Vodka, with 50% of the profits from the sale of the (Belvedere) Red Special Edition bottle donated to the Global Fund, to fight AIDS/HIV in Africa. For further information about the Wolf + Lamb Belvedere bash, hit belvederevodka.com.au/redparty
HOLD TIGHT: SPACE DIMENSION CONTROLLER
Jack Hamill, aka Space Dimension Controller, will perform at The Metro Theatre alongside an illustrious cast of international acts for Hold Tight, a three-room bass, house and future beats bash on Saturday January 5. Since attending the Red Bull Music Academy in London a few years back, Hamill has released records on Belgian techno institution R&S Records and started up his own record label, Basic Rhythm. Hamill’s sound traverses ‘80s funk, cosmic disco and warm melodic techno, and he’ll be but one of many drawcards at The Metro that night, as punters will also be treated to performances from the likes of DMZ, Gaslamp Killer, Rustie, Theo Parrish, DJ Nu Mark, T Williams, Spencer (Nmbrs), Om Unit, Simon Caldwell, Kali and Wordlife. Presale tickets are currently available through the Metro Theatre website.
TOGETHER ON BOXING DAY AT THE ABERCROMBIE MADE IN THE ‘90S
Following on from last year’s ‘Made in the ‘90s’ jaunt, featuring RnB stalwarts 112, Ralph Tresvant, Horace Brown, Allure and Marques Houston, Delta Bravo Presents are bringing the series back at the beginning of next month. This time around, Color Me Badd, Soul For Real, Shai and Jon B will all turn out for a night of ‘90s nostalgia at The Enmore Theatre on Saturday December 1. Discovered by Kool & The Gang’s Robert Bell, Color Me Badd surged into the charts back in ’91 with their hit ‘I Wanna Sex You Up’, which remained on the worldwide charts for a whole year. Soul For Real’s defining hit, ‘Every Little Thing I Do’, is said to capture the essence of mid-‘90s RnB, while Jon B’s sophomore album Cool Relax cast him into the spotlight, courtesy of the 2Pac-assisted ‘Are U Still Down’ and ‘They Don’t Know’. Tickets are available now.
Following on from the rollicking success of their Anzac Day bash, Chemistry and Loose Kaboose will again come ‘Together’ for some public holiday merriment on Boxing Day, with the Shrug crew also representin’. The house and techno showcase will feature Alphatown playing live, Mad Racket’s Jimi James, Pocket 808, Future Classic’s Peret Mako, CO-OP DJs, Matt Aubusson, Subsonic’s Marcotix, Mesan and Jordan Deck all spinning, alongside techno glamour couple Trinity and Dave Stuart. ‘Together’ will run over both rooms of The Abercrombie from 2pm on Wednesday December 26 until sunrise the next day, with entry a mere ten bones.
STEREOSONIC FESTIVAL SIDESHOWS
A number of sideshows have been announced for the sold out Stereosonic Festival, which is slotted for this Saturday November 24 at Sydney Olympic Park, Calvin Harris plays Marquee The Star this Friday November 23, before Porter Robinson headlines an official Stereosonic after party the following night at the same venue, which is offering free entry for festival ticketholders – but $30 on the door for all others. Across town on Saturday night, Laidback Luke and Martin Solveig form a double headline bill for the launch of the massive Pacha at The Ivy, with Flux Pavilion, Krewella and Duke Dumont throwing down at Chinese Laundry, while Zedd and Bingo Players play at Soho. The following Thursday November 29, Brodinski, Gesaffelstein, Club Cheval and French Fries take to Oxford Art Factory, before Aly & Fila and Ørjan Nilsen headline Home Nightclub. Big week.
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dance music news
free stuff
club, dance and hip hop in brief... with Chris Honnery
FREESTUFF@THEBRAG.COM
on the record WITH
Baths + dog
CARLOS ZARATE The Last Record I Bought: The last record I bought was Ricardo 2. Villalobos’ Hansup, on Raum. I play predominately with vinyl, so it was a 12-inch record. I bought it for its bounce. The First Thing I Recorded: My first introduction to writing beats was 3. with Tim Jirgenson; we did a few EPs together about five or six years ago, all with soft synths and computer digital workstations. I don’t cringe at all, looking back; it’s a long journey to writing world class music, and everyone has to start somewhere. I don’t think that journey ever stops. The Last Thing I Recorded: I’ve spent the last few years building a 4. small collection of analogue hardware, drum machines, synths and other cool instruments. The last thing I recorded would have been a 40-minute jam on my machines. The Record That Changed My Life: There are way too many records that 5. have changed my life. I have a record for every emotion and experience; I love soundtracking my life. A key one for me would be Wu-Tang’s ‘Careful (Click Click)’. If you haven’t seen the film clip on YouTube, check it out ASAP. It’s as raw and gangsta as it gets.
1.
The First Record I Bought: Boyz II Men II on cassette in 1994. I was 12. I loved American hip hop culture, but I
was too young to listen to rap, so RnB was the next best thing that mum would let me listen to.
With: Raimund Imo (Electric Zoo, DE) Where: The Spice Cellar When: Saturday November 24
LOVE IS THE MESSAGE
Groovescooter and Eastside Radio’s Cellaruloid Sessions are hosting an exclusive Australian premiere of a film about Nicky Siano’s legendary nightclub The Gallery: Love Is The Message: A Night At The Gallery is screening at 7pm on Wednesday November 28 at the Oxford Hotel’s Underground Bar. The documentary is comprised of footage shot on location in the New York warehouse between 1976-77, and has a soundtrack compiled and edited by Siano himself. Siano helped pioneer a new style of DJing in the early ‘70s, earning himself a DJ residency at Studio 54, though it was apparently The Gallery that was the most notorious party venue in Manhattan for a period. The doco features interviews with the likes of Frankie Knuckles and David Mancus, who both learned from Siano while watching him at the Gallery back in the day. Entry to see the Australian premiere of the film is $7, with Stephen Alkins slotted to DJ on the night.
