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rock music news welcome to the frontline: what’s goin’ on around town...with Blake Gallagher and Nick Jarvis

speed date WITH

BEDE KENNEDY OF CASTLECOMER play. Although, if we had to marry the perfect band combo we would get the enthusiasm of the Vampire Weekend rhythm section with the skills of the piano/drummer guy in Half Moon Run and the songwriting abilities of Paul Simon…or the girls from Haim or The Staves – they’re well lovely.

Keeping Busy?

We’ve been working hard on preparations for the release of our second EP Lone Survivor, which is out on July 12. We also did an east coast backyard tour for the release of the first single ‘Rosie’, which sold out (very surprising!), and we’ll be touring nationally for the release of the EP in August and September. We’ve been doing some home demo recordings of some really new songs recently too, which is exciting.

Best Gig Ever?

Our debut EP launch in March last year.

We booked The Gaelic in Surry Hills, which had a capacity of 600. We would have been over the moon if 250 people turned up, but we ended up selling it out and the atmosphere was unbelievable. And a fun fact is that we were actually the last live music act ever to play on that stage before it became whatever it is now (not actually sure what it is now, haven’t been back).

2.

3.

1.

What Do You Look For In A Band?

We try to play music that people can get involved in rather than just listen to, and we really enjoy that crowd interaction when we

play, to see those in the audience enjoying it just as much as we are. We’d like fans to leave our live show and feel like they’ve had an experience, rather than just have seen us

ART DIRECTOR: Sarah Bryant GRAPHIC DESIGN: Alan Parry SENIOR PHOTOGRAPHER: Tim Levy SNAP PHOTOGRAPHERS: About LST Night AKA Lincoln Jubb, Capital H AKA Henry Leung, Katrina Clarke, Ashley Mar ADVERTISING: Kylie Finlay - 0412 008 363 / (02) 9212 4322 kylie@thebrag.com ADVERTISING: Les White - 0405 581 125 / (02) 9212 4322 les@thebrag.com PUBLISHER: Rob Furst GENERAL MANAGER, FURST MEDIA: Patrick Carr patrick@furstmedia.com.au, (03) 9428 3600, 0402 821 122 DIGITAL DIRECTOR/ADVERTISING: Kris Furst kris@furstmedia.com.au (03) 9428 3600 GIG & CLUB GUIDE CO-ORDINATOR: Blake Gallagher, Charli Hutchison - gigguide@ thebrag.com (rock) clubguide@thebrag.com (dance, hip hop & parties) AWESOME INTERNS: Natalie Amat, Mina Kitsos, Blake Gallagher, Rachel Eddie, Therese Watson, Charli Hutchison REGULAR CONTRIBUTORS: Nat Amat, Shannon Connellan, Katie Davern, Marissa Demetriou, Christie Eliezer, Chris Honnery, Lachlan Kanoniuk, Jody Macgregor, Alicia Malone, Chris Martin, Hugh Robertson, Jonno Seidler, Rach Seneviratne, Simon Topper, Rick Warner, Krissi Weiss, David Wild Please send mail NOT ACCOUNTS direct to this NEW address 100 Albion Street, Surry Hills NSW 2010 ph - (02) 9212 4322 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: Luke Forrester: 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).

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see he’s backing up with more of the goods.

In terms of live acts, we played with Ball Park Music a few months ago, and they were incredible.

Your Ultimate Rider?

Our keys player Neely has the tendency to overheat, so we’d have an industrial size fan on the list. Our bass-man Joe would have the entire Wests Tigers team in the Green Room post-gig (purely for sports-chat, no weird fetishes here, man). Pat the drummer just likes girls and mayonnaise, although not together. Tom the guitarist would order ten years worth of strings and picks, because his pockets don’t have bottoms…none of them.

And Bede the singer would just like a club sandwich and the Karate Kid box set on the TV. Our Keith Moon coke addictions haven’t started yet, but talk to us in a few years and things might be different.

5.

Where: Oxford Art Factory When: Thursday August 1 And: Lone Survivor EP out now through Green Distribution

Bliss N Eso

FAT AS BUTTER

EDITOR: Nick Jarvis nick@thebrag.com 02 9212 4322 ARTS EDITOR: Lisa Omagari lisa@thebrag.com 02 9212 4322 STAFF WRITERS: Benjamin Cooper, Alasdair Duncan, Jody Macgregor, Krissi Weiss NEWS: Blake Gallagher, Nick Jarvis, Chris Honnery

Current Playlist?

In Australia, we’re loving Matt Corby’s 4. new song ‘Resolution’, it’s class. Really glad to

Are you ready for the unhealthily overweight first lineup announcement for Newcastle festival Fat As Butter?

Open wide, here goes… There’ll be rap-rock stars Gym Class Heroes, local champs Bliss N Eso, folksters Boy & Bear and Matt Corby, EDM posterboy Porter Robinson and German tastemakers Digitalism and Booka Shade (DJ sets), plus Mickey Avalon, Bombs Away, British India, The Aston Shuffle DJs, Cosmo Jarvis, Owl Eyes, Gold Fields DJs, Spit Syndicate, The Holidays, Peking Duk, The M–Machine, Dialectrix, Battleships, and Willow Beats. All in all, a well rounded diet of local and international indie, hip hop and dance, and that’s only the first announcement.

It all kicks off on the Newcastle Foreshore with camping from Saturday October 26 – tickets on sale now at fatasbutter.com.au.

THE DRONES TOUR

Australia’s finest purveyors of fire and brimstone rock’n’roll (and abrasive Aussie accents) The Drones are back with a new single ‘A Moat You Can Stand In’ and a tour around Australia and NZ this September. Catch them locally at The Metro on Saturday September 28 with guests Harmony – tickets through Ticketek.

Plead with vocalists Guerre and Marcus Whale of Collarbones), who’ll be launching their new mixtape (“diva house”, reportedly), bedroomavant-pop act Major Napier, bona fide surf-

pysch-rock band East Coast, Sydney slackers King Tears Mortuary and B Deep, who dabbles in “straight hip hop beats, goth, new wave, Thai disco and whatever else he feels like.” Tasty.

The Preatures

THE GROWL

Here’s another incestuous link in the Perth band scene – Cameron Avery, who drums for Pond (which is pretty much Tame Impala without Kevin Parker) has his own band The Growl, who deal in heavy blues, gravelly baritone, double bass and harmonica. They’re coming off the back of a stellar year in the States, where they were one of the most added artists in the College Radio charts, and are preparing to drop their debut LP What Would Christ Do? on Friday August 16. You can also catch them at Goodgod on Wednesday September 4 with Peter Bibby & His Bottles of Confidence and Melodie Nelson.

MAJOR LEAGUES

Brisbanite fans of surf-pop, The Breeders and feedback fuzz, Major Leagues, are headed our way for two dates: supporting Bloods at their EP launch at Brighton Up Bar on Friday August 16; and at the Upstairs Beresford the next night, Saturday August 17. Go listen to their lovely garage-surf single ‘Endless Drain’ in preparation.

SKYDREAMS THIRD BIRTHDAY

The team at music blog Skydreams and their impeccable tastebuds have been documenting quality local sounds for three years now, so to celebrate they’re throwing a party at Goodgod on Thursday August 8 with some interesting talent on the bill – Black Vanilla (AKA producer

THE PREATURES TOUR

With the shimmying new wave glory of lead-off single ‘Is This How You Feel?’ still doing the regular rounds of our playlists, it’s safe to say we’re pretty damn excited to hear the rest of The Preatures’ new EP, which is dropping on Friday August 9 under the same title as the single. You can also catch them live for probably the last time before they head for the Northern Hemisphere, when they play Oxford Art Factory on Friday September 6 – tickets via Moshtix.

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rock music news

free stuff

welcome to the frontline: what’s goin’ on around town...with Blake Gallagher and Nick Jarvis

email: freestuff@thebrag.com

speed date WITH

Villagers

ANNIE HAMILTON OF LITTLE MAY Best Gig Ever My favourite gig that we’ve played so far 3. would definitely be the Secret Garden Festival.

It’s such a magical festival and we had so much fun on and off stage. We were the opening band and it was awesome watching the crowd pour in and start exploring the festival as we were playing. That said, we’ve played a lot of pretty dodgy gigs. Once we played a gig in the back kitchen area of a pub in a tiny space about one metre squared. Liz was standing behind a giant pole, the sound cut out half way through and our audience comprised of two babies in prams and their mums.

Current Playlist At the moment I’m listening to a lot of 4.

Big Scary, Vance Joy and Tim Fitz, while also

What Do You Look For in a Band?

Lots of harmonies and lots of subtle 1. layers. I also think that less is more most of the time (I sound like my high school art teacher right now). It can be tempting to get carried away trying to write really complicated music but a lot of the time the simplest thing can sound the best.

2.

Keeping Busy Over summer we were playing heaps of gigs just trying to get comfortable on stage,

but for the last few months we’ve pretty much stopped gigging to record our debut EP, which has been pretty exciting. Our sound has actually changed quite a bit in the recording process as we’ve been able to experiment with percussion and different instrumentation and things, and we’re now playing with a full band to replicate the sound of the recordings, whereas we used to perform with just acoustic guitars and a stomp box. I think at this stage we’re all itching to release the rest of the EP so that’s what’s coming in the next few months!

counting down the days until the new Cloud Control album is released! When I find a song or album I love I tend to just listen to it on repeat for weeks on end. The other day I listened to ‘Handmade’ by alt-J for an entire three hour drive…just the one song, on repeat.

I’m somehow not sick of it (yet) though!

Your Ultimate Rider Hmm, I’m going to have to say Tim Tams 5. and mulled wine. Wintery treats! Yum. What: ‘Boardwalks’ single launch at The Vanguard When: Thursday August 8

SURES Dirt Farmer

Ivy League protégés Sures impressed with their five-track EP of last year Stars, showing fine chops for polished, dreamy slacker rock – and soon they’ll be back with a follow-up EP. But in the meantime you can check out their classy new single ‘Waste’ on Soundcloud and see them live with Glass Towers at The Standard on Friday August 16.

FBI SOCIAL

There’s an impressive lineup of events this week courtesy of FBi Social at the Kings Cross Hotel. This Wednesday’s Lunchbreak session sees Sydneysider Alex Ward – AKA Moon Holiday – playing tracks from her 2011 debut EP as well as her forthcoming sophomore release.

Kira Puru & the Bruise and Post Paint release their collaborative split single ‘Crest of the Wave’ Thursday night, supported by folk troubadour Jack Colwell & The Owls. Perth duo Water Graves bring their distinctive brand of ambient pop on Friday night, while homegrown electrorock band Super Massive launch new single ‘In the Twilight…’ Saturday night.

VILLAGERS

Irish quintet Villagers return to Australian shores this month in their full five-piece format. Having just released second album {Awayland} and currently in the country for Splendour in the Grass, songwriter Conor O’Brien and bandmates will bring their brand of indie-folk to Sydney’s Factory Theatre this Thursday August 1. We’ve got two double passes to the show to give away – to win, just email freestuff@thebrag.com with your name and tell us what wild animal O’Brien and co. became on their 2010 debut album.

UPSTAIRS BERESFORD

Another exciting pair of shows this weekend at Upstairs Beresford. Local funk/ soul improv group Fat Rabbit bring their distinctive sound Friday August 2, with support from Cashew Chemist, Kyle Taylor, Billy Rogers and DJ S.Kobar. Arctic Seven will make an appearance the following night on Saturday August 3, alongside local buzz band Gang of Youths as well as KLP and DJ Kristy Lee.

MELBOURNE SKA ORCHESTRA

Melbourne Ska Orchestra return to Sydney this November. Following packed-out appearances by the 30-piece ensemble earlier in the year in support of their self-titled debut album, the group are hitting the road again to celebrate forthcoming single ‘The Diplomat’.

Showcasing their engaging, energetic live show, the tour kicks off in September and culminates in a show at the Factory Theatre on Saturday November 9.

The Choc Tops

DIRT FARMER

Slacker pop outfit Dirt Farmer will be hitting the road this August in support of latest single ‘She Shakes’. The Albury-Wodonga natives have gone from strength to strength since relocating to Melbourne, releasing their Delilah Lightning EP – which ‘She Shakes’ is taken from – earlier this year. The band will stop off in Sydney for one night as part of the tour, playing Brighton Up Bar on Thursday August 22.

ISOTONIC AT BEACH ROAD

Beach Road are running the game in free midweek tunes for the Eastern Suburbs, with Sosueme bringing the party every Wednesday, and now new live music night Isotonic launching on Thursdays. It kicks off this Thursday August 1 with the indie-pop sounds

of Tin Sparrow, the rootsy rock of OXBLVD and the raw garage of The Guppies (plus they’ll give you a free Captain Morgan’s if you’re one of the first 100 through the door). So don’t ruin yourself on Wednesday August 31, when Clubfeet play Sosueme, with Louis London and the Falcona DJs in support.

Television

TELEVISION

Influential post-punk four-piece Television have announced a pair of headline dates as part of their maiden Australian voyage come October. Previously announced as part of ATP’s ‘Release the Bats’ festival, the celebrated art rockers will perform seminal debut album Marquee Moon along with a slew of other favourites from their back catalogue. The band play Sydney’s Enmore Theatre on Wednesday October 30.

8 :: BRAG :: 523 :: 29:07:13

THE CHOP TOPS

Santa Cruz’s rockabilly renegades The Chop Tops are bringing their Brylcreem and sideburns to Sydney for one show only, with Coop DeVille and The Missing Link (playing the tunes of 50s instrumental guitar legend Link Wray). Catch them at the Factory Theatre on Saturday August 3 – tickets on sale now through the venue website.

BRAG :: 523 :: 29:07:13 :: 9

Industrial Strength Music Industry News with Christie Eliezer

MODULAR SETS UP MUSIQUE AGENCY

will be held from 2pm on Monday December 30 to 2pm Wednesday January 1. The picturesque site, 90 minutes out of Melbourne, will unveil its bill on August 11. The promoters have been running the invite-only Hills Are Alive festival for the past five years, and which draws 1200 patrons. The first NYE On The Hill will be capped at 1500.

Stephen Pavlovic’s multi-divisional company Modular has launched talent and booking agency The Musique Agency. It will be run by agents Paul Stix (stix@themusiqueagency. com), formerly of Modular Agency, and Martin Doyle (martin@themusiqueagency. com), ex-Magic Cactus. Pavlovic said, “This is a particularly exciting time for Australian music. There is a wealth of exciting talent coming through. Working at the forefront of the electronic and contemporary music scene, The Musique Agency will be representing the booking and domestic strategies of a number of artists both established and emerging.”

Musique’s roster includes The Avalanches, Van She, Van She Tech, Bag Raiders, Canyons, The Laurels, Super Wild Horses, Club Mod DJs, Standish/Carlyon, wordlife, Ariane, Donny Benet, EGO, Holy Balm, Jonathan Boulet, Lancelot, Luke Million, Movement, Otologic, Roland Tings, Slow Blow, Softwar, Straight Arrows and 100 Million Nights.

WOODFORD GAINS MAJOR FESTIVAL STATUS

Two of Queensland’s biggest music festivals, the Gympie Music Muster and Woodford Folk Festival, have been granted Major Events status by Tourism and Events Queensland (TEQ). Minister for Tourism and Major Events Jann Stuckey said, “The State Government, through TEQ, recognises these events play an important role in driving economic and social benefits to their regions, helping to attract visitors and showcase the State.”

Both festivals – the Muster has lasted for 31 years, and Woodford Folk launched in 1987 – attract patrons from around the world. TEQ is supporting 40 major events in 2013 as part of the Government’s goal to double annual overnight visitor expenditure from $15 billion to $30 billion by 2020.

NEW WARNER WEBSITE

Warner Music Australia has launched a new website at warnermusic.com.au in which subscribers can access the latest news, social updates, videos and tour dates, and have the chance to win prizes. The one-shop stop covers indie, pop culture, heavy, cult “and all things twisted,” as well as being the place to “rediscover iconic songs, classic albums and the legends of music.”

STEREOSONIC ISSUES TICKET WARNING

Stereosonic warns patrons about buying tickets via Gumtree, eBay and related websites. In a statement it said, “There are a number of fake tickets available already on Gumtree and we suggest buying tickets via our official Ticketmaster Page: ticketmaster.com. au/Stereosonic or via our registered industry sellers.” It stages November and December.

ANOTHER WOLFMOTHER DEPARTURE

The current lineup of the Andrew Stockdale/ Wolfmother group has lost yet another member. A month after the departure of ex-The Vines drummer Hamish Rosser, Elliott Hammond has also left. Hammond, frontman of the band Delta Riggs, cited conflicting schedules and the “master plan being in Kazakhstan”. He is currently collaborating on a project with Angus Stone.

MUSICAL CHAIRS

NT Broadcasters sacked Mix 104.9 Darwin mornings host Mel Little after a controversy over a station competition. Up to eight of her friends and family won tickets to the Darwin Cup Carnival Ladies Day function last Wednesday. These were about $300 each.

Little, who worked as Mel Hope when she worked on radio in Albury and Launceston, told the NT News that she did not act dishonestly.

“At worst my actions could be described as naive,” she said.

NEW NYE FESTIVAL FOR VIC

Victoria gets a new three-day boutique festival to welcome in the New Year. NYE On The Hill

THEHIFI.C

Just Announced

Fri 13 Sep

Supernova U18s Fest feat.

Wasted Penquinz, Toneshifterz + More Sun 15 Sep

* Which rising singer-songwriter was so stunned when shortlisted in the best female category of the Queensland Music Awards that she actually emailed organisers QMusic to ask if there had been a mistake? * For eight years Ian Kenny has managed to keep the schedules of Birds of Tokyo and Karnivool from clashing. But this year, both have records out. He had to join the Birds in LA recently for media duties and return for Splendour. The day after Splendour, the ‘Vool begin rehearsing for their Aussie tour. * Perth is going to be one of the cities where Jermaine Jackson will set up his Jermajesty Hotels and Resorts. In March, when he toured with his siblings, he checked out the East Perth power station as a possible site. * This year saw Angry Anderson and James Blundell clamber into the political ring.

They are now joined by Alice Springs country performer Warren H Williams running for the Senate on the Greens ticket (platform: more kidney treatment and bilingual education for the indigenous community in the bush) and Melbourne’s Adrian Trajtsman (Talkshow Boy) for the Australian Sex Party in the seat of Wills.

Capitol Music Group and Insurgency Music are relaunching rap label Priority Records, Billboard reported, and Insurgency Music co-founder and electronic music veteran Michael Cohen will be its president. Priority signed up West Coast rap pioneers like N.W.A, Dr. Dre, Ice Cube, Snoop Dogg and Eazy-E. The 2013 version will be a producerdriven label focusing on electronic and progressive urban music. First signings are Just Blaze & Baauer and producer Harry Fraud and his Surf School label.

Gary Morris, long time manager and “sixth member” of Midnight Oil, has resigned. Now based in Tasmania, he operates a number of businesses.

Morris’s move came after an interview he gave to the Sydney Daily Telegraph where he revealed that in the wake of Peter Garrett’s plan to step down from politics, the band’s US agent revealed there were up to 50 festivals in America where the band could play for $US75,000 to $US200,000 per show. Morris’s statement this week emphasised that the Oils have no plans to reform or tour at this time. Morris, who shared Garrett’s strong Christian beliefs, came up with some of the Oils’ best known initiatives, including the Blackfella Whitefella tour through indigenous communities which yielded Diesel & Dust, and the ‘Sorry’ performance at the Sydney Olympics. Of the parting of ways, Garrett said, “We truly did accomplish amazing and enduring things working together and we should treasure that, now and in the future.”

Universal Music has tapped Matt Voss to coordinate its global marketing of key releases, enhance all marketing systems worldwide, and oversee global marketing projects from London. Voss is currently EVP of International, East Coast Labels, based in New York. As SVP International at Island Def Jam. he worked with Kanye West, Bon Jovi, Jessie J, Rihanna, Jay Z, Nicki Minaj, The Killers, Mariah Carey, Justin Bieber and NeYo.

E HIFI 1300 THO M.AU

Rüfüs

THINGS WE HEAR

Victor Essiet & The Mandators Sat 12 Oct

Coming Soon

In a bid to expand its synch opportunities globally, Kobalt Label Services (KLS) appointed Bree Nevin as creative brand and synchronisation manager. She worked in various roles as a licensing manager, music supervisor and independent sync rep for almost a decade, for companies like Mushroom Music Publishing, Warp Records, Hyperdub Records and Sync Me.

NEW SIGNINGS AND TEAM-UPS D-Block & S-te-Fan Sat 10 Aug

Alexander Abreu

Blues & Grooves feat.