The Selecter
HOME BREW
Following a win at the Vodafone New Zealand Music Awards for Best Urban/Hip Hop Album, leading New Zealand hip hop group Home Brew will perform at The Standard on Friday December 14 backed with a full live band. Home Brew recently dropped their debut
THE SELECTER
Tickets to the maiden Sydney performance of Seattle duo Macklemore and Ryan Lewis were snapped up in a hurry. But for those who missed out when the ‘sold out’ sign was raised, fear not: a second show has now been announced for The Metro Theatre on Tuesday February 12. Macklemore and Ryan Lewis released their debut album, The Heist, last month, and the LP subsequently reached the top spot of both the US and the Australian iTunes Hip-Hop/Rap Charts. Macklemore dropped his first mixtape back in ’05, but it wasn’t until he began to collaborate with Ryan Lewis in 2010 on The VS. EP and its counterpart, The VS. Redux, that he started to garner mainstream buzz. The buzz has continued to grow since then, with Macklemore and Ryan Lewis’ current single ‘Thrift Shop’ currently on high rotation on triple j. 38 :: BRAG :: 489 :: 19:11:12
APOLLO BROWN
Apollo Brown, Chasm, P-Money and Suff Daddy will all throw down at The Civic Underground this Friday November 30, for a hip hop showcase. Having produced for everyone from Danny Brown to Black Milk, Motor City producer Apollo Brown has recently dropped his new collaborative album with fellow Detroit rapper Guilty Simpson, called Dice Game. Chasm is one of the leading lights in the Aussie hip hop milieu; signed to Obese Records, his new album This Is How We Never Die features the likes of Guilty Simpson, AG, Fashawn, Blak Twang, Solo, Hau, Brad Strut and Delta. Providing a backdrop of Trans-Tasman rivalry, New Zealand’s P-Money will also be representing, as will NZ lyricist David Dallas, who recently released the Buffalo Man EP, which featured a collection of songs inspired by, sampled or interpolated from Jamiroquai.
When was the last time you had a “fourheaded audio experience”? We’re willing to venture never, but Astral People and Strawberry Fields have combined their considerable kudos to bring us the first ever Land Of The Giants, an event which promises to span continents, spaces and times. It’s a big call, but with dream dude Tycho, Valley kid Baths, Warp lord Prefuse73, Manchester step master SYNKRO, plus locals Thomas William and the Astral DJs on hand, The Metro Theatre on Saturday November 24 is gonna be out of this world. We’ve got a double pass up for grabs; just tell us Tycho’s real name. self-titled double album, a “no-holes barred” release which addresses a broad range of themes spanning self-discovery, depression, broken homes, relationships, materialism and life in the lower socio-economic bracket. And they’re also the first NZ hip hop outfit to top their hometown charts since Scribe, way back in 2003.
BOOM BOOM FT ANDRÉS
The first Boom Boom of 2013 will fall on Friday January 25 at a secret location, and will be headlined by Detroit underground hero Andrés, aka DJ Dez (Dez Andres). Andrés has blown up this year courtesy of his cut ‘New 4 U’, an irresistible slice of disco/house that launched Andrés’ new label La Vida and was a European summer anthem. As Resident Advisor effused, “‘New For U’ has a crunchy, tape-worn groove that hobbles with a gravelly warble that brings to mind the same warm, fuzzy feelings as vintage Larry Levan mixes.” Not that Andrés hadn’t been bubbling under for some time before his breakthrough: he’s been the live DJ for Slum Village (having been introduced to the group by mutual friend J Dilla, in 2000), is a member of Theo Parrish’s Rotating Assembly collective, and has been releasing solo singles for over a decade, mostly on Moodymann’s labels – first KDJ, then Mahogani.
TRUS’ME @ SPICE
In just under two weeks, seminal British two tone outfit, The Selecter, will arrive in Australia to showcase their distinct “bop-tastic fusion of ska-pop-reggae” for the first time. The Selecter pioneered the ska revival movement alongside label mates The Specials and Madness, and were responsible for some of the scene’s classic hits, including ‘On My Radio,’ the frenetic ‘Three Minute Hero’, ‘Celebrate The Bullet’ (which, ridiculously, was banned at the time by the BBC), and the quintessential two tone track ‘Too Much Pressure’. A “refreshed and revitalised” eight-piece formation of The Selecter will turn out at The Factory Theatre on Saturday December 1.
MACKLEMORE & RYAN LEWIS SECOND SHOW
LAND OF THE GIANTS
Trus’Me
The man behind the Prime Numbers label, Manchester’s David Wolstencroft – aka Trus’Me – will return Down Under early next year. Wolstencroft broke through via his acclaimed debut Working Nights, which traversed disco, soul, house and jazz influences and was generally lauded by critics worldwide when released in ‘07 on the Fat City label. In fact, the release solicited comparisons to auteurs such as Theo Parrish and Moodymann (“Moodymann with a smile” being one of the better quotes about him doing the rounds), which, although hyperbolic, affirms the esteem in which Trus’Me is held. He followed up his debut LP with his album In The Red, which features collaborations with Amp Fiddler, Dam Funk, and Paul Randolph of Jazzanova. Trus’Me will play The Spice Cellar on Friday February 22.