Phil Emmanuel

Fri 16 Aug

Anberlin (USA)

& Havana D’ Primera (CUB) Sat 7 Sep

Fri 6 Sep

Stratovarius (FIN) Fri 25 Oct

Spit Syndicate

Sat 2 Nov: All Ages

The Mavericks (USA) Tonight Alive Fri 23 Aug

For The Fallen Dreams (USA)

Fri 20 Sep: All Ages

Thu 5 Sept: All Ages

Regurgitator Fri 4 Oct

Hits & Pits 2.0 feat Black Flag (USA ) + The Ataris (USA) + Bad Astronaut (USA) Sun 17 Nov

ENTERTAINMENT QUARTER, BUILDING 220, 122 LANG RD, MOORE PARK, SYDNEY

10 :: BRAG :: 523 :: 29:07:13

NSW label Rice Is Nice’s latest signing is Summer Flake, the solo project of Adelaide singer-songwriter Stephanie Crase, of bands No Through Road and Batrider. Summer Flake’s debut album is titled You Can Have It All, with pop arrangements, crunchy fuzz guitar and ethereal vocals.

Gold Coast–based GOVS (AKA 21-yearold multi-instrumentalist Josiah Birrell) won the 2013 Josh Pyke Partnership.

Supported by APRA’s music grants program, he will receive $7500 cash and develop a detailed business plan thanks to mentorship from Pyke, manager Gregg Donovan (Wonderlick Entertainment) and agent Stephen Wade (Select Music). Pyke said that the 170 applications were of high quality and it was difficult to choose. “In the end we decided on an artist that had already proven to be pro-active, had a plan that had a set goal and quantifiable outcomes. They needed to show that they were already on a progression and that they had a strong vision for their art.”

Lifelines Expecting: Tim ‘Rosso’ Ross of Mix FM and his wife Michelle – their second child, in January. Ross let his two-year-old son Buggsy make the announcement on air, and then threw open the phone lines to ask listeners if the second kid should be called Sam as per Buggsy’s wishes.

Expecting: Bec Jones left 98five Sonshine FM Perth to prepare for the birth of her daughter, and is replaced in the breakfast slot by Christine Layton.

Expecting: London-based Aussie performer Peter Andre, 40, and medical student girlfriend Emily MacDonagh, 23, in early 2014.

They met through her doctor father who performed surgery on Andre three years ago.

Born: new Tasmanian mother Melissa took up on Heart 107.3’s Kim & Dave’s campaign to get listeners to name their kids Dave, on the condition that the breakfast duo fund her new kitchen.

Sick: Stereophonics frontman Kelly Jones’s respiratory infection forced them to cancel their show at Melbourne’s The Palace last week.

A disappointed Jones said it was the second show he’d cancelled in 17 years.

Hospitalised: Stylus bassist Ashley Henderson with multiple broken bones, after being knocked down by a car.

Hospitalised: The Easybeats’ Stevie Wright, 64, told the Sydney Daily Telegraph he’d had a seizure and is under observation for liver, kidney, lung and stomach disorders.

Hospitalised: The Amity Affliction’s singer Joel Birch, with an undisclosed illness, during the Warped US tour. He was sidelined from the Cleveland and Detroit shows (with Sam Carter of Architects, Jason Aalon Butler of letlive and Chris Roetter of Like Moths To Flames stepping in on vocal duties) but rejoined the band in Chicago. Earlier on, also during the Warped tour, drummer Ryan Burt sustained an eye injury during the Portland show.

Hospitalised: A 27-year-old man was taken to Canberra Hospital after being found unconscious on the dancefloor of Meche nightclub in Civic about 3.40am last Sunday.

Police are investigating.

Died: Prominent Sydney radio and TV sound man, Ian Vibart, 82, after suffering a stroke in Perth.

Died: One time Girlfriend editor Sarah McCarthy, 38, from ovarian cancer. Instrumental in the launches of youth websites tvhits.com.au, kzone.com.au and Girlfriend.com.au (then Sarah Cornish), she left the title two years ago to concentrate on her health. Girlfriend said she’d be remembered for “the empowering initiatives she launched such as Think.Do.Be.Positive, and for her passion and love for the Girlfriend brand and its readers.”

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Man of the People

By Katie Davern

T

he pressure to create a lasting legacy is one that often weighs on the shoulders of musicians – and it was certainly at the front of Josh Pyke’s mind while recording The Beginning and the End of Everything.

On first glance, the name of the new record seems eerily foreboding. “A few people have said, ‘Oh God, does this mean...is it the end?

Is this your last album?’” Pyke chuckles. The name’s origin is a lot less dramatic in reality.

“When I was making decisions about songs and writing songs – the production, the lyrics and everything – it kept on coming back to ideas about like, desire, and leaving a legacy and how you wanna present yourself,” he says.

“That was always at the beginning and end of every decision I was making.”

Since Pyke’s ARIA-award winning 2007 debut Memories and Dust, he’s crafted an enviable career as Australia’s foremost proponent of folk-pop. Besides releasing three more successful albums, he’s also been involved with the Indigenous Literacy Foundation, pioneering the ‘Busking For Change’ initiative, and has even found the time to play in Basement Birds with Bob Evans, Eskimo Joe’s

frontman Kavyen Temperley, and Steve Parkin – and yet Pyke is still trying to reconcile with the notion of legacy.

Ironically, this fourth studio album was perhaps the most natural record to produce for Pyke.

“I just felt like this album, more than any other album I’ve done, was really instinctive and really flowed from beginning to end. Creatively, I felt really...virile, for lack of a better word,” he laughs.

“It just felt really creatively exciting the whole time, so it was something that I just wanted to pursue. If it hadn’t felt right I wouldn’t have done it,” Pyke says. He just finished touring his previous album Only Sparrows last December, and says a lot of the songs for this album were written on tour, simply because that’s when he’s most musically focused.

Pyke talks about being inspired and intimidated by Leonard Cohen and Paul Kelly, two revered and prolific artists still forging incredible creative careers. And Pyke’s new record is not without inklings of self-doubt, especially so in ‘Feet of Clay’, an affirming toe-tapper that recognises those feelings and overcomes them.

“I basically had a full meltdown,” Pyke says.

“My confidence had gone, I was thinking, ‘I don’t wanna do this anymore, I just wanna have a normal job’. Then I was reflecting on what I was saying and I was like, ‘You’re being a dickhead, you’re being pathetic. You’ve got this beautiful life, you’re able to do this thing that you love for a job,” Pyke said, telling himself, ‘you’re just being an idiot, this is constantly your weakness!’”

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A gift for storytelling is a pre-requisite for venturing into the world of folk songwriting, and Pyke is no exception. He says that he has always been an imaginative person and this clearly finds an outlet in his music. Pyke tells me about his mate’s speech at his own wedding, where his friend spoke about Pyke’s vivid imagination and the imagination games they’d play together as kids. “I don’t remember being the kind of leader of those things, but apparently I was,” he laughs.

“I remember always writing stories and stuff and I see now in my older son, he’s just like me. He just loses himself in these imagination games for ages, and I was like, ‘Where does he get that from?’ and my wife was like, ‘That’s you, that’s exactly you!’”

Of his own parents, Pyke says he was lucky that they steeped his musical upbringing in classics like XTC, Led Zeppelin, Jackson Brown, James Taylor, and (early) Billy Joel. But when Pyke hit adolescence, it was heavy rock.

No exceptions. “Soundgarden was my favourite band as a teenager. They’re a heavy band but there are moments of quieter songs and I was really drawn to them,” Pyke says, offering some explanation for his incongruous adolescent listening choices.

In terms of his own music, Pyke says he finds it hard to be objective about his progress and development. “Musically, I’m a much better player these days,” he says. “I think I have a more refined idea of what I wanna do with

songs. I used to be really afraid of resolving something in a way that would be really pleasing to the ear and I would always try and find some other way to do it,” Pyke continues, “but now I just think, if something sounds right, it’s right y’know?”

Pyke brings it back to instincts and what feels natural. “For me, music has always been about following my instincts and I just feel like my instincts are more honed and I trust them more now,” he says. “I still feel just as experimental but it’s experimenting with a weight of experience behind you, as opposed to just floating around in the dark. It’s more about consciously looking for new things as opposed to things being new because you’ve never done them before.”

Pyke says he’s looking forward to playing the new songs on The Beginning and the End of Everything tour, which finishes up in early September. It’s very likely that this tour will spur a few more new songs as it has done in the past and so the question arises: will he ever take a break?

Ignoring expectations and legacy pressures, Josh Pyke seems set to stick around.

“Sometimes I think, I’d love to stop and have a break but the fact is, even if I did stop publicly, I know that I’d just be making music in my studio at home anyway,” he admits. “It makes me the happiest and saddest that I’ve ever felt to do music, and you get addicted to those sorts of extremes. As long as I’m still feeling creatively fresh and inspired, then I can’t really see a point in stopping.”

Where: Small Ballroom, Newcastle / Enmore Theatre When: Thursday August 22 / Friday August 23 And: The Beginning and the End of Everything out now through Ivy League Records xxx

Although his 2011 release Only Sparrows enjoyed a quieter reception, there’s no doubt that his collaboration with Katy Steele stirred a few hearts. Pyke admits that he found it hard to feel emotionally connected to that song, as he was essentially sharing it with someone else in collaboration. The singer-songwriter did venture to write more with other people

this time around, working with Whitley and a few others, but it was ‘All the Very Best of Us’ with Holly Throsby that seemed most worthy for inclusion on the album. Pyke attributes the cohesion to the fact that Throsby, a childhood friend of his, was trying to place herself in his shoes throughout the whole process. “She was great, she pushed me melodically. Where I would usually fill gaps in, she was saying, ‘Just leave that gap’,” he says. “When it came to the recording, I feel like I kinda pushed her to sing a different way than she normally does, so it felt like a really healthy collaboration.”

iso to nic

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Clare Bowditch

Revealing Secrets By Thomas Bailey

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qual parts cabaret, pantomime, comedy, and free-for-all musical mayhem, legendary indie songstress Clare Bowditch’s annual Winter Secrets tours have become something of an Australian institution. Ever since she first began this most irreverent and curious series of interactive concerts back in 2009, Bowditch has made it her mission to close the gap between performer and audience. Now, with her fifth studio album The Winter I Chose Happiness under her belt, Winter Secrets is returning – and just about anything is possible. What is certain, though, is that there will be some dizzyingly jazzy sounds, and some damn good times to be had.

In person, as in her public persona, Bowditch is an irrepressibly positive figure who exudes a gentle and intoxicating warmth. She smiles widely when asked how the idea for this series of concerts first came into being. “I was touring a lot with a big band, and then, to change things up, I thought I’d do a solo tour,” she tells me. “I called it a ‘Random Creative Adventure’. I found that when I played, the audiences were always just so brilliant, and were always really talented…and so I just started throwing backing vocals out to them, and they’d throw them back to me, and we’d all do three-part harmonies, or whatever.”

It didn’t take long for Bowditch to take her interaction with the audience one step further; the origins of her special breed of audience participation were seeded a long time ago. “I was at a Jeff Buckley concert when I was

a teenager and I remember that feeling of wishing he would just reach down and drag me up on stage,” she recalls fondly. “And Winter Secrets then became a chance to get some of those talented people up on the stage! So it’s two parts – there’s a lot of play with the audience; if they’re into it, that’s great…and if they’re not, then that’s fine. But there’s a competition as well.”

And by competition, she means that there’s the chance for one talented musician in each state that Winter Secrets visits to grace the stage with Bowditch and perform a cover of her most recent single, the bittersweet and beautiful ‘One Little River’. Hopeful musos from across Australia have been filming themselves covering the song and sending their entries to Bowditch’s website. Clare herself will choose the winners.

“Some of them just blow me away!” she says. “People are making themselves vulnerable, they’re putting it out there, they’re giving it a crack; some of them are absolute professionals, and some of them have never done anything like it before and are just giving it a try – and I just love that.”

What is it, exactly, that she’s looking for in a winning entry? “Well, it’s really just about how it makes me feel. You know, it’s really that simple.

When someone does something that’s unique and beautiful or… it just works – I never go in with a checklist of things, I just go in with a gut reaction.”

Another time honoured tradition of Bowditch’s Winter Secrets is her hand picking of a collaborator to join her in her shenanigans. Just as last year’s festivities included Lanie Lane, this year Clare will bring along the effervescent electronic skills of Melbourne-based Spender – a prospect Bowditch is truly excited about. “Spender is someone whose work I really admire – we went to school together. He was really short then, but then he really grew up, and now he’s become an amazing music-maker,” she laughs. “He’s making stuff that sounds like no one else except him, and he’s a great experimenter. He’s a great person to have on the road with me.”

“People are making themselves vulnerable, they’re giving it a crack – and I love that.”

What: Lizottes, Dee Why / The Small Ballroom, Newcastle / The Factory Theatre, Sydney When: Thursday August 1 / Friday August 2 / Saturday August 3 And: The Winter I Chose Happiness out now through Universal

The Darling Downs Fertile Country By Benjamin Cooper

“I

think I’d look very decrepit on a skateboard. I’m too old and tragic. I’d embarrass myself and everybody else.” It’s a frank, though not startling, admission from Ron Peno. Peno is the one-time frontman of Australian alternative rock illuminati Died Pretty, and today he’s referring to the demands of keeping up with his teenage son.

Skating about the streets of Melbourne is a world away from the kind of music that Peno makes with Kim Salmon (Scientists, Beasts of Bourbon). The two first collaborated as alt-country duo The Darling Downs in 2003, when Peno was a new arrival in Melbourne. A year later they released their debut album How Can I Forget This Heart Of Mine, recorded at Dave Graney’s Ponderosa Studios.

“We’d talked about recording together for a while,” Peno says, “and when I got down here it seemed natural. We live a bit of a distance from each other, so I catch the train out to Faulkner sometimes to see him. We’re quite different in how we work because Kim’s probably a bit looser than I am. I like to not be panicking whenever possible,” Peno laughs.

It’s since been followed by this year’s In The Days When The World Was Wide, which takes its name from the title of one of Peno’s favourite Henry Lawson poems. The album is a little thicker in terms of personnel and instrumentation, featuring the skills of Mike Stranger and Julitha Ryan.

“We’ve got two new players on banjo and drums,” Peno says. “I think having 14 :: BRAG :: 523 :: 29:07:13

The creative partnership between Peno and Salmon remains the defining aspect of The Darling Downs. “It’s all very pal-y and lovely when we work together,” Peno says. “We know that our music is not to change the world, which means we can just sit around a table and collaborate and get on with it.”

The album was funded in part by benefactor Barry Williams, as well as being crowd-sourced through pledgemusic.com. The benefits for those who pledged including the usual array of signed albums and merchandise, as well as some distinctly different offers.

Guitar lessons with Salmon, having a drink with Ron (he got to pick the wine) and acoustic performances at the pledger’s house were on offer. Some people even went so far as to combine the pledge rewards. “I went to one fellow’s house for his birthday and it was a really good time. At the same time I have to laugh – how the mighty have fallen! Here I am, prostituting myself for glasses of wine,” Peno laughs.

“We’ve been around for a while, and we somehow still haven’t made our fortunes,” he continues. “Not that I think either of us really cares. I don’t even have a computer anymore. I got rid of it because I hated getting emails. I don’t have a mobile either. I choose not to because it’s such a waste of time. I will resist, for how long I don’t know, but I will resist as long as I can.”

Despite not making his fortune yet, Peno is happy with how things are evolving. “I don’t expect fame or anything like that, but sometimes I’m with my son and people recognise me on the street. I think it’s helped him realise I’m still cool.”

What: In The Days When The World Was Wide out now through FUSE

Darling Downs photo by James Pipin

Sophomore album From One To Another, which was also recorded at Ponderosa, was released in 2007 on Carrot Top Records. It garnered them a swag of critical praise, and furthered their Appalachian vision through Peno’s yelping vocals and Salmon’s custom Cole Clark acoustic guitar.

them on board has given the album a warmer sound, and recording things in a different studio changed it again.”

DEBUT ALBUM OUT AUGUST 2 FRI AUGUST 30 – METRO THEATRE

TI C KE TS ON SAL E NOW . WWW.SNAKADAKTAL.COM

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Spender

Pop Pest By Krissi Weiss

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t’s probably a good idea to quickly familiarize yourself with Mr Tommy Spender (performing as Spender). His debut EP Modern Pest was hailed by Tone Deaf as ‘Damon Albarn raised on a diet of Prince and Spoon’, and hints at the start of big things to come. It was created as only an instrumentalist can – alone in a room surrounded by acoustic instruments, electronic enhancements and the desire to just keep on keeping on. While lead single ‘Bed & Chair’ has made a swift impression on punters, this overnight success has, as always, been years in the making.

“Things never happen quickly,” Spender laughs. “Things take a lot of time to make them look like they happened overnight.

Things are moving and that’s what’s exciting for me. To give you an image, I’ve been like a caveman slumped over a laptop bashing his head into a guitar or a microphone. There has been a lot of down time for me to get together my thing and now I’ve got it and I’m able to fi nally start communicating what my thing is. I guess my friends and family have been very patient and I think they’ve been like ‘What the hell is Tommy doing?’ so it’s a massive relief to show them what I’ve been doing.”

So what exactly has kept him going? Lots of musos are, this very minute, holed up in a room perfecting a song that may never be heard because they will run out of steam. “I reckon my wife, my friends, the songwriters I work with,” he says. “They give you a little nudge by going ‘What’s going on’ or ‘I really liked that thing’ and all of those crumbs eventually become a big cake.”

Some of those friends appear on his EP, with Clairy Browne and Wally de Backer lending their voices to his tunes. “Clairy I would consider one of my best friends; we lived together years ago and did a duet for a while called Clairy and Tommy before her band exploded,” he says. “She went to high school with my wife – they’re absolute best friends – so she’s family. Wally I’ve known, not as an awesome mate that I’ve like known for years, but we’ve hung out and talked about music and shown each other mutual respect.”

For Spender, staying focused has been the key to his career beginning some semblance of a journey. While others may have fallen victim to envy as their friends’ bands reach greater and greater heights, Spender has never been clouded by ego.

“I think part of the discipline of being an artist is to focus on the work – there was a hole to be dug and I put my back into it,” he says. “Yep, others may have dug a bigger hole faster than me but I’m happy for them and I just need to come back to the music. The big challenge I’ve faced is separating ego out from discipline and work ethic. It’s been humbling to have no feedback and to not have my ego fed at

Shelley Segal Power of Two By Krissi Weiss

Y all. I was just doing this thing where I was making all these sacrifi ces, I was spending all this money to do this thing and it was just the little crumbs I was getting as signs to keep going.”

After a tour with Mama Kin, Spender is bracing himself for the brilliant chaos that is a Clare Bowditch tour. “She’s got such an insane voice,” he says with genuine admiration. “We’ve had one run through and neither of us had had enough sleep and she was forgetting the words to her songs and she was still amazing.

She sounds like a beautiful bell ringing; something really happens when she opens her mouth, there’s a real expression. I do have a band but not for this tour. I’m a bit of a nerd so I’ll be getting on stage with a couple of different instruments and microphones and I’ll be creating backing bits as I go on the laptop. Things will be different to the recordings but I like doing that.”

What: The Winter Secrets Tour with Clare Bowditch Where: Lizottes, Dee Why / The Small Ballroom, Newcastle / The Factory Theatre, Sydney When: Thursday August 1 / Friday August 2 / Saturday August 3 More: Modern Pest out now through Donut Beach Records/MGM

ou’d be forgiven for having overlooked the mercurial voice and eclectic sound of Melbourne singersongwriter Shelley Segal – after all, she’s been to America eight times in 18 months and prior to that spread her time between Australia and the UK (with the odd stint in China). She is in a perpetual touring cycle, with her latest show a celebration of her new album Little March, a collaboration with renowned American jazz guitarist and vocalist Adam Levy. She has a gift that helps her fi ght fatigue, though, and given her hectic schedule it will be the envy of all jetlagged artists out there.

“One thing that’s really helped me is that I have a super power whereby I can sleep anytime and anywhere,” Segal laughs. “I have a condition called cataplexy – it’s a mild form of narcolepsy – so I could probably fall asleep right now. So no matter what I’m doing – on a plane or a bus – I can just fall asleep. It really helps and really is a super power.”

Cataplexy isn’t going to help her maintain what is perhaps her greatest power, though – her inimitable voice. “When I come home I go back to training my voice as well,” she says. “I have an opera trainer who teaches me classical techniques which really helps me to keep my voice in shape. I’m lucky because I learnt to sing before I was trained. I grew up singing with my dad’s wedding band from when I was eleven. The best thing about a wedding band is that you’ll sing jazz and then salsa stuff then you’ll move to pop songs, rock music, reggae – I love all styles of music and learned early to sing in most of them. Once I began the formal training that then began to help my voice have longevity.”

Her latest album is a testament to her ever-changing style, and the collaborative experience was an absolute joy for Segal. “I made a recording in London and the producer of that album had worked with Adam on an earlier project, and he just thought that we’d get along really well. He recommended that we meet up and do some writing together so I went to New York and we spent a week together in my Comfort Inn hotel room and it was great, we just really connected.”

Segal admits to being a little star-struck when she realised that Levy had worked with her favourite songwriter. So in between writing sessions at the Comfort Inn and laneway lunches in NYC, Segal was able to slip out of the role of confident performer and into the role of fan girl. “He’s worked with Ani DiFranco, who is my absolute favourite artist in the world, so I was fairly overwhelmed by that,” she says with a slight giggle. “That was the first time I’d worked with another writer in this way before and it just came together so well. But when I found that out I was like, ‘Oh my god, have you been to her house? What’s she like?’ It was funny.”

After Segal (with the help of Levy) takes Little March to some of our coolest venues, she’s heading back over the Pacific yet again.

“It’s always hard work but I love it. The last tour was very encouraging, I had a great response and I’ve got some really great fans over there so I’ve got to connect with them.

I’m planning a new US tour after this tour; I’ll be heading over there around August again.”

What: Plays Blue Beat with Adam Levy When: Thursday August 1 And: Little March out now through True Music

Thriftstore Masterpiece Trouble Town By Jody Macgregor

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these Lee Hazlewood songs?’ I gave him a copy of the album and he got back to me and said, ‘Actually I’d like to sing these three if that’s possible.’”

“I pictured cactuses growing on the outskirts of town, a rough-and-tumble cowboy western town,” he says. “About the most exotic thing I could imagine with four feet of snow outside.” He took that album to a friend’s house, then promptly forgot about it. Weeks later, when his friend popped it on, Normal didn’t even realise what it was at first. Still, the combination of Hazlewood narrating the town of Trouble’s story and singing about its quirky characters captivated him. Later, he’d put it on at parties, watching it have the same effect on others.

Over the course of years working as a session musician and producer, Normal had made a lot of musical friends like Black, as well as Isaac Brock of Modest Mouse. Plus, his brother Larry Norman (Normal changed his surname as a teenage punk in a band called Executioner) was about as famous as you can get in Christian rock. All Normal had to do to get a bunch of names to join him in recreating his Thriftstore Masterpiece was pick up the phone book. “It was gonna be Frank Black, my brother Larry and Isaac Brock,” says Normal. “And it was gonna be – I quickly dropped this idea because it was gonna be too cornball – I thought it would be funny to have them dress like mariachi guys, like they’re the Three Amigos.”

When he learned that Hazlewood initially recorded the songs as demos intended to be played by others, it put an idea in his head.

Why not get his musician friends together and do just that? “I was touring Europe with Frank Black – the guy from the Pixies – I was playing guitar with him, and I said ‘Hey, would you be interested in singing one of

The group started work in 2007, but in February of 2008 Larry Norman tragically died of a heart attack. Understandably, his brother almost abandoned the project. “It was just too weird to play guitar and engineer it and solo his voice and comp his vocals, ’cause there was like maybe three or four takes and it was just a little too intimate

harles Normal chanced across Lee Hazlewood’s 1963 country record Trouble is a Lonesome Town in a Norwegian second-hand store. To the Californian musician and producer, the album must have seemed as much a pleasant reminder of home as a cheeseburger or a watery beer.

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listening to my brother’s voice solo. Frankly, I would get pretty upset.”

Later, Normal visited his friends in Modest Mouse while they were rehearsing and was inspired by hearing their new songs, as well as spending most of the night talking to Brock, who told him “there’s no birth without pain.” The motivational conversation convinced him to get back to work, fi nishing off the record with extra help from guest vocalists including Art Brut’s Eddie Argos and the Dandy Warhols’ Courtney TaylorTaylor. Now that his Thriftstore Masterpiece is complete, the oddball album he loves is ready to be rediscovered.

“I didn’t construct this, I decorated Lee Hazlewood’s album,” he says. “It’s a good story. It’s a good concept album, which came out before Sgt. Pepper’s did, which is pretty awesome too. Sgt. Pepper’s wasn’t the first concept album by any means, but pretty forward-thinking of Hazelwood to make this whole movie on a record. I hope people experience it in greater chunks than just one song here or there.”

Where: Trouble is a Lonesome Town out now through SideOneDummy/Shock.

Barn Owl Prairie Psych By Krissi Weiss

S TEST PLEASURE OF LIFE’S GREA O TW G IN RY MAR

ND MUSIC A D O O F T A E R G Contact: chris@fair in Australia” t n ra u a st e R t n e “Best Entertainm EY

for Live and Localsau!

Calling all artistsplay entertainment.com.

02 9984 9933

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editative-drone mixed with desert rock – while the genre label may have caused you to switch off already (damn you genres, you most foul and useless system of description), the San Franciscan duo of Jon Porras and Evan Caminiti – AKA Barn Owl – prove exactly how dynamic and emotive this sound can be. Forever reaching for new plains, the pair have added an element of doom dub to their sound on their latest release, the electronica-driven V. Stay with us here, for this might sound like a bunch of overly-stylised bullshit, but these two take the fringes of rock and electronica and twist it into something extremely accessible.

Porras is getting ready to BBQ and celebrate American Independence Day, and if the movies and TV shows are true, he must also be getting ready to set off some fireworks. “Oh, um, yes,” Porras stutters. “I’m not sure how much of this I should admit but ah, yep, I’ll say it – there will be some firework action. It’s a cheesy holiday to celebrate but it’s an excuse to have a BBQ at a friend’s house so that’ll be great.”

Time with friends is precious for the pair, as Barn Owl have toured the US, and indeed the world, many times over during the course of their career. Australia hasn’t yet been lucky enough to be hypnotised by a Barn Owl set, and while the band is coming here for the first time – which generally means exploring the back catalogue in depth – they’re still in the midst of celebrating their latest album. “I try not to think about expectations and what the audience are wanting,” he says of the band’s potential set list for Australia. “We try to focus on an idea that we want to put forth and as long as we do that to the best of our ability, we feel satisfied.”

Barn Owl are embarking on a run of intimate shows; it’s in this atmosphere that they prefer to play. Their music is complex, with their sonic contour requiring a skilled hand at the mixing desk – something that many festivals fail to provide. “I like festivals in a way but they tend to be a little intense for a performer,” he says. “The stage turns into something of a cattle call, one band on one band off, no real sound check. You sort of have to overlook the details of your sound at a festival; you go up and cross your fingers and hope for the best.

In an intimate environment we seem to have a greater level of control over things.”

Porras laughs at the suggestion that festival audiences can sometimes be like playing to a bunch of distracted hamsters. “Ha, yeah, it is; it can be frustrating,” he says. “To really feel the impact of our music you need the audience to have attention to detail. Festival audiences don’t seem willing to give their attention and

that’s just how it rolls. You can’t give into that frustration though, it’s a really bad habit, it’s best to just focus on the task at hand and play the music.”

“We play for one solid hour-plus block and make it a relentless experience. By leaving parts of our set open to improv then the unexpected can come to life on stage.”

In the studio good friend and skilled producer Phil Manley has crafted their sound many times and they hope one day they can take him abroad with them. “Phil’s a good friend of ours and we have a great chemistry together,” he says. “He has a deep understanding of what we want to do as musicians and I have a real respect for him as an engineer and trust his opinion a lot. This album, V, was recorded digitally because we wanted to create a different sound. In the past, we were focused on the nuances of recording live and capturing those moments but for this we wanted to track live and then take the tracks away and further process them. Instead of looking for the nuances that happen in the studio, we were looking for the nuances that happen in postproduction. There are interesting ideas that come from chopping things up and processing those ideas.”

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Adding more electronic elements, with guitars no longer the centrepiece around which Barn Owl’s sound revolves, has furthered their tendency to make their live shows stand apart from their albums. “This album has made it more challenging to recreate on stage what we did on the record, but we’ve always looked at our live performances as something completely different,” he says. “There is a relationship between the two but live has its own thing. We don’t break up the songs, we play for one solid hour-plus block, and make it a relentless experience. By leaving parts of our set open to improv then the unexpected can come to life on stage.”

Where: GoodGod with Dead China Doll and Broadcasting Transmitter When: Wednesday August 7 And: V out now through Thrill Jockey

Lizotte’s Sydney 629 Pittwater Rd Dee Why

STLE A C W E N ’S E T T O LIZ nment JUL Fairplay Entertai CAL 31 Presents Coopers LIVE & LO y Music Academ AUG Newcastle 1 Student Showcase AUG iders 2 Backsl AUG ss - Ross Wilson 3 The Bo AUG ueen 4 Killer Q AUG High School 6 Warners Bay AUG elch (USA) 7 Kevin W case le Comedy Show AUG Newcast ith ed er M k 8 featuring Mic AUG Echo 9 Pseudo – AUG Rick Price 10 I’m Coming Home Tour AUG s & Wildflowers 11 Dirtroad

Lizotte’s Central Coast Lot 3 Avoca Dr Kincumber

Lizotte’s Newcastle 31 Morehead St Lambton

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Pond A Creative Pool By Lachlan Kanoniuk

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rag catches Pond frontman extraordinaire Nick Allbrook as he’s enjoying some relative downtime from his numerous musical outlets. He’s been popping up occasionally around his current base of Melbourne, hitting the stage in solo mode while three fifths of Pond are engaged with touring duties for Tame Impala – the outfit Nick recently departed. “Jamie [Terry] is asleep downstairs on the couch. The rest of the guys are in Brussels or something,” Allbrook says.

With such a busy and multi-faceted schedule over the past few years, the fact that the still-nascent Pond have managed to clock up five full-length releases, including new LP Hobo Rocket, is astounding. However, Allbrook self-deprecatingly dismisses the idea that they’re particularly prolific.

“The first couple of albums were pretty…eccentric,” he says. “A lot of veteran bands could just pop one out if they so desired. It’s just that we’re dumb. We decided that if we did something, it should be out anyway. I don’t feel like we’re that prolific, it’s just we have those stupid albums at the beginning.”

Hobo Rocket follows up last year’s Beard, Wives, Denim – Pond’s first release on Modular – and the band may well be primed for another quick-fire full-length release within the year. “We’ve recorded a whole bunch of stuff, we just need to figure out how and when and if we’ll put it out. Cam’s off with Tame Impala, and I’m in no rush to do it.”

SPA, themusic.com.au, StoryBaker and Premier Artists present

Clocking in at a tidy seven tracks, Hobo Rocket is very much a focused musical statement. As Allbrook explains, it’s the result of a measured ethos. “You’ve definitely gotta cut yourself off, because it’s never finished. Otherwise you keep doing shit forever, refining it. Then your tastes change and ‘refined’ isn’t refined enough, or ‘refined’ is too refined so you have to re-refine it. Then once you’ve re-refined it you can do it all again. So someone at some point needs to come in and say, ‘Shut up and pull your finger out, and put [the record] out’. I guess there are certain tiers [of decision making], everybody’s got to call it a number of times before it’s actually ‘called’. I’m pretty good at it. Probably because I’m lazy, saying ‘I can’t be fucked, let’s move on.’ But there are also deadlines.”

The Winter Secrets Tour 2013

“That’s what life is like – a Japanese game show that I invented.”

One of the many excellent, intertwining projects to emerge from Western Australia in the past half decade, Pond stem from the primordial ooze of outfit Mink Russell Creek. “Mink Russell Creek is like the original band, and we stopped doing it ages ago. Well we didn’t really stop doing it, I suppose – there’s no quitting, we just did the one album. We could always play shows again, but it’s not really going in the usual sense. Most of the guys are in Perth, Kevin [Parker] is on tour, and there’s no particular reason to rehash the old songs.”

Throughout the concise tracklist of Hobo Rocket, we’re taken across a disparate array of mind-bending psychedelia – including a star turn from a Perth street performer in the title track. “It’s a sort of accumulation of Cowboy John’s lyrical musings, and he just came in and cut loose on the microphone.”

Allbrook says that Pond’s revisiting of a golden age of heavy and experimental rock wasn’t necessarily a conscious move. “I didn’t think it sounded like a vintage thing.

There was all this different stuff we were listening to. Joe was probably listening to bloody Paul McCartney and Wings or something. Gum [AKA Jay Watson] was probably listening to ELO, then decided that ELO is too pussy, then listened to Chrome or something,” he laughs. “So it changes daily, with each person.”

Allbrook is very much the frontman of Pond, in contrast with his former role in Tame Impala. So what does he think makes a good frontman? “You’ve gotta be completely aware of your own stupidity for 40 minutes a day or something, that’s probably it. I got good at forgetting that I looked like a fool.”

With Spender THU 1ST AUG LIZOTTES, DEE WHY FRI 2ND AUG THE SMALL BALLROOM, NEWCASTLE SAT 3RD AUG THE FACTORY THEATRE Go to www.clarebowditch.com for the CHANCE TO PERFORM WITH CLARE ON STAGE and go in the running for awesome prizes TIX ON SALE 13TH MAY

THE WINTER I CHOSE HAPPINESS – FEATURING THE NEW SINGLE – ONE LITTLE RIVER OUT NOW 18 :: BRAG :: 523 :: 29:07:13

As for his experience with Tame Impala, particularly during the runaway success of last year’s acclaimed Lonerism, Allbrook is philosophical. “I got to do stuff that no one else gets to do. That’s pretty cool. I saw the world in a way that nobody else gets to see it. I saw it from a different angle, a very privileged angle,” he says. “You learn what you learn, these little things stick to you as you go along.

I swear I saw a Japanese game show where they have to run as far as you can with all this shit sticking to them, gradually picking up more and more. Maybe it was a dream, I dunno. But either way, that’s what life is like – a Japanese game show that I invented.”

Who: Hobo Rocket out Friday August 2 through Modular

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arts frontline

free stuff email: freestuff@thebrag.com

arts news...what's goin' on around town... With Lisa Omagari

five minutes WITH

MATTHEW VENABLES family called the Tsugawas in Kobe, Japan. They owned a secondhand camera equipment shop and gave me an old Canon AE-1 and a couple of lenses to take on my explorations. That gift has changed my life.

Matthew Venables, Hibernian

1

07 Projects’ August program focuses on the polarities of the urban and the outback.

From August 1-11 the work of photographer Matthew Venables and local artist Pauly Gilsenan will be on display in an exhibition called Urbanal / Schmurbanal.

Venables is a concept photographer whose experience boasts portfolios across a range of photographic disciplines including video and animation.

We caught five with him to get the low down on what to expect from 107’s upcoming show.

Tell us about your background in photography – where did it all begin? It wasn’t exactly by chance that I started making pictures, but there was definitely a nice slice of serendipity. I’d become interested in photography in my late teens as a couple of mates had joined some sort of camera club. It was intriguing, but in the throes of “alternative slacker” culture, didn’t want to simply be seen to copy friends! Midway through university I went travelling for nine or ten months, and at a certain stage stayed a few weeks with a lovely

How does the ‘urban mundane’ inform your practice? I’ve been fixated with finding and making these types of pictures from the very first roll of film I shot. There’s no doubt I gravitate towards those environments and textures.

Having said that, over the course of working as a photographer I’m exposed to a range of requirements, subjects and environments. The ‘urban mundane’ is only appropriate sometimes.

What can we expect from Urbanal / Schmurbanal? From my side of things, the exhibition has thirteen colour photos taken in the last three or four years. There’s a general current running through these shots: my camera is looking at things that are broken down.

I hope to render city views and slithers of that city as beautiful.

I hope to find the best possible expression of that thing or place in time and in doing so elevate

ROMEO AND JULIET

WHITE RABBIT SERVES THE PEOPLE

Edmund Capon, former director of the Art Gallery of New South Wales, has been announced as guest curator of White Rabbit Gallery’s spring show Serve The People. The exhibition is based on three key aspects of Chinese art: fear, anarchy and hope.

And selecting works for display would have been one helluva task; gallery owner and philanthropist Judith Neilson owns over 700 works. Capon’s collaboration with White Rabbit is not his first encounter with Chinese art.

He specialised in Chinese language, art and archaeology at the University of London before going on to lead a small group of “friends of China” on a tour of Mao’s culturally-revolutionised nation in 1974. Serve The People opens on Friday August 30 and runs until Sunday February 2, 2014. For further details visit whiterabbitcollection.org

SYDNEY FRINGE 2013

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MAKING SPACE FOR ARTISTS

Brand X was the crew behind former artist run space, Queen Street Studio and they’ve just announced their latest initiative. They’re giving six groups of six artists six months to create an immersive environment that’s part workspace, part gallery and part retail concept store. Participating artists will sell the work they have created in the space both on site and online. “This constantly changing, immersive environment aims to invite the public into the artists’ creative process and build relationships with the makers of the work,” said Brand X director James Winter. The studio officially opens at 180b Campbell St, Surry Hills on Friday August 9.

You’re also a founding member of 107 projects. Future plans for the initiative? During the weekend of our show, something pretty different is happening. A two-day event called Robot Wars, which is pretty much as the name suggests – a battle of mechanised warriors.

What: Urbanal / Schmurbanal Where: 107 Projects When: August 1-11 More: www.107projects.org

Dylan Young and Eryn Jean Norvill in Romeo and Juliet

RETURN TO EARTH

Lally Katz fans rejoice, because she’s back with a strikingly unconventional play Return To Earth. Presented as part of Griffin Theatre’s Independent Season, Return To Earth tells the story of Alice who returns to her parents after an unexplained period of absence. She is so out of touch with contemporary social mores that she no longer remembers how to eat; Alice’s parents are willing to gloss over the fi ner details of where she’s been and what she’s been doing, but her brother and friends aren’t so sure. “Think Eternal Sunshine Of The Spotless Mind meets Momento on a trip to the Mad Hatter’s Tea Party, with your grandmother in two and the TV on in the background,” said director Page Rattray via press release. Return to Earth plays Griffin’s SBW Stables Theatre from September 4-28.

Visit griffintheatre.com.au for more.

GONZ X ADIDAS! LAUNCH PARTY! WIN! Mark Gonzales, AKA The Gonz, has been inspiring, developing and nurturing Adidas skateboarding culture for the past 15 years. The Gonz is know as one of the most influential skateboarders the world over and to celebrate his contribution to contemporary street culture, Adidas are hosting a photographic exhibition documenting the master at work. The show focuses on six key photographers who’ve known and shot him around the world including Gabe Morford, Joe Brook, Skin Phillips, Brian Gaberman, Benjamin Deberdt and Sem Rubio. The launch party’s happening on Thursday August 1 at the Old Paramount Building in Surry Hills and we’ve five double passes to give away. Just email freestuff@thebrag.com and tell us what your Sk8boarding alias would be.

SELLING DREAMS

Fashionistas at the ready for the State Library of NSW is set to host an exhibition right up your alley. Selling Dreams: One Hundred Years of Fashion Photography, an international collection of iconic images from the V&A Museum in London, will land in Sydney on Saturday August 10 to wow the pretty little hipster socks off ya. Curated by the Victoria and Albert Museum, the exhibition charts the evolution of fashion photography through 60 original works by 40 leading artists, including the likes of Horst P Horst, Irving Penn, Richard Avedon, Helmut Newton and Tim Walker. “This is a rare opportunity to view a world famous collection of original fashion prints that are essentially beautifully fine art works – ranging from early postcard-sized black and white film through to the bright, big and glossy digital images of today,” said State Library’s fashion historian Margot Riley. For more details visit sl.nsw. gov.au

Horst P Horst, Mainbocher Corset, 1939

JOHNNY ROMEO

Contemporary painter Johnny Romeo will present his latest body of work Deadwood at NG Art Gallery from August 13 through September 21.

Romeo takes as his central artistic agenda celebrity kitsch, romp and nostalgia, which he uses to explore the now dialogue of neo-expressionism, rock ‘n’ roll swagger, comics and street art. Deadwood dishes up a series of portraits depicting bygone celebrities – think Elvis, Michael Jackson, and Marilyn Monroe among others – alongside caricature-like animals.

Romeo’s work is held in a number of collections both nationally and internationally. Visit ngart.com.au for all the details.

MISS JULIE

Simon Stone’s adaptation of August Strindberg’s Miss Julie is playing Belvoir St Theatre from August 24 – October 6.

Themes of sex, gender, power and privilege are all at the core of the play, which tells the story of Jean (Brendan Cowell) and Christine (Blazey Best) who both work in the home of a powerful politician. Then there’s the Julie (Taylor Ferguson), said politician’s rebellious daughter who, at the ripe age of 16, is blossoming sexually.