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Melbourne Deepcast Deep House In The House By Krissi Weiss
M
elbourne Deepcast are lovers of pure house, funk, disco and soul. Whether the duo of Andy Hart and Myles Mac are driving the decks as DJs, hosting their podcast (up to 73 episodes now), or trawling through the underground for the next great artist to sign to their label, they are perpetually immersed in the scene that they love so much. The lads will be taking over The Spice Cellar this Friday night for four hours of house and funk, undergoing some serious sonic contortion. Mac and Hart have shared almost every step of their growth within the industry, as DJs and as businessmen. “We both discovered house music around the same time,” Mac explains. “With a host of mutual buddies we ended up hanging out a fair bit and sending each other the latest sweet electro house track that we’d heard the previous weekend at the terrible nightclubs we were frequenting,” he laughs. “We also spent a fair amount of years trying to break through the promoter DJ circuit here in Melbourne, albeit not with that much luck – which, looking back on it, was definitely for the best. Eventually we came across the good stuff though – thankfully – and it kinda just snowballed from there. “Deep house, techno and disco were foreign to a lot of our friends and peers at the time we started the podcast,” says Mac. “As the thing grew, it began to allow us to meet and connect with like-minded music lovers, artists and people around the world, which was and is the best thing to come out of it, in my opinion.” Diving into their own label seemed like a natural next step. “The label was just another way to share the music of our friends on a wider
scale,” he says. “Andy was making some dope shit and so were a host of others, so it just felt like a good chance to create a bit of a home for some of that music. We were also lucky enough that the early records got a bit of recognition, so the name was out there from the get go. People already knew the podcast so it wasn’t too much of a hard sell.” Given that he and Andy have taken an eclectic approach to their careers (doing as much as they can to keep up an income), it seems appropriate to ask Mac whether he would recommend the business he is in to up-andcomers – or whether he’d tell them to run in the opposite direction. “I think [this career] kind of chooses you, and if you love it enough you’ll make it work somehow,” he says. “If you’re persistent and serious enough about sharing your craft, eventually things will start to happen. There’s generally not heaps of money to be made, but you’ll have a hell of a lot of fun along the way, and probably end up with a shitload of records to accompany all of the hazy memories.” As for Friday night, the four hours on stage will come together with little in the way of planning and a whole heap of energy and enthusiasm. “Andy and I tend to just go with the flow when DJing together; nothing is too pre-planned,” says Mac. “You pack the record bag with kind of an idea of how you think the night will turn out, and often it’s not how you envisaged it at all and you’re left with a fun challenge. But when there’s a nice, up-for-it crowd, things usually just fall into place. We’re also partial to playing disco records loosely at the end of the night, which is always a nice way to ease people out of the more serious house vibes…”
Make It Better By Krissi Weiss
B
en “B-Roc” Ruttner, one half of New Yorkbased production duo The Knocks, (named after the incessant banging on their front door by angry neighbours ready to abuse them as they tried to create their music in a tiny apartment), is in their brand new studio in Manhattan putting together the next album. Hurricane Sandy is barely retreating as we speak, and phone reception has clearly not been fully restored to the battered island. In a way, Ruttner is used to technology hampering his pursuits, and maintains good humour in the face of adversity. “Before we started to get money from shows and syncs and stuff we had a massively slow computer and we didn’t have the equipment we wanted or, more importantly, needed,” Ruttner says. “There’s always gonna be stuff you want, but compared to a year and a half ago, we finally have a studio set up just the way we like it. Having your work slowed down due to technology is frustrating, so now our work flow is a lot more efficient.” While earning them a solid following as DJs in their own right, The Knocks’ production skills have also seen them producing original material for Katy Perry, Britney Spears and Marina & The Diamonds, as well as a host of remixes – and their breakthrough singles ‘Make It Better’ and ‘Dancing With The DJ’ launched them out of the studio and onto some of the biggest festival and club stages around the world. The duo have shared the stage with an impressive roster of artists – Deadmau5, Skrillex, Big Boi, M.I.A, Tiesto, Martin Solveig – and they played as part of Jay Z’s Made In America festival. But the next album The Knocks are working on (some of which will be road tested on this upcoming tour) is a departure from their earlier, pop-driven sound. “Our music now is a lot more free; we can just do what we want,” Ruttner explains. “It’s still early days for this album, but it’s sounding a lot more like a dance record than our last record. It’s more
track-based and less song-based; there are a lot more songs that don’t have that verse-chorusverse structure of a pop song. We’re not at any point on a release timeline; we’re just at the point where we’re seeing what works. As soon as we get an end date then we’ll get moving towards it, but for now we’re able to be relaxed.” Having produced music for artists ranging from the underground to ultra-shiny pop, Ruttner explains that he and partner James “JPatt” Patterson never really think consciously about what will sell. “We’ve been getting a lot more involved in that dance music world in the shows that we’ve been playing and when we DJ. It’s just what’s coming out while we write this,” he says. “There’s not really any level of conflict there between money and creativity. We’re lucky enough to have a label that lets us experiment a lot with our own sound, so there’s no push and pull between us. We just get to sit on the sound that we’re creating.” Their live show is full of a house party vibe, and more organic than might be expected. For their gigs in Australia, which in Sydney will see them headlining Sosueme’s Christmas bash at the end of the month, the pair are bringing out a range of instrumentation, ensuring it’ll be more than a twoturntables-and-a-microphone set. “Our live set-up is full of instrumentation,” Ruttner says. “We’ve got guitars and keyboards as well as drums and live vocals, but the energy of it is still kinda like a DJ set. It’s non-stop and there’s no breaks between the songs; everything just mixes into the next part. And there’s no extra players – it’s just going to be the two of us.” With: Pluto Jonze, Alison Wonderland, Sosueme DJs and Gnome Where: The Sosueme Xmas Party @ Oxford Art Factory When: Friday November 30
Pacha Sydney Hablas Español? By Carla Pavez
R