Director Leticia Cáceres carefully crafts a text that investigates how, in a media-driven world of 24-hour news cycles and social media, things can spiral out of control. For more information visit belvoir.com.au

Johnny Romeo, Dove Love, 2013

This year the Sydney Fringe Festival promises to be bigger and better than ever before with a mammoth lineup of over 300 shows.

Inhabiting 60 venues across creative villages on our city’s fringe, the festival’s gearing up to provide a lively spread of visual arts, theatre, music and sound, dance, poetry, film, food and wine. Festival highlights include a new garden bar in the courtyard of the Seymour Centre, the festival’s new music venue Eliza’s Juke Joint in Newtown, Fringe Comedy at the Factory Theatre in Marrickville, as well as sassy burlesque at Surry Hills’ Slide Lounge and hidden galleries tucked away in Glebe and

Chippendale. Fringe Festival runs from September 6-29. For further details and the full program visit 2013.sydneyfringe.com

Your work will be exhibited alongside that of local artist Pauly Gilsenan. What kind of thematic dialogue is conjured by combining your work? Not only is Paul my very good friend, but we often collaborate artistically. We’ve had a show together in the past where he has drawn atop some of my photos. We have a very strong, often shared set of feelings about the urban landscape: its mystery, the colours and textures, the beautiful in banality and all the possibilities a city can afford one.

White Rabbit image: Su Meng Hung The Album of Immortal Blossoms in an Everlasting Spring by Giuseppe Castiglione

Co-resident director of Sydney Theatre Company Kip Williams is bringing his interpretation of Romeo and Juliet to the Sydney Opera House from September 17 through November 2. Williams, who shot to fame after his directorial debut Under Milk Wood, presents a text drenched in themes of rebelling against generations past and the need to escape predetermined futures. Eryn Jean Norvill has been cast as Juliet for her STC debut and finds her leading man Romeo in Dylan Young. Both are rising stars on Sydney’s theatre scene and if you’re anything like us you’ll be keen to check out how they deliver the goods come September. For more information visit sydneytheatre.com.au

the picture to stand for or imply something more than the colours, lines and paper the scenes are printed on.

THE W HITLAMS W ITH THE SYDNEY SYMPHONY

Tim and the boys are back!

In their first Sydney performance in three years, Tim, Jak, Warwick and Terepai will be giving their hits the full orchestral treatment with the help of the Sydney Symphony.

Wed 14 Aug 8pm Thu 15 Aug 8pm

LIOR WESTLAKE Songs with Orchestra

Lior’s best-loved songs including This Old Love and Bedouin Song arranged for a huge orchestral sound and Compassion, a symphony of songs born of a collaboration between Nigel Westlake and Lior.

LIOR leaving the Western Shadows WESTLAKE AND LIOR Compassion

Fri 6 & Sat 7 September 8pm

Book Now! Tickets from $35* Both concerts at the Sydney Opera House sydneysymphony.com or call 8215 4600 Mon-Fri 9am-5pm Tickets also available at sydneyoperahouse.com 9250 7777 | Mon-Sat 9am-8.30pm | Sun 10am-6pm *Booking fees of $7.50-$8.95 may apply.

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Rosencrantz & Guildenstern Are Dead takes place in the wings of Hamlet and places two otherwise minor characters centre stage. Rosencrantz and Guildenstern are friends of Hamlet’s but when they don’t have lines they’re confused as to their place in the world. With shades of Beckett’s theatre classic Waiting For Godot (also playing at the Sydney Theatre Company later this year), the pair await instructions, context or just some sustained action to see them through. For all its existential introspection, it’s also an incredible comedy that matches a slapstick fall with every metaphysical punch.

Unlike Belvoir’s upcoming production of Hamlet (also starring Schmitz in the eponymous role), which we can only assume will be treated with Simon Stone’s now renowned sexy-spare staging, this production of Rosencrantz & Guildenstern will be treated more ‘traditionally.’

“Unlike Hamlet where 400 years have passed and we have to look at through a different lens, there’s only a clutch of decades that have passed since this one and very helpfully in the first stage direction Stoppard refers to Rosencrantz and Guildenstern as being two Elizabethans,” says Schmitz.

Schmitz also tell us about the temptation to modernise the text.

“Tim and I had a discussion – maybe we hadn’t looked at the text closely in awhile – about what kind of production of Hamlet we are peering into from the wings. I pitched the idea of Geoffrey Rush, ‘maybe it’s a rock ‘n’ roll Hamlet with an iPod and jeans,’ and he said ‘look at the first stage direction. It’s go the word Elizabethans in it.’” And after all that there was no need to add anything anyway. “Our director Simon [Phillips] said, ‘why would you add anything meta on top of the greatest postmodern, meta play ever written?’”

The Courtiers Live On By Simon Binns

W

hen Toby Schmitz and Tim Minchin first met, they were teenage outsiders discovering art in their hometown of Perth. Schmitz remembers the whole thing through the lens of his 15-year-old self. “Tim was the most funny and erudite chap in a certain youth theatre set,” he says “and he was very gracious in extending a hand and going, ‘hey pimply angry guy, you can come and sit with us.’”

G IV EA W AY S

Minchin, on the other hand, remembers himself as the clique crasher. “My sister was [Toby’s] mate, although she found [him] utterly aggravating, and I started hanging out with them,” he says. “It was a little bit sad because they were a couple of years younger than me but they were being sardonic at every turn

and talking about art all the time…so I was just crashing a party that looked fun.”

As well as an instant artistic and comedic connection, both were happy to admit there was also a practical reason for their friendship. “We lived nearby and [Toby] didn’t have a car and I drove incredibly,” says Minchin. “What could possibly go wrong in a Volvo,” adds Schmitz.

If you ignored the pair’s decade of hard work and only looked at the last five years of their careers, you’d think nothing had gone wrong. Schmitz has become one of the most wellknown faces of Australia’s theatre scene – he’s delivering performance

after memorable performance from Shakespeare to new Australian plays and has practically been the face of Belvoir St Theatre’s seasons for the last few years. He also won the Patrick White Playwright’s Award in 2002 for your information.

Meanwhile, Minchin has leveraged his successful comedy career into a platform for all manner of talents, from composing (his score for the hit musical Matilda has earned him acclaim and awards, not least of all a Tony nomination) to musical theatre (you couldn’t miss the ads for the recent arena spectacular version of Jesus Christ Superstar in which he played Judas) and even Hollywood acting with a stint on Showtime’s sexed up success Californication as rock star Atticus Fetch.

And come August, Schmitz and Minchin are rekindling their teenage friendship in Sydney Theatre Company’s new production of Rosencrantz & Guildenstern Are Dead. “Rosencrantz and Guildenstern was one of my ‘if I ever got to do it, it would be a dream’,” says Schmitz. “In my eyes, it’s the best post-war play and I really had relegated it to the ‘don’t wish too hard on that so you don’t feel despair when you don’t get it.’ Then a friend of ours, Luke Cowling tapped us on the shoulder and said ‘that play, right now, the two of you can make it happen, wake up!’ So we pitched the thing.”

With a play and two leads of such renown, they didn’t have to pitch far.

The classic existentialist comedy

UTS O’FEST MUSIC FESTIVAL! TIX! WIN!

I

British India 22 :: BRAG :: 523 :: 29:07:13

t’s back to school time for some and what better way to kick start the semester than a romp stompin’ music festival? On Friday August 9, UTS O’Fest Music Festival is showing off with Gold Fields a musical lineup of British India, Bombs Away, Gold Fields, Jackie Onassis, Goodwill, Tom Piper and more. A slient disco in the laneway will also feature four competing DJs who’ll take to the decks with an assortment of pop, hip hop, electro and dance.

It’s almost surprising that Minchin is using his new found success to throw himself in the deep end, placing himself at the centre of projects that demand a lot and there’s definitely a terror that comes along with it. “I’ve looked very hard into the art of timing and spending time on stage but I’m also without a doubt the junior member of this cast,” he says. “I do things that cause me great anxiety all the time, but I’m equipped to deal with anxiety…stress is like alcohol – I’ve got the liver to break it down.” And as for Schmitz, he can’t imagine approaching things any other way. “If you want to be an actor why not give yourself a great play.” Undoubtedly, this is what these teenage friends have done.

What: Rosencrantz & Guildenstern Are Dead Where: Sydney Theatre Company When: August 6 – September 14 More: sydneytheatre.com.au

We’ve got five double passes to give away and all you have to do is email freestuff@ thebrag.com and tell us the name of British India’s debut EP.

WIN! Bombs Away

where’s your head at?

QANTM COLLEGE | SYDNEY CAMPUS

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CERTIFICATE, DIPLOMA & DEGREE COURSES IN: GAMES PROGRAMMING GRAPHIC DESIGN INTERACTIVE DIGITAL MEDIA 2D AND 3D ANIMATION WEB DESIGN

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Disclaimer: Not all programmes and facilities are available in all locations.

SAE CRICOS Provider Codes QLD 03204G | NSW 00312F | VIC 02047B | WA 02431E

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Possible Worlds Film Festival

[FILM] Branching Out By Ian Barr

(a superb Anna Margaret Hollyman) during the holiday season, the Todd Solondz-like misanthropy and grotesquerie eventually give way to a sincere and unlikely but utterly convincing celebration of resilience and Christmas cheer. A ‘festival film’ this isn’t; it deserves a future as a year-round Xmas counter-programmer a la Bad Santa.

Frances Ha his year, the Possible Worlds Film Festival enters its 8th edition with a T major difference. No longer bearing the niche distinction of being ‘Sydney’s Canadian Film Festival’, Possible Worlds has branched out to encompass North America in general, providing a snapshot of the best independent fiction and non-fiction films from Canada and the US, as curated by redoubtable local cinephile Mathieu Ravier.

Although two of the program’s films – Frances Ha and Stories We Tell – have already played at last month’s Sydney Film Festival, it’s not

hard to see Possible Worlds as occupying the former festival’s blind spot. Due to SFF’s international scope, only a limited amount of American films get festival play, many of which end up receiving local theatrical distribution down the line. That leaves an increasing amount of strong American independent films failing to reach the Australian audience they deserve.

Case in point is Zach Clark’s caustic, pitchblack Christmas comedy White Reindeer.

Beginning as a cynical study of the bereavement faced by 32-year-old Suzanne

Underbelly Arts Festival [ARTS FESTIVAL] Exploring The Underbelly By Alasdair Duncan

T

he Underbelly Arts organisation began six years ago, with the aim of bringing emerging and underground artists together so that they could show their work to a broader range of people, but also share ideas and resources amongst themselves.

Since then, the organisation has expanded, to the point where they now run their own annual festival, with this year’s taking place this weekend on Sydney Harbour’s Cockatoo Island.

“We’re all about finding the next generation of great Australian artists,” artistic director Eliza Sarlos explains. “There are emerging artists out there right now who are making really exciting work with real merit, so why not let people experience that right now if we can?”

Cockatoo Island is a unique setting for an arts festival, and gives the participants space to spread out and dream as big as they like.

“We try to encourage a really broad range of interdisciplinary works,” Sarlos says, “and we have a lot of works that really engage with the site. For example, there’s a sound work called Ghost Ships, which is in the big turbine hall in the industrial precinct, and it looks at how sound is made in a space like that.” For the artists involved, Cockatoo Island is a veritable playground for new ideas. “A gallery can seem like a big space,” Sarlos says, “but when you’re on an island like this, a big space is hundreds

of square metres. It’s been a real privilege to encourage artists to use that space, and to think about the possibilities of it.”

Criticisms regarding a lack of formal ambition can’t be levelled at Peter Mettler’s The End of Time; a documentary whose reach exceeds its grasp, but in a manner befitting its subject. Like Mettler’s previous feature – 2002’s sprawling, globe-trotting Gambling, Gods And LSD, which dealt with the broad subject of man’s quest for transcendence – Mettler here aims for nothing

What: Underbelly Arts Festival

Where: Cockatoo Island When: August 3-4 More: underbellyarts.com.au

What: Possible Worlds Film Festival 2013 Where: Dendy Opera Quays / Dendy Newtown When: August 8-18 More: possibleworlds.net.au

[FILM] Reacquainting Father And Son By Shannon Connellan Penn Badgley in Greetings From Tim Buckley

“T

he poetry of fi nding your own voice singing a song your father wrote about you…it’s too wonderful not to put in a movie.” Daniel Algrant regards New York City from his terrace, a stone’s throw from streets where Jeff and Tim Buckley sullenly sauntered, with songs in their heads and no real idea of each other. Director Algrant makes us reacquainted with father and son in Greetings From Tim Buckley.

Following a young Jeff Buckley (Gossip Girl star Penn Badgley) around ’90s NYC, Greetings From Tim Buckley is a jubilant, nostalgic look at the days before the infamous 1991 tribute concert for locally-loved late folk legend Tim Buckley, estranged father of would-be falsetto wunderkind Jeff. Rather than delving into a textbook biopic centered around Jeff’s 1994 opus Grace and his tragic drowning, Algrant saw a more focused opportunity to celebrate both Buckleys.

“I mean, I was supposed to make a fi lm about Jeff Buckley,” he says. “I heard Jeff play, you know, recorded, and I became very intrigued with his brilliance, his talent. But I became personally interested in making the fi lm when I understood the story was really going to be about Jeff and the relationship with his father, with whom he really didn’t spend any time.”

Tim Buckley is often overshadowed by the Bob Dylans and Joni Mitchells of his generation (and later his son). Algrant feels more dues should be paid to Tim Buckley. “[‘Once I Was’] is arguably one of the more important songs from that period and people have forgotten that.

I mean, ‘Once I Was’ should be our national anthem.” Audiences become fondly reintroduced as Jeff learns his deceased father’s work.

“I tried to have the film be a jukebox of Tim Buckley,” says Algrant. “In a sense, Jeff had that jukebox running through his head, all of Tim’s songs… He knew every note, he knew every word and every letter.”

With a barrel-scraping budget and strapped shooting schedule, Greetings From Tim Buckley leads up to one heart-hugging culmination, the legendary benefit concert at St. Ann’s Cathedral for Tim, where Jeff made his public singing debut. Algrant actually recreated the concert, shot over three days with a 300-strong audience and performed live by Badgley and several of the musicians, including ‘Grace’ and ‘Mojo Pin’ co-writer Gary Lucas, who played there the first time. “It was suicidal,” says Algrant. “I just said, fuck it. We’re going to make a movie about an indie rocker in New York who died and he’s not here, his father who died and he’s not here, and we don’t have any money. What we could have is the possibility of taking real actors and doing it live, so that they’re going through essentially what [Jeff] went through.”

Life blatantly imitated art with the purely showersinging, casually guitar-playing Badgley learning the music of Tim and Jeff Buckley without either’s advice. The parallels between both Badgley and Jeff’s discovery of Tim are rather charming, both having never played in public before the concert. “Penn Badgley was just in a perfect place to do this,” says Algrant. “He doesn’t have the same range of course as Jeff or Tim…and when he sang ‘Once I Was’ that’s the first time he ever sang it through, ever.”

The search for a Jeff Buckley made headlines and hashtags worldwide, with everyone from James Franco to Robert Pattinson rumoured for the role. After hundreds of auditions, Algrant snuffled out 26-year-old Badgley. “This tape came in… Penn auditioning the record store scene. He was the only person who actually took that scene on. He makes tonnes of mistakes, he’s writhing around on the floor, but he sings all of it and he does this Led Zeppelin thing that was just crazy, ambitious and exquisite. And I said, that’s the guy.”

What: Greetings From Tim Buckley opens in cinemas on Thursday August 1.

Underbelly Arts photo: We Do Not Unhappen 2011. Photo by Dylan Tonkin.

The Underbelly Arts Festival’s program also includes elements aimed specifically at children and young people. “That’s something relatively new for us,” Sarlos says, “and it’s partly a product of being on the island.

In previous years, we saw a lot of people coming with prams and with younger kids, and we realised we had a great opportunity to really get kids interested in the work and the great stuff that’s happening.” There will even be teenager-led tours, specifically for kids.

“They’re a pretty keen bunch, so we’ve done some training with them to get them ready,” Sarlos laughs. “They’ve picked out some specific works to talk about,” Sarlos says.

“When you’re a little kid, a 17 year old seems old but a 30 year old seems really old. It’s a great way to get kids interested in the art in a way that’s not intimidating.”

Other highlights: contrasting tales of New York teenagers feature in the dreamy and troubling examination of a 14-year-old girl’s attraction to a much older man in It Felt Like Love, while Gimme the Loot offers a richly-rendered Bronx milieu and nonstop crowd-pleasing charm in its tale of two cash-strapped graffiti artist friends.

Meanwhile, Zachary Weintraub’s You Make Me Feel So Young, like the best work of French auteur Philippe Garrel, is a stark and elliptical portrait of an ailing relationship between a young couple, that succeeds in turning microscopic shifts in behaviour into something of great cumulative power. Some may find it too navel-gazey, but the same can’t be said of the wide-ranging festival it plays within.

Greetings From Tim Buckley

Many of the works draw on the history of Cockatoo Island itself. “There’s a smartphone app called Ghosts Of Biloela, that takes you back to the time when the island was a reformatory school for girls,” Sarlos explains.

“It’s a collaboration between the playwright Anna Barnes and various programmers and sound artists.” The work takes the form of a geo-locative app, which triggers different parts of the island’s story based on where users stand. “It’s all underpinned by sound design,” Sarlos says. “You get to experience the story of this hellish 1800s reform school in a way that’s completely different from the way the person next to you might experience it. It’s great to see artists finding new ways to engage people in storytelling.”

As for the festival’s other highlights, Sarlos is reluctant to narrow it down, but one that she’s particularly excited about is Kino Klinik, by a collective called the Mook Gwa Institute.

“They’ll be sitting down to do therapy sessions with audience members using plots and story lines from films,” she explains. “It’s like working through the troubles in your life with Margaret and David! It’s playful, but it also has the potential to say something a bit more to audiences – like a lot of the works at the festival.”

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Even if you harbour no nostalgia toward the heyday of VHS, it’s hard not to be swept along by the infectious reminiscences and comprehensive detail of the documentary Rewind This!, which chronicles the rise and fall of the format, both in the marketplace and in the hearts and minds of film nerd children of the ’80s. Most fascinating is the thread that examines the way pornography was shaped by the rise of video, and how that industry went a long way toward sustaining the format for as long as it did. For a film that’s partly about the formation of one’s aesthetic preferences, I sort of wish that director Josh Johnson had been more imaginative with the film’s look – it’s mostly a crisply-shot talking-heads affair – but the film’s a missed opportunity in that regard only.

less than examining the inchoate idea of time itself, finding a digressive structure to match his theme, reminiscent of Chris Marker’s landmark 1983 essay-film Sans Soleil. Inevitably, his voiceover narration becomes a little dorm-roomstoner-ish in parts, but his images (of everything from lava flows in Hawaii to urban decay of contemporary Detroit) are never less than eerily beautiful and deeply conducive to a state of zoned-out contemplation. Sometimes it’s best that words fail.

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

ONLY GOD FORGIVES

demonstrating Refn’s idiosyncratic formal brilliance, where retribution and the futility of penitence is the sole economic currency.

In cinemas now Nicolas Winding Refn’s Only God Forgives has been met with mixed reaction. The film was booed by attendees at Cannes Film Festival, has been largely derided by the Hollywood press for its unrelenting and gratuitous violence, but won the Sydney Film Festival’s Official Competition. Refn has reunited with the star of his acclaimed Drive, Ryan Gosling, and in doing so negotiates a powerful choice in protagonist to carry much of the film’s controversial material. Set in a neon-lit Bangkok Only God Forgives propels the viewers into an ultra-violent, hellish landscape fuelled by revenge and inescapable obligations of fulfilling one’s family and self-motivated duties.

Larry Lai

Gosling plays Julian, a small-time crook running a Muay Thai boxing club in Bangkok.

After his older brother Billy (Tom Burke) commits the sadistic rape and murder of a 16-year-old Thai prostitute (Billy is consequently murdered by the victim’s father), Julian is ordered by his mother Crystal (Kristin Scott Thomas) to avenge his brother’s death. It is here that we’re introduced to the film’s ostensible God-like figure Chang (Vithaya Pansringarm), who is an unforgiving local police chief possessing an ambiguous code of honour; Chang executes Billy’s victim’s father for allowing his daughters to prostitute themselves.

Of particular interest is Crystal; Thomas plays the part of Julian’s mother with charisma in contrast to somewhat affectless performances from others in the film. She is an overbearing, underworld matriarch whose exaggerated mannerisms and constant demand for respect qualify her as a rival, ‘false’ god to Chang’s authority. And there’s certainly an Oedipal-inflected mother-son conflict at play that underscores the film’s questioning of idealised masculinity. This is vocalised best in Crystal’s abusive tirades directed at Julian: “Billy being the older brother and having the bigger cock…how can you compete with that?”

Rejecting deeper psychological examination for a more experiential interpretation, cinematographer Larry Smith’s camerawork and shot composition echoes Stanley Kubrick’s The Shining and A Clockwork Orange. Slow pans and stilted tracking shots of Bangkok’s gleaming, luxury hotels and fluorescent sex clubs accentuate the film’s eerie, oddly dehumanised milieu. Interestingly enough Spartan dialogue permits Smith’s highly-stylised cinematography to remain at the epicenter of Only God Forgives; in essence, the film communicates through pervasive blood-red hues and tortuous scenes of bodies.

Refn’s Only God Forgives presents a world without forgiveness or redemption. Audiences should brace themselves for a disorienting experience – a cinematic experience

■ Theatre

TWO ROOMS Until August 4 First written in 1988 by Tony award nominee, Lee Blessing, Two Rooms is a powerful exploration of love, loss and life in an unrelenting and often inexplicably cruel world. Sadly though, its Sydney debut by Ledlight Theatre Company, doesn’t quite pack the punch it needs to make the tears roll.

Lauded “The best play of the year” by none other than TIME Magazine back in the ’80s, Two Rooms tells the story of Michael Wells (Nick Dale), an American professor held hostage in militia-controlled Beirut, and his science teacher wife Lainie (Laura Huxley), back home in the United States who is dealing with her loss via reporter Walker Harris (Eli King) and government case worker, Ellen Van Oss (Coralie Bywater). The title takes its name from the stage setting: one room representing both Michael’s windowless prison and his office back home, which is stripped of furniture and inhabited by Lainie. This one room, doubling as two, symbolically represents Michael and Lainie’s pain.

This crucial part of the story is done well – Tap Gallery hosts an underground cell/ depression room very nicely – and there are some genuinely impressive props like the hourglass-style spill of sand from above – an extended metaphor for the continual and crushing flow of time.

Great, too, is the majority of Blessing’s script. It’s interesting, intriguing and at times educationally poignant.

Unfortunately it’s the cast that lets this performance down.

Zoe Levin, Steve Carell, Toni Collette, Sam Rockwell and Liam James in The Way, Way Back.

■ Film

THE WAY, WAY BACK In cinemas August 1 The Way, Way Back is a familiar story – lonely, misfit teen and the summer that changes it all.

Liam James plays 14-year-old Duncan who, together with his wounded mum (Toni Collette), her condescending boyfriend Trent (Steve Carell) and his shallow daughter Steph (Zoe Levin), head to Trent’s beach house for their summer holidays. While there, Duncan befriends local water park employee Owen (Sam Rockwell) and finds solace in a world not contaminated by the demands and restraints of his usual life.

Three things really set this film apart, the first of which is having Steve Carell play an asshole.

A familiar unease washed over me like when I rushed to see Dead Poets Society because it starred the funny man from Mork & Mindy Robin Williams, or when The Cable Guy brought the unnerving realisation that Jim Carey’s range extended beyond Ace Ventura. Like both of these iconically-comedic actors before him, Steve Carell continues to demonstrate his broad range.

Sam Rockwell as the water park employee whose Peter Pan complex makes him stand out. While he takes a little warming to with his frenetically paced jokes, this jock with a conscious provides the vast majority of the film’s laughs and charm.

The final distinguishing feature is the script. Nat Faxon and Jim Rash (AKA the cross-dressing, pun machine that is Community’s Dean Pelton) won the 2011 Academy Award for Writing – Adapted Screenplay with their first script, The Descendants. While this current endeavour gives a much lighter take on modern family dynamics, smart and poignant writing continues to be their mainstay. The Way, Way Back also marks this duo’s debut in the directorial chair as well as cameo’s to boot.

For all these appealing factors, the final crescendo is a little weak and fairly forced – even though it does provide one of Rockwell’s finest moments (because reciting Bonnie Tyler lyrics is always funny). In the end though, this film will put plenty of smiles on your dial if nothing else.

Lee Hutchison

Without a doubt, all four are passionate about their trade, in particular Dale shining through as the star of the show, but simple things like accents and line learning need a little work. So too does the styling. Fabulous hair and a cute necklace does not a grieving wife make.

One does hope that these creases will get ironed out after a few shows.

Overall, if you want something to make you think then Two Rooms might do you just fine. And Tap Gallery’s always worth a visit if you’re one for supporting emerging artists at work.

Jack Arthur Smith

See www.thebrag.com for more arts reviews

Arts Exposed What's in our diary...

Acknowledged: Sydney’s Homeless

Jennifer Blau, Jayme, 2011

Xxxx

State Library of New South Wales Until October 6 This week, the State Library of New South Wales opens a new photographic exhibition dedicated to Sydney’s homeless. Created by Sydney Homeless Connect, Acknowledged: Sydney’s Homeless offers up 60 portraits of men, women and children to paint a vivid picture of what life’s like for those who sleep rough, couch surf or stay in temporary accommodation. The exhibition has been four years in the making and largely the product of volunteer photographers Angela Pelizzari and Jennifer Blau who have been capturing the real face of homelessness in Sydney. The idea behind the photographic project was to give Sydney’s homeless a chance to direct the way others see them, and for them to see themselves outside of the stereotypical image,” said Sydney Homeless Connect curator Felicity Coonan. Visit sydneyhomelessconnect. com for further information.

FIND MORE MOVIES @ WWW.MUSICMOVIESOFFER.COM © 2013 LAYOUT & DESIGN CON FILM M DISTRIBUTI DIST BUT ON. ALL ALL RRIGHTS RESERVED RE ERVED

BRAG :: 523 :: 29:07:13 :: 25

bread&thread Food & Fashion News with Lisa Omagari

IN THE ANNEX

BRUNCH AT BONDI HARDWARE

THE ROYAL FACELIFT

18:07:13 :: TAP GALLERY :: 278 PALMER ST DARLINGHURST PHOTOS: TIM LEVY

Local fave, Bondi Hardware, has added a new brunch service to its repertoire. In hope of aligning itself with the Bondi culture of late, indulgent weekend breakfasts, the joint’s dishing out some pretty extravagant meals.

Ricotta pancakes with either vanilla, honey, mixed berries, mascarpone and maple or crispy bacon and maple are on the bill as is something epic for the meat lovers out there: a House Rubentoasted sourdough pastrami, sauerkraut, horseradish, Swiss cheese, garlic aioli and sliced pickles. And lest we forget the all-important booze; Bondi Hardware’s Bloody Hardware – chilli-infused vodka, house-made black juice of beetroot, tomatoes, lemon, orange, horseradish and chipotle Tabasco – will kick start your day. Head to bondi-hardware.com.au for further information.

Forest Lodge (AKA that half suburb in between Annandale and Glebe) residents rejoice, for you’ve been blessed with a bangin’ new kid on the coffee shop block. In The Annex (35 Ross St) is a 30-seater goodie offering expert coffee, damn tasty breakfast and lunch bites as well as a quirky fit out that’ll keep your conversation going if nothing else. Sustenance wise, think delicate combos like cured duck, roasted Brussels sprouts, brioche and duck egg and bubble and squeek boasting crumbed egg and heirloom carrots. And liquid wise, imagine suburban Tropicana.

The grapefruit, ginger, tonic and honey frappe of the kale banana, coconut and chia smoothie’s where it’s at. Check out facebook. com/intheannexcafe for more information.

E AST IS E AST NIGHT MARKE TS

FRATELLI FRESH ALEXANDRIA

The Fratelli Fresh empire is expanding. Founder and owner Barry McDonald will open Fratelli Fresh Alexandria (Cnr Mitchell Road and Buckland St, Alexandria) on Saturday August 10.

The former Buckland Hotel has been transformed to include a branch of Café Sopra, a pizzeria, bar and bottle shop. But wait, there’s more. “It is great to have the opportunity to take the Fratelli Fresh concept to the next level,” said McDonald via release. The newbie’s capacity is at 120 people, including outdoor and private dining. And of course, Fratelli’s signature providore-cum-restaurant function will remain. Prior to or post dinner, you’ll be able to pick up the best, fresh, seasonal produce, olive oils, imported cheeses and herbs and the all important pastas. Do it.

Leichhardt’s The Royal is set to undergo a bit of the old nip and tuck. The iconic pub, that has been a part of Norton Street’s fabric since 1886, has been bought by hospitality group W. Short Hotel Group which plans to refurbish the venue and open a new dining area, terrace and refreshed bar space in late August. There’ll also be $12 steaks on the bill.

Score. The Royal will remain open throughout renovations with locals being invited to taste test the new menu and offer feedback ahead of the revamped pub’s official launch. Visit theroyalleichhardt.com.au for more information.

LOVER,Chorus 2013 campaign

QUEENIE’S UP IN SMOKE

LOVER SS 13/14

The creative duo behind lace-tastic LOVER, Susien Chong and Nic Briand have launched the label’s SS 13/14 collection, ‘Chorus’. The pair chose flame-haired model/musician Karen Elson for the campaign, whose angelic squinty-eyed look bodes well with LOVER’s dream-like aesthetic. Chong and Briand have taken their label from humble beginnings at a Bondi Market stall to a label synonymous with feminine charm, beauty and wisdom.

For further information visit loverthelabel.com

FIFTIES FAIR SUNDAY 25 AUGUST, 10AM-4PM ROSE SEIDLER HOUSE, 17 CLISSOLD ROAD, WAHROONGA The basics: “The fabulous Fifties Fair returns to Rose Seidler House on Sunday 25 August. Celebrate all things ’50s at Sydney’s iconic Modernist home. Pat Capocci Combo with ‘A Man Called Stu’ will rock the fair, joined by Brisbane’s Miss Teresa and her Rhythmaires.

Porteño’s Ben Milgate and Elvis Abrahanowicz will serve up southern style Reuben sandwiches, alongside treats from Balmain’s Little Ethel’s.

There’ll also be ’50s DJs, classic cars on display, authentic ’50s fashion and furniture, not to mention the Fair’s hair salon and beauty parlour.”

A fair go for Fairs: “Presented by Sydney Living Museums, Fifties Fair has become a much loved and eagerly anticipated event each year for lovers of all things ’50s. The era is undergoing a revival in our modern age with many fans first becoming hooked on the music and dancing from the 1950s, and eventually embracing the ’50s as a lifestyle choice –

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LOVER photo by Lina Scheynius

An Albino Russian

Jamaican me hungry, man (sorry, we just had to). And we’re in luck, because Queenie’s atop The Forresters is hosting a one-off five-course stoner dinner bonanza on Thursday August 15. What you’ll be pigging out on? Holy Cheesus, 420 sandwiches, Rasta pasta, the Kingston double down and lots, lots more. And rumour has it, there’s also a special Albino Russian cocktail on the bill. $50 bucks covers the lot (excludes drinks) so best be quick to spark up ‘cause seats will go fast. Bookings through bookings@queenies.com.au

profile from their daily vintage dress, to their cars and retro home furnishings.”

Fair Fare: “The crew from Porteno, winners of the prestigious SMH 2013 Chefs of the Year award – will be serving a southern-style Reuben sandwich and we’ll be serving up delicious coffees and other treats.

Fair-goer specs: “Fifties Fair is for everyone – from hard core enthusiasts who live and breathe the 1950s, to rockabilly trendsetters and people who love to come to the fair to admire the frocks and cars and join in the fun. For music lovers, Pat Capocci Combo and Miss Teresa and her Rhythmaires will be the main attraction.”

Dressed to the nines: “The Fifties Fair is a celebration of 1950s style – a time of glamour and immaculate grooming, when personal presentation was an artform. Think red lipstick, pencil skirts, beautiful accessories, and elaborate hairstyles. Everyone’s welcome at Fifties Fair, whether you’re in jeans and a white T-shirt, or in your Sunday best. At the fair, you’ll be able to get styled by Sterling

Hair, or step into Bop Dames’ hair salon and beauty parlour for some ’50s-style pampering.”

How much: $30 pre-sale only from sydneylivingmuseums.com.au Getting there: No parking on site, free shuttle bus from Turramurra train station More: Fifties Fair is also encouraging us to share our preparations for the day.

Tag @sydlivmus and share with the #FiftiesFair hashtag on your favourite social network to join the discussion.

BRAG :: 523 :: 29:07:13 :: 27

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

ALBUM OF THE WEEK CLOUD CONTROL Dream Cave Ivy League

Having spent a fair chunk of the last couple of years stationed in the UK, Cloud Control’s reverbsoaked, harmony-heavy, 60s-psych second album feels like a work that’s been born out of the growth only time and distance away from home can bring.

Xxxx While most Aussies abroad cut loose by getting shitfaced, ‘Dream Cave’ finds Cloud Control letting go in a far more entertaining fashion.

The heirs to Tame Impala’s crown?

‘Scream Rave’ opens the album with a blast of echo chamber harmonies – they come as a shock to the eardrums if you’re not prepared – before dissolving into first single ‘Dojo Rising’. That track’s bristly beat keeps kicking Alister Wright’s lethargic drawl along like it’s afraid he could nod off at any moment.

FUTURE BIBLE HEROES Partygoing Merge Records

After producing a string of guitar-based albums in the previous decade, Stephin Merritt backtracked to an electronic sound for The Magnetic Fields’ patchy 2012 album Love at the Bottom of the Sea. The natural progression (or is that regression?) from here was to reform synth-pop side-band Future Bible Heroes, which consists of Merritt, the ever-present Claudia Gonson and composer/keyboardist Christopher Ewen.

Champagne in hand, Merritt runs the gamut of social observations, with anti-children manifestos (‘Keep Your Children in a Coma’), suicide bids (‘Let’s Go To Sleep and Never Come Back’), binge drinking (‘A Drink is Just the Thing’), bitter unrequited love (‘Sadder Than the Moon’) and even genuine affection (‘All I Care About is You’).

Most of all there’s a droll take on the slow-motion suicide of Merritt’s fellow sun-loving Angelinos, a theme he also covered on The 6ths’ ‘Rot in the Sun’. ‘Digging My Own Grave’ is a cheery paean to self-destruction, while ‘Drink Nothing But Champagne’ helps kill off the children that aren’t already in comas with the insightful “It makes life shorter than drinking water.”

Like any good social gathering, Partygoing is all too fleeting, with most of its thirteen tracks snapping their fingers and sauntering off after just two minutes. What really gives cause to celebrate here is that this is the most enjoyable, well-rounded record yet from this oddball threepiece.

It’s further evidence that Merritt is now making his most interesting work outside of what is considered to be his main band.

Chris Girdler

Buoyed by a bouncy bass line, ‘Moonrabbit’ gleams with sun-kissed harmonies and some uplifting “ba’s” (who doesn’t love a good “ba” singalong?), sounding authentically like a cut from the Hair soundtrack.

‘Island Living’ and ‘The Smoke, The Feeling’ take things into darker, more atmospheric territory. Both songs are textured with pulsating electronics.

‘Scar’ soars along with Wright and Heidi Lenffer sharing vocals in the chorus. ‘Happy Birthday’ sees the two trading vocals – Lenffer in the verses and Wright taking over for the chorus (which contains the brilliant line, “I hate my birthday, it’s true”).

Some incidental party noise and a Byrdsian guitar solo appear out of nowhere and disappear just as quickly.

The haze shimmers off the jaunty guitar lines and heavy bass of ‘Ice Age Heatwave’. ‘Tombstone’ plays

BAD//DREEMS

GLASS TOWERS

SHUGGIE OTIS

Greetings From Long Holiday Independent

Badlands Mirador

Halcyon Days HUB/Inertia

Inspiration Information & Wings of Love Epic / Legacy

You can feel that slacker punk thing all through ‘Hate Potion No.8’, replete with sharp riffs to spit abuse over anyone caught in the band’s way; ‘She Ain’t Dead (But You Are)’ builds to a crescendo, like a spurned lover presenting a case of emotional assault.

‘Hit Machine’ is a pop song to die for – with a hint of Bo Diddley, The Yardbirds and David Bowie somewhere in the mix – and ‘Garden Of Evil’ is all thrashing heads and Pixies guitar runs.

‘Army Of One’ is solitude in its ideal sludgy Pacific North-West guise, ‘Red Eye’ stumbles through a morning after the night before with bleary eyes and a frontal lobe crushing set of riffs. ‘Salt’ is soft to the touch, and light to the ear; this is the holiday to which the band must be referring.

But it’s over soon enough, and ‘Blood From A Stone’ returns to a basic linear rock route, before ‘Cola Pop’ finds solace in the pop corners of Olympia.

The darkness of ‘Silver’ is compelling, the thrash, grind and grunge of ‘Round Again’ is arresting and ‘Your World’ is the logical link between The Runaways and Lita Ford’s ‘Queen Of Metal’ days. With that, the holiday is finished, but the good memories remain.

Eventually, long holidays can mutate into a trial, with logistical dramas, disgruntled fellow travellers and a general frustration with life on the road. Thankfully, there’s none of the latter with this Long Holiday.

Patrick Emery

A music industry type once mused about a possible compilation of Adelaide bands from the 80s titled Paisley and Smack; the idea, while not inappropriate for the genre, was shelved quickly, for fear of causing offence to protagonists in that still relevant scene. It’s said that Salman Rushdie, upon observing Adelaide’s sociological peculiarities, mused that it would be the ideal setting for a serial killing – a prophetic observation if ever there was one.

Bad//Dreems come from Adelaide. That’s important, and not just because of the negative cultural context noted above.

Bad//Dreems’ six song EP Badlands has a veneer of pop elegance, and an abrasive underbelly that makes you think twice about hanging around too long.

‘Chills’ is soft and tender, an afternoon stroll in the sunshine with ne’er a care in the world. ‘Hoping For’ takes everything up a notch, and you’re in the car cruising down Anzac Highway on a Friday night, looking for something to do, anything, please, if only to relieve the frustration and anomie.

There’s an aspect about ‘Home Life’ that’s simultaneously confronting and exciting; the dialectic battle between melody and dirty guitar conjures up memories of The Dagoes and its Greasy Pop successors, and that’s always a good thing. ‘Caroline’ is a good ol’ fashioned pop song with an emphatic wash that makes you wonder whether the narrator’s plea will ever be reciprocated; you’re in a car park of the Christies Beach shopping precinct, and everyone’s on edge. ‘Tomorrow Mountain’ is a little bit psychedelic, and maybe a little bit gothic; ‘Too Old’ is back to earlier happy, slacker pop pastures, hanging out with July 14 and doing nothin’ much, which, paradoxically, is everything that needs to be done.

Bad/Dreems isn’t just another Adelaide band; they represent the melodic, the tough and the spirited of that much-maligned city.

Glass Towers’ Halcyon Days pays tribute to the idyllic memory of youth, with 11 episodic moments of lead singer Ben Hannam’s formative years.

On the surface Halcyon Days is a punk record, but the regular appearances by Sydney singer Jordan Leser lend the album an undertone of indie folk fragility.

But while there’s some versatility, it’s brief. The guitar chords in the opening track ‘In This City’ are repeated in ‘Castles’, with a stagnant drum pattern that only changes in tempo.

Like the prelude of Last Dinosaurs’ ‘Zoom’, which opens with a muffled guitar solo before bursting into full volume, ‘Jumanji’ follows a very similar pattern, opening with an almost identical muffled guitar riff before kicking into the song. Halcyon Days does do credit to Hannam’s vocal dexterity, making use of his range and falsetto.

The final track ‘Foreign Time’ is a big surprise, its minimalism refreshing after a stream of monotony. Complete with ethereal harmonies, acoustic guitar and a banjo, the beauty of ‘Foreign Time’ is that it sounds nothing like its predecessors.

Sounding more like a Sufjan Stevens song than Glass Towers, it’s the antithesis of the entire album, a sound and style that will hopefully be reinvented in Glass Towers’ future.

Collectively, Halcyon Days sounds like a recycled Last Dinosaurs record, with most of the songs sharing eerily similar guitar riffs to the Dinosaurs’ In A Million Years.

The only difference is Jordan Leser, but she doesn’t have a large enough role to really stand out.

Dina Amin

Patrick Emery

INDIE ALBUM OF THE WEEK Smashed on a Knee Munster Records When John Lydon asserted that anger was an energy, he might have been talking directly about the Powder Monkeys. Tim Hemensley, the band’s principal songwriter, bass player and lead singer, did a hard line in social and political invective. Alienation, frustration, emotional dislocation, social marginalisation – it was there in spades.