icardo Urgell started his first Pacha club in the small town of Sitges, Catalonia back in 1967, but it was bringing the club to Ibiza in 1973 that marked its real turning point. Since then, the island has attracted visitors from all over the globe, and the club brand has become a destination of Buenos Aires, Sao Paolo, Munich, Marrakech, Moscow and Madrid. And now it’s Sydney’s turn. The Pacha club is coming Down Under this weekend, to show us why it remains one of the most respected – and spectacular – entertainment brands around. Pacha Sydney at The Ivy promises to be an unforgettable experience, featuring a troupe of professional dancers, aerialists, street performers, psychedelic projections, extravagant costumes and lighting – not to mention some of the best beats this side of Ibiza. Discussing his decision to work on the project, on the eve of Pacha Sydney’s opening night at The Ivy, co-creative director Ignatius Jones says “it was a natural fit”. Ignatius is no stranger to the Australian entertainment industry, where he’s been a well-known fixture for over 20 years. Boasting a stellar list of credits to his name, including Vivid Sydney, Mardi Gras and the Sydney 2000 Olympic Games Opening and Closing ceremonies, he has now enlisted the help of an entire creative team to launch the 40-year-old Spanish Pacha brand here in Sydney. Trying to present their ideas to the Spanish team of Pacha was no walk in the park for
40 :: BRAG :: 489 :: 19:11:12
Jones when the discussions began. “It was a conference call, quite funny actually,” he relates. “We were kind of getting nowhere, so I said, ‘Would you rather I say all of this in Spanish?’ And they went, ‘Hablas Español?’” Jones’ real name, it turns out, is Juan Ignacio Trapaga, and he’s of Spanish decent. The deal was sealed shortly after. The Australian team led by Jones is something to boast about, with the inclusions of co-creative director Craig Ilott (the multiple award-winning theatre director of iOTA’s smash hit Smoke & Mirrors, among other things), lighting designer Matthew Marshall (whose work was showcased most recently at Sydney Festival 2012), and music director Jeff Drake, who has wealth of experience across a variety of areas within the music world. Given the scale of the production, and with only a handful of production days left up their sleeve before opening night, the team has set up a home base in a warehouse in Alexandria, where all the creative work and dress rehearsals will be held, before being literally moved to Ivy each Saturday. “It’s going great!” Jones enthuses. “We have chosen a fantastic group of dancers and aerialists among other things, and our first day of rehearsals was fantastic. [James Browne – set and costume designer] has a very dark, beautiful aesthetic with a level of couture to it which is amazing”. Pacha being a franchise, Jones and Drake believe that curating the Sydney offshoot means capturing the spirit of the Ibiza original
without losing sight of our local musical landscape; this, they believe, is essential to making Pacha Sydney a long-term proposition. Jones’ views on how they will accomplish this are simple: “I think we just need to be ourselves. They’re not bringing a Spanish creative team out here, even though I happen to be Spanish. They’re trusting us, but by the nature of whom is really doing it, which is an Australian team, I think people will be very surprised by what we do: Pacha with extra.” Every Saturday starting this weekend, Pacha Sydney will take over and transform the surrounding laneways and every corner of Ivy’s Pool Club, Changeroom and two-
storey open-air courtyard. Coupled with the full support of CEO Justin Hemmes and the international team, it’s all systems go, with a launch that will be headlined by huge international artists Laidback Luke and Martin Solveig, and a huge support cast of some of the biggest local names around. “Expect the unexpected,” says Jones. With: Laidback Luke (NL), Martin Solveig (FR), Nina Las Vegas, Minx, Devola, Magic Happens, YokoO, Cassette and loads more Where: Pacha @ The Ivy, Sydney When: Saturday November 24
xxx photo by xxx
With: Andy Hart & Myles Mac, supported by YokoO, DJ DreamCatcher, Pink Lloyd Where: Melbourne Deepcast @ The Spice Cellar When: Friday November 23
The Knocks
Tim Sweeney Beats In Space By Tyson Wray
I
t’s 11.30pm on Friday December 21, 2012, and Tim Sweeney’s set at his Honolulu beach party is about to be cut catastrophically short. The night began with DJ Harvey slinging his signature sleazy disco and house, followed by Optimo reviving the anthems of Glasgow’s Sub Club one last time – and just as a gargantuan wave of colossal destruction crashes down in what will cause the complete obliteration of civilisation, Sweeney calmly reaches into his record bag, dusts off an old Diana Ross 12-inch, and soundtracks the end of the world with the ubiquitous ‘Love Hangover’. This is quite obviously a fictitious scenario, but Tim Sweeney has one of the more eclectic and respected knowledge banks in contemporary electronic music so, in an exchange of hungover drawl (Sweeney having just celebrated the 13th birthday party for his revered Beats In Space radio show), I find the temptation too great not to ask how the tastemaker would oversee the Mayan apocalypse if he were appointed its party-planner.
Tim Sweeney photo by Tim Soter
“I’ve been loving playing in Hawaii at this 39 Hotel, which is this spot Harvey helped start,” Sweeney says, in his demure radio voice. “It’s got the old soundsystem from [David] Mancuso’s loft parties. I ran the Precious Hall in Sapporo as well, and I could see doing something there [for the apocalypse]. Again – the soundsystem is just amazing, and the experience of playing there is just something really different. It’s actually where I’m playing before I come down to Melbourne, so I’m kind of flying from one end of the earth to the other.” As he lists off his all-time favourite selectors, I note the peculiarity that both Optimo, Harvey and himself have all taken to the decks of the beloved Meredith Supernatural Amphitheatre. “Yeah, that has been amazing. I love Meredith. I think that has to be my favourite festival I’ve ever done.” No stranger to Australia, Sweeney is looking forward to his impending return. “Every time [I visit], my perception of Australia is – well, it’s really fucking far away,” he laughs playfully. “But everyone I meet over there is awesome, and people want to have a good time. I don’t know, it’s kind of like – it’s just the partying aspect. It feels good over there. I love Melbourne and Sydney, I’ve had good times. When I played in Perth, there was no one actually at the show,” he laughs. “I was with Canyons and they’re from Perth. I remember, we went to one of their houses and we just stayed on the guy’s lawn, drinking rum and cokes all night until the neighbours called the cops on us for being too loud. And that felt good. I liked that. I would love to get to see some more of Australia, but I’m usually sticking to Melbourne and Sydney. I feel really comfortable there.” “People in Australia love to party,” he continues. “That’s what my impression would be. There are a lot of after-hours clubs like Revolver, which we don’t have in New York – a 24-hour club. Someone like Andee who will go for the weekend, 48 hours, DJing from one party to the next – it’s pretty amazing to me. Everyone I’ve met there, when I’ve hung out, knows all the
different records and they’re up on everything. I think you’ve got good radio there, the Noise In My Head show [on RRR] is super wellrespected across the world.” Staying on topic, I quiz Sweeney on his thoughts of the future of radio in a rapidly advancing technological world. “I definitely can tell that radio is a dying thing but I’m still nostalgic, just like [how] I still bring vinyl with me to play. I still like the format and the idea of radio,” he says, with a hint of lament. “When I’m doing the radio show, I still have that idea in my head that I’m broadcasting to the tri-city area – New York, New Jersey, Connecticut – and that anyone could be tuning in. Some kid could just be listening in every Tuesday and checking it out. Maybe nowadays more people are listening to the podcast than the radio, but radio is just, for me – well, I still like doing live radio. I still look at Boiler Room, with the video and kind of small club thing, and I love the idea of that and I think that’s great. I see that as the way forward. But at the same time I like the idea of no video as well; just the audio. It’s been going on for so many years and it’s a tradition, you know?”