Add to that rhetorical mix John Nolan’s buzzsaw guitar, and Timmy Jack Ray’s disciplined street fighting rhythm attack, and the Powder Monkeys were just about the toughest, angriest, hardest rock’n’roll

28 :: BRAG :: 523 :: 29:07:13

Michael Hartt

LONG HOLIDAY

Listening to Greetings From Long Holiday transports me back to a time a couple of decades ago when holidays were devoid of the administrative and domestic complexities that come with getting older. It’s a time when L7, Babes In Toyland, Nirvana and Soundgarden defined the musical zeitgeist, when the flannelette shirt was a fashion icon and political agnosticism was an ideological statement.

POWDER MONKEYS

like the soundtrack to an indie Western thriller set in a wide, arid expanse. The title track closes out the album. It’s a haunting mid-tempo waltz that sounds like a long lost Roy Orbison tune. It ends with a field recording of water dripping down the rocks in a cave – a soothing end.

bastards in the business.

Smashed On A Knee was recorded originally in 1992, and released in 1993 on Dave Laing’s Dogmeat Records.

At the time of its original release, the Powder Monkeys had already established the band’s reputation for intense and powerful live shows; the release of Smashed On A Knee came as something of a disappointment, with the Powder Monkeys’ aural attack buried in a confusing, occasionally turgid mix.

Mikey Young’s careful re-mastering uncovers the sonic gems buried in the original rough mix. The brutality of ‘Another Night In Hell’ verges on frightening; the cathartic anger of ‘Persecution Blues’ is

confronting, and perversely pleasurable.

Hemensley’s bleeding raw emotional make-up is never as obvious as in ‘I Stand Bare’; ‘Bruised Battered And Bloodshot’ offers a self-destructive antidote to the pains of human existence.

The re-release comes with three bonus tracks, including a cover of Sam and Dave’s ‘I Thank You’ (via a 1977 ZZ Top bootleg), and two alternative versions of ‘Another Nite In Hell’ and ‘Atomic Resolution’.

There will never be another Powder Monkeys – these guys didn’t just break the mould, they smashed it to pieces.

Patrick Emery

Californian classically-trained multiinstrumentalist and all-round legend of funk, soul and blues, Shuggie Otis had a sparkling career in the late 60s and early 70s that saw him performing and recording with a diverse range of artists such as Frank Zappa, Etta James, Richard Berry and Al Kooper, as well as releasing his own ground-breaking and highly influential albums.

Despite this early success, Otis struggled to gain a foothold in the industry after 1974, which seems particularly odd when you consider that he was so acclaimed that the Rolling Stones had been keen for him to join the band, an offer that he turned down. If you have never encountered Otis’s music before you’ll be blown away by this generous double-CD set that includes Otis’s third album Inspiration Information, originally released in October 1974, a quartet of bonus tracks plus Wings of Love, which compiles the artist’s unreleased work spanning the period 1975-2000.

Otis’s guitar playing is a fluid delight and his dreamy vocals perfectly complement the warm grooves and thoughtful arrangements. Otis, who plays guitar, bass, organ, piano, vibes and percussion, creates such a richly textured sound that the listening experience is totally absorbing. It’s tempting to replay the tracks multiple times simply to catch all the interesting and subtle sounds and melodic twists that may have been missed. This is headphone music at its attention-grabbing best. If you like your funk smooth and silky check out the sublime ‘Special’ recorded in 1980, which glides upon an irresistible groove.

Other highlights include the stellar guitar solos and impassioned vocals that soar throughout the epic ‘Wings of Love’ and the effortless groove that pumps through ‘Destination You!’.

After listening to this double CD it becomes clear that Mr Otis is a bona fide genius.

Graham Blackley

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

QUEENS OF THE STONE AGE - Songs for the Deaf THE ROLLING STONES - Sticky Fingers THE BEATLES - Revolver

UNKLE - Where Did the Night Fall LORN - Ask the Dust

snap sn ap

live review

up all night out all week . . .

What we've been out to see...

AT FIRST SIGHT Carriageworks Saturday July 20

Here’s BRAG’s verdict – At First Sight should happen pretty much every weekend.

Carriageworks is a fantastic venue for live music – the largest performance space turned out to have great acoustics and more than enough room for every ticket holder to get a comfortable space in the dark.

Good lighting, good sound, and interesting Australian bands playing bite-sized sets – plus $5 beers (while they lasted), food and the Eveleigh Farmers Market (replete with Breakfast Port) before hand, and of course thousands upon thousands of new and second hand records to sift through.

king colour

19:07:13 :: The Standard :: 3/383 Bourke St Darlinghurst 9331 3100

After ten hours, we’d drunk plenty of cheap beer, seen some great bands, and picked up a stack of $5 records – more please.

Rick Warner

PHOTOGRAPHER :: TIM LEVY

SAINT VITUS, MONARCH The Hi-Fi Friday July 19

French/American group Monarch kicked things off with an underwhelming performance. Guitarist Kaïdine describes their style as “slow and loud as fuck,” which about sums up Monarch’s set. They seemed more interested in pleasing themselves with their extreme, dragged-out sludge/doom than engaging the audience.

PICS :: AM

jac stone

Personal highlights were Beaches, whose massive icy wall of doom-like psych guitar noise earned them rapturous applause, despite ear-piercing feedback issues that caused one band member to have to pack it in and leave the stage before the last song. Super Wild Horses were in fine form, rollicking through their instrument-switching set of ’60s garage-pop, while Songs delivered one of the day’s most polished sets of C86 guitar pop. Meanwhile, Straight Arrows’ full frontal assault of raw, brattish, shouty garage punk would have been perfect for a circle pit, if it hadn’t been about two in the arvo.

PICS :: KC

Carriageworks’ massive industrial hall filled up early in the day with record hunters both obsessive and casual – many came early to plunder the crates but didn’t bother to stay and pay for the bands. Which was a shame,

as for a reasonable $35 ticket they could have caught 11 ace Australian band.

19:07:13 :: Factory Theatre :: 105 Victoria Rd Marrickville 9550 3666

The stage was better suited to a bizarre séance, with rotating goblin green and red spotlights and white candles. The entire performance felt like an uncomfortable date at a funeral, filled with unnecessary noise to break up the awkwardness. We remained in this limbo of reverberating drone for over forty minutes, which seemed like a lifetime.

Cue the series of “get off” heckles thrown from the sidelines. I will forever be haunted by the phantasmal screams and howls of lead singer Bresson, like my first Freddy Krueger movie at the delicate age of 8.

atlas genius

Drummer Henry Vasquez made a ballbusting statement with his powerful chops and delinquent antics, knocking back Jack Daniels from the bottle and hurling his drumsticks at the crowd. There are no pretensions with these guys. They love to play and they don’t fuck around. And they don’t mind if you leave without an eyeball.

Bassist Mark Adams hung elusively in the background, but was in no way forgotten as he delivered some deliciously deep and dark riffs. Meanwhile, Weinrich commanded the show with intensity, his signature rugged, husky vocals on the money as ever, while Dave Chandler fired up the audience by playing gnarly guitar solos with his teeth and behind his head, and even jumping down into the crowd to flesh it out.

Saint Vitus delivered a tremendous set, full of the fierce riffs, reverb and distortion that have cemented their status as one of the most important and influential bands in the American Doom genre. Their silky grey, Gandalf-like hairstyles and faded tattoos are the only signs of aging. They have still got it raw, despite their 35 years of legendary debauchery, band member shifts and breakups. I take my hat off to these guys, it was a killer show.

Kylie Finlay

PICS :: TL

The long-hailed kings of doom metal Saint Vitus thankfully upped the ante and graced the stage with all the vigour and intensity of bona fide rock veterans. ‘Wino’ Weinrich greeted us by asking, “It’s Friday right? Are you ready to have a hangover tomorrow!?”

The crowd switched on immediately with an enthusiastic roar, fists punching the air and

slow-motion moshing to the opening track ‘Living Backwards’.

17:07:13 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711 :: ABOUT LAST NIGHT :: KATRINA S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER MAGNAN :: ASHLEY MAR :: TH AMA :: NG LEU RY HEN :: CLARKE :: AVERIE HARVEY

RKE PHOTOGRAPHER :: KATRINA CLA

BRAG :: 523 :: 29:07:13 :: 29

snap sn ap

stereophonics

PICS :: AM

up all night out all week . . .

you am i

PICS :: AM

made in japan

PICS :: KC

18:07:13 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711

19:07:13 :: The Enmore Theatre :: 118-132 Enmore Rd Enmore 9550 3666

PICS :: HL

black cherry

whitley

20:07:13 :: Factory Theatre :: 105 Victoria Rd Marrickville 9550 3666

30 :: BRAG :: 523 :: 29:07:13

PICS :: AM

19:07:13 :: Brighton Up Bar :: Level 1/77 Oxford St Darlinghurst 9572 6322

18:07:13 :: Oxford Art Factory :: 38-46 Oxford St Darlinghurst 9332 3711 :: ABOUT LAST NIGHT :: KATRINA S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: ASHLEY MAR :: NAN MAG TH AMA :: NG RY LEU CLARKE :: AVERIE HARVEY :: HEN

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

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

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

COME IN WE’RE OPEN TIL 3AM!

TUE 30 JUL THU 01 AUG the walking who

PICS :: KC

B-MASSIVE SIAMESE ALMEIDA THE RUMOURS DRUG STORE 66 THE TROUBLED ROMANTICS

19:07:13 :: Upstairs Beresford :: L1 354 Bourke St Surry Hills 83135000

party profile

isotonic

DJS

(USA)

TIMOTHY SNAPE & HAVAS

SAT 03 AUG SUN 04 AUG

It’s called: Isotonic.

It sounds like: The finest rock’n’roll, folk and soul.

Acts: Tin Sparrow, The Guppies and OXBL VD, along with resident DJs keeping it going long into the night.

Sell it to us: The new weekly Thursday night party bringing a fresh breeze to the east and a lineup of the finest local and touring artists.

The bit we’ll remember in the AM: Isotonic is the Thursday night jam you’d like to see but not remember.

Crowd specs: Beach babes, rockers and hipste rs.

Wallet damage: Nada, nothing, zilch!

Where: Beach Road Hotel, Bondi.

When: Launching Thursday August 1 at 8pm.

WITH LOOSE CHANGE SUBURBAN DARK ELEMONT AND DJ MORGS

THU 08 AUG FRI 09 AUG

SeNsEs LOVE ME FaIl TINA C (UK) YANA ALANA (BRIS) TOMMY BRADSON ANNABEL LINES GENEVIEVE FRICKER

(USA)

Coming Up

11th 15th 16th

IN AUGUST

GALLERY BURLESQUE SARLET HEARTS BEACH FOSSILS (USA)

DON’T MISS...

maids

PICS :: KC

GLASS TOWERS / DARWIN DEEZ BEACH FOSSILS / DIAFRIX GALLERY BURLESQUE FACEBOOK.COM/THESTANDARDSYDNEY TICKETS ON SALE NOW AT WEARETHESTANDARD.COM.AU

17:07:13 :: Brighton Up Bar :: Level 1/77 Oxford St Darlinghurst 9572 6322 :: ABOUT LAST NIGHT :: KATRINA S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: ASHLEY MAR :: NAN MAG TH AMA :: NG RY LEU CLARKE :: AVERIE HARVEY :: HEN

BRAG :: 523 :: 29:07:13 :: 31

g g guide gig g

send your listings to : gigguide@thebrag.com

Jagwar Ma

FRIDAY AUGUST 2

Cold War Kids + Cabins Metro Theatre, Sydney.

7:30pm. $60.

Frankie’S World Famous House Band Frankie’s Pizza, Sydney. 9pm. free.

James Blake Sydney Opera House, Sydney.

9pm. sold out.

Of Monsters And Men + Mammals Enmore Theatre, Newtown, Sydney. 7pm. $69.

TUESDAY JULY 30 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Old School Funk And Groove Night Venue 505, Surry Hills.

8:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

The Standard, Surry Hills

Jagwar Ma, Guerre,

DJ Angelo Cruzman MONDAY JULY 29 ACOUSTIC/ COUNTRY/BLUES/ FOLK Leah Flanagan Venue 505, Surry Hills.

8:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Latin & Jazz Open Mic World Bar, Kings Cross. 7pm. free.

32 :: BRAG :: 523 : 29:07:13

ACOUSTIC/ COUNTRY/BLUES/ FOLK

Champagne Jam - Open Mic Night Dundas Sports Club, Dundas.

7:30pm. free.

WEDNESDAY JULY 31 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC Walter Lampe Trio Venue 505, Surry Hills.

8:30pm. $15.

8pm $20 You Am I

Darwin Deez The Standard, Surry Hills.

8pm. $45.

James Blake Sydney Opera House, Sydney.

9pm. sold out.

Of Monsters And Men + Mammals Enmore Theatre, Newtown, Sydney. 7pm. sold out.

Palma Violets + Bleeding Knees Club + Teenage Mothers Oxford Art Factory, Darlinghurst, Sydney. 8pm. $35.20.

Pink + Youngblood Hawke Sydney Entertainment Centre, Darling Harbour. 7:30pm. $110.

Ziggy Pop Tuesdays - Feat: The Lockhearts + The Pieter Van Den Hoogen Band + Taking Berlin Brighton Up Bar, Darlinghurst, Sydney. 8pm. $5.

ACOUSTIC/ COUNTRY/BLUES/ FOLK

Fanny Lumsden & The Thrillseekers Single Launch + British Blue + The Burley Griffin Soda Factory, Surry Hills.

8pm. free.

Muso’S Club Jam Night Bald Faced Stag Hotel, Leichardt. 8pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS Alt-J + City Calm Down + Snakadaktal Hordern Pavilion, Sydney.

7pm. sold out.

Clubfeet + Louis London Beach Road Hotel, Bondi

Beach. 8pm. free.

Coopers Live & Local Feat: Men With Day Jobs Lizotte’s Dee Why. 7pm. $10.

FIDLAR + Dune Rats Oxford Art Factory, Darlinghurst, Sydney. 8pm. $35.20.

Of Monsters And Men + Mammals Enmore Theatre, Newtown, Sydney. 7pm. sold out.

One Wild Night Scruffy Murphy’s Hotel, Sydney. 11pm. free.

Pink + Youngblood Hawke Sydney Entertainment Centre, Darling Harbour. 7:30pm. $110.

Sarah McLeod The Vanguard, Newtown, Sydney. 6:30pm. $23.80.

The Paper Kites Metro Theatre, Sydney. 7pm. $22.

Ultra Series Band Competition Valve Bar, Tempe. 7pm. $15.

THURSDAY AUGUST 1 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Monique Dimattina Album Launch Venue 505, Surry Hills.

8:30pm. $20.

Kira Puru & The Bruise ‘Crest Of The Wave’ National Tour + Post Paint + Jack Colwell & The Owls FBi Social, Sydney. 8pm. $10.

Shelley Segal & Adam Levy Blue Beat, Sydney. 9pm. $25.

ACOUSTIC/ COUNTRY/BLUES/ FOLK

Lloyd Spiegel + Alex Bowen The Vanguard, Newtown, Sydney. 6:30pm. $20.80.

Muso’S Club Jam Night Carousel Inn Hotel, Rooty Hill. 8pm. free.

Sarah Paton Observer Hotel, The Rocks.

8:30pm. free.

Villagers The Factory Theatre, Marrickville, Sydney. 8pm. $49.10.

INDIE, ROCK, POP, METAL, PUNK & COVERS

Alex Hopkins Open Mic Night Northies Cronulla Hotel, Cronulla. 7:30pm. free.

Bardo Pond The Annandale Hotel, Annandale. 8pm. $40.

Castlecomer Oxford Art Factory, Darlinghurst, Sydney. 8pm. $10.

Clare Bowditch Lizotte’s Dee Why. 7pm. $39.

Jaybirds Scruffy Murphy’s Hotel, Sydney. 10pm. free.

Karmic Dirt + Gyrate + Another Door Opens Valve Bar, Tempe. 7pm. free.

Live At The Riot Feat: B-Massive + Siamese Almeida + The Rumours + Drug Store 66 + The Troubled Romantics + DJ Timothy Snape + Havas The Standard, Surry Hills.

8pm. $5.

Michael McGlynn Open Mic Night Kirribilli Hotel, Milsons Point.

7pm. free.

St George Scream Forest Inn Hotel, Bexley.

7pm. $15.

You Am I Enmore Theatre, Newtown, Sydney. 7pm. $66.60.

FRIDAY AUGUST 2 INDIE, ROCK, POP, METAL, PUNK & COVERS

Bernard Fanning + Big Scary + Vance Joy Enmore Theatre, Newtown, Sydney. 8pm. sold out.

CHVRCHES Oxford Art Factory, Darlinghurst, Sydney. 8pm. sold out.

Dave White Trio Kirribilli Hotel, Milsons Point. 8pm. free.

Diva Demolition & Bellusira The Factory Theatre, Marrickville, Sydney. 8pm. $12.

Fat Rabbit + Cashew Chemist + Kyle Taylor + Billy Rogers + DJ S.Kobar Upstairs Beresford, Surry Hills. 6pm. free.

Ian Moss The Vanguard, Newtown, Sydney. 6:30pm. $38.80.

Jagwar Ma + Guerre + DJ Angelo Cruzman The Standard, Surry Hills.

8pm. $20.

Laura Jackson Scruffy Murphy’s Hotel, Sydney. 10:30pm. free.

Max Smidt Customs House Bar, Sydney. 7pm. free.

Oscar Key Sung Goodgod Small Club, Sydney. 8pm. $18.40.

Pink + Youngblood Hawke Sydney Entertainment Centre, Darling Harbour.

7:30pm. $110.

Punk Rock Smackdown Feat: Handball Deathmatch + 51 Percent + All We Need + Too Soon! + The Whiskey Show Valve Bar, Tempe. 7pm. $8.

R5 Metro Theatre, Sydney.

8pm. $35.

Ross Wilson + Brett Winterford Lizotte’s Dee Why. 7pm. $59.

Talk It Up Crows Nest Hotel, Crows Nest. 10pm. free.

World’S End Press + Alex Cameron + Laurels DJs Brighton Up Bar, Darlinghurst, Sydney. 8pm. free.

ACOUSTIC/ COUNTRY/BLUES/ FOLK

Ben Finn Northies Cronulla Hotel.

9pm. free.

Geoff Rana, Carl Fidler Observer Hotel, The Rocks.

8:30pm. free.

Heath Burdell Clovelly Hotel. 8pm. free.

Jamie Lindsay Kings Cross Hotel. 7pm. free.

Michael Mcglynn Crows Nest Hotel. 6:30pm. free.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Arrebato Ensemble Camelot Lounge, Marrickville. 9pm. $25.

Beaten Bodies Venue 505, Surry Hills.

8:30pm. $10.

Martinez Akustica + Gang Of Brothers + Sam McNally Band + Rosie Henshaw & Los Gringos Blue Beat, Sydney. 9pm. $20.

Yuki & John Feat: Yuki Kumagai + John Mackie Well Co. Cafe & Wine Bar, Leichhardt. 8pm. free.

Xxx

pick of the week

INDIE, ROCK, POP, METAL, PUNK & COVERS

g g guide gig g

send your listings to : gigguide@thebrag.com

SATURDAY AUGUST 3 ACOUSTIC/ COUNTRY/BLUES/ FOLK

Jamgrass On The Road Feat: Mustered Courage + Rattlehand + The Steamgrass Boys + The Green Mohair Suits + The Morrisons + Oh Willy Dear + The Rusty Spring Syncopators + DJ Diabolical The Red Rattler Theatre, Marrickville, Sydney.

6:30pm. $23.50.

Luke Robinson + Rob Henry + Leon Fallon Observer Hotel, The Rocks. 4:30pm. free.

Michael McGlynn Kirribilli Hotel, Milsons Point. 8pm. free.

Sam Buckingham + Jessica Cero Hibernian House, 7:30pm. $15.

JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Disco Rapture W/ Professor Groove & The Booty Affair + Chloe West + Tone De Fresh + Double Dutch DJs Blue Beat, Sydney. 9pm. $20.

Kordofan Venue 505, Surry Hills.

8:30pm. $15.

Mucho Mambo Camelot Lounge, Marrickville. 9pm. $25.

INDIE, ROCK, POP, METAL, PUNK & COVERS Adalita + Dark Fair Goodgod Small Club, Sydney. 8pm. $23.50.

Arctic Seven + Gang Of Youths + KLP + DJ Kristy Lee Upstairs Beresford, Surry Hills. 6pm. free.

CHVRCHES Oxford Art Factory, Darlinghurst, Sydney. 8pm. sold out.