“I definitely can tell that radio is a dying thing but I’m still nostalgic, just like how I still bring vinyl with me to play. I still have that idea in my head that I’m broadcasting to the tri-city area, and that anybody could be tuning in.” With his passion for radio still as prolific as it was when he began Beats In Space in 1999, Sweeney shares his ethos when compiling the program: “It is how I originally started it, which is just trying to play new stuff every week. I don’t want to copy myself all the time, but put music out there that people might not normally get a chance to hear, [and] bring in these DJs or artists I support and think deserve more recognition,” he says. “After doing it for so long it would be really easy to get bored if I was repeating myself all of the time, so I have to just keep doing things to make it interesting to me.” With: Dean Dixon, Dave Fernandes Where: HAHA @ Marrickville Bowling Club When: Saturday November 24
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club guide send your listings to : clubguide@thebrag.com
club pick of the week SATURDAY NOVEMBER 24
Greenwood Thursdays Resident DJs free 8pm Kit & Kaboodle, Kings Cross Resident DJs free 9pm Oxford Art Factory, Darlinghurst Future Dysney Nakagin, Network LR, True North, Meare, FM free 8pm Q Bar, Darlinghurst Hot Damn! Bangs, Hot Damn DJs $15-$20 8pm Sapphire Lounge, Kings Cross Rewind Dim Slm, Bobby Digital, Big Bee 8pm Strike, Chatswood Spin Resident DJs 8pm Trademark Hotel, Kings Cross Swag Thursdays Resident DJs $10 9pm The World Bar, Kings Cross Propaganda Tom Ballard, Jake Stone, Propaganda DJs $5 9pm
FRIDAY NOVEMBER 23
Tycho
Metro Theatre, Sydney
Land Of The Giants
Tycho (USA), Baths (USA), Prefuse73 (USA), Synkro (UK), Thomas William, Astral DJs $54.70 7pm MONDAY NOVEMBER 19 Scruffy Murphys, Haymarket Mother Of A Monday DJ Smokin Joe free 8pm The World Bar, Kings Cross Latin Jazz DJs free 7pm
TUESDAY NOVEMBER 20 Establishment, Sydney Rumba Motel Salsa DJ Willie Sabor free 8pm Scruffy Murphys, Haymarket Frat House DJs free 8pm Trademark Hotel, Kings Cross Coyote Tuesday Social Hooliganz 7pm The World Bar, Kings Cross Jam Astrix Little, Christof, Ali free 9pm 42 :: BRAG :: 489 :: 19:11:12
WEDNESDAY NOVEMBER 21 Beach Road Hotel, Bondi Housse de Racket (FRA), Sosueme DJs free 8pm Epping Hotel DTF Resident DJs free 8pm Ivy, Sydney Salsa At Ivy DJ Dwight ‘Chocolate’ Escobar free 7pm The Lansdowne Hotel, Broadway Frat House Wednesdays Mean Dartin, Camo, Ra Bazaar free 5pm The Lewisham Hotel Garbage Resident DJs free 7pm The Marquee, The Star, Pyrmont Assembly Wednesdays – Movember Event Fear Of Dawn, Wolfpack 8pm The Ranch Hotel, Epping Hump Wednesdays Resident DJs free 8pm Sapphire Lounge, Kings Cross
Cream Resident DJs free 8pm The World Bar, Kings Cross The Wall Kombat vs. Who Am I, DJFLO (USA), Deckhead, Brothers Grimm, Mindquad, Heke, Tigerbear $5 8pm
THURSDAY NOVEMBER 22 Annandale Hotel Tuka, Rapaport, Tenth Dan, Grub $10 8pm The Cool Room, The Australian Brewery, Rouse Hill We Love Thursdays Jay (UK), DJ Koffee, OMG, Troy T, DJ Big Will $10 8pm The Factory Theatre, Marrickville Brother Ali (USA), Sean Price (USA) $50 (+ bf) 8pm Goodgod Front Bar, Sydney Hi-Beams Resident DJs free 8pm Greenwood Hotel, North Sydney
The Abercrombie, Broadway Totally Barry Bad Barry DJs free 9pm Beach Road Hotel, Bondi DJ Playmate, DJ Georgia free 8pm Candys Apartment, Kings Cross Clash M9, Aero, Towers, Digital T, Liquid Noise, Double Dunk Disco, Dirty Little Secrets 9pm Chinese Laundry, Sydney Bass Mafia Leah Mencel, Kyro & Bomber, Kid Sample, Cheap Lettus, Day Trip, Victims, Modest, Big Deal Gillespe $15-$25 10pm FBi Social @ Kings Cross Hotel DJ Tom Loud free 11.59pm Goodgod Front Bar, Sydney Yo Grito! Yo Grito! DJs free 9pm Goodgod Small Club, Sydney SlowBlow 3rd Birthday Matias Aguayo (CHI), Slow-Blow, Softwar $20 (+ bf) 10pm Home Nightclub, Darling Harbour Home Fridays Peewee Ferris, MC Suga Shane 9pm Ivy Pool Club, Sydney Moonshine Lancelot, Alley Oop, Shivers, Magic Happens 9pm Kit & Kaboodle, Kings Cross KK Fridays Resident DJs 9pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm Oatley Hotel We Love Oatley Hotel Fridays DJ Tone free 8pm Omega Lounge, City Tattersalls Club, Sydney Unwind Fridays DJ Greg Summerfield free 5.30pm One22, Sydney Double Up? Severity Zero, Bionic, FKNA, Kleva 1, Billy Green, MC Antic $10 9pm Oxford Art Factory, Darlinghurst Hold Tight! Floating Points (UK), Alexander Nut (UK), Fatima $40 (+ bf) 9pm Phoenix Bar, Darlinghurst Patrice Scott (USA), Magda Bytnerowicz, Matt Costain $25 10pm Secret Warehouse, Sydney Hole In The Sky Warehouse Happening Canyons, Bamboo Muzik, Noise In My Head, Steele Bonus, Michael Ozone $20 10pm Space Nightclub, Sydney Zaia Resident DJs 9.45pm The Spice Cellar, Sydney Melbourne Deepcast Label Night Andy Hart, Myles Mac, Pink Lloyd, Dreamcatcher $10 10pm The World Bar, Kings Cross MUM The New Brutalists, Little Casino, The Carroways, Colonies, The Chorus Girls, The Desolations, Nothing