Clare Bowditch The Factory Theatre, Marrickville, Sydney. 7pm. $40.

East Coast Band Scruffy Murphy’s Hotel, Sydney. 10:30pm. free.

Furnace & The Fundamentals Beach Road Hotel, Bondi Beach. 8pm. free.

Ian Moss The Vanguard, Newtown, Sydney. 6:30pm. $38.80.

Killer Queen Lizotte’s Dee Why. 7pm. $44.

Mark De Costa Crows Nest Hotel. 10pm. free.

Pink + Youngblood Hawke Sydney Entertainment Centre, Darling Harbour.

7:30pm. $110.

Shinobi + New Alias + Sleeper + Melissa Jane Wylie Valve Bar, Tempe. 8pm. free.

The Chop Tops + The Missing Link + Coop Deville The Factory Theatre, Marrickville, Sydney. 8pm. $25.

Winter Wolves + Atlantis Of The Sky + Ready For The Fall + Amodeus + Caught Out + Where’S Rachel + Clockwork Valve Bar, Tempe. 12pm. $25.

SUNDAY AUGUST 4 JAZZ, SOUL, FUNK, LATIN & WORLD MUSIC

Karma Band + Dibbya Subba + DJ Crash + DJ Pradin + DJ Sushil Metro Theatre, Sydney.

8pm. $30.

ACOUSTIC/ COUNTRY/BLUES/ FOLK J amie Lindsay Duo + Adam Katz Duo Northies Cronulla Hotel.

4pm. free.

Satellite V Marrickville Bowls Club.

4:30pm. free.

INDIE, ROCK, POP, METAL, PUNK & COVERS

tue

30 July

(9:00PM - 12:00AM)

wed

31 July

(9:00PM - 12:00AM)

thu

01 Aug

(9:30PM - 12:30AM) (4:30PM - 7:30PM)

fri

02 Aug

(9:30PM - 1:30AM)

SUNDAY AFTERNOON

SATURDAY AFTERNOON

sat

03 Aug

Eager 13 + Mass Hysteria + Controlled + County Waste Valve Bar, Tempe.

2pm. $10.

Karnivool Big Top Sydney - Luna Park, Milsons Point. 7pm. $60.

Rob Henry + Three Wise Men Observer Hotel, The Rocks. 4pm. free.

(4:30PM - 7:30PM)

SATURDAY NIGHT

sun

04 Aug

(9:30PM - 12:30AM)

(4:30PM - 7:30PM)

SUNDAY NIGHT (8:30PM - 12:00AM)

gig picks

up all night out all week...

MONDAY JULY 29

Villagers The Factory Theatre, Marrickville.

8pm. $49.10.

Cold War Kids + Cabins Metro Theatre, Sydney. 7:30pm. $60.

You Am I Enmore Theatre, Newtown. 7pm. $66.60.

Of Monsters And Men + Mammals Enmore Theatre, Newtown, Sydney.

7pm. $69.

FRIDAY AUGUST 2 Bernard Fanning + Big Scary + Vance Joy Enmore Theatre, Newtown, Sydney.

8pm. Sold Out.

TUESDAY JULY 30 Darwin Deez The Standard, Surry Hills. 8pm. $45.

Fanny Lumsden & The Thrillseekers Single Launch + British Blue + The Burley Griffin Soda Factory, Surry Hills. 8pm.

Free.

Palma Violets

Oscar Key Sung Goodgod Small Club, Sydney. 8pm. $18.40.

World’s End Press + Alex Cameron + Laurels DJs Brighton Up Bar, Darlinghurst. 8pm.

Free.

Kira Puru & The Bruise Palma Violets + Bleeding Knees Club + Teenage Mothers Oxford Art Factory, Darlinghurst, Sydney. 8pm. $35.20.

WEDNESDAY JULY 31 Clubfeet + Louis London Beach Road Hotel, Bondi Beach.

8pm. Free.

FIDLAR + Dune Rats Oxford Art Factory, Darlinghurst.

8pm. $35.20.

THURSDAY AUGUST 1 Castlecomer Oxford Art Factory, Darlinghurst.

8pm. $10.

SATURDAY AUGUST 3

Arctic Seven + Gang Of Youths + KLP + DJ Kristy Lee Upstairs Beresford, Surry Hills.

6pm. Free.

Clare Bowditch The Factory Theatre, Marrickville.

7pm. $40.

Disco Rapture W/ Professor Groove & The Booty Affair + Chloe West + Tone De Fresh + Double Dutch DJs Blue Beat, Sydney. 9pm. $20.

The Chop Tops + The Missing Link + Coop Deville The Factory Theatre, Marrickville, Sydney. 8pm. $25.

SUNDAY AUGUST 4 Karnivool Big Top Sydney - Luna Park, Milsons Point. 7pm. $60.

Adalita + Dark Fair Goodgod Small Club. 8pm. $23.50.

Karnivool

Kira Puru & The Bruise ‘Crest Of The Wave’ National Tour + Post Paint + Jack Colwell & The Owls FBi Social, Sydney. 8pm. $10.

Sarah McLeod The Vanguard, Newtown. 6:30pm. $23.80.

Live At The Riot feat: B-Massive + Siamese Almeida + The Rumours + Drug Store 66 + The Troubled Romantics + DJ Timothy Snape + Havas The Standard, Surry Hills. 8pm. $5.

The Paper Kites Metro Theatre, Sydney. 7pm. $22.

Shelley Segal & Adam Levy Blue Beat, Sydney. 9pm. $25.

BRAG :: 523 :: 29:07:13 :: 33

WED 31 JULY

THU 1ST AUGUST

LUNCH BREAK

KIRA PURU & THE BRUISE

PRESENTED BY ALBERTS

MOON HOLIDAY

+ JACK COLWELL & THE OWLS

1PM // FREE

8PM // $10

+ POST PAINT

FRI 2ND AUGUST

WATER GRAVES + SACRED FLOWER UNION + SIMO SOO 8PM // $10

SAT 3RD AUGUST

SUPER MASSIVE

HANDS UP!

+ GREAT APES MICHELLE XEN & THE NEON WILD

“THROW DOWN TIL YOU THROW UP” DJS STAGGMAN & CLOCKWERK

8PM // $10

11:30PM // FREE

www.fbisocial.com

34 :: BRAG :: 523 :: 29:07:13

level 2, kings cross hotel

brag beats

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

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

he said she said WITH

Crizzly

EGO (MARK EGAN) them direct on social media to tell them you’re digging it! It’s so personal.

Music, Right Here, Right Now 6.

Australia just feels like it’s popping, I don’t need to look past the guys around me to find rad tracks to fill my sets. Anything from guys like L D R U or Spenda C or Paces is always banging.

I think the hardest thing for recording artists, though, is translating their show to a live environment. But I also think audiences need to get better at understanding what’s going on onstage. I see a lot of amazing DJs struggling for recognition because their tracks aren’t getting radio play.

Growing Up I never played an instrument 1. growing up, but I loved music.

I loved making mixtapes and watching music videos, and as a kid I was glued to the TV on Saturday mornings, watching Rage, Video Hits and Recovery, which might have something to say for what I’m up to now.

Inspiration I mostly find inspiration from 2. people around me who I see working hard and nailing what

they do and love. I like people who break the mould, artists that do something different or new.

As a visual artist I draw a lot of inspiration from cut and paste artists like Mat Maitland or Leif Podhajsky.

3.

Your Crew I just quit my day job and moved to Sydney to work full time on music and video, so I’m kind of recruiting a new crew here. Taking auditions if anyone’s interested.

MARTIN EYERER

Veteran German DJ Martin Eyerer headlines Spice on Saturday August 10, flanked by a solid local support cast. Founder of the Kling Klong label and a key player in the club realm with countless collaborations and mixes under his belt, Eyerer finally released his debut solo album Word of Mouth back in 2008. He’s collaborated with Tom Clark, Sasse, Daniele Papini and Robert Babicz over the years, while his tracks have been remixed by techno proponents Thomas Schumacher, Dusty Kid and Patrick Zigon. “My aim is always to bring a very fluent set where [it] all flows from one track into the next, but at the end you reach a place

The Music You Make I play a spread of sounds 4. and styles, from Moombahton and trap to straight-up house. I like to switch it up but I’m always about good vibes and big sounds.

The Last Record I Bought: I just bought Lockah’s 5.

Higher Learning EP from Bandcamp – it’s so rad how you can do that now, follow an artist on SoundCloud, then buy direct from them, pay what you’re happy to pay, then connect with

different from where we started,” Eyerer said on the record when discussing his DJ creed. The long-time spinner will take to the cellar decks supported by Spice main man Murat Kilic and local man of mystery Le Brond, who has played to crowds everywhere from Berlin to New Caledonia, supporting the likes of Dop, Ben Watt and Diatribe along the way.

RAINBOW SERPENT FESTIVAL

The first lineup for the annual Australia Day Victorian bush romp that is the Rainbow Serpent Festival has been announced. Kompakt main man Michael Mayer, Italian techno don

It worries me that we’re confusing DJing and production – that people who write good music are good performers, or that amazing performers should be able to write great music, when really, they’re two different things.

Audiences need to get better at understanding that or else I think we’re going to lose the art of performance.

Where: UNSW Roundhouse / George St Apple store workshop / Vice presents at GoodGod / Heaps Decent workshop, Redfern Community Centre When: Thursday August 1 / Wednesday August 28 / Thursday August 29 / Monday October 7

Donato Dozzy, the esoteric Banco De Gaia, Berlin party boy Nico Stojan, FreQ Nasty and Bedrock’s King Unique all feature on the bill. Mayer recently released his accomplished sophomore album Mantasy, while Dozzy devotees will find this pleasing news after the veteran cancelled his previous Australia tour, slotted for the end of last year. UK’s Banco De Gaia has been described by Pitchfork as “a musical fossil…who has existed for years on the fringes of interest.” Film soundtrack aficionados might recall the epic Banco De Gaia cut ‘Drippy’ from Aronofsky’s debut feature film Pi, a beguiling introduction to the underappreciated outfit. More information and tickets are available through rainbowserpent.net.

CLAUDE VONSTROKE

Dirtybird Records founder Barclay Crenshaw, AKA Claude VonStroke, will unleash his third full-length album Urban Animal this September.

Celebrated for his bowel-rumbling, dirty electrohouse, Crenshaw dropped his debut album Beware of The Bird way back in ’06. A favourite among clubbers even today, Beware of The Bird keeps on spinning courtesy of anthemic cuts like ‘Who’s Afraid Of Detroit?’ and ‘The Whistler’, each instantly recognisable for their quirky samples and ‘phat’ basslines. A double whammy for Crenshaw, Urban Animal will mark the 100th release on Dirtybird, and VonStroke’s first since 2009’s Bird Brain. According to Dirtybird, Urban Animal already promises a response to “the impersonality of constant social media and mobile interaction,” with lead single ‘Can’t Wait/The Clapping Track’ currently available to stream online.

CHINESE LAUNDRY AUGUST PROGRAM

Chinese Laundry has unveiled a packed program set to banish any lasting winter chills for the month of August. Things kick off on Friday August 2 with Sydney duo Kyro & Bomber headlining, before South Australia’s pride and joy Motez and Canberran duo Peking Duk throw down the next night. The following Friday marks the Australian debut of US Bass artist Crizzly, ahead of techno luminary Function of the Sandwell District collective, performing on Saturday August 10. US DnB bass proponent Bro Safari will descend on Laundry for Friday August 16, while another techno pioneer Speedy J takes to the decks the following night.

Big Chocolate will command top billing on Friday August 23 ahead of veteran Welsh group Hybrid’s performance on the Saturday. To top it all off, the last weekend of winter features the likes of Click & Whistle, Ryan Hemsworth and Kaytranada all representing. Got all that?

TENAGLIA, CARDINI BOYCOTT RUSSIAN GIGS

Claude VonStroke

Danny Tenaglia has cancelled his gig at Gipsy in Moscow, joining the likes of Jennifer Cardini as DJs who have boycotted Russian gigs because of the country’s disturbing ban on “propaganda of non-traditional sexual relationships.” The ban has been met with strong criticism from communities worldwide – including the electronic music community.

Cardini posted her defiance on her Facebook fan page, “As much as I enjoyed playing Russia I’m very sorry to say that as a gay artist I won’t accept any further shows in that country until this comes to an end (I really hope it will). I feel very sad about the political direction this country has taken but I really don’t feel welcome anymore and it wouldn’t feel right for me to go.” The French beats aficionado subsequently linked fans to this online petition, which is available to sign for those who oppose the laws: allout.org/en/actions/russia-attacks BRAG :: 523 :: 29:07:13 :: 35

dance music news

free stuff

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

email: freestuff@thebrag.com

speed date WITH

KILLAFOE What Do You Look For Current Playlist in a DJ/Producer?

It’s always changing.

1.

4.

Entertainment – whether it be their Today I listened to Dream production or stage show or both.

I like to be entertained, and I like music to have an impact on the way I feel. Like watching a good movie, I like to be able to escape reality and be totally immersed in the music or show. I don’t care what sound has been made or what sample pack has been used, to me it doesn’t matter, I just like being entertained.

Keeping Busy I’ve been busy making 2. music, helping to find tunes for Hypnosis Recordings, and helping and encouraging young producers from Perth to find their feet in the Perth dance music scene.

Best Gig Ever It was probably my recent gig 3. with J.Nitrous at Villa Nightclub, for Inhibit presents Culprate & Tantrum Desire. We were playing lead-up support for Culprate and the vibe was just amazing.

Game

Theatre’s Images and Words and Smashing Pumpkins’ Oceania. I’m also listening to a lot of Kendrick Lamar at the moment. As for dance music: Mayhem & Antiserum; Bro Safari; SPL; Triage; The Bassist; Diplo; Xilent; J.Nitrous; Poseidon; F3tch; XKore; Getter; and Barron. I’m really feeling the latest EP on Firepower Recordings by Rise at Night. So much awesome on one EP, it’s amazing.

Your Ultimate Rider A plum floating in perfume 5. served in a man’s hat, green tea, a hot tub, Wonka’s Fabulicious Sour Ropes, hot women of all shapes and sizes, topless waitresses, two bags of green, Grey Goose vodka and a carton of Bubble Berry Rockstar.

Where: Chinese Laundry When: Friday August 2

PET SHOP BOYS

Iconic synthpop duo Pet Shop Boys have just released their latest studio album Electric. Another slice of impressive tunes electro from the pair, it’s the twelfth studio album from the English band since their 1986 debut, and follows last year’s Elysium.

We’ve got three copies of the album to give away; shoot an email to freestuff@thebrag. com and tell us which London rapper the band collaborated with on the record to win.

Deepchild

GAME

LA rap figurehead and former G-Unit member Game will celebrate a triumphant return to Australia at the Metro Theatre on Tuesday August 27. After recovering from a shooting in late 2001, Game was discovered by Dr. Dre who signed him to his record label, Aftermath. Game then made a grand entrance into the rap world with the release of his debut album The Documentary, which featured guest vocals from 50 Cent, Eminem, Nate Dogg, and Faith Evans - pretty lofty company for a new comer, eh? Fame, adulation, filmic performances and Grammy award nominations ensued, as Game’s profile skyrocketed. Game has previously toured Australia five times, remaining a solid favourite in our part of the world.

HOUSE OF MINCE & PICNIC PRESENT: DJ SPRINKLES Enigmatic house music luminary Terre Thaemlitz, who produces under dual monikers Kami-Sakunobe House Explosion

(K-S.H.E) and more prominently DJ Sprinkles, will headline a joint party between Picnic and the House of Mince at The Abercrombie on Saturday August 10.

Thaemlitz has enjoyed a prolific first half of

Gorgon City

GORGON CITY

UK-based duo Gorgon City will tour Australia in September off the back of their ‘Real’ EP. Combining house, garage and bass music, Gorgon City’s sound is a logical development of the pair’s individual work as Foamo and RackNRuin, with the project providing a platform for the North London producers to dig into deeper sounds. Originating from the same label home as Rudimental, Gorgon City’s latest Black Butter Records release spotlights lead single ‘Real’, a collaboration with British DJ and vocalist Yasmin. Gorgon City support their labelmates Rudimental at the Enmore Theatre on Tuesday September 24.

36 :: BRAG :: 523 :: 29:07:13

STRANGE FRUIT

Strange Fruit, the weekly Sydney party normally slanted towards local DJs, is hosting an international double bill featuring Hamburg producer &ME and Sydney techno export Deepchild this Saturday within the familiar confines of The Abercrombie. &ME is the co-founder of the Berlin label/collective Keinemusik, and has remixed the likes of Tiefschwarz and Adam Port while cementing his standing at the forefront of the German house scene. Meanwhile Rick Bull – AKA Deepchild – moved from Sydney to Berlin around five years ago, and has since made himself a regular guest at two of Berlin’s foremost techno arenas: Berghain and Tresor. Last year Bull released his first album since relocating away from Australia in Neukölln Burning, and is returning home for the first time since the album dropped. Melbourne’s Volta and Strange Fruit main man Jordan ‘All Hands On’ Deck round off the bill, with presale tickets available online for $10.

2013, releasing his first commercial mix for Japanese label Mule Musiq entitled Where Dancefloors Stand Still and a doublealbum compilation of his remixes produced between 2006 and 2013, Queerification And Ruins. Thaemlitz has been actively cranking some of the finest deep house around under the Sprinkles alias for years, with his Midtown 120 Blues LP ranked as Resident Advisor’s #1 album of 2009. In addition to his incandescent production and DJing CV, Thaemlitz is quite the outspoken personality. Moving to Japan from the US over a decade ago, the head of Comatonse Records is known to explore the link between music and politics, having written and lectured extensively on gender and social issues over the years. After more than 20 years in the game, this will only be the second Australian appearance for the house auteur, featuring at The Abercrombie’s daytime party, with shenanigans commencing at 2pm and stretching into the evening. The likes of Stereogamous, Magda Bytnerowicz, Matt Vaughan, Ben Fester, Kali, Andy Webb and Lovertits are all set to spin at some stage of proceedings.

HOT NATURED DEBUT ALBUM

Whether declared production super group or overhyped poseurs, there’s no doubt UK label Hot Creations has played a significant part in introducing reams of people to club music. The collaborative effort of producers/DJs Jamie Jones, Lee Foss, Luca C and Ali Love, label favourite Hot Natured have already released three successful crossover singles in ‘Forward Motion’, ‘Benediction’ and ‘Reverse Skydiving’.

Now the foursome are gearing up to release their debut album, Different Sides Of The Sun, which is geared to drop at the start of September.

Recorded between London and Los Angeles, the album features guest vocals from Roisin Murphy of Moloko fame, Art Department’s Kenny Glasgow, Anabel Englund and S.Y.F. In a recent interview, Jamie Jones revealed the group wasn’t short on creative inspiration, stating: “We had too many tracks but managed to squeeze about 15 onto the album with only 30 seconds to spare.” Different Sides Of The Sun will be closely followed by the release of single ‘Isis (Magic Carpet Ride)’, which features vocals from Ali Love and electro veteran The Egyptian Lover.

BRAG :: 523 :: 29:07:13 :: 37

Vydamo photo: Ellis Parrinde

Vydamo

Becoming Vydamo By Alasdair Duncan

J

im Finn of Art vs. Science is showing off a softer side to his songwriting with side project Vydamo. His debut album, Becoming Human, takes the rollicking, adrenaline-charged party tunes of his main band and replaces them with far gentler and more melodic synth pop sounds.

“I started writing songs for the project in around February last year,” Finn explains. “It was more of an exercise in song writing for myself. I hadn’t written a song by myself in years, because with Art vs. Science, we always write together. After I’d written one, I started to feel more confidence, and feel that yearning to get that same feeling you get when you’ve completed a song you’re happy with.”

Surprisingly, it was a health scare that laid the groundwork for Vydamo. In March last year Finn was due to head off on an overseas tour with the lads from Art vs. Science, spending several months gallivanting around Europe, when he found out that his kidneys had failed and he needed to stay put in Australia. Finn took the news in stride. “I thought I’d make the most of my time and keep writing,” he says.

“I wasn’t intending to write an album, but after about six songs, I realised that I had something that really fi t together, something that sounded like a real representation of me, so I kept going and made the record.”

“It’s inconvenient having your kidneys fail, but for me it was like having a broken leg and sitting around waiting for it to get better.”

Throughout the whole process, Finn was determined not to let health problems get him down. “I didn’t look at it as too much of a big deal,” he says. “It’s inconvenient having your kidneys fail, but for me it was like having a broken leg and sitting around waiting for it to get better.” Everyone in his family offered to give him a kidney, but it turned out that his dad was the best match, so they wasted no time in organising a transplant. “It takes six months in dialysis to get there,” he says, “but I knew there was an end in sight. I always feel like worrying doesn’t change anything, so there’s no point in doing it. Eventually you get over things, and if you get over it immediately, it makes the whole process easier.”

For Finn, one of the best parts of writing songs as Vydamo is the fact that it allows him to distinguish himself from Art vs.

Science. “I’d say that with this project, you can hear my love of those quieter, gentler types of music coming through,” he says.

“When I was writing Becoming Human, that’s the mindset I was in, and it all came together in that kind of sound. Right now, we’re writing the new Art vs. Science record,” he continues, “and we’re doing lots of upbeat party tracks, but that’s a part of my personality as well. I guess, when I was writing the Vydamo songs, if I came up with some sort of upbeat party track, I would probably say to myself that ‘this would work better as an Art vs. Science song than a Vydamo song’. I know things like that quite early in the piece, usually.”

As for the future of Art vs. Science, Finn tells me the band is right back in the swing of things. “I was writing and rehearsing with the boys literally 45 minutes ago,” he says.

“I think we’ve recorded about 10 songs so far for the new album, but we have about 30 ideas, and we want to get them worked up so we can fi nd the best ones.”

What: Becoming Human out now through Sony

AlunaGeorge Good Looking Tunes By Raf Seneviratne

A

lunaGeorge is the product of a chance musical encounter from a few years ago, when George Reid was slated to remix a track by Aluna Francis’s band at the time, Toys Like Me. The two started hanging out and began making music with a real identity, one that threw back to the golden years of R&B whilst simultaneously pushing the boundaries of contemporary electronica.

After dropping their You Know You Like It EP mid-last year, the duo became blogosphere sweethearts and are now quickly tracing the footsteps of their UK compatriots Disclosure on the road to global acclaim. With their debut album Body Music out now and a slot on Fuzzy’s new boutique electronic festival Listen Out, things are happening in a big way for the duo.

electronic music, but AlunaGeorge have created for themselves a sonic palette that is distinctly and definitively their own.

Reid, the production brain behind the project, is stoked with how it’s all come together. “It’s taken a little bit longer to cross the T’s and dot the I’s but I’m really happy with how the album’s turned out. I can’t wait for people to hear the new songs.” He’s the quieter, more passive half of the duo – the ‘yin’ to Aluna’s ‘yang’. According to Reid, their sex-drenched, steamy aesthetic really harks back to their love for old school R&B.

“Personally, it’s not my strong point, Aluna’s got a way more informed opinion on the style of things,” he laughs. “With pictures and photographs, it’s annoying, but it is an important thing. It can certainly help to give identity when a track is just getting floated around the internet and someone can put faces or even just an image to the music.”

“I think you can look back and really appreciate it,” Reid says of the genre. “I feel like maybe the beauty was lost at the time because of the overriding bravado that came along with a lot of the music… It was all very flash – the money, the women and everything else that would appear in every music video at the time. And I guess it sometimes just puts everything way out of context and makes it impossible to relate to…if you’re most people.”

The duo thrives on the juxtaposition between them – one is a sultry, six-foot, ethnically-ambiguous beauty with a voice that is silken and innocent at once, and the other is a bloke called George who wears lots of hoodies and goes for Manchester United. But his gift for creating seductive, woozy R&B beats that perfectly complement Francis’s aura is second to none. In a world where everyone’s neighbour seems to be a ‘producer’, we’re prone to a level of oversaturation in

38 :: BRAG :: 523 :: 29:07:13

“I produced this album…but it’s a weird notion that all these people with a laptop and some software can call themselves a producer these days. I guess the whole dance world is changing at the moment, though, so why not?”

AlunaGeorge’s music videos, press photography and album art have helped them further establish their lush aesthetic.

It’s something that Reid is the first to admit is not his area of expertise, but he’s tuned in enough to understand the importance of style and visuals to an artist’s identity.

The versatility of Francis’s voice and the diversity of Reid’s production has led them to incredible collaboration opportunities, and while they were adamant on keeping their album a purely AlunaGeorge experience, the prospect of working with other musicians is always in their sights.

“We’ve been so focused on the album, and that’s just the two of us,” he says. “But Aluna’s voice, I mean, it’s so unique. She met Diplo at Glastonbury, and they went to the studio the other weekend and got on well, so I think they might be doing something at some point.

I think it’s cool that there are people that are making this forward-thinking electronic music.

We didn’t know them before but it’s been really nice to be put in the same bracket as those other people.”

What: Listen Out Festival at Centennial Park When: Saturday September 28 And: Body Music out now through Universal

Deep Impressions Underground Dance And Electronica with Chris Honnery

Four Tet

K

ieran Hebden, AKA Four Tet, is set to release his new album, Beautiful Rewind, “soon�. On July 22, Hebden announced the news in a series of tweets: “the album is all done and just getting some copies made and then will get it into the shops for you. LP, CD and internet versions. deluxe sendspace edition with art print and unique numbered download code. no pre order, no youtube trailers, no itunes stream, no spotify, no amazon deal, no charts, no bit coin deal, no last minute rick rubin.� Glancing through the tracklist, Beautiful Rewind appears to be comprised of all new material, making it the ‘proper’ follow-up to Hebden’s exceptional 2010 album, There Is Love In You. (Last year’s album 0181, released free on SoundCloud, was comprised of material produced by Hebden between 1997 and 2001.) There’s no word yet on the official release date, though if Hebden’s low-key PR approach for 0181 is any indication, Beautiful Rewind will arrive suddenly, without the allround hyperbolic hullabaloo that envelops actions of music label reps. Hebden has instead shown a preference for relying on more authentic bells and whistles, those of the common listener resounding through social media. It’s all about the power of the Internet (the P.O.I, mister).

The countdown to the 2013 Subsonic Music Festival, slotted for the weekend of December 6-8, will begin in earnest with a massive festival launch party at The Burdekin on Saturday August 3. Spanning three floors of the Surry Hills venue, the party lineup boasts a surfeit of DJ talent, including Phil Smart, Marcotix and AU Underground main man Dylan Griffin, along with the promise of a “special super secret guest or two�. The official festival kick-off will also feature prizes and merchandise giveaways, with special discount festival tickets available on the night. “But we don’t know who’s playing yet,� I hear jilted readers muse while they gesture with dismay towards this very page, which sits open on their knee now covered in rum from their overflowing glasses. Steady on chaps, the first round lineup announcement of artists featuring at this year’s festival will be unveiled at the launch. Get to the Burdekin early – you’ll get in for a measly $10 if you arrive before 11pm.

Glaswegian minimal don Alex Menzies, who makes music under the nom de plume of Alex Smoke, will follow up from his recent Wraetlic (derived from “Wraithlikeâ€?) album with a new single entitled ‘Dust’. The track marks a continuation of Menzies’ experimentation with the brooding atmospheres and warped vocals that imbued Wraetlic, sustaining his surge in productivity following a period of hibernation that came as part of the producer’s convalescence. “The last couple of years have been annoyingly marred by health issues,â€? Menzies divulged when Wraetlic was released late last year. “I couldn’t work nearly as much as I’d normally like‌ When I could work again I suddenly felt a new lease of life, a feeling which I hadn’t had since my early days. I

think the time away from working probably did me good in hindsight.� UK producer Tessela offers up a remix of ‘Dust’ on Menzies’ EP, due to drop on the first day of September. In tantalising news, I have it on good authority that Alex Smoke will be returning to Australia for a series of shows before the year is out.

Austrian producer Clara Moto (christened Clara Prettenhofer), will release a five-track EP next month entitled Joy Departed, due for release on the InFinĂŠ label, the same stable through which Moto dropped her debut LP Polyamour in 2010. Moto released her first 12Ë? ‘Glove Affair’ (which was included on Polyamour) way back in ’07, slowly establishing herself with soulful, ‘intelligent’ microhouse cuts and spinning at revered nightclub venues such as Paris’ Rex Club and Berlin’s Panorama Bar, also opening for Cobblestone Jazz in Montreal. Polyamour was an intelligent and sophisticated outing that opened with the track ‘Emory Bortz’, a rather obscure reference to Thomas Pynchon’s ‘classic’ postmodern novel The Crying of Lot 49 (which completely washed over me, despite my attempts to like it). Her forthcoming release merges fragile house with evocative downtempo grooves, even offering a cover of Chris Isaak’s classic, ‘Wicked Game’. Polyamour is but the appetiser for Moto’s second album Blue Distance, ready for release in November.

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LOOKING DEEPER SATURDAY AUGUST 3

Strange Fruit feat. &ME + Deepchild The Abercrombie Subsonic Launch Party The Burdekin

SATURDAY AUGUST 10 Function Chinese Laundry

Volta Adam Swain Jonathan LĂźkermann Leoch Jake Hough Robbie Cordukes

DJ Sprinkles The Abercrombie

Steven Sullivan

Deep Impressions: electronica manifesto and occasional club brand. Contact through deep.impressions@yahoo.com BRAG :: 523 :: 29:07:13 :: 39

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

club pick of the week Dialectrix

SATURDAY AUGUST 3

WEDNESDAY JULY 31 HIP HOP & R&B

The Wall feat: Resident DJs World Bar, Kings Cross. 8pm. $5.

CLUB NIGHTS

Clubfeet + Louis London + Falcona DJs Beach Road Hotel, Bondi Beach. 8:00pm. free.

Garbage 90s Night feat: Garbage DJs Lewisham Hotel, Lewisham.

7pm. free.

Kit Wednesdays feat: Resident DJs Kit & Kaboodle, Kings Cross.

10pm. free.

Salsa feat: Resident DJs Ivy Bar/lounge, Sydney. 8pm. free.

The Supper Club feat: Resident DJs Kit & Kaboodle, Kings Cross.

10pm. free.

The Wall feat: Various World Bar, Kings Cross. 8pm. free.

Whip It Wednesdays feat: DJs Camo + Snillum + Jaimie Lyn Whaat Club, Kings Cross.

9pm. free.

THURSDAY AUGUST 1

The Standard, Surry Hills

Dialectrix

+ special guests 8pm. $15.

MONDAY JULY 29

TUESDAY JULY 30

CLUB NIGHTS

CLUB NIGHTS

Mother Of A Monday Ft. DJ Smokin’ Joe Scruffy Murphy’s Hotel, Sydney. 7:30pm. free.

Chu feat: Various World Bar, Kings Cross.

7:30pm. $5.

Coyote Tuesday feat: Resident DJs Trademark Hotel, Potts Point.

club picks WEDNESDAY JULY 31 Clubfeet + Louis London + Falcona DJs Beach Road Hotel, Bondi Beach. 8:00pm. free.

THURSDAY AUGUST 1 Dip Hop feat: Levins And Guests Goodgod Small Club, Sydney. 8pm. free.

Hot Damn feat: Hot Damn DJs The Exchange Hotel, Darlinghurst. 8pm. $15.

40 :: BRAG :: 523 :: 29:07:13

9pm. free.

I Love Goon feat: Resident DJs Scruffy Murphy’s Hotel, Sydney. 7pm. free.

Rumba Motel Salsa feat: DJ Willie Sabor The Establishment, Sydney.

8pm. free.

Ziggy Pop Tuesdays feat: Guest DJs Brighton Up Bar, Darlinghurst, Sydney. 8pm. $5.

CLUB NIGHTS

Balmain Blitz feat: Various Bridge Hotel, Rozelle. 7pm. free.

Chakra Thursdays feat: Robust + Brizz Whaat Club, Kings Cross.

9:30pm. free.

Dip Hop feat: Levins And Guests Goodgod Small Club, Sydney.

8pm. free.

Hot Damn feat: Hot Damn DJs The Exchange Hotel, Darlinghurst. 8pm. $15.

Kit & Kaboodle feat: Resident DJs Kit & Kaboodle, Kings Cross.

10pm. free.

Miami Nights feat: Jay-J + Husky + Liam Sampras + Tom Kelly Goldfish, Kings Cross. 9pm. free.

Pool Club Thursdays feat: Resident DJs Ivy Bar/Lounge, Sydney. 5pm. free.

Propaganda feat: Gillex + DJ Moody World Bar, Kings Cross. 9pm. $10.

Rewind feat: Resident DJs Sapphire Lounge, Potts Point.

9pm. free.

Take Over Thursday feat: Resident DJs Trademark Hotel, Potts Point.

9pm. $10.

FRIDAY AUGUST 2 HIP HOP & R&B

Dialectrix + Special Guests The Cambridge Hotel, Newcastle West. 8pm. $12.

CLUB NIGHTS

$5 @ 5 On Fridays - feat: Resident DJs Jacksons On George, Sydney.

5pm. free.

CHVRCHES Live DJ Set The Soda Factory, Surry Hills.

7pm. free.

Fridays feat: Resident DJs Kit & Kaboodle, Kings Cross.

10pm. free.

Kyro & Bomber + J Nitrous + Killafoe + Royalston Blak & Yella Capture + Celsius + Open-Eye + MC Tricks Chinese Laundry, Sydney.

10pm. $20.

Mashed Fridays feat: DJ Ric C Oatley Hotel, Oatley. 8pm. free.

Mashup Fridays Ft. Ruckus Marquee at The Star, Pyrmont.

10:00pm. $20.

Mum - feat: Mum DJs World Bar, Kings Cross. 8pm. $10.

Soho Fridays feat: Kronic + Skinny + Zannon Rocco + Fingers + Pat Ward Soho Bar & Lounge, Potts Point. 9pm. free.

Something Wicked feat: DJs Robust + Prolifix + Harper + Audio Trash Candy’s Apartment, Potts Point. 8pm. $10.

TGIF feat: Resident DJs Trademark Hotel, Potts Point.

10pm. free.

The Guestlist - feat: Mitch Lowe, Brown Bear, Kyle Bourke, Peewee Ferris Home Nightclub, Darling Harbour. 9pm. $15.

Unwind Fridays feat: DJ Greg Summerfield Omega Lounge, Sydney.

5:30pm. free.

SATURDAY AUGUST 3 HIP HOP & R&B

Dialectrix + Special Guests The Standard, Surry Hills.

8pm. $15.

CLUB NIGHTS

After Dark feat: Resident DJs Whaat Club, Kings Cross.

8pm. $15.

Argyle Saturdays feat: Resident DJs The Argyle, The Rocks, Sydney. 5pm. free.

Homemade Saturdays feat: Resident DJs Home Nightclub, Darling Harbour. 9pm. $25.

Jacksons Saturdays feat: Resident DJs Jacksons On George, Sydney.

9pm. free.

Motez (Say Wat) & Peking Duk + Natnoiz + Loose Change DJs + Accadamy + U-Khan & Hannah Gibbs + Fingers + Ra Bazaar + GG Magree + Jaimie Lyn + Josh Riley Chinese Laundry, Sydney.

10am. $20.

Skybar Saturdays feat: Resident DJ The Watershed Hotel, Sydney.

9:30pm. $20.

Soda Saturdays feat: Resident DJs Playing Disco & Funk Soda Factory, Surry Hills. 5pm. free.

The Suite feat: Resident DJs Sapphire Lounge, Potts Point.

8pm. free.

Tom Piper Marquee at The Star, Pyrmont.

10pm. $28.60.

SUNDAY AUGUST 4 CLUB NIGHTS

Beresford Sundays feat: Resident DJs Upstairs Beresford, Surry Hills.

3pm. free.

Easy Sundays feat: Resident DJs Kit & Kaboodle, Kings Cross.

10pm. free.

S.A.S.H. Sundays The Abercrombie, Sydney.

2pm. $10.

Soup Kitchen feat: The Soup Kitchen DJs World Bar, Kings Cross. 7pm. free.

Spice After Hours feat: Steven Sullivan + Murat Kilic And Guests The Spice Cellar, Sydney.

4am. $20.

Sunday @ Gay Bar feat: Resident DJ The Gay Bar, Darlinghurst.

3pm. free.

Sunday Sessions feat: DJ Tone Oatley Hotel, Oatley. 7pm. free.

up all night out all week...

Miami Nights feat: Jay-J + Husky + Liam Sampras + Tom Kelly Goldfish, Kings Cross. 9pm. free.

FRIDAY AUGUST 2 CHVRCHES live DJ set The Soda Factory, Surry Hills. 7pm. free Kyro & Bomber + J Nitrous + Killafoe + Royalston Blak & Yella Capture + Celsius + Open-Eye + MC Tricks Chinese Laundry, Sydney.

10pm. $20.

Mashup Fridays feat:

Peking Duk

Ruckus Marquee at The Star, Pyrmont. 10:00pm. $20.

Soho Fridays feat: Kronic + Skinny + Zannon Rocco + Fingers + Pat Ward Soho Bar & Lounge, Potts Point.

9pm. free.

Something Wicked feat: DJs Robust + Prolifix + Harper + Audio Trash Candy’s Apartment, Potts Point.

8pm. $10.

SATURDAY AUGUST 3 Motez (Say Wat) And Peking Duk + NatNoiz + Loose Change DJs + Accadamy +

U-Khan & Hannah Gibbs + Fingers + Ra Bazaar + GG Magree + Jaimie Lyn + Josh Riley Chinese Laundry, Sydney.

10am. $20.

Tom Piper Marquee at The Star, Pyrmont.

10pm. $28.60.

SUNDAY AUGUST 4 S.A.S.H. Sundays The Abercrombie, Sydney. 2pm. $10.

Spice After Hours feat: Steven Sullivan + Murat Kilic And Guests The Spice Cellar. 4am. $20.

snap

sosueme

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up all night out all week . . .

start

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18:07:13 :: Beach Road Hotel :: 71 Beach Rd Bondi 9130 7247

dizzy wright

PICS :: HL

19:07:13 :: Civic Hotel :: 388 Pitt St Sydney 8080 7000

PICS :: HL

conics

goldfish

20:07:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587

PICS :: HL

20:07:13 :: Metro Theatre :: 624 George St Sydney 9550 3666

20:07:13 :: The Goldfish :: 111 Darlinghurst Rd Potts Point 8354 6630 T LST NIGHT AKA LINCOLN

:: ABOU S : TIM LEVY (HEAD HONCHO) H :: OUR LOVELY PHOTOGRAPHER :: HENRY LEUNG AKA CAPITALHAIC MAR LEY ASH :: RKE CLA INA KATR JUBB ::

BRAG :: 523 :: 29:07:13 :: 41

snap

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19:07:13 :: FBi Social :: 224-248 Wiliam St Potts Point 9331 9900 ::

18:07:13 :: Hugo's :: 33 Bayswater Rd Darlinghust 9357 4411

It’s called: The Underground Candy’s Friday s.

It sounds like: dance music from staple bangi n’ electro-house to trap to dub to Melbourne bounce...genre? Anything that keeps the place pumpin’...

Acts: Orkestrated (Melb bounce), Robustt, Harpe Even Steven and J-Deece. (Coming soon: Embe r, Aydos, Mitchos, DACO, r, Zoolander, Uberjakd, SCNDL and more...)

Three songs you’ll hear on the night: ‘Dona ld Trumpet’ (Orkestrated); ‘Me’ (Deorro/Robustt remix); ‘Dynamo’ (Laidback Luke/Hardwell/Will Sparks remix edited by Harper).

And one you definitely won’t: Anything by Pitbull, Flo Rida, Justin Bieber.

Sell it to us: we’re an underground club, with very danceable but NOT cheesy beats, strange visual projections on mass phantom faces on each side of the stage, dark, ive three-dimensional lasers, hazers, an excellent run of headliners supported by a lot of reside nts, going back to our unique underground basics...

The bit we’ll remember in the AM: a packe d club, good tunes, strange visuals...

Crowd specs: 18 to 25-year-old party peeps ...not too hip, not too arty, just party peeps having a good time...

Wallet damage: $10/$15.

Where: Candy’s Apartment, 22 Bayswater Rd, Kings Cross.

When: Friday August 2 – 9pm until 4am.

house of beni PICS :: AM

guy j

the underground candy’s fridays

20:07:13 :: Chinese Laundry :: 111 Sussex St Sydney 8295 9999 42 :: BRAG :: 523 :: 29:07:13

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sunnier side up

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21:07:13 :: The Abercrombie Hotel :: 100 Broadway Ultimo 9211 3486

party profile

s.a.s.h

hands up

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up all night out all week . . .

19:07:13 :: Goodgod Small Club :: 53-55 Liverpool St Chinatown 8084 0587 :: ABOUT LAST NIGHT :: KATRINA S : TIM LEVY (HEAD HONCHO) OUR LOVELY PHOTOGRAPHER :: ASHLEY MAR :: NAN MAG TH AMA :: NG RY LEU CLARKE :: AVERIE HARVEY :: HEN

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