Rhymes With David, Swim Team, Wolfgang, Cries Wolf, Smithers, Finlay, 10th Avenue, Nickles $10-$15 8pm
SATURDAY NOVEMBER 24
SUNDAY JUNE 24
Beach Road Hotel, Bondi The Faders free 8pm Burdekin Hotel, Darlinghurst EK Volume 003 Charlie Chux, Jeremiah, H.I.T.A free 10pm Candys Apartment, Kings Cross Ritual Sherlock Bones, Bloodbath Bob, Stalker, Matty Bixx, Distruction, Grizzly, Thick As Thieves, Ellie Piper, Zuri Academy 9pm Cargo Bar, King St Wharf Kick On Resident DJs free 6pm Chinese Laundry, Sydney Stereosonic After Party Flux Pavillion (UK), Krewella (USA), Duke Dumont (UK), A-Tonez, Adam Zae & Autoclaws, Devola, DJ Moto, King Lee, Sydney Be Heard DJs, LA Tech, Animal Jeans $15-$30 9pm Club 77, Darlinghurst Starfuckers UV Rave Starfuckers DJs 10pm Establishment, Sydney Sienna Saturdays Resident DJs 8pm Goldfish, Kings Cross Radio Slave (UK) $20 (+ bf) 6pm Goodgod Small Club, Sydney DJ Madd (UK), Garage Pressure, Boot, Commit $25 11.59pm Home Nightclub, Darling Harbour Homemade Saturdays Resident DJs $20 9pm The Island, Sydney Harbour Never Mind The Balearics! Simon Caldwell, Edseven, Joe Stanley, Pete Dot, Innerwestsoul, Funktion One Sound $75 (+ bf) 2pm Ivy, Sydney Pacha Opening Party Laidback Luke (NED), Martin Solveig (FRA), Matt Caseli, Mo Funk, Nina Las Vegas, Minx, Devola, Magic Happens, Pat Ward, Sam Roberts YokoO, Cassette, Marc Jarvin, Murray Lake $50 10pm Kit & Kaboodle, Kings Cross Kitty Kitty Bang Bang Resident DJs 9pm Manning Bar, University of Sydney, Camperdown Eskmo (USA), Tipper (UK) $35 (+ bf) 9pm Marrickville Bowling Club Tim Sweeney (USA), Dean Dixon, Dave Fernandes $30 (+ bf) 10pm Metro Theatre, Sydney Land Of The Giants Tycho (USA), Baths (USA), Prefuse 73 (USA), Synkro (UK), Thomas William, Astral DJs $54.70 7pm Nevada Lounge, Darlinghurst DJ Hayden free 6pm One22, Sydney Subsonic Festival Pre-Party Ryan Davis (GER), MSG, Dylan Griffin, Dave Stuart, Young JAse $25 10pm Phoneix Bar, Darlinghurst Up Dayclub Resident DJs $15 5am Rooftop Location, Alexandria A Quiet Night In DJ Pierre (USA), Eric Powel, Karl Prinzen $65 3pm Sapphire Lounge, Kings Cross The Suite Resident DJs 8pm Space Nightclub, Sydney Masif Saturdays Resident DJs 10pm The Spice Cellar, Sydney Raimund Imo, Murat Kilic, Robbie Lowe, Carlos Zarate, Nic Scali $20 10pm The Standard, Surry Hills Hopsin (USA) $55 (+ bf) 8pm
Sydney Olympic Park Stereosonic 2012 Tiësto (NED), Avicii (SWE), Calvin Harris (UK), Example (UK), Carl Cox (UK), Major Lazer (USA), Laidback Luke (NED), Martin Solveig (FRA), Dash Berlin (NED), Markus Schulz (GER), Diplo (USA), Loco Dice (GER), Sander van Doorn (NED), Infected Mushroom (Israel), Flux Pavilion (UK), Mr. Oizo (FRA), Porter Robinson (USA), Chuckie (NED), Bassnectar (USA), JFK MSTRKRFT (CAN), Excision (CAN), Adam Beyer (SWE), Aly & Fila (Egypt), Caspa (UK), Datsik (CAN), Joris Voorn (NED), Bingo Players (NED), Tommy Trash, Simon Patterson (UK), Gesaffelstein (BEL), Ørjan Nilsen (NOR), Dillon Francis (USA), Foreign Beggars (UK), Bart B More (NED), Zedd (RUS), Brodinski (RUS), Krewella (USA), Nina Kraviz (RUS), Van She, Alvin Risk, Destructo (USA), MaRLo (NED), Club Cheval, Treasure Fingers (USA), French Fries (FRA), Beni, Duke Dumont (UK), Mickey, Kaz James, Feenixpawl, Acid Jacks, MC Stretch, MC Gunner, A-tonez, Alley Oop, Amber Savage, Anomie, Ben Morris and MC Losty, Binary Finary, Cassette, DJ Vinh, Doctor Werewolf, Elly K, Ember, Eric Powell, Fake Bratpack, Future Classic DJs, Generik, Glove Cats, Go Freek, Helena, HDA, Jack Bailey, Jono Fernandez, Kyro & Bomber, Leah Mencel, Matrix Vs Scotty G, Matt Ferreira, Minx, Motorik Vibe Council, Murat Kilic, NatNoiz, Nick Arbor & Thomas Knight, Nina Las Vegas, Nukewood, Peking Duk, Phetsta, PIXL, Pow! Pow!, Starfuckers, Step Brothers, Swiss Dub vs Filth Collins, The Mane Thing, Tom Piper, Vengeance, Wax Motif, What So Not sold out 12pm Tatler, Darlinghurst Gerd Janson (GER), Co-Op DJs, Kali $20 (+ bf) 10pm The Watershed Hotel, Darling Harbour Watershed Presents… Skybar Saturdays Resident DJs $20 9pm The World Bar, Kings Cross Cakes Generik, Kato, Natnoiz, Tigerlily, Deckhead, Astrix Little, Bentley, Brown Bear, Oakes & Lennox, Valentine, Thomas Lissé, Amy Lee, Dimitri Adronis $15-$20 8pm
SUNDAY NOVEMBER 25
SUNDAY JUNE 24
Abercrombie Hotel, Broadway S.A.S.H Sundays Simon Caldwell, Kali, Ben Korbel, Declan Lee, Le Brond, Mike Whitcombe, James Taylor, YokoO, Gabby, Matt Weir, Kerry Wallace $10 2pm The Beresford Hotel, Surry Hills Beresford Sundays Resident DJs free 3pm Hugo’s Lounge, Kings Cross Sneaky Sundays Resident DJs 8pm Oatley Hotel Sunday Sets DJ Tone free 7pm Phoneix Bar, Darlinghurst Up Dayclub Resident DJs $15 5am Q Bar, Darlinghurst Daydreams Daydreams DJs 4.30am The Spice Cellar, Sydney Spice After Hours Robbie Lowe, Murat Kilic $20 4am The World Bar, Kings Cross Soup Kitchen Cotelette, Carlos Gozalez, Animal Jeans, Soup Kitchen DJs free 7pm
club picks
Deep Impressions Underground Dance And Electronica with Chris Honnery
up all night out all week...
Cassy Canyons, Bamboo Muzik, Noise In My Head, Steele Bonus, Michael Ozone $20 10pm The Spice Cellar, Sydney Melbourne Deepcast Label Night Andy Hart, Myles Mac, Pink Lloyd, Dreamcatcher $10 10pm
SATURDAY NOVEMBER 24
Brother Ali
WEDNESDAY NOVEMBER 21 Beach Road Hotel, Bondi Housse de Racket (FRA), Sosueme DJs free 8pm The Marquee, The Star, Pyrmont Assembly Wednesdays – Movember Event Fear Of Dawn, Wolfpack 8pm
THURSDAY NOVEMBER 22 Annandale Hotel Tuka, Rapaport, 10th Dan, Grub $10 8pm The Factory Theatre, Marrickville Brother Ali (USA), Sean Price (USA) $50 (+ bf) 8pm The World Bar, Kings Cross Propaganda Tom Ballard, Jake Stone, Propaganda DJs $5 9pm
FRIDAY NOVEMBER 23 Chinese Laundry, Sydney Bass Mafia Leah Mencel, Kyro & Bomber, Kid Sample, Cheap Lettus, Day Trip, Victims, Modest, Big Deal Gillespie $15-$25 10pm
Sydney Olympic Park Stereosonic 2012 Tiësto (NED), Avicii (SWE), Calvin Harris (UK), Example (UK), Carl Cox (UK), Major Lazer (USA), Laidback Luke (NED), Martin Solveig (FRA), Dash Berlin (NED), Markus Schulz (GER), Diplo (USA), Loco Dice (GER), Sander van Doorn (NED), Infected Mushroom (Israel), Flux Pavilion (UK), Mr. Oizo (FRA), Porter Robinson (USA), Chuckie (NED), Bassnectar (USA), JFK MSTRKRFT (CAN), Excision (CAN), Adam Beyer (SWE), Aly & Fila (Egypt), Caspa (UK), Datsik (CAN), Joris Voorn (NED), Bingo Players (NED), Tommy Trash, Simon Patterson (UK), Gesaffelstein (BEL), Ørjan Nilsen (NOR), Dillon Francis (USA), Foreign Beggars (UK), Bart B More (NED), Zedd (RUS), Brodinski (RUS), Krewella (USA), Nina Kraviz (RUS), Van She, A-tonez, Alley Oop, Amber Savage, Anomie, Ben Morris and MC Losty, Murat Kilic, Cassette, Nina Las Vegas, The Mane ThingWax Motif, What So Not and more sold out 12pm Chinese Laundry, Sydney Stereosonic After Party Flux Pavilion (UK), Krewella (USA), Duke Dumont (UK), A-Tonez, Adam Zae & Autoclaws, Devola, DJ Moto, King Lee, Sydney Be Heard DJs, LA Tech, Animal Jeans $15-$30 9pm Goldfish, Kings Cross Radio Slave (UK) $20 (+ bf) 6pm Ivy, Sydney Pacha Opening Party Laidback Luke (NED), Martin Solveig (FRA), Matt Caseli, Mo Funk, Nina Las Vegas, Minx, Devola, Magic Happens, Pat Ward, Sam Roberts YokoO, Cassette, Marc Jarvin, Murray Lake $40 10pm Marrickville Bowling Club Tim Sweeney (USA), Dean Dixon, Dave Fernandes $30 (+ bf) 7pm Rooftop Location, Alexandria A Quiet Night In DJ Pierre (USA), Eric Powel, Karl Prinzen $65 (+ bf) 3pm
Goodgod Small Club, Sydney SlowBlow 3rd Birthday Matias Aguayo (CHI), Slow-Blow, Softwar $20 (+ bf) 10pm
Tatlers, Darlinghurst Gerd Janson (GER), Co-Op DJs, Kali $20 (+ bf) 10pm
Oxford Art Factory, Darlinghurst Hold Tight! Floating Points (UK), Alexander Nut (UK), Fatima $40 (+ bf) 9pm
SUNDAY NOVEMBER 25
Phoenix Bar, Darlinghurst Patrice Scott (USA), Magda Bytnerowicz, Matt Costain $20 (+ bf) 10pm Secret Warehouse, Sydney Hole In The Sky Warehouse Happening
Abercrombie Hotel, Broadway S.A.S.H Sundays Simon Caldwell, Kali, Ben Korbel, Declan Lee, Le Brond, Mike Whitcombe, James Taylor, YokoO, Gabby, Matt Weir, Kerry Wallace $10 2pm Major Lazer
T
he mythical Thomas Franzmann, aka Zip, the granddaddy of Perlon Records, has mixed the forthcoming Fabric 67 – and it’s a ripper. As co-owner of Perlon along with Markus Nikolai, Zip has presided over a label that veers between eccentric microhouse and experimental sounds that you can only get away with playing to the most open-minded of folk. He’s also established a roster that boasts names bandied about by the cognoscenti – I’m talkin’ Ricardo Villalobos, STL, Shackleton, Baby Ford, Sammy Dee (Franzmann’s regular production partner in Pantytec) and San Proper – and has a fabled reputation for his DJ sets in his hometown of Berlin, curating the monthly Get Perlonized showcase at Berlin’s Panorama Bar. Not that Franzmann was clearly destined for his position in the club pantheon. First travelling his way as the lead singer in synth pop band, Second Voice, Franzmann released numerous EPs and two albums on Hyperium Records, an outfit run by renowned producer/ex-Yello member Carlos Perón, before joining the Frankfurtbased EBM project, Bigod 20, again as a singer, in 1992. It was after the band ended that Franzmann and his old bandmate, Markus Nikolai, began to pioneer a more club-ready project called Loraine Comfort, that would eventually lead to the pair founding Perlon. The rest is a blur amid the sweaty kinetics and ephemeral pleasures of nightclub dancefloors, as Franzmann has honed – and owned – a unique sound that has been described as “weirdly beautiful”. And it is, even though that’s but one of many effusions one could use to describe the Zip sound. Zip’s entry into the Fabric mix spans 17 tracks and features cuts from DJ QU, Melchior Productions, Terrence Dixon, Kenny Larkin and Vakula, who is touring Australia next year. “I did the mix with two record players, two CD players and my favourite mixer,” Franzmann revealed. “I was alone in my studio and it felt just like it did when I was doing a mixtape ages ago. Only this one comes with slightly more pressure.” Mr Matt Edwards, better known as Radio Slave, will headline Goldfish in King’s Cross this Saturday. While the Rekids label boss is recognised for his output across a range of monikers, including The Machine and Quite Village alongside Joel Martin, his work as Radio Slave is generally crafted with the darkest crevasses of the dancefloor firmly in mind. (Listen to the Radio Slave remix of Minilogue’s ‘Space’ as a reference point.) Edwards’ productions as Radio Slave are robust, slow-burning techno epics, fusing subtle rave and Detroit influences with a template that is all about an ongoing exploration of repetition and subtle grooves. The recipe works damn well, whether working around the vocal ramblings of the techno dilettante P Diddy – see his epic, 37-minute refashioning of ‘The DJ’ – or his deep and jacking take on M.A.N.D.E.A.R’s facetious cut ‘Buddies’. UK stalwart Kirk Degiorgio, who played in Sydney earlier this year, has revealed that he has been assisting behind the scenes producing Cassy’s debut album, which will be released next year on Carl Craig’s Planet E label. The English-born Cassy, aka Catherine Britton, has established
LOOKING DEEPER Patrice Scott
FRIDAY NOVEMBER 23 Matias Aguayo Goodgod Small Club Patrice Scott Phoenix Bar
SATURDAY NOVEMBER 24 Radio Slave Goldfish
FRIDAY JANUARY 25 Andrés Venue TBA
herself as a world-regarded DJ over the past decade, through her residency at Panorama Bar and regular gigs for Cocoon and at legendary Ibiza day club DC10 (before its music ethos gave way like a soufflé to the commercial pressures exerted by mediocre hipster DJ poseurs like Soul Clap. But that’s another rant entirely...) Cassy’s productions have pushed a vocaldriven style of minimalist deep house via releases on Perlon and her own self-titled imprint, while her DJ prowess has been captured on her compilations Simply Devotion and the inaugural instalment of the Panorama Bar mix series. And that’s not to mention Cassy’s collaborations with Villalobos, Luciano and Mathew Jonson. “Expect a meticulously crafted album with a state of the art sound, with some surprising cover versions and Cassy-written originals,” Degiorgio divulged in relation to Cassy’s debut LP. Cassy is also regarded as an extremely affable and intelligent lady, an impression that comes across in her interviews. Take her comments in relation to chauvinism in the nightclub industry, for instance: “I do my best to not be a woman DJ and just a woman,” she elucidates. “Even if it’s extremely annoying sometimes having to deal with latent misogynism and chauvinism ... it occurs time and again. But in the end it’s the men’s shortcoming… Their loss, not mine.” Here here! And now to hit the clubs for some serious bumpin’ and grindin’ with some chicks who don’t know any better. What?
Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com BRAG :: 489 :: 19:11:12 :: 43
snap
andy webb
PICS :: TL
propaganda
PICS :: DM
up all night out all week . . .
09:11:12 :: The Spice Cellar :: 58 Elizabeth St Sydney 9223 5585
08:11:12 :: World Bar :: 24 Bayswater Rd Kings Cross 9357 7700
s.a.s.h movember fundraiser Who’s spinning? Simon Caldwell, Kali, Ben Korbel, Declan Lee, Le Brond, Mike Whitcombe, James Taylor, YokoO, Gabby, Murray Lake, Steven Walsh, Garth Linton, Matt Weir and Kerry Wallace. Three songs you’ll hear on the night: ‘Slam Dat’ – Phonogenic & Sasse; ‘411 (Sante remix)’ – Ron Tapia; ‘Infinite Future’ – Aaron Ross. And one you definitely won’t: ‘Gangnam Style’. Sell it to us: Pure Movember fundraising fun, with over 12 of Sydney’s finest playing for free – some of who have directly been affected by cancer – and 300 people wearing moustaches ($5 of your entry fee is donated to cancer research if you’re sporting a mo – plus a percentage of both the S.A.S.H door and the Abercrombie's bar takings will also be donated). If cancer – prostate or any other – has affected your life, then today’s the day to come down, make a donation, put on your moustache and be a part of the S.A.S.H Movember Fundraiser! The bit we’ll remember in the AM: You won’t have left yet. Crowd specs: 250-350 champions. Wallet damage: $10 (includes a $5 donation if you’re sporting a mo!) Where: The Abercrombie Hotel, Cnr. Broadway & Abercrombie St When: Sunday Movember 25, from 2-11pm
pelvis
PICS :: AM
doctor werewolf 09:11:12 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587 44 :: BRAG :: 489 :: 19:11:12
PICS :: AM
party profile
It’s called: S.A.S.H Movember Fundraiser It sounds like: Awesome.
09:11:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 LEY CHO) :: KATRINA CLARKE :: ASH
S : TIM LEVY (HEAD HON OUR LOVELY PHOTOGRAPHER XAVIER :: MAR :: DANIEL MUNNS :: PEDRO
H.O.S.H TIGER & WOODS DIYNAMIC, DE
SOFT WAR FUTURE CLASSIC
ITA
SLOWBLOW MODULAR
MURAT KILIC SPICE
NEW YEARS MORNING SUNRISE CRUISE 4AM-10AM ( BOARDING 3:30AM )
TUES 01.01.13 : RECKLESSREPUBLIC.COM BRAG :: 489 :: 19:11:12 :: 45
snap
thundamentals
PICS :: PX
up all night out all week . . .
pacha sydney launch party profile
It’s called: Pacha Sydney launch party at The Ivy It sounds like: Your youthful expectations, the sultry sands of Ibiza… all somehow captured on vinyl. Who’s spinning? Martin Solveig, Laidback Luke, Nina Las Vegas, Matt Caseli, Mo’funk, and a swathe of local supports. Three songs you’ll hear on the night: ‘Don’t You Worry Child’ – Swedish House Mafia; ‘The Night Out’ – Martin Solveig; ‘Benediction’ – Hot Natured. And one you definitely won’t: Anything Justin Bieber. Sell it to us: Much more than a traditional night club, Pacha Sydney will be a mad burlesque of circus, dance and sensory overload; a wicked romp through the dark alleys of the imagination. Expect the unexpected, and to see the unimaginable come to life. The bit we’ll remember in the AM: That angel-creature you met in the PM… Crowd specs: Over 5000 revellers. Wallet damage: $30 pre-sale Where: The Ivy / 320 George Street, Sydney When: Saturday 24 November, from 10pm
egbert & luis junior
PICS :: AM
09:11:12 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711
10:11:12 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999
inner west
SOCIAL PHOTOGRAPHERS WANTED Can you take photos? Love the Inner West? Join The Brag!!!
10:11:12 :: Goldfish :: 111 Darlinghurst Rd Potts Point 8354 6630 :: KATRINA CLARKE :: ASHLEY S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER XAVIER :: MAR :: DANIEL MUNNS :: PEDRO
46 :: BRAG :: 489 :: 19:11:12
You MUST: ■ Be available most evenings ■ Own camera & gear ■ Have a car ■ Be over 18 years of age (we’ll check!) Please send your application to: timphotodoco@gmail.com
Photo by Sam Whiteside
yousef
PICS :: KC
We are after one more dedicated, keen and reliable social photographer to join the team and help us capture the essence of the Sydney’s Inner West on our Snap pages.
PERKSOFAWALLFLOWER.COM.AU
Mature themes, drug use, sexual references and coarse language
ADVANCE SCREENINGS THIS FRIDAY, SATURDAY & SUNDAY
IN CINEMAS NOVEMBER 29